About Knowledge

This week, I focused on understanding the invisible infrastructures that support exhibitions—such as logistics, insurance, contracts, and accessibility requirements. I studied documents like Paying Artists Exhibition Payment Guide and Creative Scotland’s Fair Work Guidance, which emphasize ethical financial practices when commissioning artists and running public programmes.
I realized that an exhibition is not only an aesthetic or intellectual endeavor but also a legally and economically bound project that must protect all participants, from artists to assistants to visitors.

About Discussion

In our seminar, we discussed the ethical dimensions of budgeting and project planning. Some peers were surprised by the extent to which logistics dictate creative freedom: from the cost of shipping artworks to the complexity of event insurance. I particularly resonated with the idea that good project planning is itself a form of respect toward collaborators—acknowledging their labour, time, and risks through fair compensation and responsible organization.

About My Project

This week, I finalized the budget for Play and Pay. I carefully categorized expenditures into necessary costs (venue, rental equipment, insurance, transport) and atmosphere costs (decoration, retro props), creating a financial buffer space.
I used reliable online sources for each item (eBay, rental services, insurance quotes), ensuring traceability for all budget lines. I also prepared multiple funding applications, estimating that even if only minimum grants were secured, I would still maintain basic operational viability.
This logistical preparation, often overlooked, was a key moment where the abstract exhibition vision became a practical, deliverable reality.

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References 

WEEK 8 INFRASTRUCTURE / Beichen Huang / Curating (2024-2025)[SEM2] by is licensed under a