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WEEK9|Curatorial Venue, Timeline and Budget Second Update

Timeline: After reflecting on the exhibition cycle of the Talbot Rice residents, I realized the impact of time management on the fluidity of the exhibition and the interaction between artist and audience (Turner, 2009). Echoes in Blue began 4 months ago, incorporating project planning theories discussed in class, setting research and design phases, identifying artists and directions for the work, and embodying a project initiation strategy. As the project progresses over the 2-4 month period, the spatial layout and artist collaborations must be closely aligned. 1-2 months prior, in terms of promotion and audience engagement strategies, I refer to best practices in marketing and public engagement (Simon, 2010) to ensure that technical support is in place and that the audience experience is appropriate.

Spaces: Through the physical layout of the Talbot Rice Gallery, I recognized that the choice of space should serve the core themes and objectives of the exhibition, and my project aimed to explore the traditional elements of blueprint culture and provide an interactive experience through modern technology, so the interior was more manageable. It not only protects the environmentally vulnerable blueprints but also provides technical support and a focused visitor experience. In terms of the health and safety assessment of the space, my curatorial project incorporates multi-person participatory art practices that are more stable indoors independent of the climate.
I eventually settled on Dovecot Studios for the exhibition. Originally a Victorian bathroom, this has been transformed into an internationally renowned tapestry studio and a center for contemporary art, craft, and design. It offers a unique and adaptable space suitable for events such as workshops. The location’s rich historical background and cultural ambiance, coupled with its expertise in art making, made it the ideal venue for me. Dovecot Studios offers a variety of event spaces that can accommodate between 20 and 250 guests, catering for multi-person collaborative projects. My choice of space thus not only reflects the core theme of the project but also takes into account the stability of the health and safety assessment (Kwon, 2014).
So far I have found their phone number and email.
Tel: +44 (0)131 550 3660 Email:

Budget: With limited resources, effective budget management becomes critical to the success of the project (Bilton, 2007). I have outlined the following budget table:

Budget Table for the "Echoes in Blue" project. Source: Own creation (Lu, 2024)

Funding: Exploring the importance of different funding sources and their impact on project support is based on an understanding of the Friedlander Foundation’s grant program. The following organizations have been identified as potentially available for sponsorship: Edinburgh Chinese New Year Festival Organisation, Chinese Culture and Arts Institute (CCAI), Chinese Embassy in the UK, private sponsorship and crowdfunding platforms (Kickstarter, Indiegogo), British Council, University of Edinburgh, Creative Scotland.

British Council. (2024). Connections Through Culture. Available at:









British Council Arts (2023). "British Council: Building connections through arts and culture" [Video]. YouTube. Available at:


British Council. (2024). Arts Opportunities. Available at:


Chinese Cultural Arts Institute. (2024). screenshot. Available at:


Bilton, Chris. (2007) Management and creativity : from creative industries to creative management / Chris Bilton ; [with a foreword by Lord Puttnam]. Malden, Mass. ; Blackwell.

Kwon, M. (2014) “One place after another: Notes on site specificity (1997),” in The People, Place, and Space Reader. [Online]. pp. 27–33.

Simon, N. (2010) The participatory museum / by Nina Simon. Santa Cruz, California: Museum.

Turner, J. R. (2009) The handbook of project-based management: leading strategic change in organizations. 3rd ed. New York: McGraw-Hill.


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