1.预算问题 2.周边和档案问题 3.可访问性问题 2.Archiving and Exhibition Souvenirs According to my research, Summerhall provides display cabinets that can be used to present process documentation, research materials and sketches, texts, and publication fragments In addition, literary materials related to mythological animal such as folktales, poems, or cultural texts. They can also be included to expand the interpretive framework of theContinue reading week12 draft预算和周边和档案

Following the reflections on last week’s curatorial practice, I began to reconsider the exhibition not only as a spatial and visual structure, but as a public-oriented platform shaped by its audience. While previous research focused on narrative, media, and spatial control, this week shifts attention toward who the exhibition is for, and how engagement can beContinue reading Week 11 | From Exhibition Space to Public Engagement

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 veryContinue reading Peer review

宣传/艺术市场并不在要求中，因此要把这个发现点转变为展览要吸引什么样子的观众，也就是目标观众是谁。   Curatorial Practice and Identity Transformation with “Shell” as the Core This week’s study and practice revolve around the exhibition “Our Shell” of JIJU Collective, which is not only the landing of a curatorial project but also an in-depth exploration of identity, space, and sense of belonging. In concrete practice, I gave full playContinue reading week10｜Starting from “Our Shell”: Practice Record of JIJU Collective Exhibition

  选择summerhall的原因：在第x周前往summerhall的活动时，发现summerhall环境地理位置不错，既有展览空间也有公共活动空间。在最后说选择的这个summerhall的窗户有这个自然光影的效果，然后对比去看展览时的窗户、JIJU collective的时候的窗户自带的光影效果。（会给作品增添氛围感）。（然后引发思考：户外光线天气不可控，因此可以安装灯光控制透过窗户射进展厅内补光（当光线不足时）   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 audienceContinue reading week9｜Light, Space and Control

From three-tier structure to generation mechanism In the previous curatorial research, I set the core issue of the exhibition as “How mythical animals operate as a power system”. This framework is mainly divided into three levels: family, country and cosmic cognition. At the country level, represented by Ai Weiwei’s works, mythical animals are placed inContinue reading Week 8｜When Animals Speak the Language of Power

预算的时候说清楚因为我们许多作品在国外，运费大概在多少上下。 1.summerhall的选择场地的平面图 2.参考图片和参考文献 Understanding enforceability from cases The exhibition “Disappearance at Sea” of the Baltic Center for Contemporary Art focuses on the dangerous journey of refugees and immigrants across the Mediterranean and discusses issues such as death at sea, displacement, and border politics. It does not rely on a super-famous work to support the themeContinue reading week7｜ From research to executable exhibition structure

Through this comparison, my curatorial goal gradually becomes clear: to show how mythical animals form power structures on different scales, from family daily life to national history, and then to cognitive system. 通过这种比较，我的策展目标逐渐明朗：展示神话动物如何在不同尺度上形成权力结构，从家庭日常生活到国家历史，再到认知系统。正常推演应该是：先分析已经选择好的eryao的权力与神话动物的关系（家庭权力），然后横向搜索有关权力或者神话动物的展览，引发分析有没有不同尺度的权力去表达，再去找艺术家。最后确定选择好的艺术品清单。eryao定格动画/皮影。aiweiwei这个雕塑群。kiki的装置、插画或者别的。 1.选择艺术家eryao kiki aiweiwei 2.参考图片和文献 Myth and power: the change of research direction This week, my curatorial research further focuses on the relationshipContinue reading week6| Mythical Animals and Power Structures

注意修改！eryao的作品首先是皮影挂墙作品。然后是blackbox里的定格动画。投影部分可以用相应的文字/诗歌来代替定格动画的画面。以及更新summerhall的平面图和具体租用价格，并且在介绍选择summerhall的时候是因为它种类丰富，有展览也有可以举办公共活动的地方。 Project Overview This curatorial project explores how traditional mythological imagery can operate within contemporary exhibition frameworks—not as preserved heritage, but as an active narrative structure that continues to organise perception, identity, and social expectation. Drawing from Roland Barthes’s proposition that “myth is not a story, but a system of communication,” the exhibition approaches myth not as narrativeContinue reading Curatorial Pitch

图片可以加入关于望子成龙故事背景帮助理解 From “tradition” to “language”: the turn of curatorial problems This week, my curatorial research shifted from the analysis of theoretical texts to direct dialogue with the artist Eryao, which not only deepened my understanding of the works but also prompted me to rethink the position of “tradition” in contemporary art. Contemporary expression and displayContinue reading Reading week |Understanding Tradition in Dialogue: An Artist Interview