https://blogs.ed.ac.uk/s2248556_curating-2022-2023sem2/2023/04/05/question-peer/
Peer Review to zhiqian Zhang
HI ,zhiqian.
I am very glad to have this opportunity to review your proposal.
Zhiqian like the artist, has made a place in his memory for the pleasant things that have passed away.
Childhood has always been a topic that has sparked debate and struck a chord with everyone. The beauty of childhood is said to heal you for the rest of your life, whereas the regrets of childhood absence take a lifetime to pay off.
Nostalgic retrospection is a symptom of our times as much as a human mood. An epidemic that appears to have worsened with modernity. Nostalgia transforms history into a personal and collective myth, and time can become a location to journey through again through nostalgia and narrative.
Alyssa Grossman (2014). “Commonsense experiments in visual anthropology: memory objects and memory conversations.” “People’s understanding of everyday objects and situations is shaped not only by the cultural and historical society in which we live, but also by the underlying consciousness of our memories,” she explains.
The anecdotes about childhood are more likely to connect with the audience.
Zhiqian’s point of entry is to bring in artists from his surroundings, which on the one hand makes it easier to open up about his childhood experiences and on the other hand keeps the project running rather smoothly. On the other hand, because the memories of those around us are true and relevant to our everyday lives, it is easier to touch the audience’s heart, resulting in a link between the field and the audience and a sensation of presence in the scene.
It is a common misconception that entering a gallery is the only way to examine contemporary art, but this is not the case. It’s not just the spotless white walls that give the paintings their appearance.The term ‘laboratory’ refers to an experimental, creative environment or process that can be used for a variety of artistic practices rather than a specific geographical model. It provides a venue for artists and viewers to connect and converse. It is increasingly being used as an open and experimental setting that promotes artistic development and creativity by facilitating artist practice and interchange.
Since the 1990s, curators like as Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud have advocated for this paradigm.
In a modern artwork in space and medium that has begun to transcend the ‘white box,’ Felix Gonzalez Torres utilizes billboards to memorialize his lover, Rose.
“Can viewers empathize with other people’s artwork?”
Now, to answer the question that Zhiqian zhang has asked me, how does the audience connect with the artwork?
I believe this is a question that every artist and curator asks during the exhibition planning process.
Understanding Empathy in Art Appreciation:
(1) Resonance in art appreciation is a psychic phenomenon that occurs near the end of the art appreciation process.
It refers to the exchange of ideas and emotions that occurs between the reader, audience, listener, and other subjects of appreciation and the work of art, which results in nearly identical emotions.
Due to full sensation and comprehension, the subjective world of the connoisseur establishes a deep aesthetic communication with the artistic world of the work of art.
(2) There are generally two types of resonance in art appreciation: one is when the subject of appreciation is deeply moved by the artist’s thoughts and feelings, ideals and aspirations, as well as the fate of the characters expressed in the artist’s work, resulting in a strong telepathic response, sometimes even reaching a state of unity and forgetfulness; the other is when connoisseurs from different eras, nationalities, and classes have a strong telepathic response, sometimes even reaching
(3) Resonance is an extremely complex aesthetic issue that involves both social and psychological variables, as well as subjective and objective factors.
