Yande, I am very happy to enjoy your blog.
The exhibition “A Certain Absent” designed in your blog makes the audience unable to see clearly and incompletely through blurred, delayed and fragmented images, thus slowing down the viewing pace and rethinking “how do we see and understand images”.
Your concept was not like this at very beginning, but was reconstructed through continuous revision, which showed the progressiveness and consistency of your curatorial thinking when you read your blog step by step.
第2周以“自画像与时间性”为起点，第4周发展为“I–We–They”结构，第7周在 Hito Steyerl 的影响下转向“可见性机制”，最终在第8周《A Certain Absence》中转向对“可见性条件”的整体探讨。
Your blog concept develops clearly and continuously, not fragmented records. There is real critical reflection.
You have a strong research orientation.
例如，第1周已引入 Ana Bilbao 关于“微策展”的讨论，以及 Carolee Thea 将双年展视为“实验室”的观点，体现出对策展规模与结构问题的初步思考。这一理论线索在后续持续发展：如第5周通过 Amelia Jones 关于“可见性生产身份”的论述，进一步深化对肖像与身份机制的理解。
Your quotations have become the cornerstone of the evolving curatorial concept, showing the depth of continuous research.
Although the theory has a high degree of participation, its transformation into curatorial practice is still limited. This shows that the theory exists more as a conceptual framework than as a specific curatorial methodology.
例如，第5周对 Jones“可见性”理论的讨论，以及第7周受 Steyerl 启发提出的“延迟可见性”，主要停留在概念层面。在第8周《A Certain Absence》中，虽然提出“模糊、延迟与碎片化”三种图像策略，
However, how these concepts specifically affect art selection, spatial arrangement or audience experience has not been fully explained. Suggestions are further clarified: how the theory guides the selection of works of art, space design and audience path. For example, you can refer to the cases in “Curatorial Activism” or “Curating Research” as discussed in Reilly (2018) and O’Neill and Wilson (2015)about how the theory is transformed into a curatorial strategy, so as to strengthen the operability of the theory.
可执行性问题（重点批评）（这个可以通过后面最终版本再调整！！！）
项目在可执行层面仍有明显不足。尽管第10周已引入 Leith Makers 作为潜在场地，并初步考虑空间与灯光，但关键策展要素仍未充分展开。例如，缺乏对目标观众、展览时长、公共项目及空间布局的系统说明；观众动线与整体展览结构亦未清晰呈现。
因此，该项目目前更接近概念性提案，而非完整的可执行策展方案。
建议补充具体框架，如明确受众定位、展览周期，并提供基础平面布局或观众路径。同时，可引入讲座、工作坊等公共项目，以拓展展览的策展维度。参考如 Tate Modern 或 Serpentine 的策展实践，有助于理解展览与公众项目之间的关系。
Blog keeps a continuous record of the collective process of JIJU collective.
例如第3周提出“hermit crab”隐喻，第9周进一步描述“frictions”与分工过程，体现出对协作经验的观察。
But in the whole, these contents mainly stay at the descriptive level, and the connection between collective curation and your personal curation is weak. Maybe you can find the connection with your own projects in the process of collective curation, whether it is the process of conceptual conception or the process of arranging exhibitions, and see what can be turned into personal curation experience. For example, emphasizing temporality and dependent environment from “hermit crab metaphor”, can this cause you to think about the “visibility condition” in your exhibition “A Certain Absent“? It can be further developed into: how the works “reside” in space and how to exist depending on light, position and viewing angle?
I hope my comments and suggestions can help you.
Bibliography
Reilly, Maura. Curatorial Activism: Towards an Ethics of Curating. London: Thames & Hudson, 2018.
O’Neill, Paul, and Mick Wilson, eds. Curating Research. London: Open Editions, 2015.
- 做图片
- 最后HYD完成之后对她blog的toolkit评价一下（再给额外的参考文献）
