About Knowledge
This week’s course introduced the overall objectives, concepts, and learning outcomes of the curatorial program. Particular emphasis was placed on authentic learning, encouraging us to engage with the real world and undertake genuine, creative learning and practice during the curatorial process. The lecture also introduced the new characteristics of contemporary curating under the context of Broken Globalisation, highlighting care, creativity, criticality, and collectivity.
About the Discussion
During the class discussion, Kate raised the issue of the general applicability of curating and criticized certain exhibitions at the National Portrait Gallery (NPG), arguing that their content appeared outdated and failed to meet the diverse needs of contemporary audiences. She also pointed out problems in some curatorial practices, such as over-exaggeration and commercialization, where exhibitions focused excessively on visual impact or marketing while neglecting the depth of curatorial themes and the actual experience of the audience. Finally, she mentioned the phenomenon of curation moan, referring to the dissatisfaction among industry professionals and visitors with curatorial work—often due to overly obscure curatorial texts, unclear narratives, or a lack of logical connections between works. These critiques reflect the ongoing challenge in the curatorial field of balancing tradition and innovation, as well as visuals and content.
About My Project
For the final assessment of this course, my curatorial goal is to design an interactive exhibition centered around minority groups. I am aware that this is only a starting point and will require further exploration and refinement. During the discussion, we were encouraged to articulate the direction we wished to pursue for our exhibitions. I find that I often need a long time to think through such questions. Although I have a clear sense of what I am passionate about, when it comes to shaping it within a specific academic framework, there are always some distortions and adjustments. For now, I know that I want to design an exhibition that genuinely emphasizes interaction—rather than simply filling a space with endless installation artworks!
The curatorial methods I plan to focus on include:
① On-site interaction: Face-to-face communication can offer audiences a strong emotional impact, providing a more immersive experience than static exhibitions.
② Spatial interaction: The exhibition area could include enclosed spaces, creating opportunities for those who find direct communication challenging.
③ Extension of social action: The exhibition could incorporate on-site questionnaires or audience feedback, enabling anthropologists to observe and carry these voices beyond the exhibition space to influence broader social conversations.
(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