Creating / Curating


《愚公计划》THE FOOLISH OLD MAN PROJECT (Still in Progress)

Project Proposal for 2019 Bi-City Biennale of Urbanism \Architecture (UABB), Shenzhen, China

The multimedia installation, The Foolish Old Man Project, includes texts, illustrations, recorded dialogues as well as images generated under the cellular automaton logic. In addition, the interactive rules symbolize the algorithms of swarm collaboration and life planning in the story. By having visitors negotiate among themselves to complete tasks through moving the objects on display, the project’s concept of swarm intelligence is revealed. 


《红钩岸上的迷思》THE ENIGMAS AT RED HOOK (Still in Progress)

Residency at DE-CONSTRUKT, Red Hook, Brooklyn, New York

Attracted by Red Hook’s urban-retreat location and anti-Manhattan lifestyle, I came to a residency at DE-CONSTRUKT to conduct research and collect oral history from the community. I would refer or adapt the regional stories and eventually create urban legends that are born from the neighborhood, so as to endow the final work with the locals’ common emotions and belongingness.

To narrate the complexity of residents’ desires, preoccupations and fears of this era, I would blend my storytelling with manipulated images, audios, found objects, and a fictive 3D model of Red Hook to fabricate contemporary myths which would provide alternative readings of the neighborhood’s recovery after the tragedy in 2012 and waterfront development. It would be a collection of fairy-tale-like visual essay, a multifaceted city profile, and a veiled elegy.


《集忆信物》Collecting Mementoes: In the Absence of the Monument

An exhibition proposal for Spare Space, Shanghai, China

Bookstore Plan, Wang Renzheng; The Hallway, Alan Kwan; Windloom, Siman Li; Memoric, Ying Zou

Collecting Mementoes: In the Absence of the Monument is an proposed exhibition that I co-curated with Mengni Zhang and submitted to the 2nd “Micro-Curatorial Project” by Fy Foundation, which was then shortlisted.

The proposed exhibition tries to examine alternative counter-monuments which register the ethnic change and to oppose authorities who influence the historical narrative of the place. A finished monument in positive form may seal up memory into a pedestal, while an unfinished memorial process can foster memory and envision the future. How better to mark a variation than by another variation? 


《嵌入算法》Embedded Algorithm

An exhibition proposal for apexart’s 2018-2019 Open Call , New York, NY

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The Flying Umbrella Project, Alan Kwan

Embedded Algorithm is an proposed exhibition that I submitted to apexart’s Open Call for 2018-19, which was ranked as the 10th placement among 509 exhibition proposals participated from 71 countries and read by over 300 jurors.

 

Inspired by the principles of user driven development, the proposed exhibition questions the intention of the algorithms that are coded into our daily lives. Do they use truly human-centered rules or are they new ways of manipulation that dominate the public with consumerism? Should we follow trends or remain skeptical of them? Do the algorists become more powerful during the process of empowering users to co-create? The five artists listed in the proposal all leverage embedded algorithms in their art practices to respond to such questions. Coming from different backgrounds, these artists examine the validity of user-oriented products and the algorithmic techniques effects on†our lives from layers of visual art, design thinking, robot ethics, digital sociology, and divination.


《浮游》Fuyou: staying drifting – A Solo Exhibition by Senbo Yang

Co-Curators: Zi Gu, Jing Li, Ruixuan Li  | October 21 – 29, 2017 | BIGGERCODE Gallery, 472 Broome St, New York City, NY, 10012

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Fuyou: staying drifting examines a cultural nomad’s life, one that is both physically and metaphorically unstable. Resulting from his residency at I-Park Foundation, Inc. Fuyou is the first solo exhibition of Berkeley-based Chinese artist, Senbo Yang (b. 1990). Featuring more than ten installations and mixed media works, the exhibition explores tranquility in the face of precariousness through the artist’s multiple encounters with the same model of IKEA bed across time and space.

Placing the bed in unstable environments is a poetic abstraction of Yang’s state of constant flux during times of vagabondage. Through a landscape architectural lens, the bed became a register and metric of natural phenomena. When phenomena such as light and shadow, clouds and rain, wind and fog came into contact with the bed, all of these conditions were made more tangible.

The title of the exhibition, “Fuyou,” is derived from a line of a poem by Chinese poet Su Shi:  “[Live like] mayflies thrown between heaven and earth, [like] infinitesimal grains in the vast sea.” Drifting and mayflies (insects that are believed to be born in the morning and die before sunset) are homophones, both pronounced as fuyouin Chinese. The works touch upon a philosophical question: Is drifting an ephemeral or everlasting status?

Please see the artist Senbo Yang’s artworks at his website. The original press release is here.

As a co-curator, I worked with the artist to organize all the potential discourses that can be derived from the exhibition, wrote up the curatorial statement and artist statement for this solo exhibition, and distributed the press release to the media.  


Asian Art Week at Christie’s New York

Christie’s Asian Art Week 2017 presented seven distinct sales spanning all epochs and categories of Asian Art. Led by distinguished private collections, the highly anticipated series featured an unprecedented offering of huanghuali and zitan classical Chinese furniture from The Marie Theresa L. Virata Collection, Shang and Zhou dynasty ritual bronzes and Song dynasty paintings from the Fujita Museum and an exceptional group of Song-Qing dynasty porcelains from the Indianapolis Museum of Art.

As a Gallery Assistant for Client Services, I assisted clients in registration, artwork appreciation, bidding, and payment processes.


Art, Science and Innovation:
an art salon and pop-up gallery Hosted by Essinova and sponsored by SAP AppHaus

Photos of Art, Science and Innovation, SAP Palo Alto, 2016.

Essinova proudly presented “Art, Science and Innovation: a Neural Connection”, the inaugural edition of its interdisciplinary salon series and a pop up gallery. The event featured the latest artworks of Dr. Greg Dunn, the world’s foremost neuroscientist-artist.

I coordinated with the artist, SAP Design & Co-Collaboration, and the other supporters for this event. My other responsibilities include artwork management, co-curating, and selling original works to interested audience, etc.

 


Void California: 1975 – 1989

MA Thesis Exhibition, Curatorial Practice 2016, California College of the Arts

Photos of Void California 1975 – 1989, Curatorial Practice 2016, California College of the Arts, 2016.

Void California surveys punk-inflected media that emerged from California sub- cultures in the late 1970s and 1980s. Encompassing zines, photography, collage, video montage, documentary film, and sound collage, the exhibition presents its artists and musicians as subcultural anthropologists, documenting a world at the brink of disaster.

I was a co-curator of this exhibition. My responsibilities include investigating resources, working with artists to develop the concept, controlling the exhibition budget, and arranging condition reports and shipments.

 


《当我们想起宇宙》The Cosmos Comes to Our Mind

Exhibition Proposal for Kramlich’s Collection

Left: Interior rendering for The Cosmos Comes to Our Mind, Ruixuan Li, 2015. Right: Interface, Video Installation, Peter Campus, 1972

This is an exhibition proposal that I independently made for Kramlich Family Collection’s inaugural exhibition in their private museum in Napa Valley, California. The choice of artworks is based on Kramlich’s media art collection.

The Cosmos Comes to Our Mind intends to offer viewers a space and an opportunity to rethink their own world views. The specially designed interior and the selected 13 media artworks from 7 brilliant artists provided by the Kramlich Family Collection offer visitors a moment to discover the relationship between the world and themselves. The artworks are ordered in a logic as “Environment – Deep Inside,” and the main exhibition room functions as an ecosystem that transforms macrocosm to microcosm and presenting this uncanny process.

 

 


 

Landscape: the virtual, the actual, the possible?

Collaborated by Yerba Buena Center for the Arts, Guangdong Times Museum, and Kadist Art Foundation.
Installation View of Landscape: the virtual, the actual, the possible?, Yerba Buena Center for the Arts, 2014.

I helped this exhibition as a curatorial intern. My responsibilities include coordinating with the artists and curators, installing the artworks, assisting an artist in his performance at the opening, and purchasing equipment, etc.

 


 

Robert Zhao Renhui: Flies Prefer Yellow

Robert Zhao Renhui’s first solo show in United States, presented by Kadist Art Foundation.

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Installation of Insect Traps, Kadist Art Foundation, 2014.

Resulting from his three-month residency at Kadist Art Foundation, Flies Prefer Yellow is the North American debut exhibition of Singapore-based artist, Robert Zhao Renhui. Featuring installation and photographic works, the exhibition explores boundaries, systems, neuroses, and control through the artist’s encounters with one of the most inconspicuous insect species on earth–flies.

I assisted the artist in researching materials and making the installations for this exhibition.

 

 


 

《疫年日志》A Journal of the Plague Year

A tour exhibition from Para Site, Hong Kong., curated by Cosmin Costinas and Inti Guerrero, presented by Kadist Art Foundation and The Lab.

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Installation of A Journal of the Plague Year, The Lab, 2015.

A Journal of the Plague Year was first shown at Para Site, Hong Kong during the summer of 2013. Conceived as a touring exhibition, its center of gravity shifts under the influence of magnetic forces in each location on its itinerary. Nevertheless, each iteration departs from and remains strongly connected to an exploration of the events that affected Hong Kong in the spring of 2003: the most significant airborne epidemic in recent years–the SARS crisis–coupled with the tragic death of pop figure and pan-Asian icon Leslie Cheung.

I assisted the exhibition in researching historical archives, searching for and collecting objects that were displayed in the show, purchasing installation materials, translating the press-release, and distributing it to the press.

 


 

Spectrum Art Auction 2015

Photos of Spectrum Art Auction, Access Institute, 2015

For over ten years, the Spectrum Annual Gala has been a gathering of community members, civic leaders, artists, art collectors and mental health professionals who support Access Institute – San Francisco’s Mental Health Safety Net.

I was one of the art curators of this project. I found artists, collected the artworks, organized the installation materials, and gave a curator’s tour to the donors.

Spectrum Art Auction 2015 was Access Institute’s most successful fundraiser to date. We raised over $70,000 on the evening which includes auction sales of 50 artists’ diverse works, tickets at the door and fund-a-need. The funds went directly to Access Institute’s program, providing a mental health safety net in San Francisco and healing minds and strengthening the Bay Area community.

 


 

Alone Together or: How I Learned to Stop Worrying and Love Socialized Isolation

A special evening presented by the 2016 Curatorial Practice Class.

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Minji Sohn’s Performance in Alone Together, Perry Family Event Center, 2015.

I was a co-curator of this event. I brought one artist to conduct a performance in the “Inside Space.” The artist made face-to-face interactions with visitors. She counts the number reacting to the change of light projected on her body. The hidden factor is that the artist switches the loop of her repetitions in response to the viewer’s particular reaction to the piece.