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Curating Contemporary Art (MA)

Youjia Qian

About what? The profile page leaves a question mark behind the About for guidance information. But it is empty.

So, about what?

If it is about me, I am a Chinese student holding Tier 4 student visa to study curating at this art school. It could be easy to say that I am tired of curating within the frame of art institutions, tired of overusing the so-called “collaboration,” “participatory,” “social engagement,” or even “the curatorial” to decorate the ivory tower rooted in capitalism. While wondering if outside this frame, can my independent voice, as raw as vulgar, as fragile as broken, be loud and certain enough to claim other practices activating relations as curating.

If it is about my graduate project in RCA, “To Be Here With You recognises a desire to reconnect through a series of five free public workshops led by artists. ” (More info below)

If it is about the collective practices that I did with my classmates Cindy He and Wanlan Chen outside the course during this two-year education, “as a research-orientated curatorial collective, Backitchen is devoted to establishing an ongoing platform to explore the potential of Asian art, its social intervention and care by facilitating art creation, collaboration and communication.”

If it is about my previous education, I studied history as my major for 7 years. The most precious lesson I learned was: If you want to criticize something but the parrhesia will put you in danger, criticizing something similar that happened long long ago will probably work.

If it is about other things, such as my own website, published writings, scholarships, awards, working experiences in big international galleries, achievements in academic areas, or all the unspoken and unspeakable, I have nothing to say.


尽量晚一点投降,my mates.

This image manifests my curatorial methodology.

One of the things that I fear most is to write a personal statement, no matter for what purpose. Because once you put a word, it is not about defining a thing, but defining yourself, a living person who will continue to change her mind. The fear then becomes the pressure to do the statement “professionally/correctly,” because once these words are archived, they will leave a trace about how you wanted to "curate" the best version of yourself at the moment.

Correct definitions eat me alive.

In Cathy Park Hong's Minor Feelings, she mentioned as a Korean immigrant, her speaking bad English left her with more than awkwardness but trauma in her childhood living in the US, until she decided to eat the language before it eats her. She began to write poetries with this bad English, she collected mistranslation on the Internet as her creating resources. She said through bad English she found her people. I found myself in her story.

If there is any statement that I have to write to fill in this graduation profile, to conclude my curatorial interest after this 2-year education, I guess I just want to eat those things before they eat me.

I want to eat international art English before it eats me.

I want to eat the institutional regulations and thresholds before they eat me.

I want to eat my educational background and job experiences before they eat me.

I want to eat literature review and research gaps before they eat me.

I want to eat collective practices in curating before they eat me.

I want to eat open calls before they eat me.

I want to eat networking before it eats me.

I want to eat Global Talent Visa before it eats me.

I want to eat scholarships before they eat me.

I want to eat Arts Council England before it eats me.

I want to eat my passport before it eats me.

I want to eat nationalism before it eats me.

I want to eat identity politics before it eats me.

I want to eat collectivism before it eats me.

I want to eat capitalism before it eats me.

I want to eat curating before it eats me.

I want to eat the curatorial before it eats me.


I want to eat what I did before it eats me.


*This image manifests my curatorial methodology. This is a joke.

e-bulletin: To be here with you
To Be Here With You

To Be Here With You

To Be Here With You embraces practices of ritual to create a space of shared knowledge, gentle hospitality and open collectivity.


Southwark Park Galleries // Lake Gallery Salter Space

1 Park Approach, Southwark Park, London SE16 2UA 


Saturday 22nd April - Gathering with Gail Dickerson

Sunday 23rd April -  Activating with Rie Nakajima

Saturday 29th April -  Infinitely with Alice May

Sunday 30th April - Tenderly with Rudzani Moleya and Yewande 103

Friday 5th May - Greening with Hannah May and Lee Hands


To Be Here With You recognises a desire to reconnect through a series of five free public workshops led by artists. Beginning with a responsive walk through Southwark Park and followed by a guided activity in Southwark Park Galleries’ Salter Space, each workshop explores the sacred rituals of our everyday routines, ancient mythologies, earthly knowledge or pagan beliefs. The project explores dynamic spaces of collectivity, participation and shared thinking. Each workshop opens a pathway for audiences to appreciate the spaces we all inhabit, to rediscover the spiritual aspects of nature and to value intimate routines as something sacred.

To Be Here With You is curated by Ghost Collective: Marjian Tsatsaros Tyagi, Julia Jiang, Ana Escoto, Youjia Qian, Chuqing Feng, Caspar Danuser, Esther Liu, Sophie Nowakowska, and Nathan Yeomans from the MA Curating Contemporary Art Programme as part of the Graduate Projects 2023, Royal College of Art in partnership with Southwark Park Galleries. 

Mr Zhongping Qian and Mrs Yamei Zhu

I am sincerely grateful to my parents for generously sponsoring my education in this costly art school and supporting my life in this costly city.