Introduction She Was Called a Witch takes the witch as a starting point to examine how language defines witches and disciplines women through works by contemporary women artists. The exhibition is an in-person group show developed through a feminist curatorial methodology. I first discuss the concept and structure of the SICP, then the conceptual and […]

She Was Called a Witch 18–26 July 2026 Opening hours: Mon–Fri: 10 am–7 pm Sat–Sun: 10 am–8 pm curatorial narrative text A mysterious woman with supernatural power? A seductive, dangerous, and fascinating figure? A “sinner” judged by history and burned at the stake? Or a feminist symbol of resistance? The “witch” has never been a […]

Most of your blog posts establish a connection to the course content. This effectively demonstrates how you integrate theoretical concepts from the course with practical experience. However, you could analyse more specifically how course ideas shaped your curatorial decisions. Your Curatorial Pitch has a clear framework, but it would be stronger with specific artists and […]

In my Week 6 blog post, I discussed how public programmes can expand the boundaries of an exhibition, mainly at a theoretical level. Now, I want to integrate them more directly into my solo exhibition and consider how they can be organised in practice.   I plan to organise two public programmes: a herbal book […]

During this week’s group discussion, I offered suggestions for my peers’ curatorial projects. I found that these suggestions not only helped them refine their projects but also helped me improve my own.   My advice to Houde focused on his online exhibition experience. He designed a website, and from a visitor’s perspective, I believe he […]

Through this week’s group project, I realised that artworks are not simply placed within a space. Their meaning is shaped by the venue’s structure, viewing routes, stopping points, and interpretive texts.   During the exercise, we photographed possible locations and discussed what kinds of artworks they might support. Throughout this process, my own judgments were […]

During a class discussion, I was advised to incorporate activities into my art exhibition. This led me to reconsider the boundaries of an exhibition. In Curating and the Educational Turn (2010), O’Neill and Wilson point out that contemporary curating is undergoing an “educational turn,” in which exhibitions are no longer merely displays of finished works […]

During the group discussion at Summerhall, a member once again pointed out an issue with my work: even though the exhibits were clearly arranged, the exhibition lacked a strong connection to the theme of “witches.” She suggested that I could deepen the exhibition’s connection to witches by creating a specific atmosphere within the venue. This […]

This week’s course content reminded me of the blog post from Week 4 on “curatorial archives.” It got me thinking: if my project is meant not only to present authentic history but also to translate historical materials into the language of an authentic exhibition, how should I select artworks? I ultimately chose Carolyn Sutton’s Witches […]

Based on course feedback, I decided to reexamine my curatorial framework—the Triple Goddess (Maiden–Mother–Crone).   Janet Pérez is a scholar specializing in Spanish literature and mythological symbolism. In her 1987 article, she analyzed how the Triple Goddess operates in literature. She noted that this structure is linked to the three phases of the moon and […]