The “25 CATS” Contemporary Art Exhibition went off without a hitch! It was a fantastic occasion. It was the first time that all 25 Cats were part of the exhibition process as curators. It was a once-in-a-lifetime opportunity for all of us. The event attracted a lot of attention, and our discussions stretched from the curatorial subject to the positioning of the displays to the curators’ future, and it was a pleasure to interact with other art aficionados.
To begin, I really appreciate JL, Jake, and Beth for all of their assistance from the start of the course through the completion of the curatorship. This professional expertise has served as a foundation and incentive for my learning journey.
Secondly, reflecting back on the entire curatorial event, we all contributed to the success of contemporary art exhibition. Despite the fact that our displays are not in the same location, we are all working towards the same curatorial goal.The experience was incredible. Curatorial work by my peers have taught me. For instance, my peer Ruxue Li hosted a costume design and creation workshop. Her curatorial concept is centred on handicrafts from Shanghai, China, her hometown. She led the audience on a journey through the history and culture of Shanghai, China, through her design and curation. I believe this is a highly significant programme since Edinburgh students come from all over the world.Each has a unique cultural background. The audience was able to experience Chinese culture as well as design a costume with their own hands, and the instructions were basic and easy to follow. This is a practical way to propagate traditional Chinese culture.
Ruxue’s curatorial effort has given me novel perspectives to consider. The increasing internationalisation, transnationalisation, and multinationalisation of the globe has been one of the most visible phenomena in contemporary curatorial practise since the late 1980s. The world has become a “global village.” Intercultural development has become a popular development in all professions in an age of diversity. As Isabel Stevens (Stevens 2005) points out, terminology like “biennial,” “biennale,” and “major exhibition” no longer refer to them. They are become the common phrases for major international art exhibitions. Therefore, how do we become effective curators of contemporary art in an age of global digital media and interculturalism?
Curators of art have traditionally arisen as individuals with particular creative tastes, expressing their own artistic perspectives and aesthetic ideals through the selection and display of artists’ works. However, the meaning of artworks and art exhibitions are changing in modern society.Traditional artistic tastes and aesthetic views are no longer fully adapted to the needs of modern society. Therefore, the shift for curators of contemporary art in the 21st century is towards greater consideration of social, cultural and political influences, as well as the introduction of more participatory and collaborative mechanisms in the curatorial process, in order to achieve a wider social effect and diverse forms of artistic expression. The curator should focus more on the audience’s experience and feedback, as well as collaboration and communication with artists, curatorial teams, sponsors, and other parties. In order to adapt to the evolution and needs of contemporary society, curators must also pay attention to global issues such as digitalization, environmental protection, and social responsibility, as well as employ new technology tools and techniques in curating practise.
I made a video to commemorate the “25 CATS” contemporary art exhibition.
Reference
Stevens, I., ‘IT’S SO TWO YEARS AGO’ in Contemporary 21, issue 77 (2005).
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