“China doesn’t have a rooted curatorial tradition. We don’t have the traditional art foundations and donations. In art institutions, which in China have only been around a couple of years, there is still some trouble reconciling the work between that of the curator and that of the management department. On the other hand, the development of Chinese art curation is very fast and promises a lot of chances. It can be odd, irregular, without many restrictions or taboos—breaking boundaries, which is actually a good thing.” — Qiu Zhijie, artist curator



In this section artist curators who work internationally will describe their own situations. It should be noted that those interviewed are not working in the commercial sector with private galleries and museums and the projects described are ‘not for profit’ collaborations.

For many Western practitioners (in all fields) the most striking feature of the Chinese art scene is the way in which everything seems to be organised not just at the last minute, but actually well after the last minute has passed. The speed at which things are organized, is both admirable on the one hand but borderline mad on the other, advance planning and preparation often has to be jettisoned in favour of improvisation.

Equally many artist curators like Brendan Jamison are concerned about the narrowness and ‘cliquishness’ of local art galleries and organizations which make it difficult for artists to develop an international practice and a more diverse network. No matter how difficult it can be to work internationally, the very act of travelling to another place, leaving one’s comfort zone is a valuable way of developing and maturing for artist curators.

The major challenges when curating exhibitions internationally remain those of:

  • logistics i.e. freight in particular
  • funding – most countries concentrate on funding projects within their own national boundaries
  • different expectations of local partners
  • lack of reciprocity often caused by unequal funding opportunities




同時,許多藝術家策展人,如布伦丹·贾米森(Brendan Jamison),擔心本土藝術畫廊和機構的狹隘和目光短淺使藝術家難以邁向世界發展,並且阻礙他們進入一個更多元化的領域。無論在國際上展露拳腳是多麼艱難的一件事,能夠挑戰自己,離開自身的舒適環境去到另外一個陌生的地域作探索,這對於藝術家策展人的發展和成長是彌足寶貴的。


  • 物流貨運
  • 資金--大多數國家只限於資助本土境內項目
  • 當地合作夥伴的期望差異
  • 由於不均的資金投入所引起的互惠參差


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