October, 2020
    I travelled to Antwerp in July to visit a castle in ’s-Gravenwezel, the home of collector/curator/dealer Axel Vervoordt, and the area Kannal renovated by the Vervoordt company. This trip was arranged for an article published on Wallpaper (Chinese). Axel has an obsession with objects, but his understanding towards nature, art and design, or objects from different time and places, is so penetrating and free, without any discrimination from the bound of knowledge. I also wrote a book review (in Chinese) for Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000 published by Afterall recently. The writing is bit lengthy because I think it would be better to cover the main content for the Chinese audience and I also take the chance to talk about how becoming ‘international’ was understood by the contemporay art field in China at that time. In October I participated in the symposium ‘Curating and Future’ organised by China Artists Association and Beijing World Art Museum. I joined the ‘Global and Local’ session and shared my thoughts about two insitutions Iniva and CFCCA. Recently, I had a discussion with curator He Yining about ‘exhibition’, which is published on Jiazazhi.
  A good news is that I have been selected together with Izzy Kroeze and Ashokkumar Mistry into the first Emerging Art Writers Fellowships Programme initiated by AICA-UK. Hope I can write more in English and join more discussions. 
    7月的时候去了一趟安特卫普,参观了收藏家、策展人Axel Vervoordt在 ’s-Gravenwezel的城堡还有运河旁边的 Kannal。我的文章主要围绕Vervoordt和他的城堡的故事,发表在中文《卷宗》杂志的公众号和杂志上。这趟旅行给我的印象很深:Axel对不同时间、地域、类别的事物没有分别心,很自然地能看到并展示出事物之间的联系,他对直觉的秉持和对事物的理解,让我看到了一种不被“策展“和“艺术“局限的自由和宽厚。另外,给英国Afterall出版社的新书《不合作的共存:2000年的上海艺术展览》写的书评在9月末发表在“艺术碎片”公众号上,我趁机写了写对当时“中国当代艺术”所希望成为的“国际”的理解,所以文章有些长。10月在线上参加了中国美术家协会策展委员会和中华世纪坛艺术馆主办的2020“策展与未来“青年策展人的主题座谈,我所在的会场主题是“全球与本土”。另外,我和策展人何伊宁一起在假杂志的“相谈”栏目聊了聊“展览”
    十月,我和Izzy Kroeze、Ashokkumar Mistry入选了英国的国际艺术评论协会(AICA-UK)举办的第一届Emerging Art Writers Fellowships。很开心,希望接下来可以写更多英文文章。

June, 2020
    In the past months, I have recorded several podcast episodes in Chinese, including three with Art Is Poison on Mary Gariel’s Ninth Street WomenNam June Paik Exhibition at Tate Modern and Olivia Laing’s Funny Weather respectively.
    I also produced the first episode for Mingming, a platform I initiated with freinds for documenting the on-going art situation in pan-Chinese and Asian contexts (it is dormant right now... will wake up after my Ph.D. programme). This episode was in collaboration with Jiang Chunyu and Liu Lijuan who have conducted a dozen of interviews with art school students. Many of them had to leave the campuses and move their degree shows online due to the Covid-19 pandemic – this episode is therefore a survey of the current (April 2020) situation of Chinese art studenets all over the world. Previously, Mingming also published two articles that index online contents relating to the passing away of artist Huang Yong Ping and the wide discussion on artist payment in the event of Jimei Arles Photo Festival.
    In March, when the pandemic swept across China, I now realised that I was keeping myself calm as an intense reaction to the on-going crisis. I wrote a piece on Art Newspaper Chinese about an anoymous action ‘Farewell to Li Wenliang’ (a )which I consider to be the best ‘art’ in China during the pandemic, or it's better to say, I think it is the most inspiring event for the awkward situation of art in the pandemic when art is dubious about its capacity and role in this crisis.
    On the academic side, I published an ‘investigative’ piece on Engage journal issue 44 about the short curatorial courses, with Shanghai Curator’s Lab as my case study. I also invited my friends/curators Cecilia Giurgevich and Canan Batur to talk about their experience in the first Shanghai Curator’s Lab in 2018. 

    过去几个月,我和“艺术有读播客录了几期节目,Mary Gariel的书 《九街女人》白南准在Tate Modern的展览Olivia Laing的书《奇怪的天气》。 “明明”是我去年年末发起的一个平台,本意是想记录泛华人/华语和亚洲地区的正在进行的艺术现场,但是后来意识到目前的精力难以产出持续的内容,只能在本子上把未竟的想法都写下来,暂时让平台休眠。在“明明”这个平台上,我和朋友姜春雨整理了2019年黄永砅过世后各界写下的悼辞集美阿尔勒摄影节上出现的对“艺术家费”的讨论。春雨也和我的另一位朋友刘丽娟一起,在新冠肆虐的2020年的四月采访了在世界各地学艺术的中国学生,这些境况汇总成了一期播客。
 三月的时候在《艺术新闻(中文版)》上发表了有关  “送别李文亮” (二月七日晨,通惠河畔匿名者的雪中留字)这一事件的文章,现在看并没有写透,更多的是种心情和直觉。但在人们普遍怀疑艺术的力量时,这个行动给了我很多的鼓励和启发。
     在英国的一个期刊《Engage》上发了一篇文章,以上海策展人实验室Shanghai Curator’s Lab为例,讨论为什么双年展会设置短期策展课程。我也邀请了两位朋友 Cecilia Giurgevich and Canan Batur录了一期音频节目,配合这篇文章,聊了聊她们2018年参加第一届Shanghai Curator’s Lab的体验。 

An on-going writing project focusing on why artists are creating artworks today. 
Co-led a one-week short course on Public Art with curator and commissioner Tamsin Dillon as part of the RCA MA group. 
与策展人Tamsin Dillon带领一了一周的讨论公共艺术的工作坊。
Participated in RCA’s Research Trip to Shanghai in collaboration with Westbund Art Fair and Shanghai University during the July.
Passed the confirmation exam and became a Ph.D. candicate.