The notion of the South has been generating heated discussions and debates in art and curating practices for the past several decades. Positioned passively in relation to the Global North, the South represents the asymmetrical allocation of social, cultural, economic, technological and political capitals, due to the long history of globalization, colonialism and global militarism. The South is an umbrella term used for designating the dire human conditions of the poor who suffer psychological and cognitive cultural symptoms around the world. In the past, postcolonial forms of psychoanalysis, critical theory and political science attempted to account for the plight of the South in terms of its poverty, lack of education, inadequate housing, and impaired subjectivity—namely what Achille Mbembe describes as “necropolitics.” Boaventura de Sousa Santos even goes further in analyzing the cognitive problematics of the South, and makes claims for an epistemicide, via the constructing of inaccurate and indifferent discourses, anything from deliberately distancing the South from mainstream modernity to valorizing the Western-centric political formation. There is no denying that the poor South is always strategically positioned in relation to the rich North, as much as the Brandt Line, established four decades ago, can still mark the divide through the shifting and transient global economy and technological sphere. However, the theory of the South may run the risk of overgeneralization, by depending on the dynamics of the North-South divide, without looking into the intricate interdependency between the South- South geopolitical spheres, involving a long history of complex and particular colonial and regional relations.