08.2025 Alternative pedagogy: Late Summer School 10.2024 Becoming Rehearsal: a process-driven performative exchange and workshops. 07.2024 The Museum summer night party, where you have to earn your entrance for a night of performances. 07.2024 Commissioned three audiovisual performances with Eastern Margins. 03.2024 AUUUUDITORIUM reclaimed the Rockbund Art Museum's historical auditorium with a scenography by Ming Wong. 03.2023 Chated with Xin Liu about her work and intimacy at the Courtauld. 02.2023 Artforum/Bassam Al-Sabah: The seduction of CGI and the limits of the self 06.2022 Silk, Wars, Asias in Viscose Journal. 06.2022 Chaired the conference panel Life after the ruins: Precarity, labour, work infrastructures at UCL. 06.2022 JSC Worldbuilding exhibition catalogue - Lawrence Lek, Nepenthe Zone 06.2022 In dialogue with Lawrence Lek about friendships and futures. 04.2022 I gave a talk on Bassam Al-Sabah's exhibition I AM ERROR at De La Warr Pavilion. 12.2021 A Text on skin-ego, simulation and regenerative futurism for Jinseung Jang's solo show Réalité Simulée at Onsu Gonggan, Seoul. 10.2021 CIRCA: Destination, Circulation, Where Are We Going? 09.2021 I talked about technological optimism in relation to the COVID-19 machine on the panel discussion of Local/Translocal: The Reproduction of Technological Promise at Chinsenhale Gallery, London. 06.2021 Currently on Vdrome 05.2021 Plastic Love / 塑胶爱 02.2021 I talked about how Advanced Practices in the arts explore, invent and restage knowledge formats at Visual Cultures Public Lecture, Goldsmiths, University of London 04.2020 Submitted PhD thesis titled Cyber-Proletariat and the New Subaltern Space. 11.2019 I started a post-doc role, working on the AHRC funded project Bio-Exempt. 09.2019 I responded to Shanzhai Lyric’s "FREEDON (and on and on)" at the Women’s Art Library. 03.2019 I produced a CGI film. 06.2018 Latin America Subaltern Studies Group 10.2017 I took part to organise (X) An Evening of Performances at DRAF. 09.2017 I read Chinese Sci-fi for CAMPerVAN at Jupiter Woods. 03.2017 I organised and presented at the International Curatorial Workshop: Curating and Social Change. 09.2016 I contributed to An Anecdoted Archive of Exhibition Lives that was exhibited at Bergen Assembly, organised by freethought. 11.2015 I started researching a PhD at Curatorial/Knowledge, Goldsmiths. 07.2015 Black Box Formula. 01.2015 Are we working too much? 10.2014 I talked to Valerie Steele about obsessions. 05.2014 Introspections is an artist moving image programme I curated in collaboration with LUX and BFI at London’s Picturehouse. 01.2014 13th Istanbul Biennial: Mom, Am I Barbarian? 05.2012 An exhibition investigating creative resistance was curated and exhibited at the Guardian. 03.2012 Circular Facts 03.2011 I took part in the process of recovering and re-activating a pedagogic experiment: the ‘A’ Course with MayDay Rooms.
07.2024

Responding to the Raockbund Art Museum's research direction of diasporic fiction, the Museum's summer night program engages sepculative practices as a far less reigid field. It builds on the lecture series that explored the bridging of scieentific knowledge and radical literature through the early emergence of science fiction in China and commissioned a text on "burden" from sci-fo writer Tang Fei as a pre-text for the night of party.

"Desire and labor are intertwined, two sides of the same coin, I am intoxicated by both." Tang Fei, Bee or Heidegger, 2024

Sci-Fi Summer (Love) is the Rockbund Art Museum summer night party. To play, you have to work for it.

Love—emotions and moods—has always been a running thread in sci-fi novels and films. It's archaic and timeless. It's universal and exists in a multitude of different spaces. It's fantastical and disastrous. (Love) is within a hold, a carrier. It can be burdensome like an information overload, and requires exchanges in order to keep it afloat and abundant.

Sci-Fi Summer (Love) creates a party scene at the museum with electronic music, video, and dance, alongside a market with eight artists. The commissioned text "Bee or Heidegger" from sci-fi writer Tang Fei will be broken down into fragments and appear on tokens as a currency for exchange for the night. The tokens have to be earned from the market-stall artists who offer interactions based on the different forms of exchange in speculative scenarios. The tokens can then be spent throughout the evening on performances full of cultural relics, drinks, and other memorabilia. Fragmented attention is spent on the market to earn tokens, in order to be immersed in collective emotions at the party.