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Author: s2814160

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Crowded streets of Edinburgh.

This week’s course, through further study of exhibition ethics and the inspiring personal insights of Talbot Rice gallery’s curator, James, on exhibition curation, has led me to have a deeper reflection on my exhibition project. I intend to clarify my third-week exhibition thinking by answering the five questions posed by James in class. Why exhibit? […]

sunflower seeds This is a large-scale immersive art installation in the Turbine Hall of Tate Modern in London. The entire space is a towering, industrial-style building. The entire floor of the exhibition hall is covered with hundreds of millions of handcrafted porcelain sunflower seeds. A person wearing a blue and pink checkered sweater and white pants is lying spread-eagle on the seeds, and in the distance, two other people are sitting and relaxing on this surface.

During the Week 2 course, I noticed several key words. Here, I would like to share with you my thoughts on the deep connection of phrases, some issues I discovered, and some inspirations for my own curatorial ideas. The first one is “dematerialization”, which marks a shift in artistic practice. Art is no longer confined […]

The film is projected onto the floor, featuring archival footage and drone shots that weave together historical fragments and nature-related scenes. Audience seats are arranged in a circular formation around the projection area. You can sit anywhere in the circle, facing the floor to focus on the visuals—like gazing through a "portal" in the ground into the world of the film, and immersively feeling the interplay of history and memory.

To understand issues, we must break free from a one-dimensional perspective.   When I was studying the course, I found that there were three terms that hindered my understanding: Anthropocene, Capitalocene, and The Billion Black Anthropocenes. After establishing a clear understanding, I connected the internal relationships among these three phrases, which form a progressively deepening […]

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