This paper critically examines three exhibitions relating to the idea of "South". In particular, it will analyze a number of case studies, such as South Country, South of Country – Vietnamese & Taiwanese Artists Exchange Project (Howl Space, Tainan, 2012-2013), The South: An Art of Asking and Listening (Kaohsiung Museum of Fine Arts, 2017), The Hidden South (presented in multiple spaces across four towns in the south-link areas, 2018) and so on in order to probe the questions of curating in Taiwan in the context of its multi-layer colonized history, and as a country marked by geopolitical rivalry. What is driving force behind "making south" as a curatorial method? Is it an attempt to explore Taiwan's identity or an expression of political correctness? How does the ambiguity of the idea of the "South" impact on contemporary curating? Could the practice of "Curating the South" become a strategy to unsettle conventional ways of presenting art from the margins, or does it simply reinforce the existing hierarchies of the globalized art world? This paper argues that the ambiguity of the idea of the "South" has frequently emerged in various exhibitions. In the context of Taiwan, a number of exhibitions have expanded the multi-faceted meaning of the "South," marking its geo-cultural and geo-political location as well as defining its uneven internal development between the North and South and its modernity and ecological future as part of the Global South and as aligned with Southeast Asia and Austronesia.
Making South, Taiwan Contemporary Art, Curatorial Studies, Imaged Geography