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Tracing Back


“During the pandemic, I was able to focus on my own research, which resulted in a new dimension to the painting series I am now working on.”


Waiting, 21x30cm, Oil on board, 2021
Fig, 30x42cm, Oil on board, 2021
Mantilla, 30x42cm, Oil on board, 2021


Natalia is a Spanish artist focusing on adapting traditional techniques and formats from icon paintings. Through this, she explores the traces we have been left with from traditions that have prevailed over mainland Europe for centuries and their capacity to continue to exist through time. She is also the co-director of Subsidiary Projects, an artist-led space to promote the work of emerging artists.

Natalia 作为一位西班牙艺术家,其主要关注在标志性绘画作品中体现出的,对于经典绘画技法与构图范式的借鉴意义。此外,她试图以上述课题为手段,对曾于欧洲大陆盛行数个世纪的传统范式发展轨迹进行探索,并试图剖析出其能历经数百年的作用内核。同时,她还在位于伦敦,以“打造一个优化艺术家作品,并由艺术家主导的空间”为创立意图的Subsidiary Projects画廊担任联合主管。


The names would be abbreviated as “Isabel” (Isabel DIERINGER) and “Natalia” (Natalia GONZÁLEZ MARTÍN).


Isabel: How did you organise your work and life during the pandemic?

Natalia: With the lockdown measures, many artists weren’t able to access their studios, which has translated into adapting our domestic spaces and consequently our practice, to create. In my case, the main difference is in the scale of the work, which has been reduced considerably to fit in my home studio.




Isabel: What is different from before the pandemic?

Natalia: Before we could discuss our work and other artists’ IRL, now studio visits have been reduced to zoom calls which isn’t the best tool for the appreciation of some mediums. That dialogue has been lost in some ways but enhanced in others. Instead of discussing the work itself, I find myself sharing tips or advice with other artists that I haven’t even meet in person yet – however, I am eager to be able to see art in person again and talk about more formal elements.




Isabel: What is the biggest change you have been through or found? In other words, what is your Covid-pivot?

Natalia: Isolation has brought a lot of introspection for everyone, now that my time wasn’t packed with different events or appointments constantly I have been able to focus a great part of my day on research, which has really given a new dimension to this new series I am working on.

Isabel:你经历或发现的最大变化是什么? 换句话说,你的转折点是什么?



Isabel: What is your most proud creation since the pandemic started?

Natalia: For the past two years, I have been developing the same series of work, however, I am currently working on the development of a solo presentation and creating new pieces where all of these ideas meet.




Isabel: When did you start this project/artwork?

Natalia: The works for this particular exhibition which will take place in September have been in the making since November 2020. I have been able to explore the ideas and subjects that I had been developing during the past years.


Natalia:这个作品自2020年11月开始创作,并将在今年9月于展览上问世, 这一作品涵盖了我过去几年以来的探索和我一直在思考的想法和内容。


Isabel: What inspired you to embark on this project/start creating this artwork?

Natalia: I had created a solid trajectory of works that were all related to the same subjects, a solo exhibition of these was the most logical progression.




Isabel: What does this artwork mean to you?

Natalia: It has been an exploration of Spain and its traditions. I have been visiting old photographs, stories, folk songs to develop these. During a time where I could not visit my family and my country, this series of work has been almost therapeutic.


Natalia:这是对西班牙及其传统的探索。 我一直在研究一些相关材料,如旧照片,故事,民歌以进行铺垫。疫情时期,由于我无法回到我的祖国,所以这些研究工作也是对我的一种慰藉。


Isabel: Has the pandemic had an impact on your work/work plan? (Was there any change in your thinking focus?)

Natalia: I have always balanced my practice with another job, but with the money, I was saving from not having a studio I decided to focus solely on my art career. This has been the best decision I could have taken as my work has evolved much quicker than it would have if I had had a part-time job. It is not easy to do this and in my case, I needed the world circumstances to change in order to take this step.

Isabel:疫情期间你的工作/工作计划有被影响吗? (你的创作重心有什么变化吗?)



Isabel: If this applies, is there any funding for freelancers or artists in your city or in your country?

Natalia: The Arts Council has offered a lot of support for artists and art organisations during this time. Galleries, art magazines and other organisations have also been incredibly supportive by offering grants, free studio spaces or exhibiting opportunities.




Isabel: Have your feelings about art now changed from your first encounters with it, or rather before the pandemic? If so, how?

Natalia: The pandemic has allowed me to realise the importance of a strong online presence. Social media has been key to connect with galleries, artists and collectors from all over the world, which helps expand our networks.


Natalia:疫情的爆发使我认识到互联网存在的重要性。 社交媒体一直是连接来自世界各地的画廊、艺术家和收藏家的关键,这有助于扩大我们艺术的传播和影响范围。


Isabel: Do you think the arts will mostly remain/move online after the pandemic?

Natalia: I still believe it is important to experience art in person, some art mediums cannot be translated to an online format, however, some artists have evolved their practices to fit the digital realm, a very clear example of this are NFTs, and the hunger for innovative digital proposals is undeniable.




Isabel: How do you see the relationship between technology and art?

Natalia: This pandemic has definitely changed the way we approach art and technology, the differences between the two have become more blurry and I think this is a great opportunity towards a more 21st-century approach to art and its market.




Host: Isabel DIERINGER
Contact Person: Isabel DIERINGER
Planner: Isabel DIERINGER
Text: Isabel DIERINGER
Translator: Jiaqi GAO
Proofreading: Calum BAIRD



OCAT Shenzhen x OCT Art & Design Gallery OCAT深圳 x 华 · 美术馆 

“Decentralization” is a different attempt of this project from the past. “What’s Started and What’s Ended” Series 2020 Special Public Project provides an open and empathetic platform for the public to discuss four issues related to the epidemic in the “O₂ Online Chat.” “Design Notebook” used poster design techniques to record the five keywords raised from the conversation. “Collaborative Writing” guides two groups of writers to express their ideas through relay writing freely.


From a macro perspective, the digital tendency of our world might be the most apparent turn involved in all walks of life, including public education. Therefore, R-Lab invited the members working in the same field of public education but from different popular institutions in China. They would like to share their Pivot-related thoughts from dimensions of individuals, project creators, and Art partitioners of the industry. This would include: the personal pivot as art practitioners, the context of the project, how to balance its publicity and professional, the relation between physical and digital, and suggestions for young people who aimed to engage in public education.


The posters from ‘Design Notebook’

OCAT Shenzhen x OCT Art & Design Gallery
管中窥豹, 刘钊, 2020
OCAT Shenzhen x OCT Art & Design Gallery
盲人摸象, 刘钊, 2020
OCAT Shenzhen x OCT Art & Design Gallery
另一只眼睛, INFUTURE未设计, 2020

We only exhibited a part of the project; the original public project link is here in Chinese.

“What’s Started and What’s Ended” Series 2020 Special Public Project


O₂ Online Chat 线上聊天室(2020.4)

O聊天室回顾① | 一些陌生人的线上「理聊」

O聊天室回顾② | 从公共交往理性聊到独立思考相对论

O聊天室回顾③ | 城市里的新守护者联盟

O聊天室回顾④ | 共情的维度与弥合的可能


Design Notebook 设计记录簿

2020特别公共项目 “什么开始了,什么在结束” | 设计记录簿(上)

2020特别公共项目 “什么开始了,什么在结束” | 设计记录簿(下)


Collaborative Writing 联合写作计划(2020.6.7-8.7)

2020特别公共项目 | “联合写作计划”A组实验报告



OCT Contemporary Art Terminal (OCAT Shenzhen) and OCT Art & Design Gallery are famous contemporary art museums in Shenzhen, operated by Overseas Chinese Town Group (OCT). OCAT Shenzhen was established in 2005. It is located in Shenzhen OCT-LOFT. It is the earliest institution in the OCAT art museums that also opened in Beijing, Shanghai, Wuhan, and Xian. OCT Art & Design Gallery, established in 2008, adjacent to He Xiangning Art Museum, is the first art museum focus on design and experimental art in China.



The names would be abbreviated as “Cleo” (Cleo CHEN), “LIU” (Yang LIU), “CHEN” (Hang CHEN) and “WU” (Yueqin WU).


Cleo: Since the outbreak last February in China, our work and lives changed a lot. Therefore, as an art practitioner, how did you arrange your work and life during this period? Has anything changed?


LIU: I did not want to work (Laugh).


CHEN: At that time, we had to embrace the internet to express various emotions and attend events. On account of that, we felt like the project should be transformed to make room for the public, like giving a place for people to speak. There was nothing special, we were in a constricted state at that point in time.


LIU: I felt like everything was nonsense at that moment.


WU: As it was the time for Chinese New Year, but everyone was staying at home with only few tasks to do. My mind felt a little bit scattered because I was being faced with too many intense news updates everyday.


What’s more, as we were with our family, we would watch the news on TV a lot. The updates on pandemic situation and the statistical figures appeared on all the different channels all the time. There were not just announcements about the spread of infection, there were also some reports of improvements we had made. For instance, doctors from hospitals all over the country went to Wuhan (the city which suffered the most from the pandemic) to give assistance, or the people in Shandong who delivered tons of food to Wuhan. This kind of solidarity provided us with warm and positive new updates.


At the same time, various independent sources exploded with negative information on Weibo or WeChat (digital social platforms in China). They were saying that the reports on TV were fake, that the reality was the complete opposite. So, when I read these two opposing pieces of information, I was very confused and felt split when thinking: “What was the truth? How reliable are these reports?” Then I became a little anxious and struggled during that period of time. However, this wasn’t that obvious when it came to work.


LIU: In fact, everyone was on vacation in those days, and we didn’t know when we could get back to work. We could get the news through digital platforms which always kept updating every day. Gradually, there were some institutions or individuals trying to do something through their official accounts online. For example, PSA (The Power Station of Art) began a project about morning reading. Whereas, from my position, things like morning reading was just an adjustment for everyone. In addition to receiving news everyday, we received other content but what else could be given to the public to comfort them in this pandemic?

刘阳:其实当时的情况就是大家都在放着假嘛,你也不知道什么时候能回去。你能看到一方面是网络平台的那些消息,一个接一个新的过来,就每天都感觉不一样。慢慢地开始有一些机构,或者是有一些个体,他们也在通过公众号什么的做一些事情。比如说PSA(上海当代艺术博物馆, 英文名为Power Station of Art)做的晨读,随后晚一点也有找设计师做海报设计。可能就像晨读这种东西,我觉得像是一个对大家的一种调剂,就是每天我们除了接收,你全身心的接收这些新闻,或者是各种各样的一些消息之外,然后我还有什么东西能够给到大家一些安慰?

Actually, during that time, many people read more books. For example, readings about philosophy, history or even the plague. It seemed that everyone was pursuing something. Not just reading, there were also people learn to cook, etc. There were too many aspects of our lives that we had no time to pursue and enjoy during the normal, busy time and, so, these things were brought back to us as part of our adjustment to the pandemic pause, even in the very limited indoor space.


At this time, no one specifically said that we should keep working. This might be because we could not all handle our own situation well at that moment but what could we do to overcome these problems? And how? We could only leave a blank space after these questions. The only thing that might be a reliable solution was keeping calm and thinking, not rushing to act, probably most people were thinking this same thing. Many artists felt that art could not play a practical role within this situation. They had no idea how to respond to that.


I think for arts organisations, some of them were trying to do something. But things of the same kind as before the pandemic were meaningless. And if it acts as merely a calming effect, it can actually be replaced easily.


WU: There were some art institutions which started to publish information online to continue their work at the very beginning of the pandemic. The PSA was one of these institutions which has done quite well and attracted a lot of attention. The project they kept publishing was called the Pandemic Prevention Plan. Some of the content was readings, while other parts involved learning about collections and collaborating with designers. Therefore, when we came to think of our project, maybe just like what Liu said before, we needed to think about how to deal with this kind of new situation and what we could do more effectively because everyone has just experienced a a major disruption or only a small portion of restored reality.

It was the end of March last year when we all returned to Shenzhen to meet up. We sat together face-to-face, had a brainstorm and then communicated together. Our method was to gather all of our feelings and thoughts during the pandemic, and then sort them out. In order to do this, we have held several meetings, some lasting a whole afternoon and, during these meetings, we started to recall and organise those thoughts and memories.


The PSA Series project of Storing Electricity, Smiling, and Getting Together again-from Valentine’s Day to Arbor Day online activities (including the morning reading and the PSD of Pandemic Prevention Plan mentioned above)

PSA“蓄电,微笑,再相聚——从情人节到植树节”线上系列活动 (包含上文提到的晨读和psD防疫计划)相关链接:


Cleo: China has basically returned to normal now, so what have you found as the main change in your personal experience or discovery in this period?


CHEN: Do you mean to say what kind of feelings did we have in the process of returning from the previous online state to the physical world, yes?


Cleo: Exactly.


CHEN: In fact, I don’t think we have completely returned to normal but have partially transformed into a hybrid form. I say this because, when we were doing public projects, we would still first consider online spaces and platforms. For instance, what are the advantages of doing things online and what new things it could link us to. In terms of the physical world, we would pay more attention to what kind of projects were more suitable for developing in person. Now we had another channel of digital approach, and it was quite convenient for cross-domain or cross-regional programmes. Accordingly, there was already a little part of the physical world which had already been transformed into a digital medium.

航子: 我觉得它其实也没有完全回复到线下的状态。它是部分地转化成一个更丰富地形式。我们在做公共项目的话,都会考虑什么是以线上的方式来进行。就是我们在线上它的优势是什么,它能够把我们链接到什么。线下的我们会根据需要去更注重什么样的项目更适合线下去展开。现在多了这种渠道,如果是跨领域、跨地域的对象没有办法到这边来的话,线上还是挺方便的。所以线下有一部分的东西已经在慢慢地转化了。

WU: If you look at this offline and online problem after more than a year, it is really just a formal problem. At the beginning, everyone might pay more attention to offline activities or exhibitions that are closed, so is that art activity is stagnant, or it has become necessary to use online methods, which is a substituted method, to achieve part of the programme or exhibition.

At the beginning, there were some concerns as well as some technical and platform related problems which needed to be solved. Looking back now after more than a year, it is just a formal channel. It depends on what the project is about, and then you have decide whether to do it online or offline. Many programmes or exhibitions are now combined online and offline. If you are offline, you will have a sense of presence. You can notice the expressions and movements of the guest, and you can communicate with them more directly. This is the advantage of the physical, real world scene. I think online has its benefits, and I find that online audiences are more willing to be more expressive. They may be more willing to ask questions that are not easy to ask offline because there is only one screen-name online, or I can’t see the face of the person or hear their voice, so I would be more willing to throw out my own questions and communicate with guests. This is a very good point that I recently discovered.


LIU: Thoughts and changes brought about by the pandemic still exist now. It has proven to be very hard to gain a consensus from the public. However, after this period, our sense of some problems or phenomena have become more and more intensified. This has also continued until now. When we are talking with the public about some of these issues, this is actually a bit of a minefield that was easy to make mistakes with, so we should pay more attention to these issues. Consequently, there is a phenomenon that things which used to be easily set aside have become intensified and can create ambiguity. It is more difficult for people to have a rational discussion during the current situation.


Another thought is our role as the art museum. Actually, there was a very crucial point in the process of creating this new project. During our preparation, we always felt that the pandemic was about to pass, but we never knew what was going to happen the next day. This was the reason we did not act quickly, and in fact, our actions to it were not prioritized. I felt that I didn’t see it clearly at the time, so when we came back to work, there was a realistic question: how do you reappear as an art institution to the public now?


I don’t think we can act as if no pandemic happened and reopen an exhibition that had been closed just like we’re back to normal, as well as restarting the other related activities. Ignoring it seems to cover up too much from this specific period and it doesn’t empathise with the public. So, this was one of our motivations to create this public project. Even until now, what we have in common in doing public projects is that after some things happen, it is difficult to argue with each other from different positions; if something has been experienced together, there will be a common understanding or overview. I may not need to say anything in fact, everyone can already understand.


When we were doing this project, we took an empathetic view of what the people might need. Therefore, we have made the project have a change of focus. As a result of being over saturated with information, this may stop people from thinking their own thoughts on it. What appeared most from the public were the voices of different people, leaders, or other artists and designers, telling everyone how they were thinking and living. In fact, it was nothing different from others, and I couldn’t see anything particularly unique. As a result, we wanted to give the right to narration and communication to ordinary people. Actually, with so much emphasis on sharing these thoughts, the desire to talk about them gets weaker, but it doesn’t disappear completely. Even in this state, it exists and just needs an opportunity to be expressed. That is how this project started.


When it was completed, we gained much more confidence. I felt that we all could have some discussions restrainedly, and people did want to express their perspectives. This also reflected that the young people nowadays were getting more interested in being vocal and it is something they need to do. A project like this was new for us, a kind of test. Consequently, when we do projects later, we would consider about how could normal people be involved and whether they might need a space of participation. I think the project was affecting all of us simultaneously more or less.



Cleo: As the project was a platform of decentralised discussion, which part of it do you like the best? Is there anything else you want to share with the audience?


WU: When I was preparing for this interview, I also liked this “decentralisation” idea the most. In fact, this was also reflected by the following question 5 (Question 5-Have you ever thought about what effect or impact this project was trying to achieve?). The OCAT Shenzhen Pavilion has rarely done such activities before. Previously, we used to do more like professional forums or lectures which were academic, rather than some activities closely connected with the audience. In this term, holding the “O2 chat room” last year was also a beginning. Because as usual, whether we were generating reports, exhibitions, or listening to some lectures and forums in the library, it was all knowledge-based sharing with the unidirectional outputting method. The role of the audiences was always very passive, even the section of mutual communication was also around the theme set by the speaker, or the content mentioned before.

月钦:我在准备这个采访的时候,想的也是最喜欢这个“去中心化”的想法。其实这个也关联到后面的问题5(问题5 – 有没有思考过这个项目是想要达到一个什么样的效果或影响?)。OCAT深圳馆之前比较少做这类活动。之前比较常做看起来比较专业、学术性强的专业论坛或讲座。很少会做一些和观众联系得很紧密的活动。其实去年做这个O2聊天室的时候,也是一个开启。因为按照惯常来说,我们无论是做报道、展览、还是在图书馆里听一些讲座和论坛都是一个自上而下的一个知识型的分享。观众是作为一个被动者的角色去倾听去学习,相互交流也是围绕着讲者定的主题,或在一个多小时里讲的内容。

When designing the O2 chat room, we intended to only provide a platform and topics that everyone could discuss. Our role was to lead and connect. Just focusing on encouraging the audience to share, tell, and discuss with each other. We had also found the results amazing during the course of four games. Every scene there would be audiences sharing spontaneously, especially during the last two games. Although they didn’t know each other and could only talk through the audios, they still discussed a lot. With regard to the common experiences and feelings between everyone, they did give each other some opinions or suggestions. In conclusion, it was an incredible experience.


CHEN: Every stage the audience participated in was great, including the overall investment and their attention to the public issues. Since it was during the pandemic, it would cause everyone’s thinking to pay more attention to their surrounding environment and the wider context. Because the pandemic contained so many different factors, we’ve selected four main directions that we thought were suitable… (The directions mentioned above were the four themes of the O2 chat room: 1 . When the Internet has become the only thing we have. 2. Public communicating space and independent thinking; 3. Another eye; 4. Tearing and Recovering)

航子:观众们参与进来的整个状态就是挺棒的,包括到观众们整体的投入度和对公共议题的关注。当时在疫情这种特别的环境下,大家的思维多少会更加关注于周围环境,以及所涉及的语境。当时因为疫情其实也包含了太多可以说的层面,所以我们讨论出了这四个方向,我们认为是很符合当时大家的状态的。(这里提到的方向就是O2聊天室的四个主题:1. 当我们只有网络;2. 公共话语空间与独立思考;3.另一只眼睛;4.撕裂与弥合 )

WU: Actually, there were a few great topics that everyone wanted to talk about.


CHEN: They effected everyone’s thoughts, that is, everyone could have something to add. Correspondingly, Consequently, we had a space that didn’t call on anyone specifically, but focused on public discussion. The guests involved were happy to participate by sharing and discussing these with each other. As a consequence of this virtual and online status, everyone could express it even more. The physical social pressure had gone, which could let them be more relaxed.


LIU: I totally agreed with selecting these themes for the chat room and we’ve paid a lot of attention to them. It’s not only about empathizing with audiences, but also about the problems exposed during this and the experience of this current situation that is the focus of our institution. The four themes formed an organic combination, all of them were necessary and representative. Regarding these arrangements, WU is being modest. We’ve made lots of arrangements of the context, it isn’t necessarily about finding only the right guests, you also have to make sure the form of dialogue and communication is right.


I remember at the time we considered which theme should come first, how to cut into the topic suitably, gently, influentially, and effectively, in a way that had the potential to be expanded on, or even which part to talk about at which point, etc. The project was actually arranged by considering about emotion and rhythm.


In addition, if you wanted to mobilize everyone to discuss actively, it’s actually not that simple to facilitate the chat. We’ve even made an Excel form for prearrangement which everyone signed up to, this helped to understand everyone’s situation or what they might want to express, etc. The preparation that everyone can participate in this project, and discussion can cover everyone, when to introduce what kind of topic, who is next to respond, who is the one to share their stories. These are all are related. When you ask a question, many Chinese audiences don’t answer it immediately or in detail. So we need to guide them to offer more details in the project and to help them to express their thoughts.


It’s also not enough just to let everyone discuss with each other, because the audience actually came to learn something. Thus, where this might come from? On the one hand, we did have very insightful audiences, on the other hand, we actually had done a lot of research. We also needed to prepare the propositions, to provide everyone with something to expand on, or create space to think more about the topics. We even interviewed different people about the questions of “Public Space and Independent Thinking”, some things were not easy to discuss, and some people knew a lot but they wouldn’t like to speak out. We also found someone in the press and communicated with them behind the scenes, and then went to analyze with everyone at the site of the project to let audiences realize how would people with that backgrounds face these problems with their judgments and so on. In fact, there were still a lot of things we didn’t cover.


And I was quite satisfied with the “joint writing”. In fact, it had already been done by others before, but it was really suited to our context, like everyone could erase and overthrow each other more dynamically.


But the rule we made at the time was that everyone could not change what the former said, but they could create their own space freely. It could be treated as a mirror image of the real society, like how would we express our opinions on the basis of respecting the thoughts of others. We should still have our own attitude.


However, there were still regrets. It was something we discussed after the text was finished, it was because of the rules we laid down that the audiences were not allowed to change the prior person’s opinion. Despite not being able to change what the previous person had said, if someone was very good at observing the relationship in society, people’s way of thinking, and human nature from the perspective of writing, then he could also see the relationship between people in the process of self-expression. Therefore I always thought: could we tell what everyone was trying to do from the text? They were always trying to confirm the previous one. Hence, it’s not just about a confirmation of the relationship between the front and back ends. It could have been that the second-to-last person disagreed with the person in the middle, so had taken over an answer. Then how could he use his own way to connect several previous stories to complete the whole round? There would be a lot of identities and disagreements involved, and also recognition of others’ expression. I thought that if someone could do this kind of research or analysis, it must be quite interesting. The disappointment was that we did not have time to explore this during that time.



Cleo: The project was still very close to the audience, which was not the same as the previous lectures and forums. In your opinion, how could you balance the popularization and professionalism of public projects?


WU: We need both.


CHEN: We could neither purely allow one way of doing something that the audience must accept, nor could be completely without guidance and clues. The two states must occur simultaneously, including the interaction and the later status of audiences’ participation which could actually form feedback. It may affect your future plans, or the directions you want to explore.


WU: What kind of activities an art museum does, whether it is more professional or more connected to the audience, are connected to its position. This will depend on how the art gallery positions itself. Whether it’s more professional or community-oriented that has a closer relationship with residents, or is it more focusing on children like A4(an institution). Even if the position of an institution is biased, it should take into account a wider group of people too. I think we need to consider about the audience, they should participate or have a certain connection with the project, as well as interactivity.


LIU: That point is great. In the field of public education, we can feel a sense of unity. It’s like on one aspect art museums were saying that public education was very important. On the other one, the resources available to these museums were very limited. Thirdly, we could find that most of the projects may be the public guided tours for special groups of people, such as children’s education, that’s all the most obvious thing.


What you had just talked about reminds me of this problem, I think the reasons might be: First of all, people working in public education should know to what extent the problem was in their own knowledge structure. When it came to the balancing problem, you needed to have to be able to go deeper yourself, then take a simple matter from this as a goal. You must consider different audiences and adjust to their knowledge level in different ways. But as a working individual, whether it was about the problem itself, or the ideas and the Art world, you should always have professional requirements for yourself.


I don’t think that it is a service relationship with the curator of the exhibition, or  what you need to do is to explain or make efforts in simple terms. You have to consider a complex issue first, and then consider how to present this for different levels of understanding. We all should have this ability to adjust to their abilities.


CHEN: I don’t think I can be included in that. (Laughs) I feel that everyone’s demands are still very different. When they were complaining about things whether from the institutional or structural constraints, or the direction and philosophy of their work, they didn’t actually understand it. At that time, it was obvious that everyone was doing various things, including inside of the institutions and outside. At that time, many of the people who participated were from the National Art Gallery or local museums. In fact, everyone did much of the same. It seems that I didn’t want to break through the siege, or to have a new direction of exploration.


We shared the project (In)finite Museum Night at the time. Everyone thought it was good and we did a good job by exploring that direction. However, things like this do happen relatively rarely in art museums and institutions. No one has the intention of developing a new direction. This thinking sometimes prevents actions. It has a lot to do with the awareness of the staff in each agency.


The link of (In)finite Museum Night:


LIU: Public projects are not superficial. There are various kinds of various groups in the public community. If you really want to engage with the public, you may have to be flexible and able to meet the needs of people at different levels. Some people require more advanced engagement, while others are easier. Even just in terms of self-demand, we should at least be able to do this.


So in the process of creating O2 chat room as we said earlier, we couldn’t just stop at letting everyone talk to each other, we still had to do things that could improve and enhance the projects. This is related to our consciousness.


WU: Public projects are quite two-sided. It is necessary to connect with the exhibition and research departments to discuss the exhibitions or research projects together, and know what the concept and topic the curator is trying to convey. Then we have to come to the following consideration of what kind of professional forums or lectures we need to output, and also consider the diversity of the public and what they can accept. Although what we do is to contact the public community more, we would also collect professional concepts and ideas to support it, and we would still throw out some content and information. As for whether the audience could accept or realise these points or not, it’s also a point that we shouldn’t ignore when planning or considering projects.



Cleo: What kind of changes have taken place in the domestic public education industry or the entire art museum group during the pandemic?


WU: Obviously, we’ve all turned our attentions and work online.


Cleo: Exactly.


CHEN: And at that time, many people were discussing issues around the pandemic, whether to do exhibitions or not. The pandemic topic was even included in the official needs. Despite the pandemic period I wanted to meet the situation head on and I wanted to make things happen quickly, this needed to be done effectively. The entire art museum industry actually had devices and mechanisms for this. It has completely turned to cope with the conditions of the pandemic. However, we still chose the topics we were most concerned about and put them into practice.


LIU: In fact, it is not only for the public education. The public education was most obviously the online one, but there was not only us. We were all the same. As for the art industry, everyone was aware that when we had no way to link with foreign artists and treated them as the main body of art, a lot of artistic creation and artistic attention turned to be internal. One way was the cooperation with domestic artists, and the other was the re-exposure of locality. It was the field of observation within which we currently work in. This was quite obvious and was including artistic creation and the project itself. Like communities and local discoveries, these two directions should continue to accumulate in hot spots. In the past, people regarded this kind of project as something that was done by artists, for the public, and cared about the relationship with the public. Some artists lived in another art system and totally didn’t need to think about the public. After the pandemic, public awareness has increased, and the objects of everyone’s work had been internalized. I think that the entire art world should be allowed to make public and community-based creations or projects. Then there could be more kindness and understanding. I wouldn’t divide it like I used to say, community or connected artists, I’m not that kind of person.


CHEN: At that time, I heard that because of the pandemic, the operation of MOMA was not well, so the marginal public education system staff were fired from outside. In fact, when I heard this news, I was very sad. It seemed that the channel facing the audience was the first to be targeted, we seemed to be seen as the dispensable ones. It was like a crisis of survival and at the end of the world, you were the first group of people to be left behind. This was what I thought, I don’t know, maybe from the view of the public, they might not even know what we were doing. Then I interviewed many interns and talked about that position. The first thing they talked about was exhibition, and the thing they wanted to contact most was curation. Besides those, they didn’t think about anything else in this field. I also asked them what was the role of the public in the art gallery? Or what did they know about it? They would directly say about the curation or exhibition. At present, there were still too many misunderstandings about this field in China. We are always in a marginal position.


LIU: This was more obvious before the epidemic, but it has changed after the period. In fact, the space of the “white box” (a name of the the Art institutions that hold exhibitions) has expired during the period, because there was no way for everyone to enter the space of the white box. Another experimental site during this period of time, was that everyone would find the charm of their experiments in other places, or place art back into the social scene. The vitality and possibility of this was more anticipated and more promising than the white box. Some things that couldn’t be anticipated could even inspire more new possibilities. This was being accepted in the art world, and its charm was renewed.


On the other hand, it’s about whether public projects are equivalent to curation. This is what we practitioners need to show in the creativity of public projects, and the the benefits are not less than those exhibitions at all, and could also impress the public and promote the Art creation. If this is done, everyone would realize that there are many things that could be done in this field. In the past, as CHEN said, in many organizations, there was not enough space for public projects to work independently. We are in a relatively good situation now, including the era we are in, there is also room for full absorption, including the positioning between professionalism and the public, and you can also define it through your own vision and methods. However, how to let it affect more people and get rid of stereotypes? It may depend on something that we do.


The huge difference from the West is that the West would not say that publicity is not only important, but a very important part in the entire system and social fundraising. Actually, when discussing the concept of “public” in China, it is actually more about getting close to the meaning of Western society. However, there are many differences within the inner logic between public education in Western countries and China, so there must be some bluntness to this. Therefore, we still need to combine our own background and situation, and have our own ideas and identification for specific goals.



Cleo: I also followed some activities of art museums, and I really feel that they have shifted from physical artworks to the spread of online artistic thoughts. It feels that public education has become more important. Then I would like to ask what do you think of the relationship between online platforms and physical space?


LIU: They are not a relationship of reflection either. That is, online is the digital community, and offline is the physical space. Facing with different dimensions, there must be different goals and different methods. Advantages WU and CHEN have mentioned are that they could be connected to a wider network, and cross the physical distance to achieve exchanges within a wider coverage. To a certain extent, it has returned to the blueprint that the Internet originally gave to the world— we could achieve an unhindered communication. In fact, it is true that there are some issues that are not easy to implement physically, but if they are online, there will be a digital space, and then more people from different regions could have the opportunity to participate remotely.


CHEN: It is not only about real-time state, but also the state of knowledge sharing. Just like the contribution and knowledge-sharing status emphasized by the early founders of the World Wide Web, comparing with this, offline might be a bit more conservative. Whereas, they are not in an antagonistic relationship.


LIU: Neither opposing, nor mirroring.


CHEN: Right. It depends on it and what field the object needs. There is choice to make or it may be a combination of online and offline.


LIU: Current blockchain, digital art.


CHEN: About decentralisation.


LIU: Yes, as a financial investment approach, a brand-new product has been made with the help of online platforms. It’s about how you use the line as a space or parallel world, in which many possibilities might occur. Regardless of whether this thing is being used as art or as an investment, just on its own, it shows how you understand online channels, which is another field of your work, and a world in which art may emerge. If you want to go deeper, there are lots of things worth exploring.


CHEN: This is what happens from using a certain medium, but it’s like that when it comes to relationships.



Cleo: The last question, do you have any suggestions for young people who aim to work in the field of public education?


CHEN: Firstly, figure out what you want to do. (Laughs) It’s really important. And you need to prepare to be an all-rounder, because you need to do everything, from beginning to end, from scratch to establishing.


LIU: Exactly. To make yourself worthy of lofty ideals, but also to be able to stand on the ground. It is also necessary to work hard.


CHEN: Nonetheless, now more and more people realized there is still a position like this which is a good trend.


LIU: In terms of the direction we are doing now, the requirements of comprehensive abilities are still very strict. At the same time, it may not be as simple as the exhibition department producing several exhibitions during the year. You need to have ability of both dealing with extended issues and working with ideas and specific goals. And everyone is also interspersed with each other, so you have to deal various things simultaneously with flexibility. To ensure these, the personal professional ability is still needed.


In terms of this point, if you want to achieve flexibility in public projects, you not only need to have related knowledge, but also need to have the ability to transform the project. If you only stay at the surface level, or you couldn’t go deep into the artistic dialogue, or you just only take it as social services, these are all treated as limitations to public projects. You may prevent other possibilities of the social elements to art.


But having said that, this is still very ideal. It does not mean that there are all the same cases in every organization. You have to look at it according to the needs of the institution, and also the needs of your own position. It is also helpful to do audience surveys and research. The core is still to have the ability of promoting and innovating. This is required regardless of the career.


CHEN: The work of public education is also changing as time goes by. Including the things you care about, or whether you are in contact with the exhibition, or the exploration in the network of your own development, no matter the medium of expression, the topics being discussed, or the people involved, they are always changing. Public education is changing along with the change of perception of society.



Host: Cleo CHEN
Contact Person: Cleo CHEN
Planner: Cleo CHEN
Text: Cleo CHEN
Translator: Jiaqi GAO
Proofreading: Rebecca TUTTHILL, Calum BAIRD


Synthesis of Traditional Chinese Techniques with Contemporary styles

Qian ZHAO  & Pengyu ZHU , Zixu CHEN  赵乾 & 朱鹏宇, 陈子绪

After experiencing the pandemic, they have changed from focussing on the ideal to reality in their daily lives. In terms of their artworks, they have all changed from reality to the ideal. Qian ZHAO, Pengyu ZHU and Zixu CHEN were from the same Chinese university but majored in completely different fields—landscape architecture and Chinese painting, but their creations during 2020 all tend to combine Chinese Tradition and Contemporary art techniques and ideas.

经历了疫情时代,他们在生活中都从理想变得现实。而在创作中,又都从现实变得理想。赵乾、朱鹏宇和陈子绪来自同一所中国高校,学习截然不同的专业 —— 景观建筑和中国画,但最后的创作都走向了中国传统与现代的结合。

Qi Zhao赵乾 & Pengyu Zhu朱鹏宇
Make A Dream 作梦, Qian Zhao 赵乾 & Pengyu Zhu 朱鹏宇, 2020
Zixu Chen 陈子绪
坐看云起时 116×166cm 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
自由生长-山海 48×15cm×6 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
无题1 69×138cm 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
无题2 69×138cm 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
关于过去,关于未来 69×138cm 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
景区-云上 49×74.5 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
景区-雨袭来 48×49.5 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
景区-观景台 97×70cm 纸本水墨, Zixu Chen 陈子绪, 2020
Zixu Chen 陈子绪
景区-入山 82×67cm 纸本水墨, Zixu Chen 陈子绪, 2020


Qian ZHAO, Pengyu ZHU: Students of Landscape Architecture at Renmin University of China


Zixu CHEN: Young Artist – MFA Chinese Painting in Chinese National Academy of Arts

陈子绪,青年艺术家 – 中国艺术研究院中国画系研究生

Interview with Zhao & Zhu

The names would be abbreviated as “Cleo” (Cleo CHEN), “ZHAO” (Qian ZHAO) and “ZHU” (Pengyu ZHU).


Cleo: Can you tell us how you organised your life and work during this time? What has been changed?

ZHAO: Before the pandemic, we were in the same class and dormitory at school, so it was easy for us to communicate with each other. The outbreak occurred during our winter vacation, so we could only talk online and at home. My schedule was mostly involved writing papers or graduation projects during the day and then busying myself with other things at night.

ZHU: At that time, the pandemic was serious and the virus was spreading, so I tried not to go outside, and I also felt a little panicky. I seemed to repeat the same routine every day—like searching for materials or creating my artworks at home. The most significant change in this time that I noticed was that everyone around me was now wearing masks.

ZHAO: Now our vaccine programme has been administered widely, and with this, our life has basically returned to normal. Except for we need to report upon entering or leaving our school but there are really not too many restrictions at all.

ZHU: Our lives had returned to normal last summer, but it resurged again last winter.






Cleo: What changes have you experienced or discovered in this time? Whether it is in your life or your creative work? What do you think is your pivot to cope with the pandemic?

ZHAO: Being able to go out was the aspect of my life that was mainly affected, especially long-distance travelling. We were also asked to show the QR code pass whenever entering or exiting the busy areas. There were also restrictions that limited the number of people that could do activities indoors meaning that our sources of entertainment were limited.

ZHU: In this period too, I think the public has become more disciplined. For instance, people would agreeably wear masks or monitor temperature when getting on the bus but it also felt quieter not only at the bus station but in many places.

My mind has also changed a lot, I used to think that I could get what I want only through my own efforts, but now I find that my world can be affected by many other external factors. What is more, my goal was clearer, I would plan everything in advance prior to the pandemic.

ZHAO: Many unexpected things happened during the pandemic, like not knowing when we would be going back to school, for example. I used to think of myself as an idealistic person, this period made me become more realistic in my daily life but, in art, it has gone the other way from reality to ideal.





Cleo: When did you start to create the artwork Dreaming?

ZHAO: We started this at the beginning of last March. Previously, everyone was optimistic and felt that the virus, the pandemic, everything like that would be over soon. Hence, when it came to the theme of our graduation project in mid-March, I decided that I would like to create an idealistic surrealist artwork, and the work was finished at the end of last May.



Cleo: I noticed that you are students majoring in landscape design, so what inspired you to create the artwork? Why did you choose to build amusement facilities beyond the Forbidden City (The Forbidden City, as the palace of Chinese Emperors during the Qing Dynasty of Chinese history) rather than beyond other sites?

ZHU: Both of us were art students and we used to paint. Therefore, we would pursue aesthetics and artistry first and, then, we would plan the details when making the landscape which would have the look of architecture about it.

The context of the work was during the increasing severity of the pandemic period. The meaning behind the work, then, was that we hoped that the people who lived in isolation could go outdoors, so the whole building was in sharp contrast with the solemnity of The Forbidden City.

ZHAO: The Forbidden City was closed after the outbreak. So, we used our skills to design and install a temporary landscape for the future for people to enjoy and play to cope with emergencies of the pandemic. It also had the contrast that Pengyu ZHU mentioned before, that the atmosphere of The Forbidden City was very solemn but the one of an amusement park was lively. There was also a contrast between the material selected for this piece – wood and steel which represented the conflict between history and the present. We mainly used this contrast to express the aesthetic and quality differences.




Cleo: In my view, this work also implied that the country was still very optimistic about the pandemic at the beginning. The Forbidden City symbolised the general environment of China while the thoughts of the mass of people were reflected in the amusement park. There is a tangible contradiction between enclosure and optimism.

ZHAO: Yes, it also meant that no matter what kind of difficulties we’re encountering, we could overcome them with a positive attitude.

ZHU: Yeah it felt like the pandemic was a depressing topic, and the pressure of it all might be eased a bit by making an amusement park.




Cleo: What does this work mean to you, then?

ZHU: It represents the end of our undergraduate studies. Then, same as its name, it is a design that emerges from our lived reality but carries our fantasy of The Forbidden City which is illusory and exaggerated.

ZHAO: I agree but, what is more, it is also an attempt at something new. Our previous projects were very realistic but, with this design, we have tried a totally new form of expression—to exaggerate without any restrictions.




Cleo: Since this work is still very different from the Beijing Folk House Museum that you had created before, so does this mean that you want to develop more in the field of contemporary art? If so, which direction will you take?

ZHU: Actually no, I would still like to be a designer in the future.

ZHAO: I have not thought too much about it yet. I like to experiment and I do not want to be confined in a simple style. All of my previous projects are different from each other.




Cleo: How did the pandemic affect your work?

ZHAO: The pandemic mainly impacted the form of the work I did which changed from face-to-face communication to being online. This meant that it was very easy for any information about work to be delayed and that always generated many different issues. And, also, the issues I have mentioned before.

ZHU: The biggest issue was travelling. The health QR code, temperature monitoring, and wearing a mask were quite time-consuming. Mentally, I was sort of concerned at first, but then I got used to the online classes and they even felt quite fulfilling and convenient.




Cleo: Has has your perception of art changed since the pandemic? If so, how, exactly?

ZHAO: In fact, there have not been many changes. Art and design were both means of expressing ideas and could reflect current social situations or existing problems. There were some changes in my mindset like, when creating landscapes, we would take this problem into consideration—whether we could have previously prevented some issues that may arise in the future.

ZHU: I feel art has become more fundamental. I used to think of art as something like caviar— it was something only the upper-class people played with and enjoyed, and there is nothing useful about it. After enduring this period, I have found a lot of artistic ideas which emerged from these events, and this made me truly feel that art and real-life were closely related, and art was not just for entertainment.




Cleo: Do you think art would tend to be more online in the future? What might be the relationship between technology and Art in your opinion?

ZHU: Only part of it will go online. It is still the most intuitive way for art to be appreciated physically and, because of this art is something that cannot be copied. Although art can be shared more quickly online, physical exhibitions will still remain mainstream, I think.

Their relationship to me is that art inspires technological development, whether it is through its human application or its design but, in turn, technology will support the innovation of artistic methods for creating and performing.

ZHAO: My ideas are kind of similar to Pengyu ZHU. Like paintings or sculptures, it is very difficult to transfer them online. For example, there may be colour deviations or picture distortions that would be very different to the physical appearance and experience. However, landscape architecture might pivot online.

As for the relationship between technology and art, I think they are complementary to each other. In China, VR, modelling software, virtual exhibiting space and exhibition halls are all being developed in tandem. One day, there might be new art forms along these lines introduced in the future.

ZHU: Being physical and up close to art is still the best way of immersing ourselves in art and feeling its charm.






Interview with Chen

The names would be abbreviated as “Cleo” (Cleo CHEN) and “CHEN” (Zixu CHEN).


Cleo: How did you do with your life and work during the pandemic? What was changed from before?

CHEN: The outbreak happened during my senior year of college, and I was preparing for my graduation and the preliminary examination for postgraduate. According to the pandemic, the examination was delayed to be held in May or June. Simultaneously, Heilongjiang which is the city I located in was always on lockdown, so as a result of all things mentioned above, I was very depressed those days, the only thing I could do was keep studying.



Cleo: Could you talk about the changes you’ve found or experienced during this period? What’s your Pivot like?

CHEN: My normal life has changed a lot. My high school was in Beijing so I seldom wanted to go back because I was used to living independently. However, I became accustomed to staying at home which caused by the pandemic this year. As for my Art creating, I’ve changed my material from colourful ink to wash painting. I have experienced a hard time doing this because my colourful ink paintings were based on sketching, so I could only create wash paintings due to there was no way for me to sketch with the condition of lockdown. I was used to painting with colourful ink, so at first, I felt particularly dull when painting washes painting which only had one colour of black, which actually just in line with my mood at the time. As a result, my later paintings had some elements of the swimming person or lifebuoys.



Cleo: When did you start to conceive the work of Settled to Look on the Emerging Clouds《坐看云起时》, Growing Freely-Mountains and Seas 《自由生长 – 山海》, and the Scenic Spot series artwork《景区》?

CHEN: The “Growing Freely” series artworks have started long before, I think it has represented the status of my art creation—some of my paintings were conceived previously while some totally weren’t. I always painted by following my vague feeling, I’d like to pile up elements in my mind, so each element was like a USB flash drive of my memory. “Growing Freely” means that I would start with a tree or a mountain, and then gradually growing out of them with significance.

Settled to Look On the Emerging Clouds was the work I created after graduating. Chinese ancient painting was very different from the West which emphasized forms and colours of paintings. Chinese painting focused on the vivid quality flowing inside the painting. Talking about this, I’d like to emphasize the feature of “vivid quality flowing inside”. Aiming of performing that, I try the painting technique of arranging rows after rows, it was also an attempt of experimenting with the traditional space painting approaches. The sharp peaks painted in the”Mountains and Seas” were like the thorns in my life, so after drawing the thorns “out”, I felt much better than before. The Scenic Spot was the work I’ve just started to work on. This work was inspired by the Taihang Mountain and the Sanya Forest Park that I go for sketching a while ago. Mountains performed in the Chinese ancient painting were mostly innominate ones, but nowadays, most of our painting elements were taken from the scenes spots. Therefore, the work was done. What satisfied me more were the little person standing on the bridge and the viewing platform they were more appealing to me according to my aesthetic standard.

The Scenic Spot was the work I’ve just started to work on. This work was inspired by the Taihang Mountain and the Sanya Forest Park where I went sketching once a while ago. Mountains depicted in Chinese ancient painting were mostly unidentified ones but nowadays, most of our painting elements are from scenic spots. What satisfied me most about this work was the little person standing on the bridge and the viewing platform, they were more appealing to me and my aesthetic standard.




Cleo: Among all these works, which one do you like best? and why? What has inspired you to create it?

CHEN: I used to like Settled to Look On the Emerging Clouds most because it has my mood and status during my vacation. In addition, because it took a while to paint, it has collected various elements of different painting techniques or languages making it more complete. Whereas now, my favourite is the Viewing Platform, and later, I would like to keep adding the element of the small person depicted in the painting. In terms of inspiration, I admire the brushstrokes of Western oil paintings. I also like Baroque and Impressionist paintings, so later I may enrich my paintings with these sorts of references.



Cleo: I found that these works were very different from the previous sketches, so do you want to go into the field of contemporary art later? If so, which sort of art theme do you want to focus on?

CHEN: I am longing to go into contemporary art. Chinese landscape paintings mainly emphasising the looks of paintings, sometimes I get tired of this aesthetic, so I want to make my pictures look like works that focus on our contemporary world and which cares more about the different meanings of our lives.

European artists such as Gerhard Richter and Anselm Kiefer both suffered a lot during childhood, so their artworks can be viewed as giving us a sense of reflection, guilt, or anger, which are really powerful ideas to convey. However, I am living a normal life, so I often feel that my paintings are too mediocre. I tried living in an intense and extreme manner, but I found it hard for me to use painting to record my reality and ideas. As a result, I may still focus on the expression in the picture itself at the moment.

At present, I still want to imitate more iconic paintings and many contemporary paintings are inspired by ancient themes. Like Lei XU, an artist who aims to promote the spatial feelings expressed in Chinese Landscape Paintings and his paintings are very novel by use of this method. I see this as a great example of a method for generating a symbiosis between the contemporary and the traditional. I thought a lot about this recently, and I feel there are many different potential ways I can pursue these ideas.





Cleo: How does the pandemic impact your art creation?

CHEN: The pandemic presented me with some barriers, and this period also represents my Pivot from undergraduate to postgraduate. Before the pandemic, I lived carefree like being in an ivory tower, but I was forced to pivot to become pragmatic and think about how to make money because my family was suffering from financial pressure.

In response, I developed my learning to focus more on which styles were popular in national exhibitions, and drawing more completely, in order to find a job. Owing to the fact that holding a solo exhibition or academic exhibition was not as convenient as the national exhibitions, I also thought about developing a fixed painting language at this time. It was a hard period, and I found that I work that I once felt satisfied with later revealed itself to me as something which was not what I wanted or intended to produce. Therefore, I had to adapt again to focus on my mood and surroundings, and I’m trying to let myself be satisfied in any given situation.



Cleo: Has your perception of art been changed now since the pandemic, and can you talk about these changes?

CHEN: At first, I did not think too much about art, it was just something aesthetic. This thought shifted changed during my second year of high school, though, when I went to the Chinese Academy of Fine Art High School. During my studies, I discovered that Art has a huge impact on our society and does so in a lot of amazing ways, for example, in Western Art history, there is the impact of the Renaissance, Romanticism, etc. To my surprise, Chinese Art had a period of realism, similar to this, which also left behind a positive legacy. I also came to feel the Religious power involved in art when I took up my studies. As for contemporary art, I am developing a technique whereby I try to make my work reflect society from an artistic, aesthetic point of view.



Cleo: Do you think art will be predominantly online after this period? What is the relationship between technology and art in your opinion?

CHEN: There are many more online exhibitions and each one keeps getting better than the last. And also, the maturity of online art courses is helpful for art’s dissemination.

On the relationship between art and technology, the development of photography has helped art’s development rather than just being a tool of recording a moment and has contributed to art technologically. For instance, an example from history, the moment of the ballerina lifting her leg in Degas‘s painting, The Ballet Class (La Classe de danse), was probably aided with the help of a camera. The printing technique produced photo albums which helped art’s education a lot. So, to end and, in my opinion, the development of technology has smashed down barriers to aid art’s development and I think this will continue.




Host: Cleo CHEN
Contact Person: Ifance FAN, Cleo CHEN
Planner: Cleo CHEN
Text: Cleo CHEN
Translator: Jiaqi GAO
Proofreading: Calum BAIRD


Networks for Connecting

Tsitra PARK & Shawn NAYAR

Shawn: “without the whirlwind of energy around me, I had to look inwards to find a way to drive me forward, and to translate that into an artwork that was accessible in this day and age. So transform all my work into digital work.”

Tsitra: “the biggest change to adapt to was making work internally, there was a lot of insular thinking, as opposed to being a part of something bigger. We are probably creating the most interesting dialogue in the every day, there are constant pivots and we are constantly aware of them.”

With a combined interest in communication and digital aesthetics, Tsitra Park and Shawn Nayar’s curatorial venture [INSERT ART HERE] develops emerging ideas and methods of making art to create an intimate and engaging experience in a time of isolation.






Curated by Shawn Nayar and Tsitra Park

Featuring: Claire Bath, Amelia Clark, Emmanuelle Garcia, Fiona Gordon, Ellie Home, Tabi Hull, Jesse Klassen, Roibí O’Rua, Katherine Stanley, Saffy Stott, and Rowan Walker.

[INSERT ART HERE] is an online exhibition hosted on Zoom. Between the 12th and the 14th of March, the event featured 13 artists across Europe and North America, each combining a green morph suit with Zoom green-screen technology to embody their work in new ways.

[INSERT ART HERE] website with more information that you can access here:


Shawn Nayar is a practising artist and curator from India who is currently based in Newcastle upon Tyne. His practice traverses digital platforms and media to explore queer and erotic club culture. Amalgamating personal experiences from the club scene with a deeper exploration into the role of POC within the gay community, Shawn creates work to depict and engage a community isolated due to lockdown.

Tsitra Park negotiates dialogues of privacy and identity in the realm of social media, with work that interrogates the role of the individual and art-making in the digital context. Based in Edinburgh, they use their curatorial and art practice as a means by which to engage and unpack new contexts as art and artists adapt to an evolving world.

Shawn Nayar 是一位来自印度的实验艺术家、策展人,目前居住于泰恩河(Tyne)畔的纽卡斯尔(Newcastle)。其艺术创作致力于,跨越不同的数字媒体平台,对“酷儿”(Queer)与 “色情俱乐部” (erotic club)等文化领域进行探索。

Tsitra Park,一位来自爱丁堡的艺术家,其艺术创作目前致力于在社交媒体上进行有关个人隐私和身份的对话,并试图去探讨在数字化语境中的个体和艺术创作。他们以爱丁堡为基地,利用他们的策展和艺术实践作为一种手段,在艺术和艺术家适应一个不断发展的世界时,参与并开拓了新的领域。


Interviewer: Hello everyone, and welcome to R-Lab and our interviews. My name is Velia Cavallini and I’m here with Tsitra Park and Shawn Nayar, and I’ll let them introduce themselves.

Interviewer: 大家好,欢迎大家来到R-Lab的采访环节,我的名字是Velia Cavallini,我将采访的是 Tsitra Park 和 Shawn Nayar,接下来让他们为大家做一下自我介绍。

Tsitra: Hi, I’m Tsitra Park, I’m currently based in Edinburgh, I am an artist and curator and I work with ideas of dialogue between social media and the public sphere at the moment. Together with Shawn Nayar we created [INSERT ART HERE].

Tsitra: 大家好,我是Tsitra Park, 目前居住于爱丁堡,我是一名艺术家和策展人,目前我致力于社交媒体 和公共领域之间的对话。我与Shawn Nayar一起创作了[INSERT ART HERE] 。

Shawn: My name is Shawn Nayar. I am an artist from India who is currently based in Newcastle upon Tyne in England and my practice is really interested in queer culture, particularly in queer club culture. And I look and research and explore the place that people of colour have within the gay community and within this really vibrant culture. And yes, together with Tsitra we’ve worked really hard to create [INSERT ART HERE]

Shawn: 我的名字是Shawn Nayar. 我是一位来自印度的艺术家,目前在英国泰恩河畔的纽卡斯尔工作,我对酷儿文化非常感兴趣,特别是酷儿俱乐部文化。我致力于观察、研究和探索有色人种在同性恋社区和这个充满活力的文化中的地位。并且,如你所⻅,我和Tsitra一起创造了 [INSERT ART HERE]

I: For the first few minutes we’re going to focus on your lives as and then we’re going to go into discussing your artwork. So, how did you organize your life and your work during this pandemic?

I: 在采访初始阶段,我们将采访重点聚焦于你们的生活,然后我们将讨论你的作品。那么,在这次疫情期间,你是如何安排你的生活和工作的呢?

S: I guess during this pandemic it was a lot about trying to find the artwork that drove me. Before I was surrounded in this really lovely chaos of the art world, there was um inspiration everywhere from art galleries to people around you and suddenly just being isolated and alone without all of this whirlwind of energy to keep driving you forward you have to have to look inwards to find a way to drive me forward. So it was a lot about studying myself and finding a way to translate that into artwork that was accessible in this isolated age so transforming my work into digital work.

S: 我想在疫情期间,我很想找到能够驱使我前进的艺术品。在我被包围在这个非常可爱却又混乱的艺术世界之前,到处都有灵感,从美术馆到你周围的人。突然之间,我的周围只剩下孤立和孤独,这些孤立和孤独就像是无法抵挡的旋⻛,促使我必须向内心看去,才能找到一种方法来驱动我前进。所以,我要做的就是研究我自己,并找到一种方法,将其转化为在这个与世隔绝的时代可以让他人获得的艺术品,因此我将我的作品转化为了数字作品。

T: I found that it took a little time to get used to work in the pandemic and I think my immediate response was to develop a sort of routine and just to do something, to create work and not necessarily think about what I was making, or what I was trying to make, and just doing. And that developed then into ideas.

T: 我花了不少时间来适应这次的疫情,我认为,疫情发生时,我的第一反应是制定一种常规,那便是,去是做一些事情,创造一些作品。不一定要深切思考我在做什么,或我试图做什么,仅仅只是去做、去实践。于是就发展成了更多的想法。

I: And what do you think is the biggest change that you had to go through, or the biggest change that you have found yourself stumbling into?

I: 你们认为你们必须经历的最大的改变是什么,或者你们发现自己在疫情期间最大的改变是什么?

T: I’d say that the biggest change has been the lack of everyday communication that you never really planned with people, the kind of the interactions when you’d just be in the studio and someone would walk past, or just on your daily commute where you’d see someone doing something weird that will kind of stem your brain into thinking different things. And the change has been that you’re making work, like Shawn said, internally a lot, so there’s a lot of insular thinking as opposed to being part of something bigger.

T: 我想说最大的变化是,你从未真正计划过的并且一直缺失的与人的日常交流,例如,当你在演播室里 有人走过时的那种寒暄与互动,或者只是在你每天上下班的路上,你会看到有人做一些奇怪的事情,这 会吸引你的注意并且让你的大脑因为这些事开始思考不同的事情。另外,改变是你在做的工作,就像肖 恩说的,在内心中做了很多工作。所以有很多孤立的想法,而不是成为更大事情的一部分。

S: I think the biggest change for me is that I’ve been actively seeking out communication and talking to other artists. Because initially I was taking, like as Tsitra said, those walks through the studios and seeing something which sparks your brain, just random conversations in the hallway. I completely took those for granted, so now when I was completely deprived of all of those I’ve been actively trying to recapture that. So it’s been calling artists to have meetings, randomly outreach, messaging and such. Essentially, it’s me bombarding all the artists I know being like ‘hi how are you’ and trying to force them into having dialogues just to keep conversations going, to get those cogs really going. Even if it’s not even at an art level, even just a social level, just to get some sort of communication going.

S: 我认为对我来说最大的改变是,我一直在积极寻求与其他艺术家的交流和沟通。因为一开始我就像 Tsitra说的那样,在工作室里走来走去,看到一些能激发你大脑的东⻄,只是在走廊里随意交谈。我认为沟通与交流是理所当然的,所以当我被完全剥夺了这些时,我一直在积极尝试重新夺回。所以我一直在给艺术家们打电话,让他们开会,随机宣传,传递信息等等。从本质上说,是我炮轰所有我认识的艺术家,像“嗨,你好吗”,并试图迫使他们进行对话,只是为了让我们的对话继续下去,让那些⻮轮继续转动。即使不是在艺术层面,只是社会层面,也要进行某种交流。

T: I think really grabbing onto the digital sphere as well, and like bouncing off what Shawn said is quite important in that, how do we still re-establish that connection that we’ve kind of lost. So I think uh both of us have been seeing how we can use this new world to our advantage.

T: 我认为要重视和抓住数字领域,就像从Shawn的话中体现出来的一样,我们如何重新建立我们已经失去的联系是非常重要的。所以我想我们俩都看到了如何利用这个新世界为我们带来好处。

S: Yeah.

S: 是的.

T: I mean, I think that the world is constantly changing anyway isn’t it? And I think actually what’s funny about this is that there was one big change, and now it feels like the world isn’t really changing. So you’re much more aware of your own pivots, because we’re probably creating the most interesting dialogue in the everyday. So I definitely think that there are constant pivots, and we’re constantly aware of them, because we’re now our own stimulus and our own world, in a sense.

T: 我认为世界本就是在不断变化,不是吗?我觉得有趣的是,疫情曾经给我们带来很大的改变,但现在却感觉世界并没有真正改变。所以你更清楚你自己的“转变”,因为我们可能在创造每天最有趣的对话。所以我肯定地认为,只有不断的“转变”,我们不断地意识到这些“转变”,在某种意义上,我们现在是自己在刺激我们自己的世界。

S: I have definitely noticed that my pivots change depending on my emotions, and how I’m feeling. Because I’m always trying to have this outrageous outgoing-ness, but then whenever I’m feeling down or I just got a lot of work that I need to do, I have this recluse and my pivot becomes internal. I’m like ‘okay, I’ve got this work that I need to do, that I need to develop’. So, it sort of comes in, and then I want to reach out again, get some more inspiration. It’s definitely oscillating, depending on how I’m feeling between the internal and the external. And that’s definitely a really important, pivotal change during this pandemic.

S: 我确实注意到,我的“转变”会随着我的情绪和感觉而变化。因为我总是想让自己变得很外向,但每当 我情绪低落或者有很多工作要做的时候,我就会有一个隐居的地方,我的“转变”就会变成内在的。我会说‘好吧,我有工作要做,要发展’。所以,它到来了,然后我想再次伸出援手,得到更多的灵感。它肯定是振聋发聩的,这取决于我对内在和外在的感觉。在这次疫情期间,这无疑是一个非常重要的关键性变化。

I: So, as artists, what is your most proud creation since the beginning of the pandemic?

I: 那么,作为艺术家,疫情爆发以来,你最自豪和骄傲的创作是什么?

S: Honestly, [INSERT ART HERE], and for me personally another project that I’m doing, Freaky Deeks. For both of them it’s less about the work – the work is still amazing and I love what I’ve got out there – but what has really drawn me into it has been the audience, and the artist networks that we’ve created, so the places where artists can talk together, create work together, collaborate, talk. And even audiences, using platforms to see our work but to also talk amongst each other. So, I think that’s what I’m most proud of, creating the networks between audiences and artists, for sure.

S: 老实讲,[INSERT ART HERE], 我同时也在做另一个项目叫Freaky Deeks。对我们来说,令人惊叹并不是作品最重要的,我喜欢的是,我在项目中获得的意义,其中真正吸引我的是观众,以及我们创建的艺术家网络。艺术家可以在这里一起交谈,一起创作,合作,交谈。即使是观众,也可以通过平台观看我们的作品,也可以相互交流。所以,我想这是我最自豪的,即创造观众和艺术家之间的网络。

T: I think that would stand for both of us. [INSERT ART HERE] has been a big part of both of our works this year, it has kind of transformed the way that our own individual practices work, but also the way that we interact with others. And I feel like the idea has caused others to kind of have a bounce point as well and to reconsider their own practice. And we’ve had a lot of feedback from that which has felt really great. So, I’d say that’s what we’re both most proud of, hence why we wanted to put forwards for R-Lab.

T: 我想这对我们俩都有好处。今年的 [INSERT ART HERE] 是我们两个作品的重要组成部分,它在某种程度上改变了我们个人实践的方式,也改变了我们与他人互动的方式。我觉得这个想法让其他人也有了一个“转变”,并能重新考虑自己的做法。我们收到了很多反馈,感觉非常棒。所以,我想说,这是我们最引以为豪的,所以我们想将其展示在R-Lab线上展览中。

I: Thank you for that! So, you talked about [INSERT ART HERE]. When did you start working on it? And if you could just describe the project to me.

I: 谢谢你们!那么,你们谈到了 [INSERT ART HERE]。你们是什么时候开始创做这个项目的?你们能否向我描述一下这个项目?

T: We started it and it was kind of an idea that originated back November (2020). We were just thinking, what can we do with this new space? I was so frustrated about this constant thing ‘well it’s not real exhibition space though’ and ‘oh you know when we get back to the whatever’. And it was just like, we knew we’d be in it for a while so, what can we do to create that sort of atmosphere that feels like it’s a one-time only thing, that used to be there but whatever. And also, I was playing with this idea of the artist compared to the artwork and that relationship. So Shawn and I had a walk and we were brainstorming this idea, about what if we used like the green morph-suits and the Zoom technology – because we’ve been using Zoom so much – to kind of get the artist to embody their own work, so they become their own exhibition space. Because it felt like the artists will see their work anyway but it was interesting to play with that relationship, and then bring it to an audience on Zoom, which almost feels like an intimate platform as well, that doesn’t replace or stand in for the physical exhibition space but it’s something of its own accord.

T: 我们这个想法源于2020年11月。当时我们在想,我们能在这个新时代做什么?我对这不断发生的事 情感到非常沮丧,比如“虽然这不是真正的展览空间”和“哦,你知道我们什么时候回来”。就像,我们知道我们会在里面呆上一段时间,那么,我们能做些什么来创造那种感觉就像是一次性的东⻄,曾经在那 里,但不管以后怎样。而且,我把艺术家的这个想法和艺术作品以及两者之间的关系相比较。所以Shawn和我散了散步,我们在集思广益地讨论这个想法,如果我们使用绿色变形套装和变焦技术—— 因为我们一直在使用变焦技术——让艺术家体现他们自己的作品,让他们成为他们自己的展览空间。因 为感觉艺术家们无论如何都会看到他们的作品,这种关系很有趣,把它带到Zoom上的观众面前,这几乎感觉像是一个亲密的平台,它不会取代或代替实体展览空间,它本身就是一种和谐。

S: Yeah, and I think as soon as Tsitra brought up these ideas, especially using Zoom in an unconventional way to bring audience and artists together, my mind instantly just went forward and I was like ‘okay, this is such a great idea, it’s so visually striking’. So, what really got me invested in the project were these really strong visuals and I was like ‘I know how to take this forward, and how to reach our audiences’. So in my mind I was instantly thinking about crazy posters, with these green morph-suits, paired with high art, or just our features in the green. So, what really sold me on the project was really the visual medium that we would use to bring our audience together. That was instantly what got me interested, and I guess it was like a snowball going down the hill. Tsitra just had this idea of using Zoom and I was like ‘let’s do this on social media!’. And these crazy ideas were just building and building and building until finally just became this big fascinating project that we just had to do something with!

S: 是的,我认为,当Tsitra提出这些想法时,特别是使用Zoom这一种非传统的方式将观众和艺术家聚集在一起,我的思维立刻被向前推进,我想“好吧,这是一个很棒的想法,它在视觉上如此引人注目”。

因此,真正让我投入到这个项目中的是这些非常强烈的视觉效果,就像‘我知道如何推进这一点,以及如何接触我们的观众’。所以在我的脑海里,我立刻想到了疯狂的海报,这些绿色变形服,搭配高雅艺术,或者只是我们以绿色为特征。所以,在这个项目上真正吸引我的是我们用来把观众聚集在一起的视 觉媒介。这一点立刻引起了我的兴趣,我想这就像一个滚下山的雪球。Tsitra刚想到使用Zoom,我就想 ‘让我们在社交媒体上做这个吧!’. 这些疯狂的想法一直在我们的脑海中构建,最终变成了一个我们不得不做点什么的大项目!

I: And you worked with quite a few artists, right?

I: 你们和很多艺术家合作过,对吧?

T: Yeah! We worked with 13 artists between Europe and North America, it was was great experience being able to meet new people in that way, and share ideas.

T: 是啊!我们与13位来自欧洲和北美的艺术家合作,能够以这种方式结识新朋友,分享想法,是一种很好体验。

I: Did you all know each other before or did you just collect new artists along the way?

I: 你们以前都认识吗,还是在创作过程中一直不断地在寻找和聚集新的艺术家?

S: It was a lovely mix of both. We had an open call which we distributed amongst our university, but also on Instagram and Facebook. So, we had people that we knew applying and we also had people who we had no idea about applying from Brussels and from North America, and we were so fascinated by this response. It was a really interesting mix of people that we knew but also people we had no idea about. And no matter what level we knew them at, being able to relate to this idea of wanting to create art really helped to create this awesome starting point to build a really interesting dialogue with them.

S: 两者都有。我们有一个公开的电话,分布在我们的大学,但也在Instagram和Facebook上发布。所以,我们有认识的人申请,也有不认识的人申请,我们对这种反应非常着迷。这是一个非常有趣的混合,有的人我们认识,但也有人我们不认识。无论我们了解他们的水平如何,能够与这种想要创造艺术的想法联系起来,确实有助于创造这个令人敬畏的起点,并且可以与他们建立一个非常有趣的对话。

I: And how did you coordinate with them? Did you have set instructions or was it just ‘okay, it’s going to be green screen technology’ and then you left artistic freedom to all of them?

I: 你是怎么和他们协调的?你是设定了明确的指令?还是只是“好吧,这将采用绿屏技术”,然后你就把艺术自由留给了所有人?

T: We gave them a lot of freedom; they developed the idea with us really. We kind of started the project wanting it to be a collaboration, we had this idea to embody your own artwork, but immediately you put it out to people and you get ideas that you didn’t have before. People wanted to use green paint, green clothes, and we thought as long as it’s your body so that you’re still embodying it and not taking it away from that, then beyond that people really went a bit wild. And that’s why you’ve got such a range of artworks in it, which is really great. It was so exciting to see where people would take it.

T: 我们给了他们很大的自由;他们和我们一起发展和完善了这个想法。我们有点想把它作为一个合作项目,我们用这个想法来体现自己的艺术作品,你⻢上把它展现给人们,并得到以前没有的想法。人们想用绿色的颜料,绿色的衣服,我们认为只要是你的身体都可以,所以你需要去体现它,而不是把它从那 拿走,然后超越,人们真的有点疯狂。这就是为什么有这么多的艺术品在里面,真的很棒。看到人们把它带到各处真是太令人兴奋了。

S: Yeah, because I think as soon as we started getting applications in from the open call, and people with their really interesting ideas beyond just the morph-suits, like as Tsitra said green paints green clothes and different ways of embodying their artwork through performance, through digital paintings, I think we just didn’t realize that this could be so much more. So, we did everything we could to really help the artists to reach their own vision, we did a whole bunch of research as to how we can use Zoom, we looked into webinars, we looked into green screen, the best way to people for up to upload their work, to record their work. Essentially we aimed to provide as much support to our artists as we could, showing them all the options available and discussing their work with them and being and then find out ‘this will work best with your work’, and then watching them take it forward. So it was just a really interesting back and forth to seeing the artist’s ideas and then talking about the platform and how to take it forward, to seeing the work really grow.

S: 是的,我认为,当我们开始从开放电话中获得人们的作品申请时,大家的想法都很有趣。就像Tsitra 所说,不仅仅是变形服,用绿色颜料绿色衣服和通过表演,通过数字绘画来体现他们的艺术作 品,这些不同的呈现方式,我想我们只是没有意识到还有更多可能性。所以,我们尽我们所能帮助艺术 家们达到他们自己想要的视觉呈现,我们做了一系列的研究,关于如何使用Zoom,我们看了网络研讨会,我们看了绿屏,这是让人们上传他们的作品和记录他们的作品的最好方式。从本质上说,我们的目 标是为我们的艺术家提供尽可能多的支持,向他们展示所有可用的选项,并与他们讨论工作,然后发现 “这将使你的工作变得最有效”,然后看着他们向前推进。因此,这是一个非常有趣的过程,看到艺术家们的想法,然后讨论平台和如何向前推进,从而看到作品真正成⻓。

I: That’s fantastic. So, of course this as an artwork, as a project is strictly connected to the pandemic because we have the technology we’ve been using, and it’s all online. Do you think that something similar could have come up in a non-pandemic situation? In an alternative timeline, basically. Or do you think that – of course it would have been different but – would you have had the original thought if not for this global situation?

I: 太棒了。所以,作为一件艺术品,作为一个项目,这是与疫情密切相关的,因为我们有我们一直在使用的技术,而且都是线上。你认为在非疫情的情况下会出现类似的情况吗?一定是有不同的,你认为在非疫情的情况下你会保持最初的想法吗

T: I think it could have emerged, but I don’t know if it would have. There’s a great connection of this kind of green suit to digital, and I just know personally, I knew Shawn was using kind of digital platform so it’s definitely something that I was perhaps progressing into, but the pandemic shot me into thinking this is actually maybe the most useful thing to be doing rather than faffing about with other mediums. So I don’t know, I think it may have emerged but perhaps a little bit later.

T: 我想它可能会出现的,但我不敢肯定它是否会出现。我个人也知道,这种绿色穿着和数字化有很大的联系,我知道肖恩正在使用一种数字平台,这肯定是我正在发展的东⻄,但这次疫情让我想到,这实际上可能是最有用的做法,而不是与其他媒介混合。我不知道,我想它可能已经出现了,但可能会稍晚一点。

S: I think definitely, at least from my personal perspective about creating artworks. At least for me it was a lot about creating our artworks for a space. So knowing that we’ve got this physical space, how do we fill this, how do I put my digital arts into the space? For [INSERT ART HERE] if not for the pandemic we definitely would have considered a physical space like ‘okay so we’ve got this green screen technology, how do we translate this to a gallery space? Do we show our screen on the wall?’ So it definitely would have been this digital idea, but rooted in the physical. And [with] the pandemic we decided to just do away with all of that, because especially for this idea it was a lot about the digital. So we did away with one extra step and allowed us to focus on what we really want to get across.

S: 我想是肯定的,至少从我个人的⻆度来看是这样的。对我来说,这是关于我们艺术创造的空间。所以知道我们有这个物理空间,我们如何填补这个空间,我如何把我的数字艺术放入这个空间?对于[INSERT ART HERE] ,如果不是疫情,我们肯定会考虑一个物理空间,比如我们有这个绿色屏幕技术,我们怎么把它转换成画廊空间?我们会在墙上展示我们的屏幕吗?所以这肯定是一个数字化的想法,但它植根于物理。在疫情之后,我们决定放弃这些,因为对于这个想法来说,它更多的是关于数字 的。所以我们多走了一步,并专注于我们真正想要的东⻄。

I: Have your feelings about art changed since your first encounter with it? And has it changed with the pandemic?

I: 疫情期间,你对艺术的感觉有没有改变?它随疫情而改变了吗?

S: I’ve definitely been exploring new mediums, even though before the pandemic I was exploring digital art it was more about all right how do I transform this, how do I put this into a gallery space. But now because of the pandemic we’ve had to use new platforms rather than the gallery space to show our work. From there my work has been a lot about using platforms, and then transforming platforms as well, so using a platform as a medium, manipulating it to become an artwork.

I think definitely the pandemic has really encouraged me to look at new mediums, especially digital mediums, and look for ones which aren’t necessarily our mediums. So, even looking at platforms and things which you won’t really consider something you can manipulate in an artistic way, I really push myself to m create something new in this new digital world.

S: 我肯定一直在探索新的媒介,即使在疫情之前,我也一直在探索数字艺术,更多的是关于如何改造 数字艺术,如何把数字艺术放到画廊空间。但现在由于疫情,我们不得不使用新的平台而不是画廊空间 来展示我们的作品。从那以后,我的工作一直是关于使用平台,然后转换平台,所以使用平台作为媒介,操纵它成为一件艺术品。这场疫情确实鼓励我去寻找新的媒介,尤其是数字媒介,寻找那些不一定是我们的媒介。所以,即使是 在平台和东⻄,你不会真的认为你可以用一种艺术的方式操纵,我真的推动自己创造一些新的东⻄在这个新的数字世界。

T: I think for me personally I found that I’ve been really questioning the role of art, rather as in the public sphere but bringing that then into the private, and where does it stand there, and what’s its use and purpose, and how do we interact with it when you know it’s from your own home and in your own personal environment. And also the role of the artist and curator, and the interaction of public and private sphere, and all the different roles of art as a way of expressing emotions. But also as an audience member, how do you receive it on a personal level. And so it’s just been questioning that and how we can play with context in relation to that.

T: 我个人认为我发现我一直在质疑艺术的作用,艺术更像是在公共领域,但把它带到了私人领域,它站在那里,它的用途和目的是什么,当你知道它来自你自己的家,在你自己的个人环境中,我们如何与它互动。艺术家和策展人的⻆色,公共领域和私人领域的互动,以及艺术作为表达情感方式的各种不同 ⻆色。但是作为一个听众,你是如何从个人的⻆度来接受它的。所以我们一直在质疑这个问题,以及我们如何处理与之相关的语境。

I: Yeah because I suppose that the pandemic has accelerated everything, because for years now we’ve been moving towards the digital world, but it has accelerated everything. And now of course we are kind of forced to have everything online, in this very weird space that doesn’t really exist.

I: 是的,我认为疫情加速了一切,因为多年来我们一直在向数字世界迈进,但它加速了这一切。当 然,我们现在不得不把所有东⻄都放到网上,在这个非常奇怪的空间里,其实并不存在。

S: Because technology advances so quickly, so these objects like VHS and CDs, it becomes this peak and then just recedes and disappears, and now it’s become completely digital in this world that it doesn’t really exist it’s not physical. I guess the pandemic really helped to acknowledge these new objects and these new mediums and materials which don’t exist in the physical realm, but because of the pandemic we had to use them and sort of encourage the new way of thinking and approaching art and objects.

S: 因为技术进步如此之快,所以像VHS和CD这样的物体,它变成了一个峰值,然后就消失了,现在它在这个世界上变成了完全数字化的,它不存在,它不是物理的。我想疫情真的帮助我们认识了这些新的物体,这些新的媒介和材料,它们在物质世界中是不存在的,但是由于疫情,我们不得不使用它们, 并且某种程度上鼓励了新的思维方式和接近艺术和物体的方式。

T: It’s all about what you notice and what your way of thinking is, because compared to, rather than a physical object, it’s interesting because it’s becoming more about ideas and art as a way of sharing ideas, and art as a way to propel technology as well.

T: 这都是关于你注意到了什么,你的思维方式是什么,因为与物理物体相比,它更有趣,因为它越来越注重思想和艺术,作为分享思想的一种方式,艺术也是推动科技发展的一种方式。

I: Where do you think [INSERT ART HERE] stands in this? Because of course you have the artists basically disappearing into their own work.

I: 很多观点认为艺术家们基本上消失在他们自己的作品中,你认为[INSERT ART HERE] 在这方面有何意义?

T: Yes and no. I would say it’s a relationship between the art and the artwork. The artist is very much present in the piece because it’s through their shape, through their form that you experience the artwork. So I think in a way the audience sees the artist more than they would have otherwise. And I think Zoom as a platform, as I mentioned I think it’s quite intimate, because I never really facetimed people before the pandemic if I wasn’t particularly close with them, and I still think that people do think it’s a bit odd to be face to face with someone on a call. There’s something about it that feels kind of close, and we’re all getting used to it now but I think there’s still a bit of that in [INSERT ART HERE] and we tried to show that with the private slots. We had private sessions where the artists would have a much smaller audience, and you feel like you’re able to converse with them a bit more, or you experience that human to human rather than being in a white empty room with just a piece of artwork and a silent artist.

T: 是也不是。我认为这是艺术和艺术品之间的关系。艺术家在这件作品中是非常真实的,因为通过他们的形状,通过他们的形式,你可以体验到这件艺术品。因此,我认为在某种程度上,观众比其他人更能看到艺术家。我认为Zoom作为一个平台,正如我提到的,我认为它非常亲密,因为我从来没有在疫情之前真正与人们对视,如果我不是特别接近他们,我依旧觉得人们认为在电话中与某人面对面有点奇怪。但是我们现在都已经习惯了,但我认为在 [INSERT ART HERE] 中还是有一点类似的地方,我们试着用私人会议沟通来展示这一点。我们有私人会议,在那里,艺术家的观众会少得多,你会觉得你能和他们多交谈一点,或者你体验到人与人之间的交流,而不是在一个只有一件艺术品和一个沉默的艺术家的白色空房间里。

S: And I guess another way of putting it would be that initially you’d have the artist and the artwork, and usually they would exist as two different entities. You have the artwork that exists in the gallery space which is up for purchase, and you see the artwork a different way, and the artist you’d approach a different way they explore their work through this and they talk about it. So they exist as two quite different entities, I guess with [INSERT ART HERE] we really wanted to focus on the creation and the unity of both of them. Through [INSERT ART HERE] using Zoom we are able to embrace the relationship between the artists and the artwork, so how they see their work, how they react to their work. And it just became this fluid amalgamation of the two. And which the digital world allowed us to represent and showcase.

S: 我想另一种说法是,一开始你会有艺术家和艺术品,通常它们会作为两个不同的实体存在。你有一件艺术品存在于画廊里,你可以购买,你可以用不同的方式看到艺术品,你接触的艺术家也可以用不同的方式探索和谈论他们的作品。所以它们是作为两个完全不同的实体存在的,我想通过[INSERT ART HERE]把重点放在两者的创造和统一上。通过[INSERT ART HERE]使用Zoom,我们能够理解艺术家和艺术品之间的关系,从而了解他们如何看待自己的作品,如何对自己的作品做出反应。这就变成了两者的流动融合。数字世界让我们得以表现和展示。

T: It’s conversive. it’s a kind of dialogue. There’s art and technology, and art and artist, and audience and artists and it’s like bringing those conversations and encouraging them.

T: 是相互转换的。这是一种对话。有艺术和技术,有艺术和艺术家,有观众和艺术家,这些对话可以鼓励他们。

I: And do you think that this moving of the arts online will stand after the pandemic? Or do you think that the art world will abandon the online world after this pandemic? How do you see the next pivot for the arts?

I: 你们认为这种在线艺术的发展会在疫情之后持续下去吗?或者你认为艺术界在这场疫情之后会放弃网络世界吗?你如何看待艺术的下一个“转折点”?

S: I see it as definitely advancing as a separate avenue. Obviously, people are so used to this new normal, but they sort of idealised the past as well because it was when people could meet and talk in person. And it’s the same for art. People like being able to go to a gallery and seeing their favourite painting up in front of them. So people do want to go back, so I definitely see the physical art world still being a big important part, but the pandemic has definitely highlighted that there is a digital route on which you can develop your artworks, that you’re not just tied to a physical space to show your work. You can take it to online platforms, you can show it to a different audience that’s not just based in your city, you can show your art to the world, potentially, through online platforms. And even now with the current craze of NFTs and new digital currencies to promote digital artworks, there definitely is a separate avenue of digital arts which will be progressing after this pandemic ends. At least I personally hope that it will be propelled forward, it won’t just sort of plateau, it’ll just keep going and being spurred on.

S: 我认为这绝对是一条独立的发展道路。很明显,人们已经习惯了这种新的常态,但他们也把过去理想化了,因为那时人们可以⻅面和交谈。艺术也是如此。人们喜欢去画廊看到他们最喜欢的画。所以人们的确想回到过去,我看到,物理艺术世界仍然是一个重要的组成部分,但这场疫情明确地强调,有一 条数字化的道路,你不仅仅局限于一个物理空间来展示你的作品,你可以开发新的数字化道路。你可以把它带到网上平台,你可以把它展示给不同城市的观众,你可以通过网络平台向世界展示你的艺术。即使是现在,随着当前NFT和新的数字货币的狂热,肯定有一个单独的途径以促进数字艺术作品,数字艺术将在这场疫情病结束后取得进展。至少我个人希望它能向前推进,它不仅仅是一个平台,它会继续前进。

T: I hope they develop as different branches, that the physical space isn’t completely forgotten and that the digital space keeps progressing as well. I think that different people have different needs for each one, and different spaces work differently for people, and say different things. And I think it’s just an interesting expansion of dialogue, and it’s an interesting realm to explore, but not to take away from the physical space either. I don’t think we should completely live all online.

T: 我希望他们能够发展成不同的分支,物理空间不会被完全遗忘,数字空间也会不断进步。我认为不同的人有不同的需求,不同的空间对人的作用不同,说的话也不同。我认为这是一个有趣的对话扩展,是一个值得探索的领域,但也不能完全从物理空间中拿走。我不认为我们应该完全生活在网上。

I: Thank you Shawn and Tsitra, and thank you for joining us here at R-Lab. It was lovely to talk to you and thank you for showing us your work.

I: Shawn和Tsitra,谢谢你们参与R-Lab的访谈,非常高兴能和你们交流并且谢谢你们愿意向R-Lab平台 的观众展示你们的作品

T: Thank you so much!

T: 谢谢!

S: Yes, thank you so much for having us.

S: 谢谢你们的邀请!


Contact Person: Velia CAVALLINI
Planner: Velia CAVALLINI
Translator: Jiaqi GAO
Proofreading: Calum BAIRD


Talk: Post-pandemic Curating

Bing SU 苏冰


Bing SU: Chinese famous disciplinary curator, artist

Bing SU aims to take the multidimensional view of this period by inviting the artists, designers, art patitioners and institutions from different regions, and also, researching their artworks during different period of the pandemic. He hopes to use the impulse of Culture, Art and Creativity to let people ease their anxiety. In order to achieve that, he also interviewed artists all over the world and generated the CC Project as an online communicating platform of Artworld to scope artistic impacts and changes of the pandemic.



Event Overview

There are three parts of this event:

  1. Video of a conversation with the curator Bing SU 访谈策展人苏冰
  2. Video transcription in English and Chinese 视频内容文字版(中英文)
  3. Call for discussion on topics of art in the post-pandemic era 后疫情时代的艺术话题讨论



Host: Nerissa YUAN (袁嘉苡)

Guest: Bing SU (苏冰)

The names abbreviated to “Nerissa” (Nerissa YUAN) and “SU” (Bing SU)

主持人:袁嘉苡 Nerissa YUAN

嘉    宾:苏   冰 Bing SU



Nerissa: Hi, Bing SU, it’s so nice to have you as our guest today.

Bing SU: Hi, Nerissa YUAN, thanks R-Lab for inviting me to join today’s online interview.



Nerissa: Our pleasure! Okay, now we are going to start our interview. As we all know, the outbreak of Covid-19 has had a huge influence on our lives and our work, accompanied by a multitude of changes. Could you, therefore, tell us about the ways you have arranged your work and life during this period?

SU: Due to the outbreak in January 2020 in China, and we spent three months controlling the spread of the pandemic until April, it was really a tough time for which had a significant impact on everyone’s daily life. I remember clearly when we were able to get back to normal life (and work) gradually at the end of March (2020). I am based in Shanghai and the pandemic situation there was relatively optimistic, both my team and I were trying our best to do our work at home remotely. Then in April of last year (2020), we had basically resumed our normal lives and we curated an Art exhibition in Shenzhen. The exhibition was one of the earliest art exhibitions in China after the outbreak and it was clear that it had influenced the work we curated. What’s more, I think all the art institutions and curating companies were impacted during the pandemic and started to recover in April (2020).




Nerissa: Now it seems that we are gradually getting the pandemic under control in China, our lives and work are almost back to normal, so could you tell us a little about the differences you have found in your life or work after the pandemic? Are they different from the period before or during the pandemic?

SU: Basically, in China, our lives are almost back to normal, so there are less exhibitions themed around the pandemic and everyone is focusing on what’s happening now instead of looking back. There was a variety of exhibitions about the pandemic covered throughout 2020, but our present situation is much safer and controllable, so our artistic themes are more about vaccination and our status quo.




Nerissa: You have been visiting the art studios of different artists since 2014, have you noticed any changes during the pandemic in what they are creating? Could you tell us about the most impressive change among them from your perspective?

SU: Do you mean the differences that have emerged since I started visiting art studios? I think all arts-practitioners in China were badly affected by the pandemic, as a result, they started to have some new perspectives of our society and on the whole world. Some of these changes in perception are reflected in their lives and even in the art they create. I have a lasting memory from June of last year (2020) when we had an exhibition in Chengdu on a national tour in Xu Liaoyuan Art Museum. At that time, because of the pandemic, many artists, their work, income and living conditions were impacted so significantly that some of them were seeking part-time jobs. Obviously, their work would be affected by these circumstances.




Nerissa: The CC Plan ( an artistic project raised during the pandemic, the CC is about Communication and Connection) you have created during the pandemic really inspired those of us who would like to engage in the future of the Art world.  We have noticed that the keywords of the “CC plan” are “minority”, “deep”, “thematic” and “in any way”, could you talk about that? What are your intentions with this plan? And why did you pivot to create this plan during the pandemic?

SU: That’s really a good question. In fact, after the outbreak of the pandemic last year, we have started a project called “Post-Pandemic Era” at home.  I think we have published more than a dozen blogs through our official account on WeChat.  There were nearly 100 artists and their artworks which were created during the pandemic and published in form of interviews and articles that divided into different but related themes like the contents of our blogs, and the blogs were published according to different relative stages.  We are pleased that all those blogs received a great reception.

The CC plan is a section of the Post-Pandemic Project formed as a dialogue column. We decided to organize artists, art critics and art lovers through online conversations because meeting up during that period was not prohibited.  So, the CC plan was an independent section of the Post-Pandemic Era project’s program.

Speaking of which, I have just remembered that after publishing blogs online, we launched another part of the “CC Plan” when the lockdown was lifted in China. We launched a call for artworks together with the organisation of Shanghai Design Week, about a thousand artworks were collected and we selected works from this to join our exhibition held at the Shanghai No.10 Subway Station.

(PS: the number of the artworks published by blogs during pandemic is also 100)





Nerissa: That is incredible. I am wondering, then, if there were any difficulties you needed to overcome during the project?

SU: There were a few problems. For example, when we were going to contact the Chinese artists abroad, a few of them refused. I can understand that they didn’t want to participate or talk about the pandemic because they’re in a foreign country at that time.  We were still very lucky that most of the artists invited took part and made a positive contribution. Another difficulty was that also suffered different problems which emerged from relying on online communications.  This meant that our conversations did not always go smoothly. These were the two main points that caused us problems.




Nerissa: You mentioned the “Post-Pandemic Era” project.  Before our interview, we had noticed that the blogs you have posted on the WeChat account were named “Post-SARS Era” previously, then the name was changed to the “Post-Pandemic Era”.  Can you tell us the reason for doing that?

SU: This was because when the pandemic first broke out, we really didn’t expect it would be so severe.  Consequently, I just made an analogy.  If SARS was mild for all of us, then the pandemic affects everyone. My original thought was that after a period, the pandemic might have been controlled and eradicated.  We did not expect it to last so long, and that this time it would be so hard for the whole world to overcome. As we know, SARS subsided within half a year, so at first, the name used was “Post-SARS”, and this was intended to make sure that people would never forget the impact of SARS, and I had realized that this time it would have a profound impact on the whole world, whether it would be economic, cultural or artistic aspects. I did not expect the pandemic to exist for such a long time, however. Later, my colleagues and friends suggested that the word “Post-Pandemic” fits our situation more, so the name was changed.




Nerissa: Yes, I agree with you. I’d like to ask whether there are any artists that impressed you during the process of your call for artworks? Would you like to tell us about these artists or their artworks?

SU: Sure. You have reminded me of two artists. The one which especially impressed is her name is Shuai Wang from Henan province. She produced hundreds of black-and-white illustrations throughout the pandemic, this series of illustrations is called “Stories and Living Beings during the Pandemic”. After the completion, we helped her to publish it, the response was great, with tens of thousands of hits and a lot of attention, including media reports about her across China. She used hundreds of illustrations to describe her feelings, her friends’, and the conditions of people during the whole pandemic.

There is another artist who is an internet celebrity in China, named Jingyi ZHU. I interviewed him during the pandemic, and, he has produced some artwork in that time.

No one suspected that there were problems of health which affected his work and even his whole life hugely. These two artists are the ones who really impressed me.

In addition, something regrettable happened during the pandemic last year (2020). Some of our art colleagues have left the industry for different reasons, physical or circumstantial, some of them were good friends.  I always feel sad when talking about these things.  Therefore, I think the pandemic really is forcing us to re-recognize and rethink different aspects of the whole world, whether as artists or as arts-practitioners.


苏:这个我倒是可以推荐一两位,到时候可以把资料都发给你们。尤其(印象深刻的)是一位来自河南的80后女性艺术家,叫王帅。她在整个疫情期间一共创作了几百幅的黑白插画,创作了一个系列叫作“疫情故事和众生相”。这一个系列做完以后,我们也帮她做了推送,反响特别好,有上万的点击量和关注,包括全国很多媒体对这个艺术家(进行)报道。她是通过几百张的插画描述了整个疫情期间她的感受以及她身边朋友的感受,以及人们的一些状态。同时她在疫情期间组织了几百个在家(创作)的艺术爱好者,主要是女性(艺术家)为主,组了一个社群。因为这次疫情也会对很多人的心理上造成一些影响,有些人长时间不出门,他/她会有孤独症,有些人找不到一个(情绪宣泄的)出口,那么她组织这样一个叫作“画画那点事”的社群(互助艺术家),这个社群到现在还在,还非常活跃。我觉得她这两个方面:一个方面是自己的创作,另外一方面是她组织的这个社群, 对大家在疫情期间起了很好的作用,甚至是说艺术起到了治愈的效果。所以这个艺术家我是重点推荐的。




Nerissa: You have conducted a lot of interviews with both foreign and domestic artists, like the Italian artist Salvo Pastorello. Have you found any differences among those artists in different regions during the pandemic, such as the difference of their artworks or their creative mindset, especially the differences between those Artists from Europe and from China?

SU: You have asked a great question.  All the interviewed Artists who are from countries outside China had visited China before. They said they had a great affection for China and really wanted to visit China again soon.  They were very when I interviewed them, and they told me that it reminded them that they still had friends in China who were taking care of them.  This is the first point. Another point is that they were happy to have the chance to express themselves and talk about their art.

袁:是的,我们也注意到您不仅访谈了中国的艺术家,然后也访谈了一些外国的艺术家,比如说意大利的沙沃·帕斯特雷洛(Salvo Pastorello)。我想请问一下您,他们在疫情期间的创作的作品以及他们对疫情的一种心态与中国的艺术家有什么区别呢?



Nerissa: Since we are here, I would like to know whether you have noticed the different policies for artists adopted in different countries during the pandemic?

SU: As far as I know, some those artists in America, France and Germany have already got some state support but there are still people in other countries who have not received any yet. For instance, the Italian artist Pastorello, he said that “The Government doesn’t care about us.”, and “I didn’t get support”.




Nerissa: Then I would like to ask about your thoughts on the recovery of the artworld.  In your three articles of “Post-Pandemic2020—New Fields”, you have focused on the post-pandemic development of some rural regions in China.   With this in mind, we would like to ask you to discuss the future development of the art market?

SU: I prefer to focus this on China which I am more familiar with. The art market in China has undergone tremendous changes in the past few years with several distinctive features. The first one is that as a result of the rapid development of the Internet, more people have joined the arts industry, which has created more possibilities for the spread of information about art to take place a lot faster.  This is especially the case in China’s first-tier cities. Similarly, we found more information about exhibitions or news all over the world.

The second aspect is, in China, Art is becoming more and more trans-industry and inter-disciplinary. Today in China, there are different exhibitions held not only in the museums or galleries but also in some public commercial spaces, such as shopping centres and plazas which is a characteristic feature of the spread of exhibitions in China.

The third aspect is that Art in China today is more “down-to-earth”. Art does not just appear in galleries, it has gone into our daily lives, appearing in streets and communities, even rural areas. Although, I have to say, that Japan is best at moving Art into the countryside—like the “Echigo-Tsumari Art Field” held every three years.  However, many villages that have their own features are also integrating Art with their distinctive cultures to achieve rural revitalisation. This is also a trend now in China. Now we’re in a digital era, this digital tendency is promoting not just the development of digital and multimedia art but also the cohesive collaboration of Art and Technology.

Meanwhile, the digital continues to influence the art world of the future. The “poping art” (the artistic style popular with the young people) raised by young artists is a major direction of digitisation.  This phenomenon is controversial.  My own position is that it is a positive development, while some art practitioners do not think so as they have traditional perspectives, and they hold dismissive attitudes toward its impact on the art market.




Nerissa: What do you think could be the negative aspects?

SU: Their lacking optimism reflects various aspects.  As I’ve said before, the domestic art market is experiencing a rapid change in the economy, technology and culture.  I would call this a kind of “iteration”.  During this “iteration”, it is unavoidable that those arts-practitioners holding a conservative view that they cannot keep up with the times. For instance, there are lots of young artists who use social media platforms to post their artworks, such as WeChat, Facebook or Instagram, but those traditional artists won’t do that. What’s more, there is an increasing number of artists born in the 1990s, who have been abroad studying art and come back to China to work as arts practitioners.

I was always joking that the art market was like a piece of cheese.  Previously there were few people sharing the cheese but now there probably thousands of people, which is tenfold number of before, as a result, the competition inside must be much more intense.




Nerissa: You have talked about an “iteration” caused by digitalisation, and we are currently using the digital technique to conduct activities like art exhibiting, so could you tell us what you think about the combination of Art and Technology?

SU: I see this combination as two-sided. It has both benefits and drawbacks. The benefit of it is that it could allow art to have more potential to be created using new methods, and its ability to spread art offers more possibilities for art to be accessed by more people.  In addition, it also makes it easier to engage art in our daily life, watching live events or broadcasts, for instance, this feature is enhanced with the application of 5G.

We now have more ways of interacting online and can access more exhibitions and art events, like the exhibition of “teamLab” in Japan was held in China in that way.  This is my point; the technology helps people access art and feel its charm in a more convenient way for people who are not on the site to engage the live events remotely.

However, the technologising of our world leads us to lack humanistic care.  When we’re going to some exhibitions of new-media art and multimedia art, our focus would be more about the visual stuffs rather than the resonance of humanity. This is also a significant phenomenon of our current situation.

Totally, the benefit is greater than the drawback.  According to the development of art history, from the classicism to the impressionism, the invention of the camera, computer, telephone or smartphone, step by step, every artistic revolution or campaign has an aspect of technological promotion. Therefore, if we take a long-term view of our situation, it seems technology will have a positive tendency, but it is inevitable that there would be drawbacks when we move forward and develop.






Nerissa: That’s true, sometimes we miss the importance of humanistic care.

SU: Definitely.  Your question before tends to be more about the relation between art and technology, so I will say it is more positive if we look at this combination of art and technology as a whole.  It should be revolutionary, especially the advancing techniques of mobile Internet, artificial intelligence, they must be beneficial, but what we need to do is to take them as two-sided, to let ourselves be more objective to avoid losing our humanistic quality of art.




Nerissa: You’ve said that the artwork of Shuai WANG is a long-term plan, this reminds me of the CC plan. As a project themed around connecting and communicating, it does have the potential to keep ongoing. I would like to know whether you’ve thought about that?

SU: Definitely, it was intended to be a long-lasting program. Likewise, the Post-pandemic Era is part of long-term planning. It is expected to last about three years and we are looking forward to having an exhibition in 2023.  Here, we will perform all our works during these three years, such as CC Plan, our interviews with artists, artistic creation, etc.




Nerissa: That would be great!  You have said that the artists you interviewed had talked about the obstacles presented by living and working during pandemic, well, for my part, I know, that there are also artists in need of a platform to be shown to the public, this is a main factor of establishing R-Lab.  R-Lab is aiming to provide more exposure for the artworld to have more potential to develop, in the context of looking at the pandemic as a Pivot. We are aware that you have contacted the young artists group by curating an exhibition with some of them, called “Deep in the Life”. Therefore, with the young artists group in mind, could you talk about what they might find meaningful from our project of the “Pivot Culture”?

SU: Do you want to to talk about the “Deep in the Life” exhibition? Or?



Nerissa: I mean could you take that experience as a way of scoping the young artists group and plot some ways they can benefit from our “Pivot Culture” program?

SU: Got you. I don’t know much about the specific situation of the UK, but you have mentioned that basically you are still holding exhibitions online.  On our situation in China, basically 70%-80% of exhibitions are able to be held physically, the young artists group in China now is very active, so with that in mind, I think it would be great for you to invite some of them to contribute to your program on “Pivot Culture”, because they could contribute to the post-pandemic view of art-making and rethinking the different situations, and different cultures could bring more possibilities for all of you.

In addition, from my point of view, the key thing you might to consider is: What kind of platform are you going to offer? How could they participate in it? And the last which may take the most amount of care – how are their artworks are going to be hosted on your platform?




Nerissa: Could you give us some advice for us to promote our works or ways of hosting artworks?

SU: You could host and exhibit all your work in this digitally. We’ve launched a project that could cooperate with you guys. The people born after the 1990s are called Gen Z right? I think you’re the same. There is a group called  LineZ, its members are the students studying abroad, they are all Gen Z. They have their own platform which we are supporting, and they want to hold an exhibition in the latter part of this year, themed on Gen Z. This would be held both online and physically, so I think you could co-operate with them.


苏:我觉得完全可以用线上的方式来呈现,正好我们今年还发起了一个计划,我觉得这样的计划可以跟你们做链接。我们现在的95后叫做Z时代,对吧?我想你们也是95后的Z时代。他们有一个Line Z的这样的一个小组,组织的成员基本上有在美国读书的,有在英国的,他们都是95后。他们现在有了这样的一个小组,然后他们有一个自己的平台,我们也在支持他们。可能在今年的下半年,他们想组织一个Z时代的艺术展,这个展是线上和线下都有(进行),我觉得他们也可以加入到你们这个计划,或者跟你们的计划进行合作。

Nerissa: That sounds interesting, we could talk about that after the interview. Well, thank you for accepting our invitation and talking with us, Bing SU, it’s so nice to have you here.



Topics of Art in the Post-pandemic Era

As a result of this talk, R-Lab has prepared two interesting topics, please feel free to interact with us on our social media and share your thoughts on the following topics, or submit to our mailbox:


Artistic Healing

In the interview, Bing mentions a female artist in Henan, China: Shuai WANG. She created a series of black and white illustrations during the pandemic which called “Stories of the Pandemic and the Lives of People”, and her hundreds of illustrations depicting feelings and the state of she and her friends during the pandemic, these artworks received a lot of attention. She also organised an art community called ‘Painting and Drawing’, in which hundreds of artists exchanged artistic creations and used art to comfort each other’s anxious feelings during the pandemic. Bing believes that this can be described as ‘art having a healing effect’.

  • Share a work of art that you think has healed you and briefly explain why
  • Share the experience of how art has healed you
  • Share an artwork/act that you have created that has healed you/others



  • 分享你认为治愈过你的艺术作品,并简单谈谈理由。
  • 分享艺术治愈你的经历
  • 分享你创作过的治愈自己/他人的艺术作品/行为

Humanism in Art

In the interview, Bing answers our question about the relationship between technology and art. He believes that in the long run, it is good for technology to drive the development of art, because “every movement, or big revolution, or big transformation in art is actually driven by technology”, but he also believes that this “double-edged sword” also has a downside, that is, when art becomes too technological, it may simply pursue sensory stimulation and lack humanistic care.

  • Share a work that you think shows a humanistic approach to art, and briefly explain why
  • Can art with technology bring humanism to the table?
  • Where do you think humanism in art can be found? From the actual work? From the connotations conveyed? Or from the whole artistic atmosphere?



  • 分享你认为呈现过艺术人文关怀的作品,并简单谈谈理由。
  • 科技下的艺术能否带来人文关怀?
  • 你认为的艺术人文关怀可以体现在哪里?体现在实际作品?体现在作品传达的内涵?还是整体的艺术氛围?



Host: Nerissa YUAN
Contact Person: Ifance FAN, Christy YANG
Planner: Christy YANG
Text: Christy YANG, Ifance FAN
Translator: Jiaqi GAO, Christy YANG
Proofreading: Calum BAIRD



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