Contemporary interdisciplinary collaboration practices offer visions of new modes of assembly. This article traces a curatorial model of interdisciplinary collaboration, exploring how artists activate curation as a methodology of creation. I refer specifically to the creative practice of the award-winning Queer trans/mogrifying multidisciplinary artist and futurist Sage Ni'Ja Whitson, and their series The Unarrival Experiments. I reflect on Whitson's curatorial practice as a sacred methodology rooted in Yorùbá cosmologies, theatrical jazz aesthetic, and concepts of dark matter, superfluidity, and unarrival. I trace how Whitson's use of curatorial frameworks supports ease in the impossible, builds layers of multiplicity and simultaneity, resists institutional hegemony and power structures, and crafts systems of queer kinship and care for communities, ancestors, and futures. I outline the criteria of coexistence through which they imbue curatorial practices into their collaborations, generating what I describe as a “third space.” For Whitson, this fertile space of sustained difference is a portal to an alternate institution of darkness, interdependent sovereignty, and superfluidity. I conclude by unfolding the possibilities of Whitson's third space as a forward-facing methodology of how to move through the impossible together and envision new collective futures.

中文翻译：

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黑暗的超流体管理

当代跨学科合作实践提供了新的装配模式的愿景。本文追溯了跨学科合作的策展模式，探讨了艺术家如何激活策展作为一种创作方法。我特别指的是屡获殊荣的酷儿跨学科艺术家和未来学家圣人 Ni'Ja Whitson 的创作实践，以及他们的系列未到达的实验。我将惠特森的策展实践视为一种神圣的方法论，植根于约鲁巴宇宙论、戏剧爵士美学以及暗物质、超流动性和未到达性的概念。我追溯了惠特森对策展框架的使用如何支持不可能中的轻松，建立多重性和同时性的层次，抵制制度霸权和权力结构，以及打造酷儿亲属关系系统以及对社区、祖先和未来的关怀。我概述了共存的标准，通过这些标准，他们将策展实践融入到他们的合作中，产生了我所说的“第三空间”。对于惠特森来说，这种持续差异的肥沃空间是通向黑暗、相互依存的主权和超流动性的替代制度的门户。最后，我展示了惠特森第三空间的可能性，作为一种前瞻性的方法论，如何共同克服不可能的事情并展望新的集体未来。