Yishu - Journal of Contemporary Chinese Art

Open Call / Research Paper: Exhibition-Making Practices in China and Southeast Asia after 2000

Friday, January 11th, 2019

Period: 2018-12-28 ~ 2019-03-01

Venue: Guangdong Times Museum

Times Museum is glad to announce the open call for From a History of Exhibitions Towards a Future of Exhibition-Making—The Third Assembly: Exhibition-Making Practices in China and Southeast Asia after 2000. Papers can be submitted by researchers who look at what it means to investigate exhibition histories rather than art history. Through this call, we are hoping to support critical discourse that is less known or discussed and highlights changes within the art system of China and Southeast Asia after 2000. The shifting practices of exhibition-making have framed our working methodologies and brought new problematics such as the private sector and its leading role in the forming of art institutions as well as the expanding of art market, in burgeoning new biennials and art prizes by promoting a kind of “internationalism”, which vacillates between national representations with global surplus value and transnational collaborations and circulations that challenge the existing geographical demarcations. So what kind of internationalism we want to achieve?

Images: Reading Room at Rockbund Art Museum, Shanghai.

From a History of Exhibitions Towards a Future of Exhibition-Making

Second Assembly: Exhibition-Making Practices in China and Southeast Asia in the 1990s

Co-organized by RAM and Biljana Ciric


The Third Assembly – Exhibition-Making Practices in China and Southeast Asia after 2000

Presented by Guangdong Times Museum

Organized by Biljana Ciric and Nikita Yingqian Cai

Time: December 2019 (final date TBC)

The Third Assembly will reflect on exhibition-making practices after 2000, which have deeply framed our modes of working. Assembly through individual presentations will reflect on exhibition-making practice and its problematics on different levels, including the institutionalization of contemporary art in the region, the standardization of contemporary art practice that nails down exhibition as the only ultimate form of display, the frequently vanishing boundaries between museum exhibition and art fair booth display or commercial gallery shows, the privatization of contemporary art sector and how it determines the thinking and doing of art practitioners, the emergence and exhaustion of biennials, and the expanding presence of western institutions in China and Southeast Asia which in return shifts the way large-scale institutions work globally but endorsed by regional capital. The accelerated increase in exhibition number and scale and the lurking crisis of exhibition as the medium of presentation by default coexist after the millennium. Can exhibition permeate into reality? Are there any other forms of presentation? What are the exhibition typologies that we have proposed and explored in the recent 20 years with the development of art system? What are the curatorial and artistic methodologies that we have consolidated? What are the vocabularies if we want to talk about them? What kind of institutions that biennials have become? Are they still acting as institutions and what kind of knowledge they produce?

And most importantly, what and how can we revive the urgencies of artist-organized exhibitions now which are taken as past histories? Can we think of artist-as-curator today from different perspectives and what could be the roles of curator for today and in the future?

For more information about application process and guidelines, please visit:


Long March Space
cc foundation
Daniels Etheridge
Equinox Gallery
New Asia
US China Yes Youth Eduction Solutions