《21g》 是一场当代艺术群展，围绕“灵魂是否具有重量”这一既具象又难以证实的命题展开讨论。展览以“21 克”这一历史性实验结果作为引子，将其视为一种象征性的假设，而非可被验证的结论，从而引导观众重新思考精神、情感与存在经验在当代语境中的位置。

21g is a contemporary group exhibition that explores the question of whether the soul possesses weight — a proposition that is at once concrete in form and yet impossible to verify. Taking the historical figure of “21 grams” as its point of departure, the exhibition treats this result not as a scientific conclusion, but as a symbolic hypothesis, inviting viewers to reconsider the place of spirit, emotion, and lived experience within a contemporary context.

展览汇集多位年轻艺术家及艺术团体的创作实践，涵盖影像、装置、行为与摄影等媒介。策展并未试图为“灵魂”或“重量”提供统一解释，而是通过作品之间的并置与空间组织，构建一个开放的观看结构，使观众在具象与抽象、可测量与不可测量之间不断转换视角。

The exhibition brings together the practices of emerging artists and artist collectives, working across media including video, installation, performance, and photography. Rather than offering a unified definition of either “the soul” or “weight”, the curatorial approach constructs an open viewing structure through the juxtaposition of works and the organisation of space, allowing perspectives to shift continuously between the concrete and the abstract, the measurable and the immeasurable.

通过这一结构，展览关注的不仅是“灵魂是否具有重量”，更是当代个体如何在试图量化不可见之物的过程中，重新理解自身经验与存在状态。

Through this structure, the exhibition is concerned not only with the question of whether the soul has weight, but more broadly with how contemporary individuals attempt to quantify the invisible, and how such attempts reshape their understanding of personal experience and states of existence.

作为联合策展人之一，本人提出了展览的核心概念与研究方向，并与另一位策展人共同完成了展览结构的梳理、艺术家与作品的选择，同时也参与了展览文本的撰写，以及展览实施阶段的沟通与现场协调工作。

As one of the co-curators, I initiated the core concept and research direction of the exhibition, and worked closely with the other curator on developing the overall structure, selecting participating artists and works. I was also involved in writing the exhibition texts, as well as in communication, coordination, and on-site organisation during the implementation of the exhibition.

Now You See 是 MA Curating and Collections 2025 年毕业展，由全体毕业生共同策划完成。展览围绕“回应 / 忽视、记忆 / 遗忘、看见 / 不看见”等相互张力的概念展开，探讨在当代策展实践中，记忆、可见性与价值如何被建构、保存或忽略。

Now You See is the 2025 MA Curating and Collections Degree Show, collectively curated by the graduating cohort. The exhibition centres on a set of interrelated tensions — responding / ignoring, remembering / forgetting, seeing / unseeing — and examines how memory, visibility, and value are constructed, preserved, or overlooked within contemporary curatorial practice.

展览由三个策展单元构成，分别从劳动、记忆与物质文化出发，结合档案研究、艺术家合作与空间实验，回应策展在塑造集体记忆与文化叙事中的角色。通过多材料、多视角的并置，展览试图呈现策展作为一种协商、选择与判断的过程，而非单一立场的表达。

The exhibition is structured around three curatorial strands, approaching the themes of labour, memory, and material culture. Through a combination of archival research, collaboration with artists, and spatial experimentation, the project reflects on the role of curating in shaping collective memory and cultural narratives. By juxtaposing multiple materials and perspectives, the exhibition presents curating as a process of negotiation, selection, and judgement, rather than the expression of a singular position.

Politički Radnik: Female Personhood within the Non-Aligned Movement 是一个以档案为核心的展览展示项目，聚焦于不结盟运动语境下女性政治主体性的呈现方式。项目围绕 Olja Džuverović 的个人档案展开，通过信件、照片与文献材料，讨论女性在冷战时期国际政治结构中的参与方式，以及这些劳动如何被记录、忽略或重新看见。

Politički Radnik: Female Personhood within the Non-Aligned Movement is an archival-based exhibition project that focuses on the articulation of female political subjecthood within the context of the Non-Aligned Movement. Centring on the personal archive of Olja Džuverović, the project draws on letters, photographs, and documentary materials to examine women’s forms of participation within Cold War international political structures, and how such labour has been recorded, overlooked, or rendered visible over time.

项目的策展工作以集体讨论为基础完成，策展主题与档案材料的选择由策展团队共同决定。展示强调通过空间组织与观看路径，引导观众在有限材料中理解历史叙事与个体经验之间的张力，而非建构完整的历史回顾。