Lecturers: Dai Jinhua, Sun Bai, Teng Wei, Zhao RourouRead More
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Lecturers: Dai Jinhua, Sun Bai, Teng Wei, Zhao RourouRead More
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13: 00-14: 00, November 4
Meeting point: Reception, Inside-Out Art MuseumRead More
On the afternoon of Saturday, Oct 27, Inside-Out Art Museum is to host the first curatorial workshop of its Exhibition as Exhibition Curatorial Workshop Series. Convened by Senior Curator of the Inside-Out Art Museum Su Wei, and art historian Mia Yu, the workshop will take the form of lectures and discussions and constitute a “liquid collective”.
Our purpose of delivering this workshop in the first place is to deal with the doubt and anxiety about curation that have been plaguing the art industry over recent years. Our purpose is not to repeat again the persistent topic as regards what can be done by curating, but instead to take our current situation as a starting point, bring our experiences, dilemmas and problems in our curatorial efforts to light to share with each other, and listen to each other’s opinion. It has become apparent to us that, to rigidly follow theoretical texts, to flourish “jargons” unthinkingly, to speculate in front of power and profits, and to cater to the new moves made in the art market in recent years, are all becoming new temptations and obstacles in the field of curation. Given the circumstances, how should we look sensibly at our historical background and intellectual context, how should we continually analyze the discourse coming out of curation, and how should we widen our vision and deepen our insights in taking research perspective and theoretical position? Those are the questions we are going to pose.
Having invited 10 young curators, the workshop will be an occasion for internal sharing among practitioners. All participants are requested not to take the formal speech tone or to speak of industry opportunities or obstructed interpersonal relations. Instead, all participants should bring up practical issues in the most free and straightforward manner, not only sharing gains and experience, but facing up to scrutiny and criticism from others as well.
The event is open to the public.
Conveners: Su Wei, Mia Yu
Time: 1:00 - 6:00 pm, Oct 27, 2018
Venue: Conference Room, Inside-Out Art Museum, Beijing
Session 1 | Conversation
Archaeologies of the Present: A Curatorial Approach
Speakers: Marco Scotini, Mia Yu
Time: 1:00 - 2:00 pm
Marco Scotini, Italian curator who has curated the second edition of Yinchuan Biennale this year, will have an English conversation with art historian Mia Yu, under the title Archaeologies of the Present: A Curatorial Approach. The two speakers will focus on Marco Scotini’s hands-on experience in curating biennales and the “peripheral biennales” recently booming outside the centers of Europe, so as to discuss how curators understand geographical politics, how to effectively mobilize cultural resources of the target region, and how to inspire a new type of regional narrative with an in-depth grasp of history.
Marco Scotini, Art director of Milan FM contemporary art center and director of the NABA visual art and curation program at the new academy of fine arts in Milan.
Mia Yu is an art historian specialized in modern and contemporary art in Asia, the editor-at-large for Yishu: Journal of Contemporary Chinese Art. She locates her work at the critical intersection between art historical writing, curatorial practice and artistic creation.
Session 2 | Curatorial Workshop
Participants: Chao Jiaxing, Zian Chen, Yuan Fuca, Hu Hao, Song Yi, Wang Dan, Xia Yanguo, Yang Zi, Yin Shuai, Stefanie Yuen King Chow
Time: 2:00 - 6:00 pm
From Research to Curation | 2:00 - 3:00 pm
Wang Dan: “Building a Type of Dialogue Mechanism”
Zian Chen: “Is There a Critique of Science Fiction?”
Hu Hao: “From a Researcher to a Curator”
Wang Dan, chief editor of ePublicArt and the researcher of the International Public Art Award. She graduated from Goldsmiths College, the University of London and obtained the Master of Fine Art in curating in 2011. She is currently a Ph.D Candidate of Legal History at Law School, East China University of Political Science and Law.
Zian Chen is writer and curator who currently works as a researcher for Long March Project in Beijing.
Hu Hao, born in Zhucheng, Shandong in 1990, is a book editor, art researcher, and curator based in Beijing. He holds a BA in Philosophy and a MA in Aesthetics from the Renmin University of China.
Practitioners and Institutions on the Move | 3:00 - 3:45 pm
Song Yi: " Curatorial Inclusion at the Time of Political Exclusion"
Xia Yanguo: “The Situation of Non-profit Art Space: From the Practice of de Art Center”
Song Yi, curator, writer and filmmaker, is co-director of “Institute For Provocation” and one of the founders of the Migrant Workers Video Collective based in The Culture and Arts Museum of Migrant Labor in Pi village.
Xia Yanguo, based in Beijing, independent curator, art critic and founder of de Art Center.
Whose Field Dose Curation Belong To | 4:00 - 5:00 pm
Yang Zi: "The Value of Curation: What Object Deserves to Be Exhibited?"
Yin Shuai: "Questions and Reflections on Contextualized Exhibitions"
Chao Jiaxing: "The Forms of 'Public Sphere'"
Yang Zi received his bachelor’s degree in philosophy and religious studies from Nanjing University and is currently a publication and exhibition coordinator for UCCA.
Yin Shuai, curator, lives and works in Milan. In 2015, he started to work with Italian curator Marco Scotini (artistic director of FM Centro for art contemporary) as curatorial assistant.
Chao Jiaxing is senior curator at the Start Museum in Shanghai.
It’s Not a Romance: Curator and Artist | 5:00 - 6:00 pm
Yuan Fuca: "My time, Creativity and Situated Knowledge"
Stefanie Yuen King Chow: "How can 'I' be 'Your' Subject? ——The Curatorial Challenge of Intergenerational Communication"
Yuan Fuca is an independent curator, critic and co-founder of research-based curatorial studio Salt Projects in Beijing. Her current research primarily concerns the visual cultures of Pan-Asia and with special emphasis on performance, video and other non-traditional media in contemporary art, film and theater.
Stefanie Yuen King Chow is a researcher and writer. She was the editor-in-chief of Treasure Page in Ta Kung Pao. Currently, she writes art-critic columns for Artouch and Artplus while having her PH.D study on Art Philosophy at Peking University. She is also the author of A Flaueur’s Europe (2015) and Qingsi Set (2016).
About Exhibition as Exhibition Lecture & Forum Series
Exhibition as Exhibition is a series of lectures and forums initiated by Carol Yinghua Lu, Director of Beijing Inside-Out Art Museum. This project places ‘exhibition’ at the heart of the issue, and considers it equivalent to artistic practice. This project aims to establish and define the built-in attributes and associated domains of exhibition-making, and to explore the aesthetics of exhibition and the potential of curatorial language in today’s artistic practice, discourses, and socio-political contexts.
The autonomy of exhibition making is underlined by the belief in exhibition maker as the subject of practice, thus the discussion of exhibitions should be rooted in the specific contexts and cognitive systems intrinsic to each culture, each artistic researcher and each exhibition maker. While researches and exhibitions are confronted by pressure of the global discourse and art systems of other regions, we regard the subjects of practices as points of connectivity. We intend to reactivate the nature of exhibition making as a form of subjectivity and for it to enter into a dialogue with contemporaneity, through inviting exhibition makers to share their understanding of the position of the subject of curatorial practice within the art system and the art discourse, by revisiting art history and making detailed investigations of art history, and by differentiating and analyzing artistic practices based in specific cultural contexts and creative backgrounds.
It is an important prerequisite for this project that we believe exhibition practice and its subjectivity could transcend the art mechanism and the market order, and could go beyond the boundary and rigid consciousness in the understanding of artistic creation, research, system and discourse. To return to the issue of ‘exhibition’ in the present, and to make visible the internal logic and motivations of exhibition as the field of knowledge production is not merely to respond to the dilemma of curation in the global discourse, but to try to re-activate the inward observation, and to embark on the journey while fully recognizing existing limitations and specific practices in the rapidly changing contemporary context.
This project will invite curators and writers from home and abroad to contribute to the discussion by sharing their first-hand experiences and concerns from their work at the frontier of exhibition making.
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Keynote Speaker: Jörg Heiser
Time: 14:00 – 15:30
Venue: Conference Room, Inside-Out Art Museum
Together with Cristina Ricupero and Gahee Park, Jörg Heiser co-curates the Busan Biennale 2018 which is themed around artistic perspectives onto divided territories. Torn apart are not only territories – nations, or formerly ethnically connected regions, usually by war, colonization and/or hostile estrangement – but also, importantly, psyches. What kind of sentiments and conditionings does the splitting of territories induce in people’s minds in general, and artistic minds specifically? Vice versa, what kinds of mindsets induce the splitting in the first place?
The biennale – the underlying theme of which is explained in this talk – approaches these questions through the lens of looking at Cold War mythology, and through Science Fiction scenarios. The psycho-mapping of split territories means to ask how the political, economic, and military powers have created ways to inhabit the world, and vice versa, how these ways either reinforce or erode these territorial divisions. What are the struggles resulting from this relationship between psyche and territory, individual and community or people?
About the Speaker
Participants: Rouzbeh Akhbari and Eshrat Erfanian (Artists in Residency at Inside-Out Art Museum)
Time: 15:45 – 17:15
Venue: Conference Room, Inside-Out Art Museum
This conversation was developed pursuant to ongoing conversations between this month’s artist residents at Beijing Inside-Out Art Museum, Rouzbeh Akhbari and Eshrat Erfanian, and the Inside-Out Museum’s curatorial staff. Akhbari and Erfanian are different generation Iranian-Canadian artists with a research-driven practice and a shared interest in political economy, urban theory and politics of contemporary image production and distribution. In this event, they will build upon short anecdotes detailing the socio-political contexts framing their departure from Iran and their transition into the arts. This will serve as a starting point to portray a broader image of the minutiae of forces at work in Iranian contemporary art today, particularly under the rigid western-backed sanction regimes that have crippled the mainstream economic structures of the country.
In hopes of dissecting the complexity of the international gaze upon Iran’s contemporary art scene, this conversation will reflect on a major exhibition of Iranian artists presented in Toronto’s Agha Khan Museum last year, and question its formation as a cultural product primarily constructed for an exotifying western consumer. In contrast, the artists will elaborate on the role of international residencies and alternative/noncommercial spaces that have pried open new opportunities for Iranian artists to engage in important conversations, exhibitions and knowledge sharing within the Global South. Lastly, the conversation will end by situating the current state of affairs in Iran’s arts scene today within the greater regional consciousness of the Arab Spring and its political byproducts.
About the Participants
The Exhibition Crescent: Retrospectives of Zhao Wenliang and Yang Yushu will come to a close on July 1, 2018. We are honoured to invite Professor Dai Jinhua from the Peking University as keynote speaker to join our closing ceremony. This is also the first presentation of our new lecture series “ China as an Issue” (updated from the previous Interim Meetings project) . After the lecture, we will have a book launch for the exhibition catalogue, and the participating artists of Crescent will join a booking signing session as a sweet end to the exhibition. We will also invite our 8 volunteers who participate in guided tours during the exhibition period on each weekend, thanking them for their contributions by offering them an opportunity to have a close-door dialogue with the two artists.
Join us on July 1!!!
China as an Issue Lecture Series (3)
Keynote Speaker: Dai Jinhua
The 20th century in China is undoubtedly an era when both Chinese society and civilization witnessed radical transformations. This lecture intends to draw from the convention and rhetoric of historical narratives -“rupture” and “continuation”- to discuss the cultural symptom of China’s modern history narrative in the 20th century and even the 21st century, which contains ruptures and deficiencies, memories and amnesia, delirium and speechlessness. It further investigates the loss and restoration of historical memories, exploring the social process and cultural dilemma between the recovery and loss of our historical memories, and reflect on the path and possibility of cultural memory and historical narrative.
Dai Jinhua, lives and works in Beijing. Graduated from the Department of Chinese Language and Literature at Peking University, she taught in the Department of Film and Literature at the Beijing Film Academy for 11 years. She started to teach at the institute of Comparative Literature and Comparative Culture in Peking University since 1993. She is Distinguished Professor of Humanities, Peking University, Director of the Film and Culture Research Centre of Peking University. Her research area includes film, mass media and gender studies. She offers dozens of courses including Intensive Film Studies, Chinese Film Cultural History, Theory and Practice of Cultural Research, Gender and Writing etc. She has lectured over ten countries and regions in Asia, Europe and North America. She published more than 10 monographs. Her monographs and papers have been translated into English, French, German, Italian, Spanish, Japanese and Korean. Representative works include: Scenes in Fog, Film Criticism, Invisible Writing, Yesterday's Island, Gendering China, and etc.
Inside-Out Art Museum has started out a series of work with the intention to better understand ourselves since the beginning of 2017. We continuously return to the local sites of art and intellectual histories, searching for threads of ideas, logic of language, and concepts of art that continue to exert impact on us in spite of multiple changes of time and space. Insisting on facing the realities in China and the issues of it, we strive to track the development inherent in art history using suitable methods on the premise that we are a part of History, Asia, and the Globe.
For a long time in China’s art world, many art practitioners yearn for and wish to learn from Europe and North America’s art, art historical narratives, theories, institutional practices and system construction, which are regarded as effective reference and universal experience. In the current practice of many art museums, similarly, it has become an increasingly widespread phenomenon to import star artists, curators, or ready-made practices effective in the Western context, and to worship them as a classic without reservation.
There is a lack of interest in the in-depth discourses on ourselves or our problems, so is there a lack of confidence and methodology to form our own inner tensions. Even when confronted with work to comb through our own history, practitioners in China’s art world tend to display their unfamiliarity and arrogance of ignorance. It is against this background that the Inside-Out Art Museum practices. By describing differences, returning to ourselves, and more importantly, by appealing and mobilizing, we wish to take the lead to improve initiative and develop in-depth observation in China’s art world, while constantly re-visiting the historical context and political situation of our work.
Therefore, we decide to raise the agenda “China as an Issue” for further discussion on the basis of our previous project series “Interim Meetings”. “China as an Issue” is the starting point inherent in all our work that is neither a nationalist viewpoint nor an ambition driven by the imagination of nation-state. We raise this issue in consideration of the specificity of our practice, because China, as the place and settings where our practice takes place, is our existence and reality. Another consideration relates to the situation that our peers within and without China have displayed excessive neglect of the issues of China as well as the thoughts and practices generated here. We question and criticize the revelry and fantasy resulted from the flattening of history and cultural relativism in global discourses.
With the appeal to re-imagine and historicize ourselves, at the beginning of 2018, we initiated “Interim Meetings”, a project that includes writing, lecturing and publishing. The project proposes to consider the present time as an object of continuous dialogue and identification, and to repeatedly view the growing and changing trends inside and outside the art world. We hope that, through this project, we can inspire actions and discussions in the art and culture industry to face up to the realities. In the past several episodes of “Interim Meetings”, we invited active researchers and young peers in the art community to participate in the project and share their achievements in their respective practices. Now, we have decided to clarify our appeal to present “China as an Issue” as an upgraded version of this project. This upgraded project will keep focusing on new thoughts and practices arising from reality, while trying to refine its background and position in the history and present.
“China as an Issue” is not a slick mirror image that responds to the opportunistic actions in the dominant nationalist narrative, nor does it present an insular tendency to reject foreign theories in the research of domestic issues. Rather, it is the foundation of our practice and vision, as well as the boundary to be challenged; it is a critical viewpoint born out of cultural, historical and political relatedness instead of exclusiveness. We would like to invite and call upon our peers in the art and academic circles again to participate in our following lectures, exhibitions, publications, and to start the debate and discussion on “China as an Issue”.
On the last day of Crescent: Retrospectives of Zhao Wenliang and Yang Yushu, we are honoured to invite the two elderly artists to the museum. We will have a book launch for the exhibition catalogue, and the artists will join a booking signing session as a sweet end to the exhibition. We will also invite our 8 volunteers who participate in guided tours during the exhibition period on each weekend, thanking them for their contributions by offering them an opportunity to have a close-door dialogue with the two artists.
Zhao Wenliang (b. 1937) and Yang Yushu (b. 1944) are the central figures of the loosely organized Yuyuantan Painters School emerged in the 1960s and the No Name (Wuming) Group emerged in the 1970s. From 1963 onwards, Zhao engaged himself in out-door sketch practice and persisted in painting and sketching by all means during the Cultural Revolution. He had influenced a group of young fellow artists during those years. On December 31, 1974, Zhao organized and participated in an underground art exhibition of what was to become the No Name Group. The exhibition was held at Zhang Wei’s residence (Room 305, Fusuijing Building, Beijing). Zhao then organized and participated in the first and second public exhibitions of the No Name Group (Hua Fang Zhai, Beihai Park, Beijing), in 1979 and 1981 respectively. Yang Yushu, who sees Zhao as his mentor of painting, participated in all those exhibitions as well. Invited by Liu Haisu in 1983, Zhao and Yang participated in the Five Painters Show at the residence of the poet Huiwa. In 1984, a German friend invited them to hold a one-week exhibition at his place at the Beijing Friendship Hotel. They held the Joint Exhibition of Zhao Wenliang and Yushu at the National Art Museum of China in 2004. In 2006 and 2007, they participated in the retrospective exhibition of the No Name Group (Beijing, Shanghai and Guangzhou).
Speakers: Claire Roberts, Liu Ding
Time: 2pm, April 21, 2018Read More