June Yuen Ting dreams of another world that is already here—a world, or worlds that are so expansive, so abundant and so immanent that the confines of colonial capitalist modernity cannot hold. June dances, organises, agitates and grieves. They wake up everyday yearning for transformation—for repatriation, redistribution and revolution. Without the desire to learn to love better, fight better, they wouldn’t have been here. They want so deeply for all the descendants of European colonial violence a fighting chance at loving one another (in spite of and against the abiding colonial inscription of heteropatriarchy)—a fighting chance at loving us.
For June, institutional affiliations are not belonging and professional/educational achievements are only master’s tools. Depending on the day, June sits in opposition to, in contention with, in exile from or in the ruins of British/art/curating. Without a formal education in curating or art history, June is committed to liberating cultural memories, social histories and community knowledges from the capture of institutionalisation and canonisation. To return “curating” back to its roots in everyday community practices of remembering, learning and organising, June aspires not for individual curatorial projects but collective lifeways and social movements.