The Power Station of Art

I'm always curious to trace one’s path and ask: what role did museums play in your life growing up?

I was trained as an artist. Museums are very important for an artist – they are places to showcase their work. I studied in Paris and traveled a bit in Europe. During that time, many places and people outside the art world inspired me greatly. I realised that there are many platforms to showcase art beyond museums. Later, I started to question whether I should present my work in a 3D space. I worked as a journalist for Art World magazine for 10 years, where I made many “paper exhibitions” in the form of publications. Even though they were 2D, they offered more dimensions for discussing art. I kept this way of thinking for PSA. When we present an object, it's not just the object itself – it’s a life. There’s a human behind it.

What were the key influences that shaped your thinking about museums?

Sir John Soane's Museum in London [the former home of the neoclassical architect for which it is named] and the work of architect Yona Friedman have been important. The Soane Museum, to me, represents a traditional cabinet of curiosities. It is superimposed according to personal preference, serving as a reminder of the importance of subjectivity and improvisation in curation and collection management. I also worked as Yona Friedman’s assistant. He only realised one building in his life because he believed that architects should give rights to the users. He also had a lifelong project called the Street Art Museum. He questioned the necessity of so many museums in a city – or even in the world – arguing that they consume enormous resources and often stifle spontaneity and emotion. In his mind, the entire city should function as a museum.

In China, land is publicly owned and opportunities for individuals to openly talk about their living conditions are rare. That’s why it’s essential to create platforms where people can speak out, rethink their environment, and connect with the government. Beyond many solo exhibitions, we have also curated some survey exhibitions. One example is the Paris Moderne 1914-1945, curated by Jean-Louis Cohen in 2023. This exhibition explored architecture, design, film, and fashion in Paris during the interwar period. In 1925, the World Expo took place in Paris, focusing on art deco. That same year, the first art deco building was built in Shanghai. I think these surveys and comparative exhibitions help us to critically reassess our conditions, the role of art, and the evolving function of museums.

Do you think this is particular to China, or is it a global trend? Are artists further away from museums because they can use other mediums to showcase their work?

Yes, they have more choices now. Art fairs and galleries can simultaneously exhibit and sell works, which isn’t a bad thing. However, I think museums should take on a more serious role. Museums should present challenges both to artists and to exhibition-making itself. For an artist, a museum exhibition should be an opportunity to do something they wouldn’t dare to do elsewhere. It should be a milestone of their art career – not necessarily in terms of scale, but in terms of their energy. Similarly, exhibition-making should be taken seriously. Sometimes a good exhibition is not determined by money, but by sincerity and dedication. It can be very cheap. The generosity and the courage to embrace challenges can make a good ecosystem for a museum.

As museums strive to remain relevant, how do you think they can engage more meaningfully with society?

The value of an art museum is not just in displaying objects, but in amplifying voices and perspectives on our ever-changing world through both objects and the unique language of artists. Ten years ago, we launched the Emerging Curator Program, which invites a curator under the age of 40 to develop exhibitions. Young curators bring independent ideas and fresh perspectives, keeping museums relevant. At the same time, a museum must always respond to its city. For example, Shanghai is becoming an ageing city. Elderly people are not traditionally the main audience for contemporary art, but that doesn’t mean they don't have an interest. They have given their best years to the city, and while there are many programmes for younger generations, we must also take care of older people. We should open our doors to them.

How do you design programmes for elderly people?

We invite artists to activate these programmes. For example, in the last edition of the Shanghai Biennale, artist Dai Chenlian invited a group of people his mother's age to perform an opera. During the performance, they all cried, as they travelled back to their youth. Younger visitors could understand and connect with their emotions – it was as if they were living two lives in one moment. This kind of experience brings new energy to older people. They have lived through so much – both hardship and joy – but they lack the language to express it. In the contemporary art world, boundaries are more fluid, and artists can offer them a starting point to create something meaningful.

I remember the performance, it was very special. Can you give us a sneak peek into this year’s Biennale?

On the 8 November 2025, we will open the 15th Shanghai Biennale. We’ve invited Canadian curator Kitty Scott to be our chief curator – the first time we’ve had a female curator.

Top Image: Installation view of Paris Moderne 1914-1945, ©️ Power Station of Art