Despite the downpour, the trip to Manchester to attend the CFCCA conference on curating china, was highly rewarding. In fact, I wasn’t at all surprised to see that it’s a sold-out event. This is the first time I visited CFCCA after their rebranding campaign. I’m not sure if I like the branding colour (yellow) much, but it works, and it is young and cheerful. I like the modern and clean layout of the place, the addition of a souvenir shop selling artworks, scarves, notepads made by Chinese artists, and the provision of a user-friendly theatre.
Above all, the speakers they invited for the conference are really the kind of experts who should come to the UK more often to share their insights and experiences. Li Ning, curator at the China Art Museum in Shanghai, gave an impressive hour-long presentation on Chinese art history, with a focus on contemporary Chinese art, the diversity of art schools and their reception in China. The artworks she discussed in her presentation are most varied and interesting, from the use of colours and symbolic motifs in early poster art, to the new generation of Chinese artists such as Zhang Xiaogang, Yu Youhan, Yue Mingjun and Liu Ye. What I really like about Li and her attitude as a curator is that she believes in what she does, and comes across as being very sincere in promoting the museum and Chinese art, which don’t always mean the same thing. I wish she could talk more about the relationship between Chinese art and the social demographics, but I suppose one hour is already testing the attention span of the participants.
Aric Chen, design curator for M+ museum (within the West Kowloon Cultural District in Hong Kong), shared with the audience the latest development of the museum. As Chen humorously pointed out, this museum hasn’t even been built yet, it has – typical of how Hong Kong people work – accumulated over 300 pieces of artwork for its collection. Someone in the audience asked whether Chen has enough funding to invest in a quality, comprehensive museum collection from scratch. Chen replied that they were given, as a start, a 5-year budget of, em, US$200 million. Humbly, he said that this amount might seem a lot to some people and to some it might seem too little as there are always artworks out there that are astronomically-priced. There was a wave of suppressed excitement in the form of whispers: ‘it’s a lot’. Personally, I am convinced that the capital and lead time for planning the museum is more than sufficient. The ongoing buzz of mobile M+ activities is rather instrumental in building up audience and art education. I just hope that it can achieve more synergy and connection with other existing and planned museums in China, and to encourage new artists and collaborators rather than focus on the prize winners and bestsellers, and to aim at diversity and originality rather than formulaic success.
Jiehong Jiang (Joshua), director of the Centre for Chinese Visual Arts at Birmingham City University, highlighted the importance of art curators (at least those in China) to have the ability to raise funds, in addition to the aesthetic judgment anod creative responsibilities. The Asia Triennial he curates for next year also sounds fascinating, bringing the works by leading and emerging Chinese artists on the international stage. He is also curator of the Fourth Guangzhou Trienial, the Unseen, with Jonathan Watkins of Ikon Gallery, Birmingham.
Catherine McDermott, Professor of Design at Kingston University and Donna Loveday, who heads curatorial design at the Design Museum, shared their insights on the development of design practice over the last decade, tracing its humble beginnings in the pre-Design Museum days, to the current design scene and the rise of design curatorial practice. They also highlighted some innovative collaborations on the diversity of international cuisine.
You can also check out the conference contents online on CFCCA website: http://cfcca.org.uk/index.php/Exhibition/curating-the-contemporary-in-china-conference