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Peer review—Jianan Lu

I will be commenting on ten of your blogs that you have written so far.

First and foremost, each of your blogs clearly expresses the theme of the weekly teaching in the classes and you combine theory and examples through your own independent research to convey the ideas in a simple but accurate way. Secondly, the coherence of your paragraphs and the way you present your reflections is clear. In addition to this, your references to theories are clear. This is crucial for effective blogging and makes it simpler for a wide audience to access your content.

With regards to structure, I think your article is very well structured, as an example of your latest blog, you have divided your article into, pre-class preparation, after-class content and after-class investigation. This very much fulfils the teaching objectives of the lesson.

In terms of content, as I said above, your blog posts are very well structured, but I think that this logical structure can make your blogs wordy and exceed the word count requirement. For example, in Week 8, your blog contained classroom resources to read and after-school independent study, as well as classroom workshop notes, and I think the classroom workshops you could have spread out into a separate blog post to record them. In week 6 of the blog, it is the same problem of too many words. I think your research topic is very interesting. But I would like to give you some advice is that you could try to reduce some of the descriptions of your thinking process. For example, ‘This case inspired me to think….. essence of ephemeral art?’, ‘Whether the…lost due to commercialisation remains to be considered.’ In addition to this, I have seen your research on the art of archiving, and I would suggest that you could research this in the context of the literature we have in this class.

Here are some articles/books for your reference:

Zanella, F., Bignotti, I., Modena, E. & Scotti, M. (2015) MoRE, an archive of signs and traces of artistic practices: creating a tool for research in contemporary art and curatorial practices. Archives and records (Abingdon, England). 36 (1), 56–70. doi:10.1080/23257962.2015.1015260.

Claudia Friedrich (2017) State of the Art Archives | International Conference on Archives Documenting Modern and Contemporary Art. 27 July 2017. Art market studies | Kunstmarktforschung.

Gül Durukan, S.N. & Tezcan Akmehmet, K. (2020) Uses of the archive in exhibition practices of contemporary art institutions. Archives and records (Abingdon, England). 1–18. doi:10.1080/23257962.2020.1770709.

In addition to this, your blog is very informative and I can see in your content an independent investigation of documentary theory that connects your approach to the field of contemporary curatorial theory and practice.

Regarding the design of the blogs, you have inserted relevant images and videos in each of your blogs and described them correctly. Next, you have customised the blogs as continuous texts, reflecting even more the continuity of your learning process.

In some blogs your posts will be less rigorous. For example, in week 8, the first paragraph,‘However, how do you ensure that art projects…. rather than simply using the community as the context or object of art practice?’I think it exposes the challenge of achieving this understanding in practice: how to avoid the potentially… something that must be seriously considered as site-specific arts continue to evolve.’ This content is redundant, it does not support the ‘Place-specific art not only taps into repressed histories and provides greater visibility to…..but also interrogates place’s social and historical dimensions.’, this viewpoint.

Overall, I see that most of your blog is about research and reflection on classroom topics, and although I see that you have mentioned how you will reference the content of your research into your curatorial project, I think it is possible that you may need to do more targeted research on your curatorial theme, form, and location. So I would suggest that you could do some specific research on your curatorial project in the next blogs to make your final curatorial project proposal more accessible.

Week 9 Talbot Rice Gallery

The University of Edinburgh’s Talbot Rice Gallery is a renowned public art gallery that combines a modern white cube space with a historic 19th-century former natural history museum. Its goal is to investigate the possible benefits that contemporary art may have on society, both now and in the future. The gallery is well-known for its innovative group shows that tackle important political and social themes, as well as its solo exhibitions that let foreign artists interact with university holdings and research. Therefore, I want to take it as my individual project location.

University of Edinburgh:

As the public art gallery of the University of Edinburgh, Talbot Rice Gallery benefits from the university’s infrastructure, resources, and academic environment.

University of Edinburgh, Old college

Freelands Artist Programme:

This program, supported by the Freelands Foundation, aims to support artists and cultural institutions, broaden audiences for visual arts, and enable youth engagement with art creation and enjoyment.

Cultural and Educational Partnerships:

The Talbot Rice Gallery has established partnerships with other cultural and educational institutions to enhance its planning and outreach efforts. These collaborations may lead to additional funding opportunities or in-kind support, further enriching the Gallery’s resource base. For example, Monash University Museum of Art has established partnerships with organisations such as the University of Edinburgh. The Edge and Andrew Brownsword Gallery in Bath, through touring and co-productions.

Public donation

The gallery welcomes public donations, which can provide a flexible funding stream to support all aspects of the gallery’s operations, from exhibitions to educational programmes.



The University of Edinburgh. (2018). Gallery scheme lets artists make their mark. [online] Available at: [Accessed 21 Mar. 2024]. (n.d.). Freelands Foundation. [online] Available at: [Accessed 21 Mar. 2024]. (n.d.). About | Talbot Rice Gallery. [online] Available at:



Week 8 Sites


The term site-specific refers to a work of art designed specifically for a particular location and that has an interrelationship with the location. If these components are taken out of their original context, they lose their essence or significance(Tate, 2017).

Adam Chodzko, Better Scenery (1999), Tate

On the other hand, Hayes (2017) pointed out that site-responsive art involves performances that react to a specific space or environment, adapting to its unique characteristics and dynamics.

Compared to site-specific art, this kind of art responds to the environment more adaptably. Furthermore, site-sensitive art exhibits a strong bond with and reliance on the area, illustrating how creative processes are shaped by and customised for certain settings (Mikou, n.d.).

Nick Kaye(2013) points out how we can read a site-specific work of art in relation to geographical, aesthetic, political, and/or institutional discourses.Hence, it is possible to conceptualise site-specificity as a process and the resultant aesthetic qualities and meanings that arise from the interactions between an item or activity and its immediate surroundings. Since the locations and the artworks have a strong relationship, relocating the latter implies “re-placing” or drastically altering the former.

All in all, in my opinion, place-specific art can transform the way we perceive a location, adding layers of meaning and interaction that enrich our experience of a place.



Hayes, L. (2017). From Site-specific to Site-responsive: Sound art performances as participatory milieu. Organised Sound, 22(1), pp.83–92. doi:

Kaye, N. (2013). Site-Specific Art. Routledge.

Mikou, A. (n.d.). Site-Specific. [online] Dancing Museums. Available at:

Tate (2017). Site-specific – Art Term | Tate. [online] Tate. Available at:



Week 7 Exhibition in Scotland

Scotland national museum

Edinburgh will host the return of Game On, the largest interactive exhibition dedicated to the history and culture of video games. The exhibition, which takes place at the National Museum of Scotland from June 29 to November 3, 2024, features well-known figures and video games from Space Invaders to Sonic the Hedgehog and Mario to Minecraft.

It is the largest interactive exhibition of the history and the culture of video games.

Associate curator at Game On, Patrick Moran(2023) said: “The world of games has had an undeniable social, cultural and technological impact. Games have transcended the boundaries between art and technology and become part of popular culture.

Life – NewCastle (14) – Photo credits Richard Kenworthy, 2015

Bienal de São Paulo, 2017-2

Interactive contemporary art exhibitions in Scotland

Do Ho Suh | Tracing Time

Until September 1, 2024, at Modern One, this exhibition by South Korean-born, London-based artist Do Ho Suh focuses on drawing and paper’s foundational role in his work, featuring thread drawings, architectural rubbings, and large installations. Additionally, there is an immersive installation of the well-known “hubs” by Suh, which are life-size sculptures made of vibrant, translucent fabric that mimic actual settings. This creative reworking of locations significant to the artist and his life is open for visitors to enter and navigate.

Do Ho Suh:Tracing Time,Marvel at larger-than-life thread drawings



National Museums Scotland News. (2023). Major video game exhibition to open in Edinburgh next summer. [online] Available at: [Accessed 21 Mar. 2024].

National Galleries of Scotland. (2024). Do Ho Suh | Tracing Time. [online] Available at:

Sanderson, G. (2023). World’s largest playable video game event coming to Edinburgh. [online] The Herald. Available at: [Accessed 21 Mar. 2024].


Week 6 Curating gap and Exhibition type

Curating gap

What curatorial discourse ignores or forgets is the place and experience of the audience, and the concerns facing curatorial practice in terms of how to (re)define artistic experience in relation to political issues, social practices and the production of new forms of knowledge are often theatrical in nature. Theatrical cues ‘help the audience to engage fully with their sense of reason and intelligence’. When seeing something that has already happened, one becomes more attentive to the sensory impact of the eye and the field of vision (Eckersall & Ferdman, 2021).



The exhibition—in this expanded, extended sense—works, above all, to shape its audience’s experience and take its audience through a journey of understanding that unfolds as a guided yet open-weave pattern of affective insights, each triggered by looking, that accumulates until the audience has understood the curator’s insight and, hopefully, arrived at insights previously unthought by both (Smith, 2012).

“Interactive art is an opportunity for self-discovery; it is an invitation to explore one’s own body in an interactive process”(Simanowski, 2011).

Interactive art creates spaces and moments that open up dialogue. Much of this dialogue is conceived of as an embodied dialogue, usually with other interactors, but also with oneself. Interactive art is conceptualised as a place to get in touch with one’s own body, to connect with an inner dialogue in a way that is independent of the limitations and inner dialogues instilled and developed over the years(Simanowski, 2011).


Eckersall, P. & Ferdman, B. (eds.) (2021) Curating dramaturgies : how dramaturgy and curating are intersecting in the contemporary arts / edited by Peter Eckersall and Bertie Ferdman. London: Routledge.

Simanowski, Roberto. (2011) Digital art and meaning : reading kinetic poetry, text machines, mapping art, and interactive installations / Roberto Simanowski. Minneapolis: University of Minnesota Press.

Smith, T. (Terry E.) (2012) Thinking contemporary curating. Second edition.. New York, NY, Independent Curators International.

Week 5 Theme academic research

Psychology & Art

Art is perceptual and has its roots in the interpretation of observations and occurrences. Since comprehending art allows one to see cultural continuity, art is a conceptual substance that implies cultural continuity. Artistic activity may be given a feeling that ideas like soul, art, love, beauty, relationships, justice, perfection, and freedom have unique significance in every aspect of life through the interplay between psychology and the arts.

Art will be the movement, the meaning, and the reason for life, in the material life of a person. Based on the type of art and the level of spiritual principles, the resulting meaning will address different periods of life. Thus, the active fluctuation from purely material life to spiritual life through art and the material body of man has to do with how much art is inspired by spiritual principles. These principles will have a wide range of human realities(Naderand Moosa, 2012).

Therefore, as I see it, MBTI gives the testers personality labels that create some sort of meaning in specific areas of their lives. The moment the audience sees and empathises with artworks that are similar to their own personality type, it gives the exhibition a realistic and contemporary meaning.


Nader, K. and Moosa, J. (2012). The Relationship between Art and Psychology. Life Science and Biomedicine, 2(4), pp.129–133.

Week 4 Ethics

1.What specific issues would guide you?

In today’s global art environment, which is based on a Euro-American cultural point of view, non-Western artists are subjected to the rules set by the Western world. Since it is the Euro-American art world that selects, legitimises, promotes and buys, non-Western artists are forced to ‘adapt’ to satisfy the preferences of a curatorial culture that seeks not only material gain, but also the prestige of following a legitimised paradigm.

2. Why are these issues so pressing?

Addressing Eurocentrism in the contemporary art world is equally challenging. Most exhibitions organised by Western institutions lie to non-Western artists. They rarely challenge the broader framework of Euro-American-centred contemporary art. In other words, the so-called “global” art market is not global at all; its centre of privilege is always the Western one.

3. How would you actively encourage change?

Curators can pursue their goal of organising a ‘global’ exhibition by positioning themselves as ‘agents of cultural exchange’. Curators should turn to experts outside their field of expertise and recognise their own limitations.

4. Who would you collaborate with to facilitate

Regional experts, who have a deeper understanding of the socio-economic and political context and the local language in which the work is produced, can broaden the artist’s sample base, and the critical exchange of dialogue with these consultants will add the necessary breadth to the overall project and allow for the emergence of a range of perspectives that will enable the curator to see the work a new in its geographic and cultural context

5. What would be your guiding principle?

Decolonization of Art History: Reexamine and reframe art history to incorporate stories and viewpoints that colonial and Eurocentric prejudices have left out or marginalised. This calls for a critical examination of art history and its organisations in order to identify and address historical imbalances and injustices.




Reilly, M. (2019) Curatorial activism towards an ethics of curating / Maura Reilly ; foreword by Lucy R. Lippard. London: Thames & Hudson.


Week 3

Theory References

Artificial Hells: Participatory Art and the Politics of Spectatorship. In this book, Bishop (2012) discussed various forms of participatory art, where the audience is actively involved in the creation or experience of the artwork.She also mentioned that the impact of participatory art on the viewer’s engagement with social issues.

As I see it, audience engagement plays a vital role in an exhibition. The aim of an exhibition is to attract more audiences, to make them think, and to leave a deep impression on them. Therefore, I intend to curate an exhibition that can evoke the audience’s empathy and reflects social issues.


Exhibiting might range from rehanging part of a permanent collection through various kinds of temporary exhibition to the staging of an event, the creation of a sequence of sites, or the orchestration of a discursive interaction, such as a public dialogue. The exhibition—in this expanded, extended sense—works, above all, to shape its spectator’s experience and take its visitor through a journey of understanding that unfolds as a guided yet open-weave pattern of affective insights, each triggered by looking, that accumulates until the viewer has understood the curator’s insight and, hopefully, arrived at insights previously unthought by both (Smith, 2012).


The word ‘care’ is becoming as present in the vocabulary of contemporary art and culture as has the word ‘curating’. After COVID19, one route by which this new understanding of care and the crisis of care has been circulated is through curated exhibitions, public programmes, and discursive and educational events. The cultural production of curators, including curation at different scales ranging from the big museum to the self-managed art space, from the global Biennale to the local cultural community centre, is always an expression, and a refection, of urgent contemporary concerns (Krasny & Perry, 2023).

Therefore, as far as I am concerned, showing your care to audiences a hot topic in recent years and it is one of the goal in curating an exhibition.




Bishop, Claire. (2012) Artificial hells : participatory art and the politics of spectatorship / Claire Bishop. London: Verso.

Krasny, E. & Perry, L. (eds.) (2023) Curating with care / edited by Elke Krasny and Lara Perry. London: Routledge.

Smith, T. (Terry E.) (2012) Thinking contemporary curating. Second edition.. New York, NY, Independent Curators International.



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