BCPS Workshop: Pursuing a Career in Chinese Art in the UK

BCPS Workshop: Pursuing a Career in Chinese Art in the UK
Date and time
03 Oct 2017 (2:00pm - 4:00pm)

The Museum of East Asian Art

The Museum of East Asian Art, 12 Bennett Street, Bath BA1 2QJ, UK

Map and Directions


£3 (includes same day free museum entry for pre-booked attendance)

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This event is aimed at postgraduate students and early career academics interested in Chinese art, whether as a career or as a source for their research. As the sectors of Chinese art higher education and art market are evolving fast in the UK, this event invites participants to reflect on and prepare for a career related to the arts of China.

The event is organised by the British Postgraduate Network for Chinese Studies (BPCS) in collaboration with MEAA. It comprises of three sections: a group visit to the MEAA; a talk by three leading professionals in the field and a workshop/dialogue exchange.
Please note, the talks from  14:00 – 16:00 also opened to the general public who has interests in the field for £3 per ticket (free same-day entry to MEAA with pre-booked tickets)
Three leading professionals in the field will present on the reality of their work, followed by Q/A session (BRLSI).

Nicole Chiang, curator at the Museum of East Asian Art in Bath;
Sara Chiesura, head curator of Chinese collections of British Library;
Jiang Jiehong, director of the Centre for Chinese Visual Arts, Birmingham City University.

The 10th CCVA Annual Conference: Chinese Art outside the Art Space

The 10th CCVA Annual Conference: Chinese Art outside the Artspace
Date and time
12 - 13 Oct 2017 (9:00am - 5:30pm)

Birmingham School of Art: Margaret Street

Map and Directions


Regular Price: £20 | Student Price: £15 

Free for presenters, BCU students and staffs. Register Here.

Confirmed Keynote Speakers:

Karen Smith (OCAT Xi'an), Pauline J. Yao (M+, Hong Kong), Scott Lash (Goldsmiths College)

Historically, in China, ‘art outside the art space’ can be understood as both a cultural and a political proposition. From a cultural point of view, the notion of public ‘exhibition’ is entirely Western, whilst in the Chinese tradition of literati art for example, artworks were made, shared, and appreciated within the form of scholarly ‘elegant gathering’ (yaji), which was essentially a kind of private (rather than public) event within secluded (rather than institutional) spaces. From a political perspective, the ‘outside-ness’ immediately relates to the ‘unofficial’ status of contemporary Chinese art from its early development. For example, the first Star Group exhibition in September 1979 – generally acknowledged as the very first show that marked the beginning of contemporary art in China – was staged in a small public park just next to the China National Art Museum, outside the legitimated and official art space. Today, the situation of Chinese art taking place outside the museum and gallery spaces continues, but with a completely different momentum and agenda.

Art has been produced site-specifically for the spaces other than art institutions in China, including those of working venues, shown in a range of alternative spaces beyond galleries or museums, and has ‘happened’ in the public sphere and become political or social ‘events’, or artistic ‘incidents’, as a special form of ‘exhibition’. Creative curatorial and artistic strategies have been developed to respond to the constraints of art institutions, censorships and at the same time, to push the boundaries of art. Focusing on art made, displayed, performed or executed outside the conventional venues of art museums and galleries, this conference not only offers a unique perspective to understand Chinese art in the contemporary context, but also, more importantly, it aims to critically reflect upon the understandings between art and art exhibition, between artistic productions and audience perceptions, and between art and our daily life.

This conference will be focusing on the following series of relationships in the context of Chinese art and culture is seen indicative, but not limited to the discussions:

  •        China’s art museums, galleries and alternative spaces
  •        Curatorial strategies and artistic responses beyond institutional spaces
  •        Exhibitions, events and incidents
  •        Art production, dissemination, participation and reception
  •        Performance and performativity
  •        Art and everyday life
  •        Contemporary art and censorship