DB: 您目前在策划哪些项目，您的任务是什么？ What is your current project and what is your mission?
我最近在为即将开业的燕晗高地（The mountain view）文化艺术综合空间筹备建设艺术版块，筹备此空间非赢利艺术中心的开幕展览：著名观念艺术家沈少民的作品。我的使命是推动当代艺术，推动珠三角乃至全国的当代艺术发展，搭建当代艺术与大众之间的桥梁。
“The Mountain View” cultural and arts integrated space will soon open, so I am preparing the opening exhibition for the non-profit art center in the space, displaying works of the famous conceptual artist Shen Shaomin. My mission is to promote the development of contemporary art in the Pearl River Delta and even the whole country. I want to build a bridge between contemporary art and the public.
DB: 您个人的策展哲学是什么？What is your curatorial philosophy?
My curatorial philosophy is: Looking for the extraordinary in the mortal world, those immortal artists and their works will eventually give off light, and it is called wisdom.
DB: 哪个艺术作品对您影响深刻，问什么？What work of art has most affected you personally and why?
对我影响最大的一件艺术作品是：Damien Hirst—The Physical Impossibility of Death in the Mind of Someone Living.
I was deeply influenced by: Damien Hirst—The Physical Impossibility of Death in the Mind of Someone Living.
Reason: Damien Hirst is a contemporary artist with a great spirit of adventure, although he has been a controversial figure internationally. His works have shocked the world and deeply inspired me in thinking about life and death. It also brought me a brand new way of understanding contemporary art.
DB: 您为什么喜欢策展？ What do you love most about curating?
The process of curating is very similar to the process of filming. In a sense, the curator acts like a film director and producer: selecting scripts and actors, coordinating the team, integrating all resources and they must be capable to control the overall situation as well as handling details precisely. It is no easy task to present a wonderful movie, just like planning an exhibition. An excellent curator must possess a keen insight of the era,a comprehensive artistic accomplishments and literary skills. They must have a tacit understanding with the artists, thoroughly understand and interpret their works. There are also many unknowns in the exhibition process and they may present the final exhibition in a way that goes beyond expectations, which is also fascinating and exciting.
DB: 您在深圳住了15年，后来搬到了香港定居。那您觉得这两个城市的艺术家们有什么不同吗？You lived in Shenzhen for 15 years before moving to Hong Kong. How does the artistic community differ between the two?
The differences between artists in Hong Kong and Shenzhen are related to the different characteristics, attributes, demographic structure and temperament of these two cities. Shenzhen is mostly a city consisting of a large number of migrants,which means the artists’ groups are also mostly immigrants and very likely to move away. The works of those artists are therefore related to the characteristics of Shenzhen, the most advanced city in reform and opening up. Some artists focus on the problems existing in the decades of rapid development of the city, some will express survival, living and the spiritual status of those artists living in special economic zones. Others will pay attention to Shenzhen’s unique phenomenon of “villages in the city” etc. Artists in Hong Kong have a relatively international perspective. The integration of East and West culture and art forms an artistic language with Hong Kong characteristics. Artists are also very concerned about the local community. They express the environment of Hong Kong and the state of people’s livelihood as well as the current problems in Hong Kong society. For example, some artists express their political themes in their works, but in Shenzhen there are no artists to express political issues because the political atmosphere is relatively thin which is in contrast with Beijing. Due to the higher living costs in Hong Kong, artists usually have limited creative resources, so some of them will go outdoors for material collection and creation. However, most artists in Shenzhen live in industrial areas or villages that are far away from downtown. There are larger studios where the costs are lower. Hong Kong and Shenzhen are both cities with a strong commercial atmosphere. Some artists need to rely on other work to maintain artistic creation. It is not easy to persist because the city does not provide a good situation and atmosphere for the artist to survive. Although both cities are wealthy cities, it does not mean that artists’ groups have good material living conditions.
DB: 您在工作中遇到最大的挑战是什么? What is the most challenging aspect of your work?
All challenges are fun at work. Actually, challenges usually do not come from the work itself, but the exhibition funds. We are always short of funds and in addition, most curators are not skilled in financial balance and figures.
DB: 假如用三个词来描述您的收藏品，会是哪三个词？ If you had to describe your collection in only three words, what words would you use?
Amusing, resonating, and epochal.
DB: 对于想从事策展的读者，您有什么建议吗？ Finally, what advice do you have for any of our readers who hope to become a successful curator?
Just do it, 相信自己的直觉。
Just do it and trust your intuition.