Tag: Experimental Curation

In ✨ Individual Curatorial Project: Fluid Curating, 💬 Peer Exchange & Curatorial Dialogue, 📚 Curatorial Theory & Literature Reflection, 🧭 Field Notes & Exhibition Visits

This week, I visited CORPSE FLOWER, an exhibition curated by MA Contemporary Art Practice students at Inverleith House, Royal Botanic Gardens Edinburgh. The show examined the delicate balance between fragility and resilience in plant ecosystems, mirroring the fleeting bloom of the Titan Arum (the “Corpse Flower”)—which flowers for just a day before decaying. 🌺💫

This exhibition deeply resonated with me, not just for its ecological themes but for the way it embraced temporality, audience engagement, and archival thinking—all of which directly relate to my Fluid Curating project. This blog will reflect on key aspects of the exhibition and how they inform my curatorial framework.

🌱 Experiencing CORPSE FLOWER: A Meditation on Impermanence

As I walked through the exhibition, I was struck by how each work invited contemplation of the life cycles of nature, the passage of time, and the act of preservation. The curators used the spatial setting of the Royal Botanic Gardens effectively, situating art within an environment where organic life itself is in a constant state of change.

Curatorial Highlights That Stood Out:

Interactive Art & Audience Participation: Touch-Responsive Installation

One installation featured a digital projection of Mimosa Pudica (sensitive plants) that reacted to touch, folding its leaves when engaged.

The instructions guided visitors to interact carefully, mimicking the natural responses of living plants.

This created a haptic, embodied experience that was both scientific and poetic.

Interactive video：Touch-Responsive Installation

🔍 Relevance to Fluid Curating:

This installation demonstrated how simple, intuitive interactions can create a sense of immersion and engagement—something I aim to integrate into my AI-driven curatorial interfaces.

The delicate balance between control and unpredictability in the piece (the plant reacts in real-time, but only within predetermined parameters) reflects my challenge in Fluid Curating:

- How much agency should an audience have in shaping an exhibition?
- Where does the curator’s role shift from author to facilitator?
- Could AI-generated curatorial statements behave like these plants—reacting, adapting, yet following certain structural constraints?

Archival Curation: Layla Knox’s “Rounding Up the Aliens” (2025)

This mixed-media installation reinterpreted Ida Margaret Hayward’s herbarium, a historical collection documenting non-native plant species in the UK.

The artist used vintage textiles, lace, and wool to reconstruct botanical forms, evoking themes of colonial botany, migration, and ecological displacement.

A poem from Hayward’s 1918 scrapbook was displayed, reinforcing the interplay between personal memory, scientific taxonomy, and artistic interpretation.

🔍 Relevance to Fluid Curating:

This piece prompted me to reconsider how curatorial practice can function as an evolving archive. Much like how Hayward’s herbarium was continually expanded, my project envisions an exhibition that accumulates audience contributions over time, rather than being fixed.

Additionally, the use of alternative materials to represent botanical specimens aligns with the way I want to explore the intersection of digital and physical archives—how do digital objects (such as NFTs) function as archival markers of artistic practice?

Bridging These Insights with My Curatorial Approach

The exhibition left me reflecting on how natural systems provide a compelling model for digital, decentralized curation. Some key takeaways for my project:

1. The Archive as a Growing Organism

Hayward’s herbarium was a dynamic archival practice—it documented, categorized, and evolved.
This is precisely what blockchain technology enables in Fluid Curating: an exhibition that records curatorial decisions over time, allowing for an expanding, decentralized archive.
I plan to further explore “Living Archives” (Färber, 2007) and how new media artists are using dynamic data-driven archives to rethink preservation and authorship.

2. Intuitive, Tactile Participation in Digital Curating

The touch-responsive plants in CORPSE FLOWER reminded me that interactivity should feel natural and rewarding.
Instead of making audience engagement a purely gamified voting process, I want to design AI-curated elements that respond meaningfully to audience actions—perhaps an exhibition layout that shifts in real time based on interaction metrics.
Exploring Claire Bishop’s (2012) work on participatory art can help clarify the power dynamics at play in audience-driven curation.

3. Temporality as a Curatorial Strategy

The Corpse Flower’s one-day bloom and the fleeting nature of the exhibition resonated with digital culture—where NFTs, algorithmic art, and blockchain transactions create moments of scarcity and ephemerality.
How might I introduce time-sensitive elements into my exhibition? Could digital works evolve, decay, or disappear over time based on market trends or audience interactions?
I plan to research Hito Steyerl’s (2017) writings on the “duty-free art” economy—how digital art exists in flux, between presence and absence.

Next Steps: Integrating These Learnings into Fluid Curating

1. Refining the “Living Archive” Framework

Reviewing case studies of AI-driven curation, particularly in NFT and digital museum settings.
Mapping how blockchain could structure a decentralized exhibition history—should audience votes be permanent, or should the system allow for reversible decisions?

2. Experimenting with Interaction & Participation

Developing an interface that reacts dynamically—perhaps using algorithmic clustering to visualize shifting audience preferences over time.
Researching the balance between curator-led vision and decentralized audience influence.

3. Implementing Temporality & Scarcity into the Exhibition Model

Exploring whether certain exhibition phases could be time-sensitive, requiring participation within specific windows.
Investigating how NFTs could function as time-based contracts, altering their appearance or metadata as the exhibition progresses.

Final Reflections: Curating as an Evolving Ecosystem

Experiencing CORPSE FLOWER reinforced my belief that curating should be an ongoing, adaptive process rather than a static event. The show’s reflection on impermanence, ecological cycles, and audience interaction pushed me to think deeper about how my own exhibition should:

Evolve dynamically over time—shaped by audiences, AI, and external forces.
Encourage intuitive participation—making audience engagement feel organic rather than imposed.
Challenge the limits of authorship—exploring how power, control, and decision-making shift in decentralized curatorial models.

Fluid Curating is becoming clearer in my mind—not just as an exhibition format, but as a way of rethinking how art is displayed, archived, and experienced in an ever-changing digital world. 🌊💡

📚 References & Further Reading

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso, 2012.
Färber, Alexa. Exhibition Experiments. Blackwell, 2007.
Martinon, Jean-Paul. The Curatorial: A Philosophy of Curating. Bloomsbury, 2013.
Rugg, Judith & Sedgwick, Michele. Issues in Curating Contemporary Art and Performance. Intellect, 2007.
Steyerl, Hito. Duty-Free Art: Art in the Age of Planetary Civil War. Verso, 2017.

💬 What do you think about shifting authorship in curation? Should exhibitions be fixed, or fluid? Let’s discuss in the comments! 💭

Mar 4, 2025

W3-Rethinking My Curatorial Project: From Symbolic Power to Decentralized Ecologies

By Hanyun Xue

On 3 February 2025

In ✨ Individual Curatorial Project: Fluid Curating, 📚 Curatorial Theory & Literature Reflection

🎨 Introduction: A Shift in Perspective

Over the past week, my curatorial approach has gone through a major transformation. Initially, my project was an extension of last semester’s research, focusing on value construction and symbolic power in the art market 🎭, particularly how auctions shape the perception of cultural value. This was a familiar territory for me, something I had explored during my time at Sotheby’s.

But after diving into this week’s readings 📚—especially on archival studies, decentralization, and participatory curation—I started to realize: my curatorial approach could be bolder, more open, and more experimental.

I found myself increasingly drawn to decentralized curation and the NFT market 🔗💡—especially how they challenge the traditional role of curators and redefine audience participation. This realization pushed me out of my comfort zone , but it also led me to a more dynamic, experimental direction that better connects with my background in the art market. So, I decided to shift my curatorial framework and develop “Fluid Curating: Experimenting with Decentralized Art Ecologies and Archiving” .

💡 What Changed My Thinking?

Throughout my readings, a few key texts and ideas significantly influenced my thought process:

1️⃣ Curation is a Dynamic Process, Not a Static Product

Reading The Curatorial: A Philosophy of Curating by Jean-Paul Martinon (2013) really struck a chord with me. I was particularly drawn to his idea that curating is not just about putting works of art together, but a constantly changing, continuous process of generation. This got me thinking, why can’t the exhibition be more “fluid”? Could it be a space shaped by multiple forces, rather than a framework decided unilaterally by the curators? 🤔

2️⃣ Curation as a “Living Archive” Instead of a Static Record

In Living Archives (Färber, 2007), I saw a new way of curating – that archives could not only be static records but also evolving active ecology. It dawned on me that curation could actually become an open “archival system” in which audiences, artists, and even AI could contribute to its evolution.🏛️➡️💻

3️⃣ NFTs and the Decentralization of Curatorial Power

I used to think of NFTs mainly as digital collectibles, but after reading Issues in Curating Contemporary Art and Performance (Rugg & Sedgwick, 2007), I began to think: Can NFT be a curatorial tool? If the way artworks are displayed can be recorded via blockchain, then the exhibition itself becomes a transparent, traceable process, giving the audience greater decision-making power.🤯

4️⃣ The Potential of AI in Curating

Refik Anadol’s work and Algorithmic Curation (Golding, 2011) made me rethink AI’s role in exhibitions. AI can analyze market trends, generate curatorial texts, recommend artworks, and even predict future artistic movements 🔮. What does that mean for curators? Could AI become a co-curator rather than just a tool?

“Fluid Curation” : My new curatorial concept

“Curating on the Move: Experiments and Archives in Decentralized Art Ecology” is an experiment in future curatorial approaches. This project combines the NFT art market, AI curatorial models and audience co-curation to create an exhibition model that is not restricted by traditional institutions. Its key features include:

🔹 Living archival curation

Every curatorial decision will be recorded on the blockchain, resulting in an open and transparent curatorial history.

The exhibition will not be fixed, but will evolve with the contributions of the artist and the audience.

🔹 Audience as co-curators

Viewers can vote on which works are shown or removed.

Interactive installations allow visitors to generate curatorial texts either on-site or online.

🔹 AI combined with NFT market

AI analyzes NFT market trends and predicts future art genres.

Exhibition works circulate directly on the NFT market, making the exhibition not only a display space, but also a trading space.

🔹 Experimental market curation

Viewers and collectors can trade art directly through smart contracts.

Set up a real-time bidding system to test how the market influences curatorial decisions.

🚀 Next Steps: Making This Vision a Reality

🔍 What’s next?

1️⃣ Deepening my research on blockchain-based curatorial models to refine the decentralization aspects.

2️⃣ Sketching out exhibition layouts and interactive tools to create an immersive experience.(leveraging technology partnerships for implementation 🤝💡)

3️⃣ Sharing my ideas in group discussions to explore potential challenges and refine my approach.

✨ Final Thoughts:

The process of writing this blog has made me more clear about my curatorial direction. I hope my project is an exploration of future curatorial possibilities. Through NFT, AI and audience co-curation, I wanted to see: How can curators work in a more decentralized curatorial model? How does the dynamic nature of the art market fit into the exhibition?

📌 What are your thoughts on decentralized curation? Feel free to discuss in the comments! 💬

📖 References

Brown, Stephen, and A. Patterson. 2007. Imagining Marketing Art, Aesthetics and the Avant-Garde. Routledge.

Deleuze, Gilles, and Félix Guattari. 1994. What is Philosophy? Columbia University Press.

Deleuze, Gilles, and Félix Guattari. 2004. A Thousand Plateaus. Bloomsbury.

Färber, Alexa. 2007. “Exhibiting ‘Science’ in the Public Realm.” In Exhibition Experiments, edited by Paul Basu and Sharon Macdonald, 211–232. Blackwell Publishing.

Golding, Johnny. 2011. “Fractal Philosophy (And the Small Matter of Learning How to Listen): Attunement as the Task of Art.” In Deleuze and Contemporary Art, edited by Ian Buchanan and Nicholas Thoburn, 37-72. Edinburgh University Press.

Martinon, Jean-Paul. 2013. The Curatorial: A Philosophy of Curating. Bloomsbury Academic.

Rugg, Judith, and Michele Sedgwick. 2007. Issues in Curating Contemporary Art and Performance. Intellect.

Feb 3, 2025

W2-Initial Thoughts on My Curatorial Project

By Hanyun Xue

On 27 January 2025

In ✨ Individual Curatorial Project: Fluid Curating

Title: Speculative Curation: Exploring Symbolic Power in the Art Market 🎨💡

Introduction: My Theme and Background

Lately, I’ve been brainstorming ideas for my curatorial project, and I’ve decided to focus on “Value Construction and Symbolic Power in the Art Market.” This theme was inspired by my personal experiences—working at Sotheby’s made me realize that the value of art isn’t just about the work itself. It’s shaped by a complex interplay of cultural, economic, and social factors. The price tag? That’s just the surface. The real power lies in the narratives and systems behind it.

This theme aligns perfectly with the values of our course, especially the ideas of relational and critical curating. I want my project to explore how auctions construct cultural meanings and challenge viewers to rethink the invisible mechanisms of the art world.

Initial Research and Course Insights

As I began my research, the concept of the “Capitalocene” (thanks to our lectures!) became a key lens for my thinking. It frames capitalism as a force that shapes not just economies but also culture and societal structures. This helped me see the art market as more than a transactional space—it’s a microcosm of modern power dynamics.

One example that stood out during our class discussions was the “24/7” exhibition (2020, Somerset House). This show explored the relationship between time and consumer culture, and it sparked my thinking about how auctions—both brief and performative—are like ritualized spectacles of cultural value.

I’ve also been diving into the work of Andreas Gursky, particularly his piece 99 Cent (1999). His hyperreal depiction of consumerism highlights the tension between the mundane and the symbolic—something I think is deeply relevant to the art market.

📖 References:

•Gursky, A. (1999). 99 Cent. C-Print.

•Bourdieu, P. (1984). Distinction: A Social Critique of the Judgment of Taste. Harvard University Press.

Gursky, A. (1999). 99 Cent. C-Print.

(Source:https://www.andreasgursky.com/en/works/1999/99-cent/zoom:1)

Speculative Curation: My Format and Approach

For my project, I’m envisioning a participatory, interactive exhibition that simulates the experience of an art auction. My goal? To let visitors step into the roles of bidders and experience how value is constructed in real-time. Here’s my current plan:

🎤 Main Exhibition Areas:

1.“The Auction Room”:

•A multimedia installation recreating the atmosphere of a high-profile auction. Participants can bid on artworks using virtual tokens, deciding on their value based on provided backstories.

2.“Behind the Scenes”:

•A display showing how artworks are marketed and their values shaped by institutions, media, and collectors.

🤝 Interactive Elements:

•Visitors will anonymously “bid” on artworks and see how their choices affect the final outcome.

•A live projection of data will show how each piece’s “value” evolves based on audience participation.

This participatory model reflects the “relational curating” we discussed in class. By involving the audience, I hope to transform them from passive viewers into active participants in the symbolic power dynamics of the art world.

Critical Reflection: Challenges and Next Steps

Of course, the complexity of this theme presents challenges:

1.Simplifying Complexity:

•The art market involves multiple layers (economic, cultural, political). How do I simplify this for my audience without oversimplifying the meaning?

2.Engaging Participation:

•How do I ensure visitors engage meaningfully with the auction simulation, rather than seeing it as just a “game”?

To tackle these, I plan to:

•Research case studies of famous auctions (e.g., record-breaking Sotheby’s sales) to find accessible yet impactful examples.

•Get feedback from peers and tutors to refine the interactive elements and ensure they resonate with viewers.

Next Steps and What I’m Looking Forward To

🔍 What’s next?

1.I’ll dive deeper into auction case studies and symbolic capital theories.

2.Begin drafting initial sketches of the exhibition layout and interactive elements.

3.Share my ideas in group discussions to get feedback and refine my approach.

✨ What I hope to gain:

•Insights from my classmates on how to make the interactive elements more impactful.

•Suggestions on how to balance the educational and participatory aspects of the project.

Closing Thoughts

Writing this blog has helped me organize my thoughts and refine my project focus. I’m excited to explore how art auctions are not just about selling artworks but about constructing entire systems of meaning and power. I look forward to getting feedback from everyone—every perspective helps me improve! 😊

(P.S. If you’ve been to an art auction or have thoughts about symbolic power in art, I’d love to hear your insights in the comments! 💬)

Jan 27, 2025