This curatorial project explores how traditional art can operate within contemporary exhibition frameworks—not as preserved heritage, but as an active narrative structure. The theoretical foundation of this project draws from Roland Barthes’s argument in Mythologies that: Myth is not a story, but a system of communication. If myth is a structure that naturalises ideology, then curating mythContinue reading Curatorial Pitch: Twinkling Dragon: Myth as Structure in Contemporary Curation

1.1 How do you understand “traditional art”? 1.2 Is it a technique, a cultural memory or a language that needs to be updated for you? 2. Did you consciously “inherit” a certain tradition when you wrote “Looking for a Dragon”?   3. Do you think traditional art needs to be “protected” or “translated” today? 4.1 DoesContinue reading Interview with the artist Eryao

This week marks the turn of my curatorial research, from analysing theoretical texts to having a direct dialogue with the artists behind Wishing Your Child Becomes a Dragon. In view of my broader curatorial theme to discuss the relationship between traditional and contemporary, this interview will be a key step to understand how tradition is reinterpreted inContinue reading Reading week | Rewriting Tradition: Preparing to Interview the Artist of The Desire for a Child to Become a Dragon

The exhibition space is dark at first. Twinkle of light, translucent image moving on the screen-hand-controlled silhouettes swaying between light and shadow, the image of a dragon gradually appears. In shadow play animation, the image is never static; it depends on projection, motion, and time. This week’s lecture on “Temporal Art Curation in the Post-MediaContinue reading Week 5 | Twinkling Myth: Planning Dragon Narration in the Digital Image Age

How can narrative itself continue to operate in contemporary curation and shape our understanding of power, gender, and viewing style? In this week’s group discussion, we made clear the curatorial position of Ji jü Collective. Ji jü comes from “hermit crab,” which symbolizes the state of constantly changing shelter. This “non-belonging” curatorial condition keeps usContinue reading Week 4 | From Myth to Method: An Ancient Narrative as a Contemporary Curator

A Discussion Starting from The Children Are Now Exhibition Introduction This week, I visited the exhibition “The Children Are Now” at the Talbot Rice Gallery. The exhibition focuses on the theme of children’s rights, addressing the impact of the education system, institutional environments, and power structures on children’s growth. However, one of the video worksContinue reading week3| Ethical Dimensions in Curation

How does contemporary curatorial practice reinterpret historical works?   Introduction In the continuous exploration of the “bridge between tradition and contemporaneity”, I gradually realised that the issue is not only about how curatorial methods can update traditional art but also about whether historical works themselves can still be activated by contemporary questions. This prompted meContinue reading week2| How do historical works become contemporary art? From conceptual contemporaneity to curatorial methodology

How does contemporary curation “translate” traditional art?   Introduction In the contemporary art context, curation is no longer a neutral act of display. Carolee Thea, in “On Curating”, defines the curator as a “mediator” and “translator”, a perspective that has profoundly influenced my thinking on curation. Curation establishes the conditions for viewing and understanding forContinue reading week1| The Practice of “Translation” in Contemporary Curation: How Traditional Artworks Are Transformed into Immersive Perceptual Experiences