Hey Yiran Gu!
Your recent blogs offer a glimpse into your curatorial process, with reflections on the site-specificity of your project Echo of Petals in the Dark, as well as the application of theoretical frameworks such as your concept of Ghost Art. You also delve into observations on contemporary art exhibitions you have visited. I enjoy how your blog includes a mix of both updates on your SICP, as well as examples of engaging with materials beyond the project. Each post addresses different stages and considerations in your curatorial practices, which provides a rich (if not slightly fragmented) narrative.
Week 6 provided an insightful overview of the CAP exhibition Corpse Flower. Your ability to contextualise the exhibition is refreshing, offering perspectives I hadn’t considered. Your analysis of Keyi Ju’s The Latest News was especially thought-provoking – questioning whether or not the artist should have explored other mediums beyond newspapers when representing the manipulation of contemporary news in their work. I also appreciated how you included your previous engagement with one of the artists Layla Knox and her work at the beginning of the academic year, adding a personal dimension and new level of understanding to your blog.
Week 7 is well-structured and demonstrates strong engagement with the Glasgow course trip, focusing on the curatorial methods used by each institution. However, extending your analysis with personal commentary would enhance it. You do this effectively in Week 6 when discussing the CAP exhibition, balancing description with critical reflection.
Week 8 provides a structured summary of the peer feedback on your SICP, with concise reflections on each point, demonstrating your ability to engage critically and refine your project. You then expand on Ghost Art, offering a more in-depth explanation of the theories informing your concept. Your articulation of Ghost Art—as art that utilizes temporary, unconventional methods to create fleeting urban interventions—resonates with Week 9’s discussions on ephemeral art and its archiving. In your Week 5 blog, you briefly mentioned that the SICP would culminate in a publication of oral histories and local anecdotes about Telfer Subway. You might find Mathilde Lavenne’s TROPICS (2019) relevant. In this work, Lavenne captures scientific data through an anthropological lens, using a FARO scanner to create a phantom map of territories. The piece, reminiscent of a dreamscape, explores how land holds memory. Its ghost-like quality aligns with your exploration of ephemerality and could inform your approach to archiving your SICP. You can view an extract here: TROPICS (2019). The third part of your blog briefly introduces two case studies. While they are interesting additions, they feel somewhat disconnected from the rest of your discussion. Integrating them more cohesively—perhaps in an essayistic summary that links them back to your SICP—would strengthen their relevance. I am also unclear on their direct relation to your project, so further reflection on their significance would be helpful.
Overall your blog demonstrates a clear engagement with the course material. I would love to hear your voice in your writing, especially in Week 7 and parts of week 8. However your passion for your SICP shines through, with the blogs dedicated to this project going into great detail and showcasing the thought and consideration that has gone into each and every aspect (I really enjoyed your explanation of the name ‘Echo of Petals in the Dark’ from Week 5).
