Founder

From the awakening of materials, the presence of the body, the emergence of movement, the transformation of the digital, and the structuring of data, to today’s rapid development of artificial intelligence, each shift in medium has also reshaped the way time is perceived. Together, these changes have formed the foundation of my curatorial and writing practice.

Between 2003 and 2005, I introduced the term “动态艺术” as the Chinese translation of Kinetic Art, while further defining it as “a visible structure of time.”

This line of thinking converged with the practices of Guo Musun (M. S. Kwauk) and Ralfonso (Ralf Gschwend), and later found expression in public works by sculptors including Wang Zhong and Jing Yumin.

In 2008, I participated in the Digital Stone Project, bringing algorithmic processes into sculpture and exploring how time could be encoded, computed, and rewritten.

Since then, I have worked between China and the international art world, developing exhibitions, institutions, and long-term collaborations across different cities and cultural contexts.

In 2010, I founded vibrARTion™, an ongoing research initiative developed through exhibitions, writing, and field study.

In recent years, I have been building the Asia Art Research Center (A-ARC) in Ottawa while establishing Time Commons as a network of places where practice and writing can be developed over time.

Through this process, Sealtan Writing and A Growing Art History have gradually emerged as long-term methods of practice. They also form the foundation of my forthcoming book, Reclaiming Judgment: Art in the Age of Machine Symbiosis.