PREFACE
This blog will be updated weekly and will include a brief overview along with a detailed record in PDF format. All content may be adjusted and modified before the final submission. The blog structure will remain largely consistent each week and typically include the following:
- Key discussions and interesting insights from class
- Progress, outlook, and reflections on personal tasks
- Extended readings for the week
WEEK 1
This week marks the initial stage of the learning process. In the seminar, we exchanged our backgrounds, experiences, perspectives, and expectations regarding curatorial practice.
For details, please see: week1
WEEK 2
Glossary of Terminology
As my studies progress, I have compiled a bilingual glossary of specialized terms related to anthropology and curating. This glossary may continue to expand and will eventually become a PDF file.
| English | English Definition | ||
| Curating | 策展 | The process of organizing, managing, and showcasing art or cultural objects to convey a specific theme or concept. | 组织、管理和展示艺术作品或文化对象的过程，旨在传达特定的主题或概念。 |
| Curatorial Practice | 策展实践 | The process by which curators research, select, and present art to create meaningful viewing experiences. | 策展人通过研究、选择和展示艺术作品，创造有意义的观展体验的过程。 |
| Exhibition Design | 展览设计 | The planning and layout of exhibition spaces, including artwork arrangement, lighting, and signage to enhance experience. | 规划和布置展览空间，包括作品的布局、灯光和标牌，以增强观众体验。 |
| Thematic Exhibition | 主题展览 | Exhibitions organized around a specific theme or concept to explore a particular issue or phenomenon in depth. | 围绕特定主题或概念组织的展览，旨在深入探讨某一特定议题或现象。 |
| Retrospective | 回顾展 | Exhibitions that showcase an artist’s work or a particular period to review their creative journey and style evolution. | 集中展示某位艺术家或某个时期的作品，回顾其创作历程和风格演变。 |
| Biennial | 双年展 | Large-scale international art exhibitions held every two years to highlight contemporary art trends. | 每两年举办一次的大型国际艺术展览，展示当代艺术的最新发展和趋势。 |
| Site-specific | 场地特定 | Artworks created specifically for a particular location, emphasizing its relationship with the environment. | 为特定地点创作的艺术作品，强调与环境的关系和互动。 |
| Critical Curating | 批判性策展 | A curatorial method that critically examines art, society, and cultural issues to provoke thought and dialogue. | 以批判性视角审视艺术、社会和文化问题的策展方法，旨在引发观众的思考和讨论。 |
| Institutional Critique | 体制批判 | The critique of art institutions, power structures, and cultural systems through exhibitions or art practices. | 通过艺术作品或展览，对艺术机构、权力结构和文化体制进行批评和反思。 |
| Participatory Art | 参与式艺术 | Art forms that invite viewers to directly participate in the creation or exhibition process, emphasizing interaction and collaboration. | 邀请观众直接参与创作或展览过程的艺术形式，强调互动性和共同创作。 |
| Immersive Experience | 沉浸式体验 | An exhibition design approach that uses spatial, multimedia, and sensory interaction to immerse viewers in the content. | 通过空间设计、多媒体和感官互动，让观众全方位感受展览内容，增强参与感。 |
| Digital Curation | 数字策展 | Curating and displaying artworks using digital technologies (e.g., virtual reality, augmented reality) to expand accessibility. | 利用数字技术（如虚拟现实、增强现实）策划和展示艺术作品，拓展观展方式。 |
| Decolonial Curating | 去殖民化策展 | A curatorial approach that challenges the impact of colonial histories, emphasizing marginalized cultures and voices. | 通过展览挑战殖民历史的影响，强调被边缘化的文化和声音，促进多元化和包容性。 |
| Relational Aesthetics | 关系美学 | A focus on how artworks establish social relationships between people, emphasizing the social function of art. | 关注艺术作品如何通过互动建立人与人之间的社会关系，强调艺术的社会功能。 |
| Curatorial Statement | 策展声明 | A curator’s written explanation of the exhibition’s theme, concept, and selection of works to help viewers understand the context and intention. | 策展人对展览主题、概念和作品选择的阐述，帮助观众理解展览的背景和意图。 |
Temporary Notes: How can I make this portfolio more academic? It seems to have turned into a reflection journal, which might be due to the current reading load and lack of professional knowledge. What are some ways to improve this?
This week, in the seminar, we exchanged opinions on collective collaboration.
This week marks the initial stage of the learning process. In the seminar, we exchanged our backgrounds, experiences, perspectives, and expectations regarding curatorial practice.
(まつだい郷土資料館)
(まつだい郷土資料館)
alewisj
The initial part of your blog post resembles notetaking. While sharing your experiences is valuable, it’s crucial to convey your opinions about the subjects you discuss.
In your personal project outline, you clearly state-specific areas of interest, which is commendable. However, there is a lack of critical reflection. I encourage you to spend more time discussing why these theories captivate you. While it’s good that you recognize the need to gain general knowledge, you should do more than just list books. I hope you take the time to read these books and critically reflect on how the theories connect to your own interests and speculative project.
Your second post is much improved and has a very distinct voice. You reflect well on the group discussions and share your opinions on the theories and subjects discussed. It would be great to read your critical reflection on some of the books you listed in week 1. That way, you can include these theories in the development of your speculative project. Which brings me to this question: What is your speculative project idea?
Your third post is written in a very personal style, which makes it enjoyable to read. You provide valuable observations about your peers’ ideas, and I believe this will enhance your ability to reflect critically on your own thoughts. I agree that you should read Claire Bishop’s book more thoroughly and highlight the parts that interest you, especially those relevant to your own project. It’s great that you introduce your idea at the end of the post and raise some important questions. These questions will help you reflect critically and further develop your concept. Each of your blogs has shown improvement, and I feel that incorporating my feedback will aid in the development of your speculative
Yuman Ma
Your blog is structured to reflect clearly on the course content and personal projects, and you can reflect on your classmates’ ideas through class discussion and apply them to your personal project planning. In addition, each of your blog posts mentioned the problems that you need to think about and solve for the next week, I think this part is excellent, and helps you to conduct project research more logically.
In addition, I think your personal project idea is very innovative, but the specific venue and artists to be invited, the art installation, and the media required for the exhibition need to be considered at present. As for the question you mentioned at the end, I think we can first determine the curatorial form and content that you are interested in, and then look for professional books to read. I am looking forward to seeing the further development of your project! 😸
s2665510
After reading your blogs, I was impressed by the clear structure and organisation of the content. You have skilfully combined a collective collaborative discussion with individual curatorial programmes, enabling me to clearly understand the development of your thinking.
In your blog, you documented in detail Kate’s critique of the National Portrait Gallery (NPG) exhibition from the class discussion, pointing out that its content was outdated and failed to meet the needs of a diverse contemporary audience.
Additionally, you list a number of relevant books, such as Paul O’Neill’s The Culture of Curating and the Curating of Culture(s), suggesting that it might be better for you to share your experiences after reading them to explore how these theories have influenced your curatorial thinking?
In the third blog, you discussed initial ideas for a personal curatorial project and offered pertinent advice on a classmate Yiran Gu’s project, pointing out possible ethical issues. And you engaged in critical thinking, which I should learn from.
s2665510
After reading your blogs, I was impressed by the clear structure and organisation of the content. You have skilfully combined a collective collaborative discussion with individual curatorial programmes, enabling me to clearly understand the development of your thinking.
In your blog, you documented in detail Kate’s critique of the National Portrait Gallery (NPG) exhibition from the class discussion, pointing out that its content was outdated and failed to meet the needs of a diverse contemporary audience.
Additionally, you list a number of relevant books, such as Paul O’Neill’s The Culture of Curating and the Curating of Culture(s), suggesting that it might be better for you to share your experiences after reading them to explore how these theories have influenced your curatorial thinking?
In the third blog, you discussed initial ideas for a personal curatorial project and offered pertinent advice on a classmate Yiran Gu’s project, pointing out possible ethical issues. And you engaged in critical thinking, which I should learn from.
alewisj
Pitch Feedback
The feedback from your peers focused on your clear exploration of capitalism and video games, effectively tracing shifts from post-Soviet 1960s gaming to contemporary in-game economies as capitalist systems. Strengthening the connection between storytelling and hardware evolution would enhance depth. Clarifying location, audience, and display methods—perhaps referencing the DDR Museum’s object framing—would improve clarity. Incorporating visuals and exploring the domestic-to-public gaming experience could also strengthen engagement.
Your curatorial pitch presents a well-researched and engaging exploration of the relationship between capitalism and video games, effectively structuring the exhibition around narrative, devices, and systems. The timeline format provides a clear way to map the industry’s evolution, and the inclusion of interactive elements, such as playable exhibits, ensures strong audience engagement.
Your analysis of monetisation, microtransactions, and commercialisation is particularly compelling, though refining the balance between the three themes could strengthen the exhibition’s focus. Are devices given as much depth as narrative and systems? Additionally, while the case studies are relevant, considering diverse global perspectives beyond dominant Western and East Asian markets could broaden the exhibition’s scope.
Your key questions are insightful, particularly regarding content overload and thematic weight. Streamlining the exhibition’s scope and reinforcing its curatorial argument could improve clarity. This is a highly relevant and thought-provoking proposal with strong critical depth. Also, including digital mock-ups and more images of the consoles and computer games would help illustrate your ideas further.
Blog Feedback
Your initial use of the blog is very clear and concise. However, it is clear you have not posted on your blog since Week 3. Therefore, I cannot offer you any feedback. This is a shame, as your PowerPoint presentation was interesting and raised many important questions on how to develop your speculative project. Your project is very interesting; however, it is a shame that I am not able to provide further feedback at this stage.
Yiran Gu
Yiran Gu’s Peer Review
Beichen Huang’s blog is well-structured, covering class discussions and SICP with clear PDF inserts. Play and Pay explores how capitalism shapes video games through Narrative, Devices, and Systems, using interactive gameplay to engage visitors and highlight market influences on gaming.
1.Curatorial Concept and Thematic Structure
I believe Play and Pay successfully establishes video games as a significant contemporary art medium, challenging their marginalization. Beichen effectively addresses this important research gap, linking games to cultural identity, social structures, and capitalism through Daniel Muriel and Garry Crawford’s framework. The exhibition follows an interdisciplinary curating approach, integrating video games, cultural studies, and socioeconomics to explore gaming’s evolution within capitalist structures. The exhibition thoughtfully examines how capitalism shapes gaming through Narrative, Devices, and Systems, clearly illustrating shifts in storytelling, platform accessibility, and monetization models, reflecting broader economic and social transformations.
Beichen rose the concern: “Does the exhibition feel too much like a traditional museum display, lacking curatorial individuality?” I suggest strengthening the argument that video games as a contemporary art medium by clearly defining their connection to art. This can be supported through theoretical analysis and comparisons with other art forms, making the exhibition more curatorial and academically rigorous.
Video games combine video art, experimental short films, and strong interactive art. Unlike traditional linear storytelling, they are directly related to multiple contemporary art practices. Interactivity is their most unique feature, requiring players to actively engage and influence the work’s outcome. This reminds me of key interactive and participatory art examples:
Tino Sehgal’s Constructed Situations https://www.guggenheim.org/artwork/artist/tino-sehgal ; https://www.artforum.com/features/no-pictures-please-the-art-of-tino-sehgal-171414/
Rain Roomby Random Internationa https://www.random-international.com/rain-room
2. Further Analysis: How Capital Shapes the Gaming Industry
I believe there should be a deeper analysis of how capital shapes the artistic aspects of video games. The exhibition mainly explores how capital drives the gaming industry’s growth, but could it refine this discussion by examining Narrative, Devices, and Systems in more detail?
Narrative expands through IP and transmedia storytelling, increasing brand value. Devices shift to cross-platform and cloud gaming, expanding users and moving from one-time purchases to services. Systems focus on microtransactions and games as a service, ensuring long-term updates and continuous spending. A deeper analysis would enhance the discussion.
3.Exhibition Presentation and Audience Interaction
I believe Play and Pay enhances audience engagement through interactive gameplay and a timeline-based structure. Visitors play games directly, aligning with contemporary curatorial trends. This shows that Play and Pay incorporates relational aesthetics theory, enhancing the exhibition’s playability. The approach aligns with contemporary curatorial trends. The 1970s–2020s timeline helps non-specialist audiences understand video games’ historical development under capitalism.
However, three areas need improvement:
Accessibility – Non-gamers may struggle to understand the content. Game explanation videos and background on gaming culture could help.
Feasibility – The exhibition requires 12 spaces, raising concerns about scale. Merging rooms and increasing thematic interactions could improve execution.
Operations & Maintenance – Interactive gameplay may cause overcrowding. Strategies to control audience flow are needed. Technical failures are common in interactive exhibits, so a maintenance plan and support team would ensure smooth operation.
4.Comparison and Reflection on My Curatorial Practice
Both my curatorial practice and Play and Pay emphasize audience participation, but in different ways. Beichen uses playability to explore capitalism’s impact on gaming, while I focus on video, sound, and installation, examining Ghost Art’s fluidity. Beichen structures the exhibition with zoned curation, while I adapt to Telfer Subway’s spatial constraints.
This comparison makes me reflect on curatorial methods and audience experience. Interactive exhibitions attract specialized audiences but may limit accessibility—should I incorporate immersive narratives? Spatial strategy also shapes curation; Beichen’s zoned approach contrasts with my need for modular curation. Lastly, medium selection influences engagement—video games are inherently interactive, while my focus on marginality and fluidity raises the question: Could digital media enhance accessibility?
5.Theoretical Support
Linking ro DiscoverEd:
1. Artificial Hells: Participatory Art and the Politics of Spectatorship by Claire Bishop https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/7g3mt6/alma9920191243502466
2.Installation Art by Claire Bishop https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/7g3mt6/alma9913417013502466
3. Participation by Claire Bishop https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/7g3mt6/alma9912828623502466
4.Relational Aesthetics
https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/110jsec/alma9913416983502466
5.Live Performance and Video Games: Inspirations, Appropriations and Mutual Transfers https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/1viuo5v/cdi_ssoar_primary_document_98822
6. Matteo Bittanti, “GameScenes: Art in the Age of Videogames” https://ed.primo.exlibrisgroup.com/permalink/44UOE_INST/1viuo5v/cdi_proquest_miscellaneous_2847237929
7.Videogames: Design/Play/Disrupt – V&A Museum https://www.vam.ac.uk/exhibitions/videogames?srsltid=AfmBOoqOmghwDtueKZ5whiSGCsJZUqod2YWb4WEy8wX6ePqXkuSl9Z8l