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Exhibition as Exhibition Curatorial Workshop Series I

Beijing Inside-Out Art Museum

Exhibition as Exhibition  Curatorial Workshop Series I: Liquid Collective

Exhibition as Exhibition Curatorial Workshop Series I: Liquid Collective

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

Language: English

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.

Tea Break

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.