撬动裂隙：伦敦中国艺术留学生的自组织实践
Activating the Ruptures: Self-Organizing Practice of Chinese Art Students in London
Activating the Ruptures: Self-Organizing Practice of Chinese Art Students in London
Interviewer: 陈泉池 starry
Date: 22/03/2025
Keywords: self-organization/art ecology/curation/research
Date: 22/03/2025
Keywords: self-organization/art ecology/curation/research
自组织（self-organization）作为一种高度灵活且实验性的艺术生产方式，自上世纪70年代末期起便与中国当代艺术紧密伴生。它不仅为新生代艺术家提供了探索创作路径、建构社群网络的重要平台，更成为突破体制性约束、重构艺术话语的关键策略。而当年轻的中国艺术家来到伦敦这一全球艺术中心，面对成熟且多元的文化生态，如何透过跨文化的自组织实践在既有的艺术版图中开辟新的岛屿？
在伦敦的中国年轻艺术从业者群体中，通过社交媒体平台（如小红书）不难发现，大量由留学生自发组织的短期展览正以高密度涌现。这类展览通常仅持续3-5天，参展者多为艺术院校学生或初入行业的创作者，其运作独立于传统艺术机构，且不以盈利为目的。
艺术岛屿针对这一现象展开调研，试图厘清三个核心问题：自组织展览的驱动力从何而来？其非建制化运作有何优势？而面临何种挑战，又如何实现可持续发展？我们向参与过此类展览的艺术家发放了问卷，并访谈了4个持续活跃的策展人或小组，收集他们在策展实践、协作模式及未来规划中的具体经验。鉴于调查所涵盖的人群有限，结论无法完全代表这一生态的全貌，但我们希望这些局部观察能为理解新兴艺术生产模式提供实证参考。
Emerging as a highly flexible and experimental mode of artistic production, self-organization has been intertwined with Chinese contemporary art since the late 1970s. It has served not only as a vital platform for younger artists to explore creative pathways and build community networks, but also as a strategic means to circumvent institutional constraints and reconfigure artistic discourse. As young Chinese artists arrive in London—a global art capital with a mature, diverse cultural ecosystem—how might their transcultural self-organized practices carve out new islands within existing artistic cartographies?
As seen on social media platforms like Red, short-term exhibitions self-organized by emerging Chinese practitioners has been proliferating across London at considerable density. These shows, typically lasting 3-5 days, are often staged by art students or early-career creators, and are independent from traditional institutions and devoid of commercial aims.
Artisle investigates this phenomenon through three core questions: What drives these self-organized exhibitions? What advantages does their alternative operation offer? And what challenges threaten their sustainability? We distributed questionnaires to participating artists and conducted in-depth interviews with four active curators/collectives, gathering insights into their curatorial methods, collaborative models, and future visions. While this limited sample cannot fully represent the ecosystem, our partial observations aim to ground emerging artistic production models in empirical records.
在伦敦的中国年轻艺术从业者群体中，通过社交媒体平台（如小红书）不难发现，大量由留学生自发组织的短期展览正以高密度涌现。这类展览通常仅持续3-5天，参展者多为艺术院校学生或初入行业的创作者，其运作独立于传统艺术机构，且不以盈利为目的。
艺术岛屿针对这一现象展开调研，试图厘清三个核心问题：自组织展览的驱动力从何而来？其非建制化运作有何优势？而面临何种挑战，又如何实现可持续发展？我们向参与过此类展览的艺术家发放了问卷，并访谈了4个持续活跃的策展人或小组，收集他们在策展实践、协作模式及未来规划中的具体经验。鉴于调查所涵盖的人群有限，结论无法完全代表这一生态的全貌，但我们希望这些局部观察能为理解新兴艺术生产模式提供实证参考。
Emerging as a highly flexible and experimental mode of artistic production, self-organization has been intertwined with Chinese contemporary art since the late 1970s. It has served not only as a vital platform for younger artists to explore creative pathways and build community networks, but also as a strategic means to circumvent institutional constraints and reconfigure artistic discourse. As young Chinese artists arrive in London—a global art capital with a mature, diverse cultural ecosystem—how might their transcultural self-organized practices carve out new islands within existing artistic cartographies?
As seen on social media platforms like Red, short-term exhibitions self-organized by emerging Chinese practitioners has been proliferating across London at considerable density. These shows, typically lasting 3-5 days, are often staged by art students or early-career creators, and are independent from traditional institutions and devoid of commercial aims.
Artisle investigates this phenomenon through three core questions: What drives these self-organized exhibitions? What advantages does their alternative operation offer? And what challenges threaten their sustainability? We distributed questionnaires to participating artists and conducted in-depth interviews with four active curators/collectives, gathering insights into their curatorial methods, collaborative models, and future visions. While this limited sample cannot fully represent the ecosystem, our partial observations aim to ground emerging artistic production models in empirical records.
制度性供需失衡构成了自组织展览兴起的背景：伦敦艺术院校仅能提供有限的中期展和毕业展机会，尤其研究生阶段因学制仅1至2年，能够展示和创作的时间更为有限；对于策展专业的学生，可能仅有一次机会以5人及以上的小组形式策划小型项目。与此同时，学院之外的资源对非本地的年轻从业者而言往往难以触及，只能主动创造机会。
The emergence of self-organized exhibitions stems from a structural supply-demand mismatch: London art schools offer only limited opportunities, like mid-term and graduate shows, which are far from efficient, particularly for MA students constrained by 1-2 year programs. Curating students might get just one chance to organize small group projects. Meanwhile, institutional resources beyond academia remain largely inaccessible to non-local emerging practitioners, leaving self-initiated opportunities as the only viable path.
在自组织展览的生态中，艺术家们的参与动机往往交织着实践与交流的双重诉求——大多数人希望借此丰富展览履历、积累展览经验，此外最主要的参与动机则是借展出之机，与观众、同侪乃至师长前辈展开对话，交换创作心得。近半数艺术家说明受邀参展的另一层考量是与组织方的良好关系，以及人际网络的进一步拓展。相较于画廊开幕的觥筹交错或美术馆的人头攒动，一些自组织展览“private view"的氛围更像是策展人与艺术家的聚会——既因年轻创作者尚处行业边缘，难以吸引广泛的本地社群或资深业内人士，又因另一方面，也因在新的城市与发展阶段的创作热情，在友人的支持与酒精的催化下，交流往往持续至深夜。正是在这些看似松散而亲密的聚集中，新的想法和联结不断蔓生。
Within such an ecosystem, artists' motivations to participate in self-organization exhibitions blend practice and communication needs. Most participants seek to build exhibition records and gain hands-on experience, while also prioritizing professional dialogue—exchanging ideas with audiences, peers, and mentors during shows. Nearly half indicate pre-existing relationships with organizers and network expansion as key factors of participation. Unlike gallery openings with their champagne flutes or crowded museum receptions, these exhibitions' "private views" often resemble intimate gatherings between curators and artists. This vibe reflects both the marginal industry status of young creators—therefore limiting attendance from local communities or established professionals, and their creative energy in the new career stage and new city —where conversations fueled by conviviality and alcohol regularly stretch into the night. It's precisely within these loosely structured yet warm assemblies that new ideas and connections proliferate organically.
[Game ≈ Role-playing ≈ Rule-setting]开幕现场，Small Time Project，伦敦，2024
[Game ≈ Role-playing ≈ Rule-setting] opening event, Small Time Project, London, 2024
与此同时，有半数艺术家表示，参展的动因之一在于自身创作与展览主题的紧密关联；然而约三成参与者指出，自组织展览在主题立意和学术性方面仍显不足。在中国留学生自组织的展览中，身份认同、流动的现代性、空间与身体等主题频繁出现，这一趋势既呼应了他们的跨文化经验，也受英国主流话语对后殖民议题的关注所影响。这使得自组织展览成为被边缘化的留学生集体话语的窗口，折射出创作者在异文化环境中的共同思考与身份协商。但潜在的同质性削弱了展览的多元面向，也暴露出自组织在统筹策略上的局限。对于首次组织展览的策展人或艺术家，可调用资源的匮乏或许使得他们在现实压力下更倾向于优先考虑展览的可行性与参与度，而在一定程度上牺牲了学术深度与主题的独特性。
Meanwhile, half of the artists indicate strong thematic alignment between their work and exhibition concepts as a key motivator for participation. However, around 30% of participants noted that self-organized exhibitions often lack substantive thematic development and academic rigor. Among Chinese international student-led exhibitions, recurring themes like identity, fluid modernity, and space/body politics dominate—a trend reflecting both their cross-cultural experiences and the influence of Britain's prevailing postcolonial discourse. These exhibitions thus serve as collective platforms for marginalized international students, mirroring their shared negotiations of identity and belonging in foreign cultural contexts. Yet this latent thematic homogeneity risks diminishing the diversity of perspectives while exposing the strategic limitations of self-organization. For first-time curators or artist-organizers, scarce resources and practical constraints often force difficult trade-offs—prioritizing feasibility and participation over academic depth or conceptual originality. The pressure to simply "make it happen" can inadvertently flatten critical engagement, even as these exhibitions fulfill urgent needs for visibility and peer solidarity.
在自组织展览的资源瓶颈中，资金或许是最首要的挑战。组织者往往通过多渠道筹措经费，包括但不限于申请英国政府项目资金，所租用场地的支持，伦敦本地的中国餐厅、初创公司或品牌赞助，以及私人投资等。在资金紧张的情况下，许多艺术家愿意选择与组织方共同进退。在调查中，只有四分之一的艺术家通过参与自组织展览获得了参展费，有一半的艺术家自主承担了作品制作或运输的费用。个别还与组织方共同承担了场地、搭建开幕等展览相关费用，这部分支出有时会以展览opencall报名费的形式进行收取。此外，尽管多数自组织展览定位为非盈利，但为了实现收支平衡，组织方与艺术家并未回避展览的商业可能，也有极少量的艺术家通过作品销售获得了经济报酬。然而不同展览在责任分配上模式各异，缺少机构框架的规范，有时会促生权责模糊的“灰色地带”，甚至于一些组织以办展的名义收割利益。资源受限的现实与多样的诉求之间，自组织实践仍在不断探索平衡之道。
Among the constraints facing self-organized exhibitions, funding emerges as the most critical challenge. Organizers typically seek financial support through multiple channels: UK government grants, venue subsidies, sponsorships from local Chinese restaurants or startups, and private investments. In cash-strapped situations, many artists choose to share the burden—only a quarter of surveyed participants received exhibition fees, while half self-funded their production and transportation costs. Some even split venue rental and installation expenses with organizers, often collected as open-call application fees. Though most self-organized exhibitions position themselves as non-profit, pragmatic commercial considerations aren’t entirely avoided. A handful of artists have earned income from artwork sales during shows. Yet without institutional frameworks, accountability remains uneven. Vague responsibility assignment has led to gray areas, including rare but damaging cases of organizers exploiting exhibitions for profit. This financial tightrope walk—balancing limited resources against diverse needs—continues to define the experimental ethos of self-organized practices.
“NOT JUST”展览现场，由王一凡策划，APT Gallery，英国伦敦，2025，摄影：Vinx Wang
Installation view of “NOT JUST”, curated by Emma Wang, APT Gallery, London, 2025, Photographer: Vinx Wang
Installation view of “NOT JUST”, curated by Emma Wang, APT Gallery, London, 2025, Photographer: Vinx Wang
同样出于资金考虑，自组织展览通常选址远离市中心的场地，如东伦敦和南伦敦。在这些边缘区域，一些机构（例如The Koppel Project 和 Hypha Studio）会定期开放申请，为入选的展览方案提供免费场地。与此同时，不少自组织展览有意避开“白盒子”的空间，甚至介入室外与非展览场地。以 Peckham 的 Safehouse 为例，其废弃与未经修饰的环境打破了传统机构美学，与展览本身的实验性与原生性相互呼应。这些非典型场域不仅降低了展览成本，也为策展人与艺术家提供了再创作的诸多可能。
Financial constraints have driven self-organized exhibitions to peripheral London locations—predominantly East and South London—where initiatives like The Koppel Project and Hypha Studio offer subsidized or free venues through open calls. More radically, many organizers deliberately reject the "white cube" model, opting instead for derelict buildings, outdoor sites, or repurposed non-art spaces. Take Peckham's Safehouse as an example: its derelict and unrefined environment breaks with traditional institutional aesthetics, creating a dialogue with the experimental and raw nature of the exhibitions themselves. These unconventional sites not only reduce costs but also open up new possibilities for curators and artists to reimagine space production.
但场地偏远无疑会影响线下观众的参与度，而组织者试图通过社交媒体宣传、艺术媒体报道等方式延续展览影响。然而，自组织展览的“不可持续性“依然是艺术家关注的问题——近半数受访者表示，展览结束后未有任何后续，仅三分之一的项目留下出版物、媒体报道或档案记录，约两成展览最终发展为更完整的后续计划。在高度流动的留学生群体中，基于偶发性的临时协作难以维系个体艺术实践的持续生长。若要借由小型展览构建稳定的社群网络，既需要组织方制定包含资源统筹、学术输出与传播策略的长期规划，也要求参与者结合自身职业发展的需求，对合作项目进行理性评估与选择。
However, the remote locations inevitably limit in-person attendance, prompting organizers to extend the exhibitions' reach through social media campaigns and art media coverage. Yet the "unsustainability" of self-organized exhibitions remains a pressing concern—nearly half of the surveyed artists reported no follow-up after shows concluded, with only one-third of projects producing publications, media documentation, or archival records. Merely 20% evolved into more substantial subsequent initiatives. Within the highly transient international student community, ad-hoc collaborations built around sporadic exhibitions struggle to sustain long-term artistic growth. To cultivate stable networks through these small-scale shows, organizers must develop comprehensive long-term strategies encompassing resource allocation, academic output, and marketing plans. Simultaneously, participants need to critically evaluate collaborative opportunities against their professional trajectories, moving beyond temporary alliances toward more deliberate, sustainable engagements.
现实的压力同样来源于签证：“准备申请Global Talent Visa（GTV）吗？”已成为英国艺术留学圈的常见问候语。相比毕业生签证（PSW），GTV签证能缩短获得英国身份的年限，却对申请者履历要求严苛，迫使他们在短期内快速积累有效经历。在此压力下，“无中生有”成为普遍策略：自行组织包含签证所需要素的展览，并吸引同类需求的国际生参与。调查显示，近一半参与过自组织展览的艺术家计划在英国发展，三成计划回国，其余则在徘徊不定中。在以签证为主要目的的推动下，展览的功利性不容忽视，例如出现仅有中国或东亚文化背景参与者的情况。但大部分展览还是有来自不同国家的艺术家或策展人的均等参与，与英国社会强调的平等多元价值相合，折射出自组织展览在制度性约束与文化开放性之间的张力。
The reality of visa pressures is ever-present: "Are you applying for the Global Talent Visa (GTV)?" has become a standard conversation starter among Chinese art students in Britain. Compared to the Graduate Route (PSW), the GTV provides a quicker route to permanent residency but comes with strict professional requirements, forcing applicants to quickly build up qualifying experience. This has led to a "create from scratch" approach: artists organizing exhibitions specifically designed to meet visa criteria while attracting other international students with similar needs. The survey shows that about half of participating artists plan to develop their careers in the UK, 30% intend to return to China, with the remainder undecided. While visa motivations inevitably make some exhibitions more utilitarian (seen in shows featuring only Chinese or East Asian participants), most maintain balanced participation from artists and curators of different regions—aligning with the UK's emphasis on equality and diversity. This reveals the tension self-organized exhibitions navigate between systemic constraints and cultural openness.
自组织展览实践始终处于资源有限性与多维目标的动态平衡之中：它既是艺术主体性探索的实验载体，又是应对系统制约（如签证政策、职业资本积累）的适应性策略。从策展叙事建构到空间生产机制的每一操作环节，都需在艺术领域的原则与现实情境的协商中完成方法论校准，而这对职业初期的从业者无疑是巨大的挑战。对于自组织实践，组织者和参与者或许都容易停留于某种乌托邦的想象，而平等协作下的权利拓扑，“临时性”对可持续知识生产的消解，乃至劳动分工的性别化惯性等潜藏的伦理总在冲突与失效中显现。
The practice of self-organized exhibitions constantly negotiates a dynamic equilibrium between limited resources and multidimensional objectives: it serves both as an experimental vehicle for artistic autonomy and as an adaptive strategy to navigate systemic constraints (such as visa policies and professional capital accumulation). Every operational aspect—from constructing curatorial narratives to establishing spatial production mechanisms—requires constant methodological calibration through compromise between artistic pursuits and realities, posing significant challenges for early-career practitioners. Both organizers and participants may easily cling to utopian ideals, while underlying ethical issues—such as power topology masked by egalitarian collaboration, the erosion of sustainable knowledge production by temporary structures, and gendered divisions of labor—persistently emerge through conflicts and systemic failures.
“于内与外”展览现场，由TRA Collective策划，Greatorex Street，英国伦敦，2024
Installation view of “Always container, sometimes contained”, curated by TRA Collective, Greatorex Street, London, 2024
Installation view of “Always container, sometimes contained”, curated by TRA Collective, Greatorex Street, London, 2024
这些结构性矛盾在具体实践场域中催生出多元的解困之道——四组策展人/组织者（排序不分先后）通过对不同议题的关注及具身经验，分别从协作框架、身份反思和可持续自组织规划等维度作出了各自的思考和回应。
These structural contradictions have spawned diverse solutions in practice—four curator/organizer groups (listed in no particular order) have developed distinct responses through their focus on different issues and embodied experiences, offering insights across collaborative frameworks, identity reflection, and sustainable self-organization strategies.
TRA Collective 是一家位于英国伦敦的策展工作室，由应澜泽杭（Lan Ying）和罗海嘉（Haijia Luo）于2023年共同创立。两位创始人均毕业于英国皇家艺术学院当代艺术策展专业。“TRA”这一前缀意指“超越”与“存在于两者之间”。TRA Collective 通过策展，与艺术家和观众共同探索当代文化中的过渡与转变，关注如何跨越时空与边界，创造新的叙事可能性。
网站：https://www.tracollective.co.uk/
TRA is a curatorial collective based in London, UK, co-founded in 2023 by Lan Ying and Haijia Luo. Both founders graduated from the Curating Contemporary Art program at the Royal College of Art (RCA). The prefix 'TRA' signifies going beyond and existing in between. TRA is dedicated to exploring the themes of transition and transformation in contemporary cultures，navigating the liminal spaces and boundaries where new possibilities and perspectives emerge.
我们是一群艺术家和研究者，每个季节都会举办展览和出版独立杂志。我们的实践探索自然、人类，以及他们之间的交汇点。
OFF-SITE：我们的实践对“白盒子”展览模式提出质疑。大多数的实践都发生在场外，或者在具有扁平化组织结构的空间里，让所有人都能自由进入和体验。
自然与人类：我们探索人类与非人类实体——自然、科学与人工智能——之间的交汇点，审视这些关系如何塑造身份、能动性和存在。通过批判性对话，我们关注伦理、环境和技术影响，探索人与自然世界和数字景观的联系，
纪念碑：对我们而言，一切都是纪念碑——每一道痕迹、每一次改变，每个时间与空间的流动，都是记忆、历史和转变的组成部分。我们试图构建一系列“纪念碑云”，在线上与线下、跨越地理、学科与媒介，形成一个广阔且互联的纪念体系。这促使我们重新思考纪念性的概念——它不再是静态的、单一的，而是一个超越人类与非人类、现实与数字领域的动态关系网络。
网站：https://149art.com/
We are collaborative group of artists and researchers doing exhibitions and zines every season of the year, exploring the intersections between nature, humanity, and the marks we collaboratively leave behind.
OFF-SITE
Our practice challenges traditional boundaries of art, redefining contemporary art beyond the constraints of institutional spaces and speaking out against the "white cube". Most of our practice takes place off-site or in spaces with flat organizational structures, which can be freely accessed and experienced by everyone. It is political in nature—challenging power dynamics and amplifying marginalized perspectives.
NATURE & HUMANITY
We explore the intersections between human and non-human entities—nature, science, and AI—examining how these relationships shape identity, agency, and existence. By fostering critical dialogues on ethical, environmental, and technological implications, we aim to deepen connections to both the natural world and digital landscapes, offering new perspectives on living in an interconnected, rapidly changing world.
MONUMENT
For us, everything is a monument—every mark, trace, and shift in time and space contributes to a vast, interconnected landscape of memory, history, and transformation. We seek to create a “cloud of monuments,” online and offline, spanning geographies, disciplines, and mediums. This invites a rethinking of monumentality—not as static and singular, but as a dynamic web of relations transcending human and non-human, real and digital realms.
王一凡（Emma Wang) 目前就读于伦敦大学金史密斯策展专业，工作并生活于伦敦。她目前的研究关注母亲，家庭关系中的代际创伤，以及情感与生态。她尝试用策展的方式唤起公众的情感。幽默、戏剧、空间叙事是她常用的策展方法。在学生期间她积极参与过众多替代性空间的策展活动，如酒吧阁楼、废弃邮局、以及传统画廊空间。她是2025年英国艺术委员会Arts Council England Project Funds 获得者，其项目“NOT JUST”将于三月到五月在A.P.T Gallery，Wild Trumpets, Feminist Duration Reading Club (FDRG), 和SineScreen 等组织的合作中相继开展。
Emma Wang is currently studying MFA Curating at Goldsmiths, University of London. She is the recipient of the 2025 Arts Council England Project Grants. Her funded project, NOT JUST, will unfold in 2025 through a series of collaborations with A.P.T. Gallery, Mayday Rooms, the Feminist Duration Reading Group (FDRG), and SineScreen.
Small-Time Project是一个由艺术家主导（artist-led）的项目空间与策展企划，目前由张博文和Jack Kinsman组织运营，通过对伦敦城市空间的创新再利用，致力于支持新兴艺术家、策展人及实验性艺术机构的发展。该项目创立于2024年，已在各类非常规空间成功举办展览、行为艺术表演，专题对谈以及工作坊。截至目前STP已经与超过120位艺术家及多个艺术组织合作，为艺术实验提供开放的平台，进一步践行其为艺术从业者创造发展空间的愿景。
Small-Time Project (STP) is an artist-led project space and curatorial initiative supporting emerging artists, curators, and experimental art organisations by repurposing urban spaces in London. Launched in 2024, it has hosted exhibitions, performances, workshops and panel talks in unconventional spaces. Working with over 120 artists and several organisations, STP provides accessible platforms for artistic experimentation. Reinforcing its mission to create a platform for art practitioners to thrive.
A: Why did you choose to develop self-organized practices in London?
TRA：我们是在皇家艺术学院就读当代艺术策展硕士时认识的，在学习过程中，我们都意识到课程内容偏重理论，且缺乏将其转化为实践的支持。我们认为策展不仅是知识的积累，更是一个需要不断与艺术家交流、在对话中寻找灵感并搭建桥梁的过程。
我们主要专注于展览、艺术指导（art direction）和艺术家推广。理念很简单——我们热衷于那种介于共鸣与矛盾之间的状态，因为这种张力常常能激发出新的想法。同时，我们喜欢跨学科、跨界的合作，所以过去的展览和项目大多都是与那些认同这一精神、拥有独特表达方式的艺术家或创意工作者一起策划的。每一次实验都在不断探索新的叙事方式和展览形式——这里的“展览形式”更侧重于公共项目的策展，强调与观众之间的互动和对话。
伦敦完美契合我们对艺术界的期待：Vibrant but cruel。虽然艺术行业的就业环境可能并不十分友好，但伦敦拥有众多才华横溢的艺术家、小型机构以及各种各样的展览、剧目和文化活动。你可以今天去参加几个画廊的开幕，晚上再去看一场先锋表演，隔三差五还能去听听哲学或艺术史的讲座——这种多元且包容的文化氛围不断激发我们尝试新事物和思考。所以，在这样蓬勃生态的环境下，我们萌生了举办自组织展览的想法。
TRA: We first crossed paths while pursuing our MA in Curating Contemporary Art at the Royal College of Art. Throughout the program, we became acutely aware of a gap between theoretical discourse and practical application. For us, curating extends beyond the accumulation of knowledge; it is a continual process of collaboration—engaging with artists, fostering inspiration through dialogue, and forging meaningful connections. This ethos continues to shape our approach, grounding our practice in both critical inquiry and active exchange.
Our approach is grounded in the exhibition making and art direction, guided by a belief in the generative potential found between resonance and contradiction. This space of tension is where we find the seeds of new ideas. Collaboration lies at the heart of our practice; we work alongside artists and practitioners who share our commitment to experimentation and bring unique perspectives to each project. Our exhibitions are conceived as platforms for exploring new narrative forms and presentation, with public programming designed to encourage active engagement and open dialogue with our audiences.
London embodies the complexities of the art world—vibrant yet demanding. While the professional landscape can be challenging, the city is home to an extraordinary community of artists, independent initiatives, and a continual flow of exhibitions, performances, and cultural events. Here, one might move seamlessly from gallery openings to avant-garde performances, and from thought-provoking lectures to informal gatherings, all within a single day. This rich and inclusive cultural ecosystem inspires ongoing experimentation and critical reflection. It is within this dynamic environment that our commitment to self-organized exhibitions was born.
“夜舟”（Night Boat）展览现场，由TRA Collective策划，Fitzrovia Gallery，英国伦敦，2023）
Installation view of “Night Boat”, curated by TRA Collective, Fitzrovia Gallery, London, 2023
我们定居于伦敦，这里的艺术氛围和创作环境相对自由开放。更重要的是，伦敦作为一个艺术与生态高度交汇的城市，其独特的景观与原始生态的密集交融，是其他地方罕见的。这种多元的环境为我们提供了构建独特叙事的空间，使我们能够与所关心的议题建立更真实的联系。
1:4:9: The name 1:4:9 derives from “2001: A Space Odyssey”, where the monolith’s dimensional ratio (1:4:9) corresponds to the squares of the first three natural numbers. This proportion symbolizes civilization’s abstract analysis of natural phenomena—fundamental to human algebraic systems. We aim to transcend white-cube exhibition conventions through offsite wilderness exhibitions, directly engaging with the timeless theme of human-nature relations. The collective organizes quarterly exhibitions and produces publications, using "monumental" forms to explore transcendental imprints in nature, human, and non-human interactions. Currently, the group comprises three members: Ao Lei, Hao Huang, and Anastasiia Spasova.
Based in London, we’re drawn to its relatively open artistic climate. Crucially, as a city where art and ecology intensely intersect, London offers a rare density of landscapes interwoven with primal ecosystems. This hybrid environment provides fertile ground for constructing singular narratives, allowing deeper, more authentic engagement with our core concerns.
“Fundament"展览现场，由1:4:9策划，白垩溪流中的床垫支架，Brockenhurst，英国南安普顿，2024
Installation view of "Fundament", curated by 1:4:9, mattress frame in chalk stream, Brockenhurst, Southampton, 2024
Installation view of "Fundament", curated by 1:4:9, mattress frame in chalk stream, Brockenhurst, Southampton, 2024
Emma: Becoming an independent curator was my original purpose for coming to London. During my Goldsmiths interview, there was that classic question—"Where do you see yourself in five years after graduation?" My answer was: "As an independent curator." With this ambition, coupled with my deep curiosity about both personal and social issues, I soon found myself gathering with like-minded people.
“Feral Mothers”展览现场, 由王一凡策划，AMP Gallery，2024, 摄影：Ava Holtzman
Installation view of “Feral Mothers”, curated by Emma Wang, AMP Gallery, London, 2024, Photographer: Ava Holtzman
Installation view of “Feral Mothers”, curated by Emma Wang, AMP Gallery, London, 2024, Photographer: Ava Holtzman
B：作为艺术家，我始终认为策展与创作本身同样令人满足——策划、组织和执行的过程能够带来独特的成就感。同时，我也意识到，艺术家在可利用且具实验性的空间中展示作品的机会极为有限。在与同伴 Jack 共同策划了几场成功的展览后，我们决定创立一项长期的策展计划，由此在Farringdon建立了第一个项目空间。而运营这个空间并策划展览，也逐渐成为我生活和艺术实践重要的组成部分。
J：我们的起点非常自然，只是想积累策展经验，学习如何呈现作品——这对许多艺术实践来说都是至关重要的。在伦敦，空间无处不在，但真正可用的却很少。若有机会利用空间，便应该珍惜这一特权。当新兴艺术家有机会展示他们的作品，往往会促成令人惊喜的可能性。
B: As an artist, I’ve always found curating to be equally rewarding as the act of making itself—there's a unique satisfaction in organizing, planning, and executing. At the same time, I realized the significant lack of opportunities for artists to show their work in accessible and experimental spaces. After co-curating several successful exhibitions with Jack, we decided to create a long-term curatorial initiative. This led to the opening of our first project space in Farringdon, where running the space and curating exhibitions has become an important part of my life and artistic practice.
J: We started very organically, wanting to get experience organising a show and learning how to present work, which is naturally an important aspect to many artistic practices. Space is all around (mind-blown) but rarely accessible. If given the chance to utilise space, it's important to seize the opportunity because it's a great privilege. If emerging artists are allowed to show their work it can lead to amazing things.
“Have you seen our microwave?”展览现场，“No Trespassing” exp.3 of breeding migration (2025) by Zijing Ye，Small Time Project，英国伦敦，2025
Installation view of “Have you seen our microwave?”，“No Trespassing” exp.3 of breeding migration (2025) by Zijing Ye, Small Time Project, London, 2025
A: What were the main challenges in organizing self-initiated exhibitions, and how did you address them?
TRA：在筹备自组织展览时，我们主要面对的现实问题是场地和媒体。场地方面，由于租金高和使用时间限制，我们不得不压缩展览周期。为应对这一挑战，我们通过合作共享资源、争取资金支持来维持基本开支。而由于现场展览时间有限，我们特别重视内容的持续产出：充分利用线上平台，对每次展览进行完整存档，并在展后不断发布更新——包括艺术家访谈和studio visit等短视频内容。这样的做法确保了即使现场活动短暂，项目的讨论和分享也能持续进行，让更多人通过网络渠道了解我们的展览和理念。媒体方面，我们面临着如何在众多信息中脱颖而出、快速触及目标观众的问题。为此，我们同时在Instagram和小红书上发布信息，还积极联系各种艺术媒体、独立媒体和社交平台，希望通过多方渠道获得更多曝光。
TRA: For self-organized exhibitions, our primary practical hurdles were venue access and media reach. Regarding venues, high rental costs and strict time constraints forced us to shorten exhibition durations. To adapt, we pursued collaborative resource-sharing and secured funding to cover basic expenses. Given these physical limitations, we valued sustained content production: thoroughly archiving each exhibition online and consistently sharing post-show updates—including artist interviews, studio visit videos, and writings. This ensured the discourse extended beyond the brief onsite display, allowing broader audiences to engage digitally. On the media front, cutting through the noise to reach target viewers quickly was an ongoing struggle. We implemented a multi-platform strategy—simultaneously publishing on Instagram and Red while proactively pitching to art publications, indie media, and other social media platforms. This cross-channel approach maximized visibility despite limited budgets.
除了合规性，设备运输也是一大挑战。很多展览场地没有公路可通行，我们只能徒步搬运设备和材料。在最近的一次展览中，为了河床上安装一件作品，或参与艺术家的行为表演，所有成员不得不站在冰冷的河水中。这些经历虽然充满挑战，但也让策展人与艺术家之间的交流更加真实。
1:4:9: With limited funding and the complexities of wilderness exhibitions, we essentially operate under a double "debuff." The greatest challenge lies in balancing artists' creative needs with site compliance—factors like animal migration safety and potential environmental contamination from materials require rigorous consideration. Our curatorial approach thus becomes intentionally "assertive": we invest significant time collaborating directly with artists to ensure works meet regulatory frameworks while retaining their conceptual integrity. We sometimes joke about being overly "paternalistic"—but this tension between curatorial vision and artistic freedom demands constant negotiation.
Beyond compliance, logistics pose another major hurdle. Many sites lack road access, forcing us to transport equipment and materials on foot. During a recent riverbed installation, all members stood in freezing water for hours—some to install artworks, others to participate in durational performances. These demanding experiences forge an unmediated authenticity in curator-artist dialogue that white-cube spaces rarely achieve.
1:4:9成员深夜在溪流中布置作品
1:4:9 members installing artworks in the stream at night
另外，心态也是一个重要问题。无论是从事艺术还是创业，都是一条深不见底的幽幽长径，但总会有柳暗花明的一刻。作为项目组织者，你的心态直接影响团队的氛围和每个人的状态。而且，项目中不可控的因素常常超出预期，你必须调整自己去应对这些变化。例如，我开始学会做正念练习，并坚持运动——身体是革命的本钱。
Emma: The primary challenge was undoubtedly funding. For the first exhibition, which had zero budget, we relied entirely on a compelling proposal to attract like-minded collaborators—everyone volunteered their time, creating this rare, non-transactional collective force purely dedicated to realizing art. This kind of support was extraordinary. At the beginning of this year, the new project secured funding, and I was very relieved to finally be able to pay team members.
Another crucial issue is mindset. Whether in art or entrepreneurship, it's a long and uncertain path, but there will always be moments of breakthrough. As the project organizer, your mentality directly affects the team's atmosphere and everyone's morale. Moreover, unpredictable factors in projects often exceed expectations—you must adapt to these changes. For example, I've started practicing mindfulness and maintaining regular exercise—the body is the capital of revolution.
“Maybe Akward”展览现场, 由王一凡策划，Take Courage Gallery，2024，摄影：Arto Vanhasselt
Installation view of “Maybe Akward”, curated by Emma Wang, Take Courage Gallery, London, 2024,
Photographer: Arto Vanhasselt
Installation view of “Maybe Akward”, curated by Emma Wang, Take Courage Gallery, London, 2024,
Photographer: Arto Vanhasselt
B&J：筹备自组织展览的主要挑战在于如何确保财务可持续性。由于公共资金有限，而展览主要为非营利性质，我们不得不在各方面做出妥协，并采取更具合作性的方式，与艺术家共同推进项目。大家共同分担提供餐饮、值守展览、布展等事务，使得整个过程更加可控。我们与不同背景的艺术家合作，沟通和灵活性至关重要，而大家对展览的热情最终促成了展览的实现。
B&J: The main challenge we faced in preparing for the self-organized exhibition was ensuring its financial sustainability, as public funding opportunities are limited and our exhibitions are primarily not-for-profit. To address this, we’ve had to make compromises across all areas of the project and adopt a more collaborative approach with the artists. Everyone shares in the responsibilities—such as catering, invigilating, and installation—which has made the process more manageable. We work with artists from all sorts of backgrounds and career, so communication and flexibility are key: the artist's passion to put on a good show does the rest.
A: What is the collaboration mode like among your group members?
TRA：我们的合作模式就像双打乒乓球，每一次回球都是在不断互相激发灵感和修正偏差。双向奔赴的合作方式在不断的实践中变得越来越默契，而且我们可以在合适的时刻成为彼此的悲观主义者或乐观主义者，共同面对挑战。正是这种彼此尊重和真诚沟通，让我们在最困难的时候也能感受到背后那股强大的支持力量。
TRA: Our working relationship is best described as a dynamic exchange—much like a game of doubles table tennis, where each return sparks fresh ideas and helps us recalibrate our direction. Over time, this collaborative approach has become increasingly intuitive, allowing us to alternate between roles—whether as optimist or pessimist—as challenges arise. It is this foundation of mutual respect and open communication that sustains our partnership, providing a strong sense of support even in the most demanding moments.
“静的驻足”（Linger in Silence），由TRA Collective策划，Willesden Gallery，英国伦敦，2023
Installation view of “Linger in Silence”, curated by TRA Collective, Willesden Gallery, London, 2023
Installation view of “Linger in Silence”, curated by TRA Collective, Willesden Gallery, London, 2023
1:4:9: Ao Lei handles artist communications, Hao Huang oversees visual imagery, and Anastasiia Spasova leads textual narratives.
STP：
B&J：我们根据具体情况分配职责，保持灵活性，同时在展览制作和空间管理的各个环节积累实践经验。这种方式不仅对我们自身有益，也有助于建立相对可持续的工作模式。我们有幸在实验艺术实践上保持相近的品味与热情，使策展过程能够找到许多相互关联的路径。同时，我们各自的策展兴趣也促使每场展览形成独特的策展语法。这种持续的差异性实践不断推动我们重新思考展览范式的可能性边界。
B&J: We assign responsibilities based on the situation, allowing flexibility and offering us hands-on experience in all aspects of exhibition-making and space management. This approach has been incredibly beneficial, and I think it's helped us build a sustainable working model. We are fortunate to share much of the same taste and excitement for experimental art practices. Therefore, the curating process often finds many linked paths. Naturally, we also find our own niches and this can create very interesting diversities in our shows. No single show we’ve organised has been quite the same and this has constantly pushed our ability to think about new modes of exhibition.
“[Game ≈ Role-playing ≈ Rule-setting]”展览现场，“Outsite Service-2024 (Performance version)” by Yujie Duan，Small Time Project，英国伦敦，2024
Installation view of “[Game ≈ Role-playing ≈ Rule-setting]”, “Outsite Service-2024 (Performance version)” by Yujie Duan, Small Time Project, London, 2024
Installation view of “[Game ≈ Role-playing ≈ Rule-setting]”, “Outsite Service-2024 (Performance version)” by Yujie Duan, Small Time Project, London, 2024
A: When organizing exhibitions, do you consciously consider your identity as Chinese international students—for instance, in terms of theme selection, organizational methods, or resource allocation?
TRA：作为中国留学生，在策划自组织展览的过程中，我们不断反思自身的身份认同和文化归属，同时也在跨文化的语境中拓展策展实践。我们不仅关注中国艺术家的创作，也希望在更广阔的叙事框架中，探讨那些跨越文化、为不同群体所共同关注的普世性议题，例如身份、流动性、记忆与社会变迁等。
我们的策展方式始终植根于自身的文化经验，但并不局限于单一的身份视角，而是积极关注伦敦本地的艺术生态，尝试与不同社群建立联系。我们希望通过展览创造开放的对话空间，而不仅仅是单向输出某种文化经验。在这一过程中，我们也会留意并学习伦敦艺术社群的运作方式，例如了解一些曾与我们合作过的艺术家如何在南伦敦和 Margate 的艺术家团体中参与自组织实践，以及他们如何通过共享资源、空间和平台建立长期的合作网络。这种观察和借鉴不断影响着我们的策展思考。
TRA: As Chinese international students, we continuously reflect on our cultural identity and sense of belonging while expanding our curatorial practice within a cross-cultural context. We not only focus on the works of Chinese artists but also aim to explore universal themes—such as identity, mobility, memory, and social transformation—that resonate across cultures and communities.
Our curatorial approach remains rooted in our cultural background, yet we consciously avoid a singular identity lens by actively engaging with London’s local art ecosystem and building connections with diverse communities. Rather than unilaterally presenting a fixed cultural perspective, we strive to create open dialogues through exhibitions. This process also involves observing and learning from London’s art communities—for example, studying how artists we’ve collaborated with participate in self-organized initiatives across South London and Margate, or how they sustain long-term networks through shared resources, spaces, and platforms. These insights continually reshape our curatorial thinking.
“共感之境”（Symphony of Senses），由TRA Collective策划，Future Lab，第五届西岸艺术与设计创新未来教育博览会，中国上海，2024
Installation view of “Symphony of Senses”, The 5th Edition Art and Design Education: FutureLab, West Bund Art Center, Shanghai, China, 2024. Co-curated by Heart Lab and TRA Collective. The work pictured is Symphony (2021) by Xu Ying.
Installation view of “Symphony of Senses”, The 5th Edition Art and Design Education: FutureLab, West Bund Art Center, Shanghai, China, 2024. Co-curated by Heart Lab and TRA Collective. The work pictured is Symphony (2021) by Xu Ying.
1:4:9: Under the theme of "human-nature relationships," we've observed fundamentally divergent perspectives between European locals from deindustrialized societies and Chinese international students shaped by industrial expansion—particularly regarding technological optimism, environmental consciousness, and the worship of primal nature. Rather than limiting participation to Chinese or East Asian diaspora circles, we intentionally incorporate diverse viewpoints, inviting artists across cultural backgrounds to collectively confront these questions.
“Fundament"展览现场，DTMF调制展览信息并用无线电广播，白垩溪流中的床垫支架，Brockenhurst，英国南安普顿，2024
Installation view of "Fundament", DTMF-modulated exhibition broadcast via radio transmission, mattress frame submerged in chalk stream, Brockenhurst, Southampton, 2024
Installation view of "Fundament", DTMF-modulated exhibition broadcast via radio transmission, mattress frame submerged in chalk stream, Brockenhurst, Southampton, 2024
Emma: I don’t believe identity should be the primary criterion for collaboration. When working with artists, I prefer to understand individuals through their work first—not interpret their work through their identity or background. For instance, in my first project, most collaborating artists were foreign. It began when I stumbled into an exhibition, hit it off with an artist, and the project emerged organically from that connection. At the time, my spoken English was far less fluent than it is now, but it didn’t matter—I could still make the artists understand what I wanted to achieve.
“NOT JUST”展览现场，由王一凡策划，APT Gallery，英国伦敦，2025，摄影：Vinx Wang
Installation view of “NOT JUST”, curated by Emma Wang, APT Gallery, London, 2025, Photographer: Vinx Wang
Installation view of “NOT JUST”, curated by Emma Wang, APT Gallery, London, 2025, Photographer: Vinx Wang
B：我在运营策展项目或艺术空间时遇到的困难，其实类似于大多数国际学生面临的挑战，如签证问题，高昂的生活成本和在西方社会中的“他者”身份。凭借在西方国家度过的大部分成年生活，我尽力应对这些问题，并幸运地获得了同伴、艺术家、策展人和合作机构的支持。
在实践中，我的文化背景和族裔身份自然会成为影响因素。华语艺术家和观众一直是我们展览的重要组成部分，而展览概念常融合两位创始人的文化背景，因而会体现独特的中国元素。例如，在即将推出的“Line Shifu and Bakery Shifu”展览中，中文的文字游戏和翻译是关键。展览标题灵感来源于中文的基本绘画元素——点、线、面。巧妙的是“面”（surface）与“点”（dot）结合后变成“面点”，在中文中意为“烘焙食品”。绘画和烘焙作为跨文化的普遍实践，得以在不同情境中被重新诠释。
我认为STP受益于我们双重文化背景和国籍身份，使我们能从不同视角切入艺术世界，互补经验，覆盖更广泛的领域。关于STP的长期发展，我们或许会考虑将实践拓展至中国，计划举办展览、工作坊，甚至开设新空间。
STP:
B: I guess some of the difficulties I’m facing when running a curatorial initiative or project space are largely faced by the majority of international students in their daily lives such as the right to remain in London (Visa), the rising cost of everything and are seen by some as the “other” in the West. I’ve spent the majority of my adulthood in the Western country so I think I’m handling it to the best of my ability and I had great support from my partner and the artists/curators/organizations we’ve worked with.
In terms of how my identity affected the operation. When I’m working on something, my cultural background and my ethnicity naturally become a factor. Sinophone artists and audiences have always been an important part of our exhibition. Additionally, the concept of our exhibition has carried a bit of both of the organizers, so you could find elements that are distinctively Chinese. For example, for our upcoming show “Line Shifu and Bakery Shifu”, mandarin wordplay and translation became a key aspect of the show. “The title draws inspiration from the Chinese characters 点 (dot), 线 (line), and 面 (surface)—fundamental elements of drawing. Interestingly, the combination of 面 (surface) and 点 (dot) forms 面点, which translates to "bakery" in Chinese. Both drawing and baking are universal practices, accessible across cultures and adaptable to various contexts.”
I think the STP benefit greatly from our duo nationality and multicultural background where our background brings different aspects of the art world and we cover more ground combined. In terms of the long-time development of STP, there are thoughts of expanding our practice in China, exhibitions, workshops and even opening up a new space.
“[Game ≈ Role-playing ≈ Rule-setting]”展览现场，“Play, placement, precedent and Diagram 25” (2024) by Cat Madden，Small Time Project，伦敦，2024
Installation view of “[Game ≈ Role-playing ≈ Rule-setting]”, “Play, placement, precedent and Diagram 25” (2024) by Cat Madden, Small Time Project, London, 2024
Installation view of “[Game ≈ Role-playing ≈ Rule-setting]”, “Play, placement, precedent and Diagram 25” (2024) by Cat Madden, Small Time Project, London, 2024
A: What role do self-organized exhibitions play in London’s art ecosystem?
TRA：自组织展览作为一种脱离机构限制的自发实践，为策展人和艺术家提供了更自由的表达空间，使展览叙事更加多元化。对于中国艺术留学生群体而言，他们是一个高度流动的群体，而自组织展览使他们能够介入伦敦艺术生态的主流叙事，并开辟一个更加开放、多元的文化交融社区。这种实践如同水流冲刷过后留下的波痕，尽管隐秘，却具有塑造环境的力量。它不仅为初来伦敦的艺术家提供支持网络，也为希望长期扎根于此的创作者创造更具包容性和互助精神的空间。
TRA: As autonomous initiatives unbound by institutional constraints, self-organized exhibitions offer curators and artists greater freedom of expression, diversifying exhibition narratives. For Chinese art students—a highly transient community—these exhibitions provide a means to engage with London’s dominant art discourse while fostering open, pluralistic cultural exchange. Like water carving subtle but enduring marks into stone, such practices, though often underrecognized, possess the power to reshape environments. They not only build support networks for newcomers but also cultivate more inclusive, collaborative spaces for those seeking long-term roots in London.
1:4:9：自组织展览本质上是一种曝光，与传统展览或社交媒体的作用没有本质区别。在伦敦，很多自组织展览实际上是营利性的，受GTV签证政策的影响，部分展览带有较强的功利性，甚至是为签证而办的短期展览。我们不排斥商业化，但也观察到许多展览过于草率，缺乏深入思考。而如果完全依靠“为爱发电”，资金和热情的可持续性又是一个挑战，因此许多艺术小组最终只能昙花一现。
无论是对于中国艺术留学生还是本地社群，艺术很多时候都过于“自嗨”，难以与更广泛的观众建立联系。因此，我们的策展模式希望能在更广阔的场域里，与不同背景的观众展开真正的对话，而不是局限在艺术圈的内部交流。
1:4:9: At its core, self-organized exhibitions serve as a form of exposure—no fundamentally different from traditional exhibitions or social media in this regard. In London, many such exhibitions are actually profit-driven. Influenced by the Global Talent Visa (GTV) policy, some shows carry strong utilitarian motives, even existing as short-term visa-oriented projects. While we don’t reject commercial considerations, we’ve observed that many exhibitions are hastily assembled, lacking depth. On the other hand, relying solely on passion-fueled labor poses sustainability challenges for both funding and morale, leading many art collectives to flame out quickly.
Whether for Chinese art students or local communities, art often becomes overly self-referential, struggling to connect with broader audiences. That’s why our curatorial model seeks to foster genuine dialogue with viewers from diverse backgrounds in wider contexts, rather than remaining confined to insular art-world exchanges.
“Fundament"展览现场，由1:4:9策划，艺术家Jiaqi Liu作品，Brockenhurst，英国南安普顿，2024
Installation view of "Fundament", curated by 1:4:9, work of Jiaqi Liu, Brockenhurst, Southampton, 2024
Installation view of "Fundament", curated by 1:4:9, work of Jiaqi Liu, Brockenhurst, Southampton, 2024
Emma: I may have to offer a somewhat critical perspective—London's self-organized exhibition scene is a mixed bag. While it provides a valuable social platform for Chinese international students, helps young artists gain visibility, and offers fledgling curators hands-on experience, the biggest beneficiary might actually be London's real estate market. "Space" has become the city's most scarce—and profitable—resource. The impact of these exhibitions on local communities remains limited unless they partner with established institutions.
B：自组织展览是伦敦乃至全球艺术生态中的重要组成部分，为新兴艺术家提供了关键的支持和替代性的展示空间。这类展览在媒介和主题选择上更为自由，且减少了商业考量，营造出一个“错误”与“实验”被接受甚至被鼓励的环境。同时，它重塑了策展人与艺术家的关系，使角色更加流动，而非拘泥于传统模式。此外，自组织展览对策展人和组织者同样重要。无论参与者是寻求其他领域的职业机会，还是希望继续发展为策展人或组织者，这类展览都能提供实践经验，并使他们的实践保持一种积极的非正式性。它也是一个聚会、饮酒、欣赏艺术的空间，让大家在互动中建立起艺术社群的归属感。
J：自组织展览往往是最重要、最令人兴奋的展览之一。它们纯粹源于对艺术的热情——没有人要求艺术家去做，他们却仍然自主完成，因为坚信自己的作品值得被某个地方的某个人看到。当展示一件作品时，你便在与人建立共同的兴趣或经验联系。这是一种视觉上的对话，能够打破人与人之间的隔阂。当不断接触到更多独立展览时，你会开始认出一些名字、场地和作品系列，就像在逐渐了解一个人，即使从未与他面对面交谈。如果城市是你的客厅，那就应该在其中挂上艺术。
STP：
B: Self-organized exhibitions are a crucial part of London’s (or the whole world’s) art ecosystem, acting as a pivotal step and alternative space for emerging artists. These exhibitions often allow for more flexibility in terms of medium and topics, with the commercial aspects minimised, creating a space where "errors" and "experiments" are not only allowed but encouraged. It also provides a different perspective on the relationship between curator and artist as the roles are interchangeable and there isn’t a lot of “stick to the tradition” happening. Furthermore, self-organized exhibitions are equally significant for those organizing them. Whether participants are aiming for career opportunities in other fields or continuing to develop as curators and organizers, these exhibitions provide hands-on experience and will keep their practice less formal in a good way. It is also a place for gathering, drinking and enjoying art which creates a sense of community for some.
J: Self-organised exhibitions are some of the most important and exciting shows you can get. They are pure passion for their craft. No one is telling them to do it, and yet they do it because they believe there is something in their work that someone somewhere should see. When you present a piece of work you create bonds of shared interest or experience. It's a visual conversation that can smash the 1 inch hurdle. When you start seeing more and more independent shows, you begin to recognise names, venues and series of work. It feels like you’re getting to know someone even though you might never have actually spoken to them. If the city is your living room then you should hang art up in it.
“Have you seen our microwave?”展览现场，“rites for a rung tree”(2025) by Gabriel Kidd，Small Time Project，
英国伦敦，2025
Installation view of“Have you seen our microwave?”, “rites for a rung tree”(2025) by Gabriel Kidd，Small Time Project, London, 2025
A: Could you briefly share your future plans for exhibitions and your career aspirations?
TRA：最近我们推出了一个新项目——TRA Table Series，标志着我们的转变：试图将艺术体验从传统画廊空间带入一个更亲密、更具互动性的环境。具体来说，我们为每位艺术家打造一个基于他们创作实践的餐桌，并展示一系列作品，以及艺术家/创作者自选的一样美食。每次活动邀请3到4位TRA的朋友，通过交流、美食、艺术和饮品的对话，打破静态展览的局限，营造一个更亲密而生活化的交流平台。所有活动都会通过文字和视觉记录，在网络平台分享，让即便没能亲临现场的人也能感受到那种氛围与精神。此外，我们还在筹备与之前合作过的一位艺术家的个展，以及下半年一个与声音和行为艺术相关的项目。
Lan最近的工作涉及画廊、艺术家工作室，以及运营自己的媒体平台（播客和小红书），希望借此接触并体验艺术行业中的不同角色。未来，她的职业规划仍将围绕写作、研究、艺术文化推广和展览展开。海嘉最近的工作在艺术私人收藏机构，未来，她希望深入研究艺术品的文化背景与学术价值，同时精准把握市场趋势，推动收藏策略的优化。
TRA: Recently, we launched a new initiative—TRA Table Series—marking our shift toward transplanting art experiences from traditional gallery spaces into more intimate, interactive settings. Specifically, we design a custom dining table for each artist, tailored to their practice, showcasing a selection of their works alongside a dish personally chosen by the creator. Each gathering invites 3-4 of TRA’s friends, blending conversation, food, art, and drinks to break the constraints of static exhibitions and foster a warmer, more lived-in platform for exchange. All events are documented through writing and visuals shared online, allowing remote audiences to absorb the atmosphere. Beyond this, we’re preparing a solo show with a previously collaborated artist and a sound/performance-based project for late 2025.
Lan’s recent work spans galleries, artist studios, and her own media platform (podcast and Red), through which she engages with diverse roles in the art world. Her future plans remain centered on writing, research, art advocacy, and exhibitions. Haijia, currently working with a private art collection, is committed to deepening her understanding of the cultural and academic dimensions of art, while cultivating a considered and informed approach to collecting.
TRA × 朱观海，Table Series，2025
TRA × Guanhai Zhu, Table Series, 2025
TRA × Guanhai Zhu, Table Series, 2025
雷鏊目前在攻读博士，职业目标是博物馆科普设计，今年也会推进新的个人系列作品。黄浩目前在伦敦经营一个3D 打印工作室，今年计划启动设计师品牌，同时推进个人创作。
1:4:9: We recently concluded our exhibition in Brockenhurst and are now in discussions with Tsinghua University’s Academy of Arts & Design and the Karamay government to collaborate on a large-scale land art project, likely centered on quarrying themes.
Ao Lei is currently pursuing a PhD, with a professional focus on museum science communication design, while also developing a new personal work series this year. Hao Huang runs a 3D printing studio in London, planning to launch a designer brand alongside continuing independent artistic practice.
Emma：今年三月到五月，我将集中精力推进已获得资金支持的项目“NOT JUST”。该项目起源于我的第一个关于母亲的策展项目“什么是母亲”（What is Motherhood?），而“NOT JUST”则进一步聚焦于“成为母亲之后？”（What/How is after motherhood?）这一议题，以及女性之间的关系，包括家庭中的母女关系和艺术创作中的女性相互支持。这也是对上一个项目的总结与延续，且这次将落点置于“爱”这个词。我同时在思考，“爱”作为一个动词如何影响我的策展实践。
此外，我还在准备我的毕业项目，内容涉及植物、忧郁与爱之间的关系。写作和生存是当务之急，其他就随心所欲吧。
Emma: From March to May, I’ll dedicate myself to “NOT JUST”, a funded project expanding on my first curatorial work “What is Motherhood?”. “NOT JUST” probes the question What/How is after motherhood?, examining female relationships—both familial (mother-daughter) and artistic (mutual support among women creators). This project serves as both a culmination of previous research and an extension anchored to the concept of love. I’m also exploring how love as a verb might reshape curatorial methodologies.
Concurrently, I’m preparing my graduation project on the interplay between plants, melancholy, and love. For now, writing and survival take priority—the rest, I’ll follow intuition.
“NOT JUST”展览现场，由王一凡策划，APT Gallery，英国伦敦，2025，摄影：Vinx Wang
Installation view of “NOT JUST”, curated by Emma Wang, APT Gallery, London, 2025, Photographer: Vinx Wang
STP：
B：我们希望继续推进当前项目，并策划即将到来的展览——下一个展览“Line Shifu and Bakery Shifu”将会在3月28日开幕。同时，我们也在探索在伦敦创办由艺术家主导的画廊的可能性，将现有项目纳入展览计划，甚至在未来于中国开设画廊。就我个人而言，我希望能在策展的同时持续发展我的艺术实践，但最终还是顺其自然，看潮流将我引向何方。
J：只要条件允许，我们将继续支持新兴艺术家，推动STP社群的成长。我们希望通过创办由艺术家主导的画廊，STP能够在这一框架下实现可持续发展。正如博文提到的，将STP的理念推向更广阔的国际舞台，未来在中国设立画廊也是令人兴奋的想法。当然，最重要的是，必须继续创作。
B: We aim to continue our project and try to manage the upcoming show in our current project space. Our next show Line Shifu and Bakery Shifu opens on the 28th of March. We are also actively discussing the possibility of starting an artist-led gallery in London while keeping our current project as a part of the exhibition program and even eventually opening up another gallery in China. Personally, I will keep developing my artistic practice alongside this project, but I guess we will see where the waves take me.
J: As long as we’re practically able to, we want to continue to support emerging artists and foster the STP community. We hope that an artist-led gallery would allow STP to become a very sustainable programme within its umbrella. As Bowen has mentioned, it would be great to see the values of STP on the global stage with future galleries in China. And of course, you must keep drawing!
后记：本文试图以有限样本勾勒伦敦中国留学生自组织展览的生态图景，但受调研规模与时效所限，这一流动的实践网络仍存在诸多未被言说的褶皱：各所顶尖艺术院校教学系统与资源网络对自组织展览的支持与制约、创作者在国内外艺术体系间的身份转换与职业规划困境、展览叙事如何介入本地艺术话语或由此重塑自身等，仍需更深入而持续的追踪与批判性审视。
希望这篇文章能够为关注自组织展览的创作者提供讨论的契机，并引发更多关于这一生态持续发展与创新可能性的思考。
Postscript: This article attempts to sketch an ecological portrait of self-organized exhibitions by Chinese international students in London through limited case studies. However, constrained by the scope and timeliness of research, this fluid practice-network still contains unspoken complexities: how elite art schools’ pedagogical systems and resource networks simultaneously enable and restrict such exhibitions; the challenges creators face in navigating professional identities between domestic and international art systems; and how these exhibition narratives might intervene in local art discourses or conversely reshape themselves—all demand deeper, sustained scrutiny and critical engagement.
We hope this text offers practitioners invested in self-organized exhibitions a springboard for discussion, while provoking further reflection on this ecosystem’s sustainable evolution and innovative potential.
图片致谢组织者与艺术家
Image in courtesy of all organizers and artists
感谢所有受访者
Sincere thanks to all participants
文/陈泉池Starry Louason
Text by Starry Chen, Louason Luo