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Tag: Experimental Curating

Week 11 | 11:11 Collective Recap: Where Collaboration Meets Curation

If I had to describe these three group events in one word, it would be: alive. Not just because we were surrounded by real flowers and blooming ideas, but because the experience of making something together—as a team—felt truly vibrant.


🎬 Collective Event 1: Film Sharing Afternoon at Summerhall

On March 20, our curatorial collective gathered in the Collective Space at Summerhall for a film-sharing session. We didn’t set out to impress or instruct—our only goal was to feel together. And that’s exactly what happened.

Each of us brought a short experimental video—mostly from UbuWeb, some from YouTube—and we watched them one by one. No lectures, no long analysis. Just a few soft words on why we chose what we chose, and then a moment of stillness to sit with what we saw.

I shared Joan Jonas – Left Side Right Side (1972)
🔗 Link to film

It’s a raw, direct piece that uses the body and the camera to challenge how we see. Jonas’s gestures—moving from left to right, shifting her gaze—felt like she was handing over control of the frame to us. I chose this work because it captures something I want to explore in “Fluid Curating”: what happens when we surrender authority and invite others to take part? What does curatorial space feel like when it becomes shared, intimate, and unstable?


 Film Selections

Here are some of the works we watched together:

  • Staff at Moderna Museet by Annika Eriksson
  • Cycles by Zeinabu irene Davis
  • Why Modern Art is so Expensive? by Business Insider
  • Singing in the Rain by Gene Kelly & Stanley Donen
  • Interior Scroll – The Cave by Carolee Schneemann
  • Love Sequences – Qanun by Gobelins
  • Inspirator by Abigail Lane
  • Lanvin, Alka-Seltzer, Veterano ads by Salvador Dalí
  • The Neighbor’s Window by Marshall Curry

Each one offered a different way of sensing—through rhythm, silence, contradiction, or vulnerability. Together, they formed a constellation of emotional and visual textures.


(The poster designed by Sarah)

Collaborative Setup

What I appreciated most was the way we worked as a group. Someone brought popcorn, another taped up the windows to dim the light, someone else set up the projector. We didn’t assign roles like a production team—we just moved together, intuitively, like a collective with shared purpose.

This event reminded me that curating is not just about objects or spaces—it’s about shared energy. In that room, every gesture felt like part of the exhibition already.

Sometimes, curating doesn’t need walls or text panels. Sometimes, it begins with a projector on a wobbly table, a dim room, and a handful of people ready to sit quietly with each other. This was more than a screening. It was a rehearsal for the kind of curating I want to practice: slow, shared, and emotionally intelligent.

 

💻 Summerhall Event 2 – Entering the World of Artsteps

This session was like stepping into a new dimension. Our teammate Beichen (a.k.a. our unofficial tech guide!) introduced us to Artsteps, an online tool for building virtual exhibitions. At first, it felt a bit like a game—dragging walls, resizing images—but then I realised: this is curation in action.

Together, we explored how to build a digital space that reflects a shared vision. Not just uploading images, but thinking about:

  • How does someone move through this exhibition?
  • Where should a pause happen?
  • Can digital silence feel like breathing space?

I loved seeing how everyone brought something to the table—some coded quietly, some discussed lighting effects, others helped title walls or test the walkthroughs. It wasn’t just about digital skills. It was about shared authorship.

This is curatorial practice in its expanded field: merging tech, aesthetics, collaboration, and playful experimentation.


🌸 Summerhall Event 3 – Flower Arranging with Feeling

From screen to stem, the next session took us in the opposite direction—back to the material world.

We gathered for a flower arranging session. It wasn’t a workshop in the formal sense. No one was “teaching” us. Instead, it was something more beautiful: a space to create side by side. Each of us brought different flowers, and as we sat together on the wooden floor, trimming stems and passing colors to each other, something shifted.

This wasn’t just about arranging flowers. It was about arranging time, presence, and attention.
There were no rules, just silent understandings. A shared sense of “you add that, I’ll hold this.”
The bouquets we made were different, but they all reflected the gentleness of co-creation.

I realised—curatingdoesn’t always begin with a concept. Sometimes it starts with care.


💬 Reflections on Practice

Looking back, these sessions taught me something vital. Curating isn’t just about selecting and displaying artworks. It’s also about learning how to be together—online and offline, formally and emotionally.

Whether building a virtual gallery or weaving petals into shape, we were always practicing:

  • Shared decision-making
  • Respecting differences in aesthetics and pace
  • Making space for everyone to contribute

These moments, simple as they were, grounded my belief that “fluid curating” begins with real people, working together, experimenting, laughing, failing, adjusting, and making something new.

And honestly? That’s the kind of exhibition I want to make. One that’s not perfect, but deeply human.

🎡 W9 (2) – Speed Curating at CAT × CAP: Conversations that Sparked Something Real

Hi everyone,


This week I participated in a special joint event between CAT (Contemporary Art Theory) and CAP (Contemporary Art Practice) students. We met not on Teams, but face-to-face in the West Court, and I have to say—it was more inspiring than I imagined.

The format was based on Speed Curating, a method adapted from the UK Arts Council. CAP students introduced their art practices in quick 2-minute bursts, while us CAT students shared five key curatorial interests. It was fast, a little chaotic, but filled with energy and curiosity.

🎨 Meeting Artists, Meeting Possibilities

As a CAT student working on my Fluid Curating project, this event was a goldmine. I heard so many artist presentations that aligned with what I’ve been thinking about—audience interaction, sensory engagement, performative gestures, and curating as a living process.

Some CAP students showed deeply personal work about memory, others presented interactive installations. I had some great chats about how audiences can intervene, not just observe; how we might co-create exhibitions where the boundaries between artist, curator, and viewer start to dissolve.

✨ My Five Curatorial Keywords

To help introduce my ideas during the event, I shared five key themes that define my practice. I’ll share them here too:

  1. Decentralised Curation
    I want to challenge top-down models. Can the audience’s decisions, movements, and emotions shape the exhibition just as much as the curators’?

  2. Audience Intervention
    I’m interested in how viewers might not just observe, but alter—touching, rearranging, or reshaping the work as part of the exhibition itself.

  3. Co-Creation
    Rather than presenting finished works, I want to collaborate with artists to create open structures where outcomes remain fluid and evolving.

  4. Curation as Process
    I see curating as something unfolding in time. Not a fixed result, but a process that’s shaped by those who enter the space and what they bring.

  5. Shifting Curatorial Authority
    What happens when curators give up control, and artists invite intervention? Can letting go create something more alive, more real?

These ideas became beautiful conversation starters. Some CAP students lit up when I described exhibitions as perception practice fields, or when I said, “What if we don’t design the message, but design a mood and let the rest happen?”

One of the artists, Sijia Chen, shared a tree with us—though not just any tree. This one was an installation made of welded steel branches, fuzzy pink yarn, and sparkling hanging ornaments. Right in the center stood a solid metal trunk, something she built herself.
She said it represents those immovable forces in our world—systems, structures, or maybe even fate. But what caught my attention were the branches. Around the steel frame, she invited us to add colorful bendable sticks (they had wires inside, so we could twist them into shapes).
People made spirals, loops, even strange little symbols. This wasn’t just decoration. She called it “an editable tree.”

And honestly, I loved that phrase.

The idea behind it was so powerful. Sure, the trunk—the core—is fixed. But everything around it? Open to change.
It’s a metaphor for participation within structure, for how individuals can intervene, re-shape, and re-narrate even within rigid systems. It reminded me so much of what I’m trying to do with Fluid Curating. Not to destroy the framework of exhibitions, but to invite others into it. To say, “Come, add your branch.” The editable tree became, in that moment, a perfect symbol of co-creation. It was poetic, but also quietly radical.

I walked away thinking: maybe my own curatorial space could offer this same gesture. A framework that’s solid, but soft around the edges. A space where people don’t just observe, but gently re-edit what’s there.

Another work that really stuck with me came from artist Xudong Jia. He showed us a digital interactive piece—on screen, it looked like pink flowers exploding outward, or maybe colorful ink swirling in water. It was beautiful at first glance, almost hypnotic.
Then he told us the title: The Evil Flower.

The screen was equipped with facial recognition. Every time someone approached, the image would shift. The flower would grow bigger, darker, more aggressive.
Jia explained that the piece was about the butterfly effect, about online violence—how no single snowflake in an avalanche is innocent. The more people watched, the more the flower “blamed” them.

It hit me hard. The interactivity wasn’t playful, it was accusatory. You weren’t in control of the work—it was confronting you. That twist in perspective really stayed with me. It wasn’t interaction for interaction’s sake; it was interaction as responsibility.
I kept thinking about how this could fit into my own idea of Fluid Curating—where audience behavior doesn’t just “complete” the exhibition, it actually shapes its emotional direction. What if interactivity could be unsettling? What if being seen by the artwork is part of the artwork?

This piece challenged me. And that’s exactly what I want my exhibitions to do.

🧠 Reflections and Next Steps

This session wasn’t just useful—it was moving. I left with several artists I’d love to follow up with. Some of them are exploring clay as a soft resistance. Others are working with sound, text, or ephemeral materials.
I can already imagine co-curating something gentle, open, and audience-responsive together.

In the next few weeks, I’ll be deepening my readings on participatory art and affective curating. I’ve already started noting quotes from Curating and the Educational Turn that feel like they’re speaking directly to what I’m trying to do:

“They seem to seek not the masterful production of expertise… but the co-production of question, ambiguity and enquiry.” (O’Neill and Wilson, 2013)

Yes. That’s exactly it.

This was more than a networking session. It was a seed-planting moment. And I’m already looking forward to what might grow.

W4-11:11 | The Curatorial Lucky Signal ✨

💡 This week’s key words: Co-creation, decentralization, curatorial responsibility

🌱 Curatorial team Progress: lucky number 11:11

This week, our curatorial group finally has an official name—11:11 ✨! The inspiration for this name came from one of my personal quirks—I always see 11:11 as a lucky moment. When I realized that our group had exactly 11 members, the name just felt right!
Why 11:11?
In the occult, 11:11 is known as an angelic number, symbolizing good luck, inspiration, and guidance.
The name reflects our vision for curating—we want to create an open, positive, and collaborative atmosphere, where everyone’s ideas can shine and contribute to something greater.
Curating is not just about exhibitions, it is about co-creation between people, and our group itself is an experimental space for collective growth.
My friend Yiran Gu and I both felt it was a great idea, so we brought it up to the group! 🎉
In addition, I helped further refine the group’s Mission Statement, which I proposed:
“Curating for the Future”
Curation is responsibility. From material selection to energy consumption, we integrate Sustainability into our curatorial practices, ensuring that our exhibitions are not only conceptually forward-looking, but also operationally consistent with environmental justice principles.

🚀 Personal curatorial project progress:

In terms of personal curatorial projects, I continue the vision of last week and continue to promote the research of Decentralized Curation. The focus of this week is to make my curatorial ideas more specific, gradually from concept to practice! 💡
🔍 What’s Next?
1️⃣ Deepen research on curatorial models based on blockchain
This week’s reading of Rugg & Sedgwick’s (2007) Issues in Curating Contemporary Art and Performance, which explores how curatorial power structures affect audience experience, got me thinking further:
Does decentralized curation really empower the audience, or is it just a “democratizing” strategy for curators?
At the same time, I’m looking at the case of the Zien Foundation, which uses the NFT to let the audience vote directly on the content of the exhibition, rather than the curators alone. This model is enlightening, but it also makes me wonder if “co-curating” is really fair. Or will it be dominated by economic capital?
2️⃣ Outline the exhibition layout & interactive tools
This week, I started thinking about how to make the audience really become part of the exhibition.
How can technology improve interaction? I studied Refik Anadol’s AI-generated curatorial experiment and wondered if AI could be a “digital curator” to help visitors generate a personalized exhibition experience.
How does NFT fit into the exhibition? I hope that every decision of the exhibition can be recorded on the blockchain, forming a “Living Archive”, so that curation is no longer static, but a process of continuous evolution.

🖼 Exhibition visit: Glasgow Kendall Koppe Gallery

This week I went to Glasgow to see The sun and the sun’s reflection at Kendall Koppe Gallery.
Rather than the exhibition itself, I am more interested in how it presents time, memory and longing. The exhibition raises an intriguing question:
Is memory a comfort or a constraint?
Is our obsession with the past an attempt to find ourselves, or an escape from reality?
The exhibition made me think about the other side of Archival Curation – curation is often the reproduction of history and memory, but if we have been immersed in memories, will we miss new possibilities? It also made me reflect:
Can my concept of “fluid curation” make the exhibition free from the “burden of the past” and become a space that is always evolving? 🤯

📌 Key Focus for Next Week

1.Continue to deepen the research on decentralized curation, especially the interactive model co-created by NFT and the audience.
2.Design interactive aspects of the exhibition, such as allowing the audience to vote on the content of the exhibition.
3.Explore the role of AI in curating and test the curatorial relationship between curator, audience and AI.

Bibliography

  1. Rosen, Aaron. 2021. “The Impact of NFTs on the Art Market: A Decentralized Approach.” Art Market Journal 15 (2): 45–58.
  2. Smith, John, and Emily Johnson. 2022. “Decentralized Curation: How Blockchain is Transforming Art Exhibitions.” Journal of Digital Art Economies 4 (1): 29–52.
  3. Thompson, Sarah. 2023. “NFTs and the Democratization of Art Ownership.” Cultural Policy Review 12 (3): 112–117.
  4. Williams, Mark, and Laura Stevens. 2024. “Challenges and Opportunities in Decentralized Art Curation.” On Curating 56: 78–95.
  5. Brown, David. 2025. “Top Auction Houses Courted the Crypto Crew — Is It Enough to Save Them?” Financial Times, January 22, 2025.

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