Serubiri Moses is an independent writer and curator who currently lives in New York City. He is co-curator for the fifth edition of the contemporary art survey, Greater New York, at MoMA PS1, Long Island City. In 2020 and 2021, he served as Adjunct Assistant Professor in the Dept of Art and Art History at Hunter College, where he taught contemporary African and Black art history. Since 2018, he has served as faculty for independent art education platforms such as Dark Study (US), Digital Earth Fellowship (NL), New Centre for Research and Practice (DE/ US). Between 2017 and 2018, Moses was part of the curatorial team for the tenth Berlin Biennale of Contemporary Art entitled We Don’t Need Another Hero. From 2013-17 Moses travelled extensively to participate in curatorial residencies, conferences, and juries across Africa, Asia, Latin America, and Europe. In 2015, Moses held the position of Stadtschreiber at the Bayreuth Academy of Advanced African Studies and in 2014 he co-curated the second public art biennial in Kampala, KLA ART, entitled Unmapped and organized a four-volume public program at the Goethe Zentrum Kampala. In 2013, he acted as associate editor for START Journal for Arts and Culture in East Africa. From 2011-2012 he was a critic at the Ugandan daily newspaper New Vision Daily. With his interests ranging from historical narration, language, and iconography, Moses was an associate researcher in “African Art History and the Formation of a Modern Aesthetic,” a long-term project founded at Bayreuth University in Germany. He completed an MA in Curatorial Studies at the Center for Curatorial Studies, Bard College.
Recent and forthcoming essays, books, and conference talks include: “Which Art History in Africa?: A Question of Method” in Critical Interventions: Journal of African Art History and Visual Culture (2021); “The Problem of Mastery: Criticism from Kampala” in exh. cat Here and Now: Dynamic Spaces, Museum Ludwig (2021); “Death as a Premonitory Sign” at the Singapore Biennial Symposium (2020); Forces of Art: Perspectives from a Changing World (as co-editor, Valiz: The Netherlands, 2020); “Counter-Imaginaries: ‘Women Artists on the Move’, ‘Second to None’, and ‘Like a Virgin …” in Afterall 47 (2019); FESTAC ‘77: Second World Black and African Festival of Arts and Culture (Chimurenga and Afterall Books, 2019); “The Hiss and Steam of a Pot of Blood” (online) commissioned by Haus der Kulturen der Welt, as part of Hubert Fichte: Love and Ethnology (2018); “Women on the Move (1985-2015): A Comparative study ”(2017) at Para-Site International Conference in Hong Kong; the 17th Triennial Symposium on African Art of the ACASA (Arts Council of the African Studies Association) in Accra, Ghana (2017); “La Vida del Plátano” (Calypso Editions, 2016); The Place from Which We Look (Kadist Art Foundation, Paris, and Betón Salon at Université Paris Diderot, 2015); The Use and Abuse of History (Mukono, Uganda, 2015) organized by the School of Oriental and African Studies; and the 41st annual meeting of the African Literature Association in Bayreuth, Germany (2015).
