In the process of planning the exhibition, I gradually realized that the reasonable arrangement of Timeline and Budget is not only a technical work, but also has a deeper relationship with the quality and possibility of curating.
In terms of timeline, I think the early theoretical research and direction determination are the most critical stages of the entire project. This part requires a lot of time to read the subject literature, case analysis and repeated deliberation, because once the theoretical framework and narrative logic of the exhibition are established, the subsequent execution work (such as artist contact, space planning, text writing, etc.) can be steadily advanced in a relatively ample time. Therefore, scientific and reasonable concentrated investment in the early stage can leave more room for unforeseen adjustments and details to be improved in the future, and can also effectively reduce the pressure and risks in the curatorial process.
In terms of budget, as emerging curators, we generally face the reality of limited resources, which means that every expenditure must be considered more carefully and meticulously. Budget is not only about cost control, but also affects the curatorial strategy itself. For example, when I participated in a communication meeting with CAP students at WEEK8, I noticed that one of the blue and white porcelain works was actually found by the artist at a garbage dump for 4 pounds. This case made me deeply realize that low budget is not necessarily a limitation. On the contrary, it can inspire higher creativity and resource integration capabilities. Curatorial thinking should also change from this, no longer regarding high budget as the only guarantee of quality, but learning to explore potential and tell good stories under limited conditions.
Overall, Timeline and Budget are not only operational links in curatorial practice, but also important fields to test the curator’s coordination ability, judgment and creativity. In future projects, I hope to continue to cultivate this curatorial awareness with strategy and flexibility as the core, so that the exhibition can still show distinct criticality and vitality under limited resources.
