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\nThe Chengdu Biennale has recently opened in 2021, November. The exhibition is divided into eight sub-themes and is accompanied by ten parallel exhibitions scattering in the city. The art exhibitions in China in recent years witnessed a gradual increase in female curators and artists (for instance, the exhibition \u201cStand by Her\u201d held in Shanghai M50 in 2020 was curated and created entirely by women and mostly for women audiences).[1] What kind of perspectives do women curators bring to the contemporary art scene in China? This article answers this question via the lens of Still On (\u5c1a\u5728), one of the parallel exhibitions in the Chengdu Biennale. <\/p>\n<\/blockquote>\n
[\/et_pb_text][et_pb_image src=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5c1a\u5728-\u6d77\u62a5.webp” _builder_version=”4.18.0″ _module_preset=”default” title_text=”Still On (\u5c1a\u5728)” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n
Still On \uff08\u5c1a\u5728\uff09curated by Jasmine Jiang \uff08\u848b\u51b0\uff09<\/i><\/em><\/p>\n
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The Chengdu Biennale has recently opened in 2021, November. The exhibition is divided into eight sub-themes and is accompanied by ten parallel exhibitions scattering in the city. The art exhibitions in China in recent years witnessed a gradual increase in female curators and artists (for instance, the exhibition \u201cStand by Her\u201d held in Shanghai M50 in 2020 was curated and created entirely by women and mostly for women audiences).[1] What kind of perspectives do women curators bring to the contemporary art scene in China? This article answers this question via the lens of Still On (\u5c1a\u5728), one of the parallel exhibitions in the Chengdu Biennale.<\/p>\n
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As one of the parallel exhibitions in Chengdu Biennale, Still On gathered more than a hundred pieces of works by thirteen artists, presenting their questioning of existence, negotiation with existing media practice, and experiment with photographic medium. As Jiang describes, although the exhibition is centered on photography as the central medium, what she tries to present is how these artists actively engage with the medium, questioning and challenging its inner logic and its contemporary presence\/appropriation, rather than simply using the camera as a documentary and literal means of representation. Engaging the photographic medium in versatile ways, via different representational and aesthetic styles. Works expressed the artists\u2019 social observation of Being in Chinese society, which we realize through their thinking and practice.<\/p>\n
The title of Still On refers to a status of continuous existence. Being reflective about what Martin Heidegger has called Being-in-the-world, Still On hopes to draw attention to the status of existenz in marginalized class, gender, and social groups in contemporary China and Chinese Diaspora. Not shying away from politics while still surviving under the strict censorship, the curator draws attention to artistic exploration in LGBTQ communities, diasporic autobiography, ethnographic documentary, contemporary visual culture, and ecological care. The exhibition hence invites the audience to critically reflect upon existence in contemporary China and beyond. <\/p>\n
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Transgender Bodies and Existence<\/strong><\/h3>\n
SHUI Can\u2019s (\u7a0e\u74a8) work interrogates the notion of freedom through the lens of transgender bodies. Appropriating gendered and political symbols and assembling them into a spectacular narrative through collage, Can enables what Dick Hebdige calls \u201csemiotic gu\u00e9rilla warfare\u201d, a term that he borrowed from Umberto Eco to describe the subversive potential to construct counter-hegemonic meanings in cultural appropriation.[2] In his battle initiated on the canvas, Can explores the complex nexus between freedom, society, and individual, asking whether a body can be truly free from its socially defined appearance. Such discussion is reminiscent of Heidegger\u2019s idea of thrownness, which describes Dasein (Being) as being \u2018thrown\u2019 into the world, which indicates the arbitrary or unavoidable nature of the body being socially defined.[3] Through artistic exploration, Can debunks the idea of freedom as an external telos and illuminates its nature as a constructed fantasy consumed as an ideological product in neoliberal societies. Authentic freedom, he answers, can only be achieved from an inner balance.[4]<\/p>\n
[\/et_pb_text][et_pb_blurb title=”The Distance from Breasts to Bottom (\u4e73\u623f\u5230\u5c41\u80a1\u7684\u8ddd\u79bb) (2020), Shui Can” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u4e73\u623f\u5230\u5e95\u90e8\u7684\u8ddd\u79bb\uff08\u4e73\u623f\u5230\u5c41\u80a1\u7684\u8ddd\u79bb\uff09-2020-\u7a0e\u74a8.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Diaspora and Memories<\/strong><\/h3>\n
Inspired by diary filmmaking and home movie, Artist BEI Yu (\u5317\u5c7f) combines text and documentary film to explore diasporic existence as Chinese overseas in Sentimental Meeting of Love (\u4f60\u5fc5\u987b\u8981\u8d9f\u8fc7\u6124\u6012\u7684\u6cb3). Letting two parallel, autobiographic narratives in London and in Tokyo unfold in his essay film, he presents to us two people from different parts of China in correspondence, communicating their nostalgia and their confusion about identities. What does \u201cbeing Chinese\u201d mean for Chinese immigrants? As two strangers from different regions in Greater China encounter in diaspora, how would it redefine \u201cChineseness\u201d for them? To explore such questions, the artist recalls his childhood memories in Shanghai, where the distinction between locals and outsiders\/\u201cEast Asian foreigners\u201d and \u201cwestern foreigners\u201d was often clearly drawn and emphasized. Investigating the subtlety lying in these dialectical relations, the artist intends to delineate how the Self and the Other is formed within such dialectics, with each being the necessary constituent of another. <\/p>\n
[\/et_pb_text][et_pb_blurb title=”Sentimental Meeting of Love (\u4f60\u5fc5\u987b\u8981\u8d9f\u8fc7\u6124\u6012\u7684\u6cb3) (2019), Bei Yu” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/Sentimental-Meeting-of-Love-\u4f60\u5fc5\u987b\u8981\u8d9f\u8fc7\u6124\u6012\u7684\u6cb3-2019-Bei-Yu-01.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Sentimental Meeting of Love (\u4f60\u5fc5\u987b\u8981\u8d9f\u8fc7\u6124\u6012\u7684\u6cb3) (2019), Bei Yu” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2022\/08\/Sentimental-Meeting-of-Love-\u4f60\u5fc5\u987b\u8981\u8d9f\u8fc7\u6124\u6012\u7684\u6cb3-2019-Bei-Yu02.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Rural Villages and Demolition<\/strong><\/h3>\n
In Shi Shaoping (\u65bd\u5c11\u5e73)\u2019s work The nostalgia that never goes away(\u6c38\u4e0d\u901d\u53bb\u7684\u4e61\u6101), the artist uses his camera to document daily lives of people in 10 villages and 824 homes in Huang Shan, Anhui. Tracing rural traditions of placing spring festival couplets at the two sides of one\u2019s door, Shi witnesses the gradual disappearance of such tradition, along with the loss of population in the villages and the demolition of houses. As most of the younger generation left the village to seek lives in the cities, the village was left behind. Elders, peasants, and other populations with lower socio-economic class couldn\u2019t work to support a life in the city. As with the era they\u2019ve survived, they are once again left behind by the roaring progress of urbanization and modernization in contemporary China, as it wends its way on the stage of international politics. As old structures crumble and fall, we see history, memory, and tradition also dissipate along the way. Shi\u2019s photographs thus reveal a part of China that is mostly invisible and suffering from an increasing wealth gap. Returning to the work\u2019s title: what are we being nostalgic about? Why will it never goes away? Or does it? As China hastens its pace in urbanization and modernization, villages and the people who live in them seem left behind, rendered invisible. Will they be eventually forgotten? How can they re-enter the horizon?<\/p>\n
[\/et_pb_text][et_pb_blurb title=”The Nostalgia that Never Goes Away(\u6c38\u4e0d\u901d\u53bb\u7684\u4e61\u6101) (2014-2015), Shi Shaoping” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u6c38\u4e0d\u901d\u53bb\u7684\u4e61\u6101\uff082014-2015-\uff09-\uff0c\u65bd\u5c11\u5e73.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
In addition to its focus on marginalized groups, this exhibition also explores abstraction as a state of existence, in broader discussion with the photographic medium.<\/p>\n
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Body<\/strong><\/h3>\n
In Luo Li\u2019s (\u7f57\u96b6) works of experimentation with digital images, the artist attempts to delineate image politics and its alienation of the body. Temperature presents a series of digital images that features representation of close-ups of the body (often female\u2019s body) with color gradients indicating the varied body\u2019s temperature. The body, in his images, is always in motion, and always obscure and distant, residing in the estranged media. Through the means of digital images, the artist intends to reflect on how the digital representation of the body constructs and alters our perception of it, including how we understand sex, how we feel, how we exist, and how do we understand the relationship between our body and another person\u2019s body. It challenges us to rethink the \u201creality\u201d that the body envisions itself in, and to reflect on the visual exploitation and distortion of body representation in visual culture today. As the body moves through his digital images, the artist thus intends to present and address a status of the body being flexible, moving, not fixed in the images but in constant destruction, reconstruction, and redefinition. What he is suggesting is a way to utilize the body as a weapon, a site of rebellion, where the body can reveal the power and violence imposed upon it, struggling to realize its own independence through experience, movement, and rejection.<\/p>\n
[\/et_pb_text][et_pb_blurb title=”Temperature \u6e29\u5ea6 No.14 (2019), Luo Li” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u6e29\u5ea6No.14\u548cNo.196-\uff082019\uff09\uff0c\u7f57\u96b6.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Temperature \u6e29\u5ea6 No. 196 (2019), Luo Li” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u6e29\u5ea6No.14\u548cNo.196-\uff082019\uff09\uff0c\u7f57\u96b6\u7684\u526f\u672c.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Industrial Ruins and Natural Decay<\/strong><\/h3>\n
Moving beyond human existence, in Yu Pengbo \u2019s \u4e8e\u9e4f\u6ce2 work Remains \u5c71\u963f and Relics \u4eca\u975e, the artist calls for our attention to decaying industrial ruin and reflection upon human technological advancement. In his photographs, Yu juxtaposes the glacier ruins from the Quaternary glaciation \u5c71\u963f and the ruins of a textile factory from 1920s in Qing Dao, China \u4eca\u975e. While traces on the glacier ruins were formed in an extended time frame beyond human imagination, the ruins of the textile factory witnesses the hasty process of modernizing an entire civilization in just a century. Evocative of emergence, climax, dying down, and being eventualy covered over in natural stains and mold. Such opposition to speed thus acts as a critique of the human-centric view of technological advancement as a mere justification for exploitating natural resources in pursuit of speed and progress. <\/p>\n
[\/et_pb_text][et_pb_blurb title=”Remains (\u5c71\u963f) (2021), Yu Pengbo” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u9057\u8ff9\uff08\u5c71\u963f\uff09-\uff082021\uff09\uff0c\u4e8e\u9e4f\u6ce2.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Relics (\u4eca\u975e) (2019), Yu Pengbo” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u9057\u7269\u4eca\u975e-2019-\u4e8e\u9e4f\u6ce2.jpeg” _builder_version=”4.18.0″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Female curators in Chinese contemporary art<\/strong><\/h3>\n
When being asked about what it is like being a female curator in China, Jiang answers that she doesn\u2019t like to put emphasis on her female identity during work. \u201cMany women artists in China still encounter the challenge of \u2018sustainability\u2019.\u201d She says, \u201cTheir work could be stunning but their career is often like a flower that blossoms for a very short period, as they are under the obligation of returning to their family and children.\u201d[5] <\/p>\n
It is notable that no female artists were featured in this exhibition, while male artists occupy an overwhelming majority in the Chengdu Biennale. In the following paragraphs, this article introduces four noteworthy female photographers in contemporary China. <\/p>\n
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Pixy Liao\uff08\u5ed6\u9038\u541b\uff09(http:\/\/www.pixyliao.com\/)<\/p>\n
Pixy Liao is exemplary of a new generation of female artists who negotiate with femininity and cultural identity through exploration in self-portrait and photography. She is mostly known for her photography series Experimental Relationship, in which she stages self-portrait with her younger Japanese boyfriend, Moro, to explore gender roles, power dynamics, and sexuality in a romantic relationship. Her series has been shown in various international venues, including the Fotografiska, Rencontres d\u2019Arles in Arles, Asia Society, and National Gallery of Australia. <\/p>\n
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Luo Yang (\u7f57\u6d0b) (http:\/\/www.luoyangphoto.com)<\/p>\n
A leading figure in contemporary Chinese photography, Luo is best known for her photographs of young Chinese women. In her series Girls (2008-2017), her lens offers a sincere representation of young Chinese girls\u2019 vulnerability, tenacity, and their unrevealed lives through candid portraits. The series has gained international acclaim and has toured in exhibitions around the world, including a ten-year retrospective exhibition \u201cGIRLS\u201d in Bangkok and Paris curated by Moonduckling. Luo has since photographed marginalized communities such as genderfluid and transgender adolescents and youth in China and beyond. <\/p>\n
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O Zhang\uff08\u5f20\u9e25\uff09(http:\/\/www.ozhang.com)<\/p>\n
Born in 1976 in China, Zhang is largely inspired creatively by the 1980s, a tumultuous time when China just ended the ten-year Cultural Revolution and was under the impact of growing global capitalism, the proliferation of mass media, significant discrepancies between the wealth and the poor, and a growth of subcultures in music, fashion, and art influenced by the West. Appropriating slogans and visual symbols from Cultural Revolution and combining them with pop cultures in 80s and 90s, Zhang\u2019s photographs often situate the young Chinese females as the subject, projecting their gazes directly towards the camera. Her works thus initiate a critical discussion of the contemporary China entangled with its socialist history, the western gazes, and the young females\u2019 position within.<\/p>\n
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<\/span>Liang Xiu (\u826f\u79c0) (http:\/\/www.plus3gallery.com\/en\/product-21022-82402.html)<\/p>\n
In 2017, as just a 22-year-old and having picked up a camera just one year before, Liang Xiu has won the Three Shadows Photography Award, one of the most prestigious photography awards in China. Born in 1995 in a remote village in Shandong Province, Liang\u2019s early life experience drives the creativity in her photography works. Exploring her femininity and lesbian identity in her performative self-portraits and engaging with philosophic and Buddhist terms in her essays, she investigates the source of her sufferings in the marginalized environment. By confronting the audience\u2019s voyeuristic eye with provocative, sometimes violent, dark images, Liang\u2019s photographs raises questions about economic disparity, sexual expressions of female and LGBTQ communities, and systemic repression of marginalized groups in Chinese villages. <\/p>\n
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Note\uff1a<\/p>\n
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[1] See Zhang Wanqing, \u201cArt Exhibition by Women, for Women Held in Shanghai\u201d.<\/p>\n
https:\/\/www.sixthtone.com\/news\/1006378\/art-exhibition-by-women%2C-for-women-held-in-shanghai<\/p>\n
[2] Dick Hebdige, Subculture: The Meaning of Style (1979). The concept \u201csemiotic gu\u00e9rilla warfare\u201d is borrowed from Umberto Eco, \u201cTowards a Semiological Guerrilla Warfare\u201d (1997). <\/p>\n
[3] Martin Heidegger, Being and Time (1927).<\/p>\n
[4] \u201cSkin Specimen\u201d: Participating works by Artist Shui Can in 2021 Chengdu Biennale, special parallel exhibition Still On (\u5c1a\u5728).<\/p>\n
\nhttps:\/\/mp.weixin.qq.com\/s\/I2rZ23ptMttsv6GnUxZJCw<\/p>\n
[5] According to a private interview with Jiang Bing conducted by Lynette Shen.<\/p>\n
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The Chengdu Biennale has recently opened in 2021, November. The exhibition is divided into eight sub-themes and is accompanied by ten parallel exhibitions scattering in the city. The art exhibitions in China in recent years witnessed a gradual increase in female curators and artists (for instance, the exhibition \u201cStand by Her\u201d held in Shanghai M50 in 2020 was curated and created entirely by women and mostly for women audiences).[1] What kind of perspectives do women curators bring to the contemporary art scene in China? This article answers this question via the lens of Still On (\u5c1a\u5728), one of the parallel exhibitions in the Chengdu Biennale. <\/p>\n","protected":false},"author":5,"featured_media":3725,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3746","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\n
In the Ongoing Chengdu Biennale, Female Curator Critically Reflects on Existence in China - yanluartsandculture<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/yanluartsandculture.com\/en\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In the Ongoing Chengdu Biennale, Female Curator Critically Reflects on Existence in China - yanluartsandculture\" \/>\n<meta property=\"og:description\" content=\"The Chengdu Biennale has recently opened in 2021, November. The exhibition is divided into eight sub-themes and is accompanied by ten parallel exhibitions scattering in the city. The art exhibitions in China in recent years witnessed a gradual increase in female curators and artists (for instance, the exhibition \u201cStand by Her\u201d held in Shanghai M50 in 2020 was curated and created entirely by women and mostly for women audiences).[1] What kind of perspectives do women curators bring to the contemporary art scene in China? This article answers this question via the lens of Still On (\u5c1a\u5728), one of the parallel exhibitions in the Chengdu Biennale.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/yanluartsandculture.com\/en\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\/\" \/>\n<meta property=\"og:site_name\" content=\"yanluartsandculture\" \/>\n<meta property=\"article:published_time\" content=\"2022-08-14T09:28:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-05-27T11:23:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/%E6%B0%B8%E4%B8%8D%E9%80%9D%E5%8E%BB%E7%9A%84%E4%B9%A1%E6%84%81%EF%BC%882014-2015-%EF%BC%89-%EF%BC%8C%E6%96%BD%E5%B0%91%E5%B9%B3.jpeg?fit=640%2C427&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"427\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Shen, Lynette\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Shen, Lynette\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/\"},\"author\":{\"name\":\"Shen, Lynette\",\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/#\\\/schema\\\/person\\\/8917fef8a423b0ab2c827af7d338ea14\"},\"headline\":\"In the Ongoing Chengdu Biennale, Female Curator Critically Reflects on Existence in China\",\"datePublished\":\"2022-08-14T09:28:00+00:00\",\"dateModified\":\"2025-05-27T11:23:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/\"},\"wordCount\":2700,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/yanluartsandculture.com\\\/wp-content\\\/uploads\\\/2025\\\/05\\\/%E6%B0%B8%E4%B8%8D%E9%80%9D%E5%8E%BB%E7%9A%84%E4%B9%A1%E6%84%81%EF%BC%882014-2015-%EF%BC%89-%EF%BC%8C%E6%96%BD%E5%B0%91%E5%B9%B3.jpeg?fit=640%2C427&ssl=1\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/\",\"url\":\"https:\\\/\\\/yanluartsandculture.com\\\/en\\\/in-the-ongoing-chengdu-biennale-female-curator-critically-reflects-on-existence-in-china\\\/\",\"name\":\"In the Ongoing Chengdu Biennale, Female Curator Critically Reflects on Existence in China - 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