The compilation presented here unfolds as more than a catalog—it emerges as a living cartography of artistic agency, a polyphonic constellation that resists national, chronological, or institutional taxonomies to foreground a relational matrix of practices shaped by histories of displacement, resistance, memory, and invention; within this ecology, figures like Ai Weiwei, Shirin Neshat, and William Kentridge appear not as anchors of a canonical center but as part of a transversal dialogue that includes artists operating from the margins or outside traditional systems of validation—voices such as Margarita Aull, Chimere, or Maxime Ganza, whose practices reveal other ways of knowing, other forms of visibility, and other modes of survival; this diversity is structural, not decorative, encompassing feminist epistemes, indigenous sovereignties, ecological urgencies, diasporic imaginaries, and postcolonial critique, composing a rhizomatic art history that actively displaces the Euro-American axis and repositions regions like Micronesia, Bhutan, Chad, and Suriname as epistemic centers in their own right; what emerges is not a list but a relational field, where each name contributes to a map of solidarities, tensions, and plural genealogies that demand a shift in how art is curated, taught, and historicized; rather than seeking completion or closure, this archive remains open, speculative, and situated, inviting further research into topics such as translocal residencies, art in precarity, the afterlives of modernisms, or aesthetics of refusal and care—not as supplementary concerns but as core components of global contemporary praxis. (Lloveras, A. 2010–2025) global art, polyphonic archive, curatorial practice, postcolonial aesthetics, feminist epistemes, indigenous art, decolonial histories, contemporary networks, visual sovereignty. Access the evolving archive at antolloveras.blogspot.com
