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The exhibition lasted for an hour, with each artist’s work screened twice. Before the screening, I welcomed everyone and provided a brief introduction to the purpose of the exhibition and the artists. I distributed the exhibition booklet to all attendees to provide additional context and information about the works being presented. After the first screening, we had a brief discussion with the audience, and received a lot of feedback on the artworks, both positive and negative.
Overall, I consider the exhibition to be a success. It was fulfilling to see these artists’ works being seen by a wider audience, and to have the opportunity to promote a more inclusive and diverse art community. The feedback received from the audience was invaluable and helped to further the dialogue around these important issues. I hope to continue to showcase the works of marginalized artists and create a space for diverse perspectives to be heard in the art world.
I recorded the first screening with a video camera and also took some photos during the screening with the consent of the audience.
Thank Junya for sharing her thoughts on my curatorial blog. I’m glad to hear that it sparked her interest in the language of video in contemporary art and that she took the time to do additional reading on the subject.
I appreciate the review provided by Junya on my curatorial theory, particularly her thoughts on the democratization of video art. As Junya mentioned, democratization is a core concept in my curatorial practice, as I strive to create an inclusive space for artists where different perspectives and voices can be heard.
At the same time, Junya also complements the history of microfilms for my curatorial theory. By examining the evolution of microfilms over different eras, I can better understand the essence and purpose of micro movies in the contemporary art world.
Junya’s review also touched on the significance of digital media art as a branch of video art in cross-disciplinary art creation. Although she didn’t mention it, considering different forms of art in the exhibition is the direction I can consider.
I am very grateful to Junya for supplementing and supporting my curatorial theory, but it seems that she did not provide practical suggestions for curating microfilm or short film works. I hope to get more cases about the practice of micro-film or short film curation.
Regarding peer review, I would appreciate receiving more literature resources and curating practices related to “micro-movies.” Specifically, I have two questions that I would like to highlight:
(1) Are there any other curators who have talked or written about their theories and processes for curating films in detail? I would like to learn from their insights and reflect on their approaches.
(2) Is there any cross-discipline theoretical or wider research on micro-movies beyond the artists that I have already mentioned? I am eager to expand my knowledge on this topic.
Experience the power of micro movies in Through the Lens of Youth, showcasing young Chinese artists using unique storytelling styles to voice their perspectives on different aspects of Chinese society.
300-500 word longer descriptor:
Since the concept of the “caméra-stylo”(“camera-pen”) was introduced by Alexandre Astruc in 1948, film was evolving into a language, with the potential to become a flexible and nuanced means of writing. As a powerful and influential art form, many artists have embraced cinema as a medium to tell their stories, express their ideas and convey their thoughts.
With the emergence of online video-sharing sites, micro movies, as a new sub-genre of cinema opened up a new space for artistic experimentation and freedom of expression in China. With lower budgets and minimal equipment requirements, micro movies offer a unique opportunity for young artists to express themselves and create works that challenge traditional modes of storytelling. In China, the freedom offered by micro movies has allowed young artists to evade state censorship and come face-to-face with social and political issues that might not have been possible in mainstream media. By democratizing access to the means of creative production, micro movies have become an essential way for expanding the boundaries of artistic expression, and empowering voices that may have been silenced in the past.
The four artists in Through the Lens of Youth find different ways to explore the power and potential of this exciting new art form. Each artist delves into different topics prevalent in Chinese society, using their unique storytelling style to showcase their observations, struggles and contemplations. Being part of the younger generation in a society experiencing rapid economic development, these artists not only expose the underlying problems underneath the facade of development and progress – such as the deprivation of bodily sovereignty and the issues with childhood education resulting from historical and cultural legacies, but also keenly capture the collective emotions of contemporary youth, including subcultural memory and the sense of rootlessness in modern cities. These works showcase the dignity of these young artists as they strive to care, express their voices and foster new values.
Come and immerse yourself in Through the Lens of Youth to witness how young artists in China are using micro movies to voice their opinions and showcase their unique perspectives on societal issues. It is also an opportunity to experience their unique storytelling styles and discover interesting techniques to incorporate into your own work. Don’t miss the chance to engage with these powerful and thought-provoking works of art.
The venue is fully wheelchair accessible. Please get in touch with organisers with any additional access requirements.
I conducted individual interviews with each artist, with each interview lasting approximately 30 minutes. My inquiries primarily focused on two aspects. Firstly, I asked about the background, topics, and processes of their works. Secondly, I inquired about their reflections and experiences in creating micro movie within a short timeframe, considering the unique art form. During the interview process, some artists also shared their contemplations on their roles as multifaceted creators. They expressed reluctance in defining themselves as a particular type of artist, such as a “director” or a “screenwriter,” and so on.
Here is the guidebook for the movie exhibition, which includes translated interviews with the artists. The purpose of this guidebook is to provide the audience with a comprehensive understanding of each artist’s thoughts.
Reflections on the Staging of My Project
In this stage of my curating project, I am pleased to see that the structure of my exhibition has taken shape. One of the aspects that has worked well for me is the development of my theme. I believe that the entire exhibition flows coherently, with each microfilm revolving around this theme. I am also delighted with the pleasant collaborations I have had with the artists. Most of them have expressed their honor in showcasing their works in a city outside of China, which is exactly what I had hoped for – providing a better platform and a wider audience for my artists while adding the voices of Chinese artists to the local film exhibition in Edinburgh.
However, I have also identified some boundaries in the development of the exhibition. Due to the short timeframe for curating, I was only able to connect with four artists and feature four pieces of their work, which is far from my initial expectations. This may result in the exhibition not being as rich as I had envisioned, and it’s possible that just as the audience begins to develop an interest in these films, they may realize that the exhibition is coming to an end. Additionally, language and regional barriers have posed significant challenges. I had originally hoped to invite some of the artists to engage in face-to-face discussions with the audience, but the time zone and translation between Chinese and English are unresolved issues for now. As a result, I had to give up this idea and instead conduct interviews in advance, presenting the interview texts in the exhibition’s guidebook, in the hope that the audience can still gain more information through this format.
Despite these limitations, the cohesive theme and collaboration with artists have been successful, and I think the exhibition will still provide a valuable experience for the audience.
This week, we had the opportunity to visit the new exhibition “The Accursed Share” at the Talbot Rice Gallery with curator James Clegg. Compared to my previous visit, where I mainly focused on observing how the curator arranged different artworks in various environments, this time I found myself more fascinated by the interconnectedness among the artworks themselves. The entire exhibition is centered around the theme of “debt” and features numerous relevant art pieces. Perhaps by referring to the guidebook of the exhibition, we can gain insight into the curator’s underlying thoughts. Therefore, my main focus in this blog will be on analyzing the introductory text of the exhibition in order to gain a deeper understanding of the curator’s perspective. Additionally, I aim to provide insights and inspiration for my own exhibition writing.
Guidebook in Talbot Rice Gallery
The introduction contained three paragraph, about 250 words. The first paragraph sets the context for the exhibition by highlighting the importance of debt. It mentions the historical violence associated with monetary debt, including empire building, colonization, enslavement, extraction, and militarization. The paragraph suggests that the artwork in the exhibition will relate to those topics.
The second paragraph provides a more detailed description of what visitors can expect to see in the exhibition. It summarises the purpose of these artists’ work is to change our relationship with debt system. Some artists’ work are described as highlighting the violent history of monetary debt, and others reflect on care and repair. It shows that this exhibition not only aims to expose the disappointed side of sovereigns and civilizations, but also shows the dignity of those trying to care, to live sustainably, and to forge other values. That is also what I want to highlight in my exhibition: although we can see some complex and tricky social issues young people are facing in China from these films, many artists still try their best to show their voices through artistic approaches.
Sammy Baloji, ‘Untitled’, 2018-2023. Installation view. ‘The Accursed Share’ 2023, Talbot Rice Gallery. Courtesy of the artist and Talbot Rice Gallery. Photo: Sally JubbGoldin+Senneby, ‘The Plot (Utopia Bloemen)’, 2018. Installation view. Courtesy of the artists and Talbot Rice Gallery. Photo: Sally Jubb
The third and final paragraph of the text draws attention to the everyday nature of monetary debt. This final paragraph serves to reinforce the theme of the exhibition and to encourage the reader to engage with the works on display.
I also found that at the end of this brochure, there is a longer and more academic text explaining the origin of its name “The Accursed Share” in detail, leading to further thoughts and discussion around this topic.
Overall, the text follows a clear and effective structure. The language is clear and accessible, and the ideas are presented in a logical and coherent way. Therefore, when I write for my exhibition, I will try to set up the context of the exhibition in the first paragraph to help the audience know what are these works about at the beginning. Then the second paragraph describes the focus of the exhibition and a brief introduction of each work’s topic, and the third paragraph offers a summary and encourages engagement.
As a curator working on a film exhibition, my goal for engaging audiences would be to create an immersive experience that not only showcases the micro movies created by young Chinese artists but also encourages dialogue. Here are some forms and methods of audience/participant engagement that I might use in this project:
Film Screenings: The core of the exhibition would be film screenings of the micro movies created by the four artists. I will be playing the films in sequence, with one round taking half an hour, followed by a second round. This will allow for two groups of audience members and prevent them from missing a film or two due to lateness or other reasons.
I will also provide each audience member a handbook at the exhibition, which will print a detailed introduction to each artwork and include interview texts between me and the artists to enhance the audience’s understanding of the films and enrich their viewing experience.
Social Media promotion: To reach a wider audience, I would sell tickets online to promote the exhibition. Meanwhile, the whole group agrees to make social media platforms that can be used to facilitate promotion.
Accessibility: Ensuring accessibility for all visitors would be a priority. The exhibition venue would be fully wheelchair accessible, and I would work with peers to accommodate any additional access requirements for visitors with disabilities. Information about accessibility would be clearly communicated in all promotional materials and on the exhibition website.
Case Study on a exhibtion at Museum Ludwig
Installation view of IN SITU: Photo Stories on Migration at Museum Ludwig, Köln 2021. Photo: Museum Ludwig, Šaša Fuis, Köln.
The exhibition at Museum Ludwig in Cologne, Germany, featured photo stories on migration. The exhibition is organized in a way that combines personal photographs with public photographs of urban life by established artists and photographers. This juxtaposition allows for a dialogue between the personal and the public, offering different perspectives on the same subject matter. The inclusion of interviews with the lenders of the works in the exhibition further adds depth and authenticity to the stories being told, giving voice to the individuals behind the photographs and allowing them to share their diverse histories, including their challenges, successes, and contributions to their new communities.
Through this exhibition, we can witness the ingenious combination of various artistic media to create an authentic sensory experience for the audience. The collection of interview videos and photographs adds greater credibility to the narratives of the immigrants. In my own film exhibition, I could enhance it by incorporating audio or video interviews with the artists. My tutor, Beth, has suggested using a podcast, but obtaining consent from the artists and translating Chinese audio into English present challenges.
Through the Lens of Youth: A Collection of Microfilms on Chinese Contemporary Life
“It(the cinema) is gradually becoming a language.” As Alexandre Astruc noted in 1948, cinema was evolving into a language, and he coined the term ‘camera-pen’ to describe the film’s potential as a flexible and subtle means of writing. Filmmakers have endeavored to use films as a medium to express their ideas, tell their stories, and convey their thoughts.
The emergence of micro-movies as a sub-genre of cinema has opened up a new space for artistic experimentation and freedom of expression. With lower budgets and minimal equipment requirements, micro-movies offer a unique opportunity for filmmakers to express themselves and create works that challenge traditional modes of storytelling. In China, this freedom has allowed many young artists to address social and political issues that might not have been possible in mainstream media. As Elaine Jing Zhao notes, “foreign, underground or grassroots productions have become more accessible to consumers than ever before” since the emergence of online video sharing sites. The micro-movie genre is a testament to the power of new media in expanding the boundaries of artistic expression and democratizing access to the means of creative production.
I have invited four artists and their respective micro-movies, each of which explores a different social issue through a unique form of storytelling. The aim of exhibtion is to give voice to the perspectives of young people and provide an opportunity for them to express their observations, thoughts, and ideas about the real-world challenges they face in modern China. Through this exhibition, we seek to create a space where the voices of the younger generation can be heard and valued, and where their creative expressions can be appreciated and understood.
Yixin Shen, The Lives of Youngsters Living in China 2020-2021
The first artist, Yixin Shen, presents “The Lives of Youngsters Living in China 2020-2021” as the opening work of this exhibition. The film offers a unique perspective on the concept of “youth” as seen through the eyes of the artist. Inspired by Pietro Coppolecchia’s exploration of underground youth culture in Amsterdam, Yixin Shen recorded the lives of young people from different backgrounds, industries, and regions in China over the course of two years. Through this experimental short film, Shen presents a vivid portrayal of the diverse states of life among the younger generation in China.
Jiawen Wu, The Moment The Sleeper Knows He Is Dreaming
Jiawen Wu’s work, “The Moment The Sleeper Knows He Is Dreaming,” is a visual poem dedicated to young workers who suffer from sleep disorders due to their work schedules. This film explores the societal pressures and technological controls that contribute to the loss of subjectivity and personal time in the face of the demands of the economy. Wu’s work is a poignant reminder of the physical and ethical consequences of our fast-paced, round-the-clock lifestyles.
Yunxia Wang, Please Do Not Tell Her
Yunxia Wang’s work “Please Do Not Tell Her” sheds light on the traditonal Chinese education system and how it affects individuals. We can see how young people who grew up in this oppressive educational system reflect on it and respond to it. Through the eyes of a young girl and her struggles with the pressures of education, Wang highlights the need for change in the current system. The story is based on the artist’s own experiences with her younger sister and the competitive nature of the education system in China.
Xingchen Zhang, Everything Is Here
Xingchen Zhang’s work “Everything Is Here” captures the sense of belonging that young people seek in urban life. The film takes the audience on a journey of a young man returning to his hometown. Through the blurring of memories, dreams, and reality, the film portrays the complex emotions associated with the idea of “home.” Ultimately, the film aims to resonate with viewers and convey a powerful emotional message.
As for curatorial and artistic projects that relate to my theme/concept, I found a exhibtion called PAPAY GYRO NIGHTS presents, INCOHERENT CINEMA : BERTRAND MANDICO, KATRIN OLAFSDOTTIR. The curation features a selection of films based on the principles of incoherent cinema, which takes a unique approach to filmmaking. This reflects the need for curators to showcase artists who push boundaries and challenge norms in their creative process. As such, it is important to embrace a wide range of artistic styles and approaches in order to foster a diverse and inclusive exhibition. more related curation examples I’ve found, please see this blog: Week 4
REFERENCE
Alexandre Astruc, THE BIRTH OF A NEW AVANT-GARDE: LA CAMERA-STYLO, 1948
Elaine Jing Zhao, 2013, The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation
In this week’s classroom session, we were introduced to numerous artistic collaborative initiatives, which served as a reminder that, in addition to developing our own curatorial projects, it is equally important to collaborate with our peers to ensure smooth progress. Through the case study of various collaborative art projects, I witnessed the synergistic effect of collaboration, where the collective outcome surpasses the sum of its individual parts. Collaboration allows individuals to recognize and explore their strengths, benefiting all participants. Particularly in artistic projects, where collaborative projects serve as a collection of diverse ideas, showcasing the richness of multiple artistic projects.
As I majored in graphic design during my undergraduate studies, I chose to join the promotion team for our group project. My main responsibility was to design the guidebook for the entire exhibition. Although this task was relatively small compared to the overall exhibition, it still required an internal division of labor and collaboration. The four of us were assigned distinct roles, including collecting promotional texts from everyone, formatting and typesetting, and proofreading.
Theme development
I also gained valuable insights into further developing my own theme through communication with peers whose topics are related to mine. Two of my peers also chose topics related to society, with one focusing on social identity and the other on the collective memory of pain. They raised valid concerns about the lack of coherence and depth in exploring multiple social issues depicted in different films. Their inquiry was thought-provoking, as I too struggled with the challenge of linking four distinct movie themes. As a result, I have decided to narrow my focus to the microfilm itself instead of different social issues and explore how micro movies can serve as a medium for reflecting social realities.
according to Alexandre Astruc, “It(the cinema) is gradually becoming a language. …That is why I would like to call this new age of cinema the age of camera-stylo (camera-pen). This metaphor has a very precise sense. By it I mean that the cinema will gradually break free from the tyranny of what is visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of writing just as flexible and subtle as written language.” (Alexandre Astruc, THE BIRTH OF A NEW AVANT-GARDE: LA CAMERA-STYLO, 1948)
Based on Alexandre Astruc’s concept of the camera-pen, cinema is gradually evolving into a language that allows for personal expression. Artists I worked with are utilizing different and creative shooting and editing techniques to convey their thoughts.
For instance, Xinyi Shen’s microfilm is composed of several one-to-two-second shots that provide a glimpse into the everyday lives of the younger generation. Jiawen Wu incorporates metaphors into the film, adding depth and symbolism. Yunxia Wang’s microfilm follows a clear and concise storyline, reminiscent of traditional feature films. Xingchen Zhang skillfully blends color and black-and-white footage to create a distinct sensory experience.
These artists exemplify the power of microfilms as a tool for social commentary and change. I hope that this exhibition will inspire a new generation of filmmakers, empowering them to create thought-provoking works that contribute to meaningful social discourse and positive change.
