Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment-s desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art.It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to -uncuration-: untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution.Looking at Kara Walker-s work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how
