Inside-Out Practice | The Journey to Becoming Yishu’s Writers: Alternative to Museums: The Challenges and Possibilities of Public Art in Shanghai
In the afternoon of March 20, curator Huang Wenlong will take us on a guided tour of the exhibition and introduce the interview series in the exhibition space. Yishu’s writer Julie Chun will also share her observations on public art in Shanghai.
Huang Wenlong has been working in the research and curatorial department at the Beijing Inside-Out Art Museum (IOAM) since 2019. She researched Wen Hui’s choreography practice. She co-curated An Impulse to Turn, From Art to Yishu, From Yishu to Art and she curated Wang Huangsheng: Publishing Enables Thinking Out Loud.
Julie Chun is an American Art Historian of Korean ethnicity based in Shanghai since 2011, where she has been critically observing and documenting the growth of the art world in Shanghai. Beginning in 2013 to present, she serves as the Art Convener of the Royal Asiatic Society China where she devotes her time to expanding the public’s understanding of artistic objects, past and present through monthly public forums where no two events have been the same. Her personal research interrogates the social value and worth of Chinese contemporary art in society and its aspects of publicness and relational engagement. She lectures frequently for various foreign associations in Shanghai, including the foreign Consulate General offices and is currently an adjunct professor of Art History for the Global Institute at East China Normal University. She has taught previously for International Study Abroad programs at Donghua University and Shanghai University of Finance and Economics. She remains a regular contributor to Yishu Journal of Contemporary Chinese Art since 2014 and her art reviews and criticisms have been published in academic and art journals in China and internationally, including the Journal of Contemporary Chinese Art, the Journal of the Royal Asiatic Society China, British Council NOW, LEAP, ArtReview Asia, Art Forum China, Randian, Shanghai Daily, among others.
While the production and placement of art in public spaces is generally founded upon utopian ideals that seek to bridge art and the community, the realities of seeing such projects to completion are often riddled with contentions. Moreover, with the enormity of China’s geography and the localized characteristics of its various regions, the notion of “public art” can become further mired in the debate of who is the public, where is the public and who “speaks” for the public, that is more complex in China than possibly anywhere else.