This 13-week blog collection shows a coherent and gradual in-depth thinking track, including SICP and JIJU Collective practices. SICP started from the exploration of self-portrait and timeliness and slowly turned to the exploration of visibility and finally decided to take “some kind of absence” as the theme. However, although both SICP and JIJU Collective haveContinue reading Peer review of Yande He’s project
Introduction This paper focuses on a core issue: in the practice of curation, how can I change the exhibition from “reproducing cultural content” to “generating meaning structure”? This change can be understood by Roland Barthes’ analysis of “myth”: myth is not a narrative content, but a continuous meaning production system (Barthes 1972). At theContinue reading Critical Reflection
1) Project Title, Time, Description of the Lead Image Project title: When Animals Speak the Language of Power Time and duration: 11 June – 18 June 2026, open to the public) Lead Image: The main drawing of this project selects the image fragment form in the artist Eryao’s work “Wishing Your Child Becomes a Dragon”:Continue reading Project Summary
From Accessibility Strategy to Curator Ethics In my curatorial thinking of When Animals Speak the Language of Power, I began to pay attention to “who can enter this public space”. In view of the repulsion caused by the extensive use of black box space, low-light environment, and image devices in the exhibition, I put forwardContinue reading Week 13 | Beyond Accessibility: Towards Anti-ableist Curatorial Practice
Beyond the exhibition: from archives to publication Continuing the idea of “curation is translation” in Week 1 and the generation of “public” in Week 11, this week I began to reinterpret “archives” as an integral part of the exhibition structure, rather than an after-the-fact record. In space, using display cases to present text fragments, mythologicalContinue reading Week 12 | Beyond the Exhibition: Archive, Publishing and the Circulation of Meaning
After Kirsteen’s lecture on “Public and Public Programmes” this week, I began to re-examine the essence of the exhibition. It is not only a spatial structure but also an open platform jointly shaped by the public. As mentioned in the lecture, the public is not the audience that passively receives information but should be regardedContinue reading Week 11 | Reflection on curation: the construction from “audience” to “public”
Curatorial experiment and materialization of identity “Our Shell” is designed by JIJU Collective, which is not only a curatorial experiment but also a deep reflection on identity, belonging, and spatial adaptability. Using the metaphor of “hermit crab”, the exhibition discusses how overseas individuals construct temporary living spaces. In this process, I acted as aContinue reading Week 10 | Starting from “Our Shell”: Practice Record of JIJU Collective Exhibition
Black box as a method After visiting the exhibition of Talbot Rice Gallery, my most direct gain is not from a specific work but from the way it uses the “black box space.” Through the treatment of black shading cloth, a local spotlight, and overall dimming, the exhibition wraps the audience in low illuminationContinue reading Week 9 | Light, Space and Control
From Three-Tier Structure to Power as a System In previous curatorial research, I framed the exhibition around the question of how mythical animals operate as a system of power across three levels: family, state, and cosmic cognition. At the state level, represented by Ai Weiwei, myth was situated within historical and political narratives. Drawing fromContinue reading Week 8 | When Animals Speak the Language of Power
The Choice Logic of Returning to the Core Characteristics of Works In the previous research, the project hopes to use Ai Weiwei’s “The Animal Head of the Twelve Zodiacs” as an important reference. However, for the student curatorial project with a budget of about 10,000 pounds, the cost of transportation, insurance, installation, and loan exhibitionContinue reading Week 7 | From research to situated feasible exhibition structure
