Relationship between work and artist, accessibility, space, curatorial approach
funding: If you apply for funding, you must put money into the people of Europe, otherwise you will not get all you expect from people and yourself.
Copyright: Like the Uber network, always check the library archives, the source is like I used to use images in the library archives, I just checked the archives and found some images. The importance of respect and care – get consent so you can use the work, make sure your artist knows when, where and how to use the work.
Installation requirements: how to open it? What equipment do you need? What does this mean? Does it need to be hung on the wall? Is it really heavy?
Documenting work: It’s hard to get people to write about your work, but one of the ways to start is to get people to write about theirs, so it’s nice when they actually have someone write about your work, or you Want to write something of high quality about their work.
The relationship between space and projects: For example, in rural spaces, the only job is to record and organize documents around the work, and donโt be bound by the idea of any exhibition. These themes can be very good conceptually to change one’s thinking about work.
Someone said on the radio, talking about the work of the deepest days and times, those radio waves will live forever in the beautifully designed concept of space. So how to speak has to do with the experience of the audience, because not every physical exhibition in every space will really bring so much impact. Beth gave an example: she went to a place, was given a headset like a direct player, and was told to have coffee nearby, and thus had to go set in a cafe, when sitting there, in a cafe People who tell you that project is underway. So I was allowed to sit there and I started listening to the work in this cafe, and then he made me walk and keep going, like I had to go to the store, walk around the city and listen.
School of Commons๏ผ
https://www.schoolofcommons.org/labs/the-street-games-of-our-childhood
Traditional street games hold an important place in urban and social memory.
Street play plays an important role in children’s physical, mental and social development. At the same time, it can increase children’s creativity and also promote the practice of strong relationship between elders and younger generations. However, this historical and cultural inheritance seems to have been interrupted in our time. As the streets of our modern cities change and become less public, street games are on the verge of disappearing.
It creates works through the analysis of street games belonging to different cultures through abstract movements, sounds, emotions and spatial relationships. Thus, the project places street games in the realm of art, highlighting its importance in social and urban memory and its cultural value.
This has also served me well in my curatorial research program.
group feedback
โฅ๏ธI share the same space with yushan Zhao, which makes the whole theme richer and differentiates the content at the same time. We will update the division of labor table in real time.๐
โฅ๏ธI learned a lot from visiting the exhibitions of contemporary practice students on Friday. After listening to them introduce their works, I shared my curatorial theme and found that 2-3 curatorial works are very suitable for my theme. After chatting, we reached a consensus and agreed to exhibit the works in my curated exhibition.
Newly added work 1โฃ๏ธ: “bye-bye”-from jiaxin lu , a stop-motion animation short film
Work 2โฃ๏ธ: from xiaoyuan wang,ย a childhood installation๏ผwork3โฃ๏ธfrom jiayi chen๏ผ a painting
โฅ๏ธRegarding the video screening๐ป, the scene is distinguished from yushan:
There is a stop-motion animation that will be projected on a computer, connected to Bluetooth headphones (left and right ears), and the audience needs to sit and watch quietly (and only two people can hear the sound).
