#e-Beige




ZINNIA WANG   ARTTECHNOLOGYCURATIONCHOREOGRAPHY CRAFT COMPUTING PRACTICE CONVERGENCE COLLABORATION


This website functions as an online space to explore an ecological approach to curatorial practice, understanding an exhibition as a relational environment in which artworks, bodies, spaces, technologies, memories, and material traces continually shape one another. 

My curatorial method has evolved over more than ten years of working with collections and museology and continues to adapt through hybridity as a methodology. This platform showcases my exhibition projects as continuous investigations into how curatorial stories can be experienced, engaged with, and developed through participation.


Welcome to my Curatorial Laboratory  



  \ The Feather of Ma'at
玛阿特的羽毛
     
  \Maize Maze： Immortality Experiment
麦田迷宫：永生实验室

 \PERCEPTION
知否

  \Through the Garden Gate
穿过花园的门



CO-EXPERIMENTAL  LAB  🧑‍🤝‍🧑







Zinnia
王曉蓉

Independent Researcher and Curator
PhD Candidate, University of Plymouth · MA, Goldsmiths, University of London
Researcher, Vagab(o/u)nds Research
Philosophy of Art and Technology · Philosophy of Curating
英国普利茅斯大学博士候选人｜Vagab(o/u)nds Research 研究员
艺术与技术哲学 · 策展哲学



PERCEPTION 知否




    ARTISTS  艺术家

    Annan SHAO  邵安南
    Chiching Chang  张其静
    Evaldas Gulbinas
    Fiona LI  李行榕
    Jiali MAI 麦嘉莉
    Jiaying MA 马嘉营
    Keran WANG  王柯然
    Kristen Elizabeth Donoghue-Stanford
    Lily WENG  翁丽莉
    Lucia Boaghe
    Rongjun ZHAO  赵嵘均
    Shuya LU  路淑雅
    Viola YANG  杨帆
    Wenqi ZHAO  赵雯绮
    Wenxuan CHEN  陈文轩
    Xinyan TAN  谭心言
    Yishi CHEN  陈一实
    Yixin HAN  韩宜欣
    Yuxin HUANG  黄雨欣


    策展人  CURATORS

    王晓蓉  Zinnia WANG
    刘铭扬  Mingyang LIU






    Magellan’s circumnavigation in 1519 did more than inaugurate the Age of Discovery. It marked a turning point in how humanity conceptualised geographic space. Tools such as the astrolabe, compass, sextant, and nautical charts—painstakingly engraved into wooden cases and brass mechanisms—did not merely record trajectories and celestial phenomena. They embodied a rational ambition: to map the unknown world with precision and order. Such instruments extended humanity’s capacity to perceive and organise the world, yet they also reinforced the assumption that reality could be fully grasped through systems of rational measurement. As logical reasoning and linear geometries came to dominate, our intuitive understanding of the world appeared increasingly clear and exact.

    This exhibition begins with a provocation: does ‘measurement’ truly equal ‘understanding’? Can technological systems of measurement really be equated with humanity’s experiential understanding of the world? To what extent can rational systems of measurement and order account for the complexities of the world as it is actually perceived and lived? Perception brings together the works of 19 emerging artists working across mixed media, each responding in distinct ways to forms of perception that exceed the limits of rational measurement and material representation.

    Within this exhibition, memory attaches itself to objects yet also drifts through temporal gaps and fragmented experiences. Perception moves through material forms while simultaneously exceeding them, suggesting that the distinction between the ‘material’ and the ‘immaterial’ may itself be insufficient as a framework for understanding lived experience. Perhaps there can be no singular answer to these questions. Like perception itself, meaning remains perpetually in formation—unstable, relational, and always in the process of becoming.


    1519年麦哲伦的环球航行不仅揭开了大航海时代的序幕，也标志着人类对地理空间认知方式的一次重要转向。星盘、罗盘、六分仪、航海图等工具，被精密雕刻于木盒与黄铜机械结构之中，它们不仅记录着航线与天象，也象征着人类试图以理性与秩序测量未知世界的雄心。这些仪器扩展了人类感知与组织世界的能力，但同时也强化了一种假设：现实能够被理性化的测量系统充分把握。随着逻辑推理与线性几何模型逐渐占据主导地位，我们对世界的“直观理解”似乎也变得越来越清晰和精确。

    本次展览以一个问题作为开端：“测量”是否真的等于“理解”？技术化的测量系统是否真的能够等同于人类对世界的经验性感知？人类以理性测量与秩序构建起来的体系，又能在多大程度上解释人们真实感知与生活经验中的复杂性？《Perception》汇集了19位新兴艺术家的作品。他们运用多种媒介，以各自不同的方式，对那些超越理性测量与物质表征局限的感知形式作出回应。

    在本次展览中，记忆依附于物象，却又游离于时间的缝隙与碎片化的经验之间。感知穿梭于物质形态之中，同时又不断超越其外在边界，这暗示着“物质”与“非物质”的区分本身，或许并不足以作为理解生活经验的框架。或许，这些问题本就不存在单一的答案。如同感知本身，意义也始终处于生成之中——不稳定、相互关联，并永远处于持续变化的过程之中。