Questions about the first four blogs：
Question 1: Week 1 and 2 blogs were too descriptive as well as subjective, week 3 and 4 I revised them based on Adam’s feedback to use a more theoretical basis, should I neutralize them a bit? Would it be two extremes?
Question2:Do I need to add more visuals to increase the vividness？
seminar feedback：
After describing my personal curatorial background as well as my initial thoughts, I worked with the group to summarise 4 curatorial values that applied to my theme:
intercultural， emotional resonance， political critique， communicative engagement
At the same time, I gained some experience and inspiration from my peers’ personal curatorial theme statements. I was surprised that Fany Yuan brought to the stage such a new type of 16 personalities (MBTI) that has become almost a social calling card in East Asia. I have seen almost no exhibitions of this type in the East or West. To evoke emotions in the audience while being diverse and interesting is something she needs to consider, and the same applies to my personal exhibitions as well. According to Myers & Myers（2010), personality theory provides a framework for understanding how individuals perceive the world and communicate, which can be used to design exhibitions that reach out to different personality types. Meanwhile, Bishop’s (2012) discussion in Artificial Hells: Participatory Art and the Politics of Spectatorship of how participatory artworks can stimulate audience engagement and emotional responses provides important theoretical support for how to evoke emotions in exhibitions. support.
Cultivating a sense of belonging and collective identity in our audiences is a difficult topic for us all. Art can be used as a tool for community building and the promotion of collective identity, which provides insights into how a sense of belonging and collective identity can be fostered through exhibitions (Kester, 2004). Being able to delve into personality type theory through an art exhibition not only adds variety and interest to the exhibition but also provides a unique way for the audience to explore and understand themselves and others.
References：
Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso Books.
Kester, G. H. (2004). Conversation pieces: Community and communication in modern art. Univ of California Press.
