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“我想做一名策展人”。

“I want to be a curator.”

“策展人”成为不少艺术爱好者心目中神秘且有诱惑力的职业。尽管现在一切追求开源，但是否也意味着“人人都能成为策展人”？做一名策展人每天的工作具体是什么？需要储备怎样的知识结构？应该具有什么样的工作能力？如何面对的挑战和困惑？

“Curator” has become one of the ubiquitous and mysterious professions in China’s world of art in recent years. Does the pursuit of this tempting and seemingly glamorous career mean that everyone and anyone can become a curator? What is the role of a curator anyway? What kind of work does it involve? And what validating knowledge and professional skill does one need, if any? Upon becoming a curator, what are the challenges they face?

在艺术行业日益迅速发展的当下，行业对艺术类人才需求也越来越高。而遗憾的是，教育资源和行业水平却没能跟上一起同速发展。大众甚至是部分艺术从业者仍然简单地认为策展人就约等于策划展览的人。只要是能称为展览的活动，那么它们的策划人就是策展人。策展人的工作也不外乎是想出一些有意思的点子，认识一帮艺术家朋友，再挑选几件主题相符的作品，最后踢着高跟鞋、穿着漂亮的晚礼服、举着香槟高脚杯在开幕式中庆祝。

While the art industry is rapidly developing in China, the demand for talent in the field of curation is also increasing. Unfortunately, the lack of educational studies and resources, as well as the dearth of industry standards, have failed to keep up with the fast pace of museum building. The general public, and even some art practitioners, still simply think a curator is synonymous with exhibition planners or organisers. As long as there are exhibitions to be held, there must be a curator to accompany it, right? Does the job of a curator entail selecting works, figuring out where to hang them and showing up at opening ceremonies sipping wine or champagne? 

然而事实往往没有那么简单，大众的理解似乎与真实的情况相距甚远。

Unfortunately, the reality is not that simple and common misconceptions abound.

奇想阁- 动漫美学双年展 2015-2016

上海当代艺术馆，王慰慰策展

Space in Mind - Animamix Biennale, MoCA Shanghai, 2016.5.15-7.17, curated by Wang Weiwei

世界范围内，各式各样的独立策展人也早已出现，他们的研究已经不再依赖某一个固定的研究机构。通过整合艺术家、美术馆和赞助人等多方的资源，他们甚至能同时参与不同机构的研究工作，独立策展人的工作模式变得更为灵活，但到底是他们手中的资源还是专业的研究，使得策展人能被称为策展人呢？

New sectors of independent curators have already emerged. They are no longer employed by a conventional institution. By integrating the resources of artists, art galleries, and sponsors, they are able to participate more autonomously. However, the exact reasons why these independent curators are called “curators” remain ambivalent.

当这些拥有专业背景的策展人们真正成为了展览的守门员时，人们（特别是艺术家）对策展人权力的理解也逐渐产生了疑虑：艺术家本人能否进行策展？当代艺术又到底属于谁？是博物馆的主人或者馆长？艺术家或者是艺术藏家？还是说作为展览真正受众的公众？普罗大众又是否能胜任策展人？

With arts curators as the gatekeeper of exhibitions, people, especially artists, express concerns and doubts about the authority that curators wield. Should artists be allowed to curate their own shows? Who should be the arbiters of artistic trends and styles and to whom does the discourse of contemporary art belong? Museum owners or directors? Artists? Collectors? How about the public for whom the exhibitions are meant for? Should members of the public be curating exhibitions?  

Please join the Blank Art Salon on June 8 as we conduct a reality check on what it does mean to be a “curator.” 

田珠莉（Julie Chun），美籍艺术史学家，2011年移居上海。通过批判性的工作，她在上海观察与纪录艺术界的演变。她是皇家亚洲学会中国支会的副主席，通过组织举办艺术活动，向公众传播艺术及其历史与现状。她的讲座面向不同的上海外国人群体，包括各国驻沪领馆工作人员，同时她也是上海财经大学国际文化交流学院的艺术史客座教授。她的文章常见于《典藏国际版 Yishu, Journal of Contemporary Chinese Art》，她的艺术评论及相关文章多次在中国和国际的专业出版物、在线杂志上发表。

Julie Chun is an American Art Historian based in Shanghai since 2011. She has been critically observing and documenting the growth of the art world in Shanghai.  Julie serves as the Vice President and the Art Convener of the Royal Asiatic Society China, where she devotes her time to increase the public’s understanding of artistic objects, past and present. She frequently lectures for various foreign associations in Shanghai, including the foreign Consulate General offices and is an adjunct professor of Art History for the Institute for Study Abroad at Shanghai University of Finance and Economics. She is a regular contributing writer for Yishu Journal of Contemporary Chinese Art. Her reviews and criticisms in art have been published in academic journals and online art journals in China and internationally.

王慰慰（Wang Weiwei），于韩国首尔国立大学考古美术史系获硕士学位，于复旦大学外文学院韩文系获学士学位，自2010年起在上海当代艺术馆担任策展人。自2015年起，她组织和发起了“MoCA艺术亭台”计划(MoCA Pavilion)，支持国内和国际艺术家的实验性项目。她于近期开始进行一系列针对东亚当代艺术发展的研究和策展工作，参与了台湾关渡美术馆2017驻馆策展人计划以及韩国国立现代美术馆2017年国际研究员项目。近期参与策划的展览包括韩国大邱美术馆举办的“我感受到的光——杨福东个展”（联合策展人，2016）以及第12届上海双年展（分策展人，2018）。此外，她还曾担任中国当代艺术奖（CCAA）的协调人（2010），以及外滩18号创意中心的协调人（2009）。

Wang Weiwei has gained much experience as a curator at the Museum of Contemporary Art, Shanghai, after she has obtained her bachelor's degree in Korean Studies from Fudan University’s College of Foreign Languages and Literatures in China,  and her master's from the Department of Archaeology and Art History in South Korea’s Seoul National University.

Since 2015, Wang Weiwei initiated and planned the MoCA Pavilion, the project space of MoCA Shanghai, which continues to serve as an experimental platform that showcases the artists’ works from around China as well as abroad. Wang is currently working on a research project about East Asian contemporary art society through the 2017 Curator in Residency Program in Kuandu Museum of Fine Art, Taiwan and the 2017 MMCA International Research Fellowship project in the National Museum of Modern and Contemporary Art, Korea. Recent exhibitions include Curator of the 12th Shanghai Biennale (co-curator, 2018) at Power Station of Art in Shanghai, and The Light that I Feel – Yang Fudong’s Solo Exhibition (co-curator, 2016) at Daegu Art Museum in South Korea.

Wang Weiwei also had worked as the coordinator for the Creative Center at Bund18 (2008~2009) and then as the coordinator for the Chinese Contemporary Art Awards (CCAA. 2009~2010).

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