This article expands the notion of slow curating by placing it in dialogue with debates on slow memory , framing it as an ethical–aesthetic methodology for engaging with interrupted and contested memories. Rather than a fixed function, slow curating is approached as a negotiated field of transformation shaped by the entanglement of objects, contexts and participants. While Johnston describes slow curating as a reflexive and context-responsive practice, here it is expanded into a temporal–political care methodology that sustains hesitation, latency and resonance within the curatorial apparatus. Drawing on curating-as-verb , together with notions of diffractive temporality and dialectical contemporaneity, the article advances a vocabulary of tactics – dis/placement, re/composition, de/fetishisation and unlearning – tested through a critical reading of Once Upon a Time and Never Again (HLCK), an exhibition staging fragmented childhood memories in fragile co-presence. It concludes by reframing curating as a temporal–political practice through which disrupted memories endure in motion and align with slow memory as a critical horizon where the right to opacity is affirmed.
Alice Semedo (Wed,) studied this question.