Kehan Liu is a curator based in Shandong (China). He graduated in Photography at Qilu University of Technology in 2019 and is currently pursuing a MLitt Curatorial Practice (Contemporary Art) at Glasgow School of Art. Recent projects include:
Team project “Authority&Freedom: Testing the context”(Glasgow, 28th October 2019) curated by Beatriz Lobo Britto, Jiaying Cao, Kehan Liu, Marianne Vosloo, and Pui Ying Claudia Chan with artists Andrew Crane, Martha Panagiotopoulou.
Cross-cultural project “CROSS or NOT TO CROSS”(NGS East, Glasgow, March 2020) curated by Kehan Liu and Jiaying Cao with artists Qiushi Chen, Yuanjie Li, Xueling Wang and Yihang Hu.
My curatorial methodology is based on interactive dialogues, and gradually elicits my own thinking about the “local” art ecology and the development of curatorial practice. My curatorial methodology provides a solid theoretical foundation and practical skills for my next research. In the process of applying the curatorial language to the next curatorial practice, I try to obtain more resources by expanding the research themes and curatorial direction to improve the overall curatorial ability.
I actively participate in retrieval and theoretical work, hoping to balance practice and theory to determine a more suitable station method for me. The theme of my project is the development of local art ecology and curatorial practice. In the process of combing the theory, I found that this theme can be extended to the national or even world levels. Curation should be understood as art, it should be creative and creative, and convey the information of artistic elements through the curatorial language.
My curatorial projects and investigations revolve around the content of interviews with artists and curators. In the process of dialogue, I capture the core thesis and creative information. At the same time, the conversation with the artist can also enable me to reflect on the shortcomings of the project and investigation to improve the project planning further.
The textual interview content is displayed to the public, and the audience can intuitively see the impact of the curatorial practice process and interactive thinking. I display the project in two different languages so that audiences of different cultural backgrounds can obtain Different feelings, thereby increasing the diversity of the project. Using textual content as the form of the exhibition can also allow the audience to see the deficiencies of the exhibition more intuitively. Through the feedback in the later period, I have gained more significant improvement.