'Who would have thought that the best translation ever to be conducted of the Qur'an was actually in Japanese?' Monira Al Qadiri examines a 1958 version of the Islamic holy book by Dr. Toshihiko Izutsu.

Natasha Ginwala reconsiders the Global South as a politics of place where 'any perception of an origin is contingent upon circulatory flows of thought-models, materialities of liberation and civilizational intersections'.

'My goal is in no way to criticize the art market,' writes Hakan Topal. 'It has been done many times before...[and] it is not the market but the dominance of the new market ideology that is the main problem.'

Aikaterini Gegisian talks about 008 project it is small, we like it this way, a fictional photo reportage comprised of image fragments of the Middle East, North Africa and the Global South.

This conversation between curator Amanprit Sandhu and Sumesh Sharma from the Mumbai-based collective Clark House Initiative considers the use of DIY filmmaking techniques in reimagining the 'Global South'.

Conceived as a series of vignettes to be views in succession, Incidents of the Paradoxical Gaze comprises of short films, MMS footage, and collagd images presented on Snapchat.

In May 2014, photojournalist Eva Gluszak Castagna documented the immersion of 48 sculptures that were part of Nikolaj Bendix Skyum Larsen's project, End of Dreams in the bay of Pizzo Calabro, Calabria, South Italy.

This project by Basak Senova and Simohammed Fettaka while at Villa Romana, Florence, was produced as part of the project PAS DE DEUX: 5 x 2 x 2. Mediterranean dialogues, curated by Alya Sebti and Angelika Stepken.

Deep Sleep II is a sound piece based on a brainwave generating binaural beats interwoven into field recordings from the Gaza Strip that invites an experience of being in multiple places at once.

Iranian artist Parviz Tanavoli discusses his first comprehensive US museum retrospective, Parviz Tanavoli at the Davis Museum at Wellesley College, with one of the exhibit's curators, Dr. Shiva Balaghi.

Tom Snow reflects on a talk by Renzo Martens at the Institute of Contemporary Art, London, in December 2014.