Norman Suescun is a visual artist specialized in photography who has held positions as a professor at some of Colombia’s leading universities, such as the National University of Colombia, the Pontifical Javeriana University, and the Departmental Institute of Fine Arts in the city of Cali. He has also worked as an artist and has curated more than 30 exhibitions.
During the period between 2016 and 2021, he founded the Interference Space Foundation in the city of Cali, Colombia, which is dedicated to promoting the work of local artists. In this location, exhibitions related to photography and cinematographic image are held.
As the director of the foundation, he not only curate’s exhibitions on occasion but also oversees the selection of artists and works to be exhibited, as well as manages the design and museography of the exhibitions.
In his artistic work, he employs multiple means to examine the link between symbolic content and the identity of plastic elements, using a distinctive language that generates areas where questions arise that confront the relationship between the apparent and the essential.

This report presents a critical reflection on the curricular internship carried out at Canal 180 in Porto, as part of the Master’s in Cinema at the Escola das Artes, Universidade Católica Portuguesa. Over the course of six months, an editorial and audiovisual curatorship model was developed for a film cycle designed for both television broadcast and digital platforms, aiming to explore new forms of circulation for independent works.
Key tasks included researching, selecting, and programming films by emerging filmmakers, coordinating with 11 directors, drafting interviews, and producing audiovisual capsules for social media platforms such as Instagram and TikTok. This process helped to revive a previously paused segment of the channel through a dynamic format of short interviews, adapted to the digital environment.
The report is structured into five chapters, covering the institutional context of Canal 180 and offering a theoretical and critical analysis of the curator’s role within television and digital media. The experience not only strengthened the author’s professional skills in curatorship and content production, but also proposed a replicable model for future thematic cycles, aligned with the channel’s mission to spotlight new talents and enrich its cultural programming.