gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是业主，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第49期为您介绍的是策展人崔灿灿。

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.49 introduces curator and critic Cui Cancan.

出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦，陈诺嘉 / Editor: Wu Chenxi, Chen Nuojia

▼视频，Video
（全文深度采访见下方文字。视频为4分钟精华版，建议选择1080p高清版本观看）

崔灿灿是一名活跃在各个领域的独立策划人，写作者。
策划的主要展览和活动从2012年开始近百场，群展包括夜走黑桥、乡村洗剪吹、FUCKOFF II、不在图像中行动、六环比五环多一环、十夜、万丈高楼平地起、2015-2019过年特别项目系列、策展课、九层塔等。曾策划的个展包括艾未未、包晓伟、陈丹青、陈彧凡、陈彧君、冯琳、韩东、何云昌、黄一山、姜波、厉槟源、刘韡、刘港顺、刘建华、李青、李季、李占洋、牧儿、马轲、毛焰、琴嘎、秦琦、隋建国、石节子美术馆、史金淞、沈少民、谭平、王庆松、谢南星、夏小万、夏星、萧昱、许仲敏、徐小国、宗宁、政纯办、张玥、赵赵等。

Cui Cancan is an active Chinese independent curator and critic.
Since 2012, he has curated almost 100 major exhibitions, including group exhibitions like Hei Qiao Night Way (2013), Rural Wash, Cut and Blow-dry(2013), FUCKOFF II (2013), Unlived by What is Seen (2014), Between the 5th and 6th Ring Road in Beijing (2015), The Decameron (2016), Rip it Up (2017), Spring Festival Projects (2018) , The Curation Workshop (2019) and Nine-Tiered(2020). He has curated artists’ solo exhibitions such as Ai Weiwei, Bao Xiaowei, Chen Danqing, Chen Yufan, Chen Yujun, Feng Lin, Han Dong, He Yunchang, Huang Yishan, Jiang Bo, Li Binyuan, Liu Gangshun, Liu Jianhua, Li Qing, Li Zhanyang, Ding Muer, Ma Ke, Mao Yan, Qin Qi, Sui Jianguo, Shijiezi Art Museum, Shi Jinsong, Shen Shaomin, Tan Ping, Wang Qingsong, Xie Nanxing, Xia Xiaowan, Xia Xing, Xiao Yu, Xu Zhongmin, Xu Xiaoguo, Zong Ning, Polit-Sheer-Form, Zhang Yue and Zhao Zhao et cetera.

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成为策展人
Becoming a curator

我在2004年读南京艺术学院，知道策展这个概念是在美术史的课上。我读的是油画系，那个时候大家都会有一种很典型的艺术领域的特点，类似于小团体，会觉得一帮年轻人聚在一起要干一点什么事，但至于要干什么并不清楚，你只是觉得荷尔蒙的冲动和多巴胺的分泌导致你每天坐立不安的，一定要弄点什么事出来。在艺术领域里面弄事，其实就是做展览，也没有更多的手段，它会给我一种“搞运动”的错觉。同时，它还是一个非常需要交流的东西，这个交流往往是跟同学和老师之间的交流。

我最早的展览是在我们学校的展览馆，我是我们学校第一个跑到院长办公室去跟院长说我要做一个展览，然后要借学校的展厅的人。我在当时学校后门的一家餐厅拉了800块钱赞助，然后做了一个在今天看起来特别天真和幼稚的展览，但是那时候充满了无限的热情。

我做展览的路径其实是一个不断犯错的过程。在2013年之前，我基本上是一个业余状态，也没啥可作为“回忆”感动的，就是不懂，但有特别强烈的表达欲。年轻时候做的很多展览虽然努力，但也不知道往哪努力，也没有像很多人那样才华横溢，就是非常普通的展览，是绝大多数人都要走的错路、弯路、奇怪的路。今天看这些展览很多时候都会有点害羞。直到2013年开始，我才真正的进入自己的状态，一直“飞”到现在。

I studied oil painting at Nanjing University of the Arts in 2004. During that period of time I was always willing to find something to do with my fellows and in the field of art it was nothing more but doing exhibitions. As a young student, I worked hard on exhibitions, but I actually did not have a clear orientation for what I was supposed to do, and honestly I could not say I’m a really talented person for that. It wasn’t until 2013 that I truly found my groove about making exhibitions and have maintained such passion ever since.

▼崔灿灿在展览现场，Cui Cancan at an exhibition
© 照片由崔灿灿提供

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什么是策展？
What does a curator do？

“策展就是一个串联宝石的工作。”

“Curation is a job of stringing gems together.”

今天是一个策划人的时代，公司在推一个产品的时候、媒体在做一个节目或者专题的时候都会有一系列策划，其实就是组织、编辑和串联。换句话说，策展是做什么？我们有很多宝石，我们要找到一根线，把这些宝石穿成一条项链，而这个项链有无数种穿法。再通俗地讲，策展就是让你在一个展览中看到什么和看不到什么——这是第一步。第二步是怎么看：看的节奏，看的主次，看的快慢，这是关于看的技术的问题。最后一个也是最核心的一点，就是最终这个展览要表达什么。一个展览除了作为单独的作品存在之外，其实还作为一个故事，一个概念或者一种价值判断出现。策展就是一个串联宝石的工作，它的面很多，有一点像电影，除了演员之外，所有的职务都由策划人担任。

Today is an era of curators. What does a curator do? We have a dozen of gems, and then we need to find a string to thread these gems into a necklace, and there are countless ways to do that. In simple terms, curating is to decide what can be seen and what can’t be seen in an exhibition, which is the first step. The second step is about the way of seeing, which refers to its rhythm, its priority, as well as its speed. This is the technical aspect of seeing. The last and the most crucial step is, what the exhibition will ultimately express. In addition to presenting as an individual work, an exhibition also appears as a story, a concept or a judgement of value. As what I’ve just said, curation is a job of stringing gems together. It has many facets, and in some way it is a bit similar to the process of making a movie, where except for the actors, all the positions are held by the organizers.

▼崔灿灿位于北京草场地的工作室，Cui Cancan’s studio in Caochangdi, Beijing © 照片由崔灿灿提供

“你做一个展览，经验可能毫无用处。”

“When doing an exhibition, experience can be completely useless.”

我不太愿意给策展一个明确的概念，因为它是一个动词而非名词。策展虽然有专业之分，但它没那么精英。策展人有好坏，策展的语言和方法没有好坏，就像文学和建筑一样，不是说哪一种风格就是好的，但是它里面有一些技术手段往往是需要经验的。但你做一个展览，经验又可能毫无用处，因为你每次面对的都是一个新问题，一个新的艺术家和新的对象。面对不同的问题要使用不同的工具，一个好的策划人要有巨大的工具箱。有些人做文献编辑比较好，有些人做展厅动线比较好，但最终它要求一个策划人去理解关于整个展览的所有组成部分和概念，这是一个职业策划人的状态。

策展其实是一个很简单的过程。首先你要决定去做什么、想法是什么？它来自于一个概念。第二步是去寻找一个事情的不同角度和它不同的证据链，所谓的证据链就是艺术作品。举一个最简单的例子，一个西红柿砸在墙上，它可能代表一种暴力；踩在高跟鞋下面可能是一种色情；而当它摆在桌子上的时候，它仅仅作为一个食物存在。当你把这样的概念和它的实践对象做出一个逻辑模型的时候，第三步就是一些非常具体的实证工作，比如说场地在哪里，在什么样的时候展，在什么样的语境下展，以及针对什么样的状态展。归根结底，它是一个挺简单的事情，它取决于我们的意识和思考。像一个拳击手一样，当你在台上摆拳的时候，你不可能去想：左手出拳还是右手出拳？你是要有一种常年的重复的训练，通过这种训练让它进入你的身体，成为你意识的一部分，像是与生俱来的样子。策展也是这样，它是你面对随时可能带来的变更，又没有唯一的标准时，所做出的瞬间的判断。

I would not like to give a clear definition of curating, because it is a verb rather than a noun. There are good and bad curators, but you can’t authentically evaluate an curatorial language or method as good or bad. Just like literature and architecture, it is not about either style is better, but there are some technical means in it that often require experience. However, what is absurd is that when you do an exhibition, your experience can be completely useless, because each time you are dealing with a new problem, you have to communicate with a new artist and a new object. Ultimately it requires a curator to understand all the components and concepts related to the entire exhibition, which is also the foundational capacity that a professional curator is supposed to have.

Curating is actually a very simple process. First of all you need to decide what to do and what the idea is, and then the second step is to look for different perspectives of an object and try to find its chains of evidence, which here means the pieces of art. To take a simple example, a tomato smashed on the wall may represent a kind of violence; when stamped on by a high heel, it becomes pornographic; and when it is placed on the table, it exists only as a food. After building such a logical model that connects the concept with its practical object, it turns to the third step to proceed the specific empirical work, such as where the venue is, at what time the exhibited will be held, and in what kind of context it will come into effect. Basically it depends on our awareness and thinking. Curating in some way is like doing boxing: when you stand on stage, you are not likely to spend time considering which hand are you going to throw a punch with. Your action relies on a long-term training, through which it gets into your body and becomes part of your consciousness, as if it is innate. Curating is the same way. It is a momentary judgement you make when you are faced with changes that may come at anytime without a controllable criterion.

▼工作中的崔灿灿，Cui Cancan during working © 照片由崔灿灿提供

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展览、画廊和观众
Exhibitions, galleries and audiences

“我们在乎观众，但是我们不讨好观众，因为收视率对我们来说不是一个特别核心的问题。”

“一个好的展览一定是有文化争议的展览。”

“We care about the audience, but we do not please the audience, because the audience ratings are not the core issue for us.”

A good exhibition must be a culturally controversial one.”

美术馆或者画廊邀请我做展览，如果我觉得这个机构非常好，我就会接受邀请。我觉得策展和建筑最大的区别是，建筑最终的场地不是在展厅里面，它是要盖一个真的房子；但艺术不是，艺术就是在那个展览里面，展览是一个艺术品最终的除了收藏之外的去向。美术馆一年要做四五个展览，它需要策划人来帮他想今年最重要的一个展览是什么，要提一个什么样的概念，所以我们和机构之间更多的是一种合作和互动的关系。

我们希望观众能看懂展览，我们也会有意地去搭建看懂展览的通道，但是观众不决定展览的方向。展览有它的公共性，但是当它生产公共议题和公共讨论的时候，它不应该只生产赞扬，它还要生产争议，被“诟病”和“不喜欢”是它理应有的一部分。一个好的展览一定是有文化争议的展览，因为你面对的不仅仅是一部分传统势力和一部分现代势力，你可能还要面对一部分对这个事情无感的人。归根结底我们在乎观众，但是我们不讨好观众，因为收视率对我们来说不是一个特别核心的问题。一个艺术家没有观众，他一样在家里画画，实现自己的想法和自己的概念才是更重要的。

策展人很多，好的策展人很少，但是从现在的角度来说，展览本身没有好坏，只是在同一种类型里面有好有坏。并不是说给儿童看的展览就比毕加索的展览要差，你的受众群体是儿童，那么对儿童有帮助就是一个好展览。你可以做给特殊人群，做给残障人士看，你也可以做一个跟中国西部某个村庄发展有关的展览，这个展览无需为欧洲负责，无需为威尼斯双年展负责。当你的展览目的是表述你自身的时候，那么别的价值观就并不重要。

I would like to accept the invitation to do exhibitions for an art museum or a gallery if it gives me a good impression. Exhibitions are the final destination for artworks to go to other than a collection. An art museum may have four to five exhibitions a year, and it needs a curator to help decide the most important exhibition and its concept for the year. In this way, it’s more of a cooperative and interactive relationship between us and the institutions.

We hope that the audience can understand the exhibition, and we will intentionally build the access for them to understand, but the audience does not determine the purport of the exhibition. An exhibition has its publicness, but when it arouses public issues and discussions, it should produce both praise and controversy, since being “criticised” and “disliked” is also a part of its mission. A good exhibition must be a culturally controversial one, because what it faced with is not only the traditional and radical forces, but also those who are not interested in what you discuss on. We care about the audience, but we do not please the audience, because the audience ratings are not the core issue for us. You can never stop an artist from creating for the reason of having no audience. To realize the ideas and concepts is much more important.

There are no good or bad exhibitions per se, but there are good or bad within the same genre. We can’t say that a children-oriented exhibition is not as good as one on Picasso. If the audience is children, then it’s a good exhibition as long as it is helpful for children. Your audience can be people from specific groups, for example, people with disabilities, or villagers from a rural region in western China. In such a case, the exhibition doesn’t have to take responsibility for any other context, like for Europe or the Venice Biennale, because all other values will become insignificant when the objective of the exhibition is to express the artists themselves.

▼“策展课”展览现场，策展人：崔灿灿 © 图片由崔灿灿提供
The exhibition photo of “The Curation Workshop” , curated by Cui Cancan

▼赵赵个展“西部三部曲之二”现场，策展人：崔灿灿 © 照片由崔灿灿提供
The exhibition photo of Zhao Zhao’s solo exhibition, curated by Cui Cancan

“艺术的重要的功能就是提供一种实用之外的、自由的、散漫的、无所事事的想象力。”

“艺术展览一定是在试图摆脱时代对我们的塑造力量，我觉得这个是非常重要的、至少是我个人的一个追求。”

“An important function of art is to provide a disengaged and discursive imagination that is outside the practicability.”

“Art exhibitions must be trying to escape from the shaping power of the times on us. I think this is, at least for me, a very important thing to pursuit.”

很多观众会说看不懂展览，这很正常，好多展览我也看不懂。如果你不想懂也没问题，就去拍张照，挺开心的。对于公众来说第一步是你先过一个愉快的例外生活，从一个庸事之中，从特别繁杂的工作电话中跑到一个安静的展厅里面看看展览，如果你能从中得到闲暇的时间，你能虚无的度过，这就挺好的。第二，如果你能从这个展览里面获得一些感受，获得一些意义，我觉得就非常好了。第三，如果你还能从这个展览里面植根一种反思，重新理解了很多问题，我觉得这就是我们所渴望并且试图去做的深层交流。

艺术的价值不在于给观众提供一个实用的结果。它提供的是一个感受，一个模糊的判断，它不接近于真理，但是它试图讨论真理；它不接近于真相，但是它试图追问真相。艺术的重要功能就是提供一种实用之外的、自由的、散漫的、无所事事的想象力。我们说今天这个时代是一个特别无聊乏味的时代，但是丧失了无聊乏味的艺术，才是更无聊、更乏味的。当代艺术会给观众提供一种价值观，它可以是边缘的，可以是非主流的，它提供的是世俗之外的一个例外。艺术展览一定是在试图摆脱时代对我们的塑造力量，我觉得这个是非常重要的、至少是我个人的一个追求。

People may say it is hard to understand exhibitions, which is quite normal, and I can’t understand many of them either. For the public, the first thing is to let them enter a pleasant and“exceptional”life from the bustle of everyday life. It is good enough if you can spend some leisure time experiencing an exhibition. When you find yourself immersed in some special feelings and getting some meaning from it, it would be fantastic. Finally, if you are able to root a kind of reflection in this exhibition, having a new understanding of some issues, I think that is the in-depth communication we aspire to facilitate through exhibitions.

The value of art does not lie in providing its audience with a practical outcome. What it offers is a kind of feeling, a judgement that is hard to clarify. It does not come close to the truth, but it tries to discuss the truth; It does not come close to the fact, but it tries to question the fact. An important function of art is to provide a kind of disengaged and discursive imagination that is outside the practicability. Many people say that we are living a boring and tedious life today, but it would be much more boring and tedious if we lose these so-called boring works of art. Contemporary art can offer its audience a value, which can be marginalized and non-mainstream, but ultimately it gives us an exception to the mundane existence. Art exhibitions must be trying to escape from the shaping power of the times on us. I think this is, at least for me, a very important thing to pursuit.

▼崔灿灿过往展览的海报（部分）, Some posters of past exhibitions curated by Cui Cancan © 照片由崔灿灿提供

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“艺术”如何对抗“消费时代”？
How does art confront the era of commerciality？

“艺术其实不用去对抗所谓的商业性……归根结底衡量艺术的价值跟商业没关系。”

“人是需要虚假的清高的，希望艺术能保持它的纯粹性和理想主义的那一面。”

“I don’t think that art has to confront commerciality…because the real value of art has nothing to do with commerciality.”

“Art can provide a “illusory nobility”, and human beings need such illusory nobility.”

我想艺术其实不用去对抗所谓的商业性，因为商业其实是一个挺伟大的东西，你看到的所有系统，一个产业的出现，一定是商业作为最大的润滑剂，没有比商业推动更快的东西。你没必要对抗，但是也没必要去顺应它。对艺术家来说很简单，你做一件作品的时候，没必要去考虑它能不能卖，因为你不是在生产一个商品。我们做展览也是这样，我们要试图寻找一个事物发展的意义，只有当我们看到它发展的终点，看到这种巨大的消费和资本给艺术带来的副作用的时候，你的预设就会决定你主动地去和它保持一个距离。

虽然商业很伟大，但是我们没必要沉迷于商业，因为归根结底衡量艺术的价值跟商业没关系。你说一张画卖5000万叫贵，那卖多少钱就不贵呢？你怎么来衡量？它无法进入一个物质的定价系统。我觉得不管怎么样，艺术还是能提供一种虚假的清高，人是需要虚假的清高的，希望艺术能保持它的纯粹性和理想主义的那一面。艺术是一个最难产业化的东西，因为它没那么实用。你无法像讨论9号螺丝和9号螺母之间的融洽关系一样去讨论艺术和商业的关系。

I don’t think that art has to confront commerciality, because the latter is actually a great thing. All the systems you can see, and the emergence of an industry, are progressed by commerciality as the lubricant. There is nothing faster than the commercial driving. For the artists, it becomes rather simple: they don’t need to think about whether their works can sell or not, because what they produce in fact is not a commodity. The same is true for the curators. We seek for the meaning of the development of a thing, and only when we are aware of the end of its growth, as well as the side effects that this huge consumption and capital brings to art, our percipience will dictate us to intentionally keep a distance from it.

Although commerciality has its greatness, there is no need to indulge in it, because the real value of art has nothing to do with commerciality. Art can provide a “illusory nobility”, and human beings need such illusory nobility. Art is one of the most difficult things to industrialize due to its impractical qualities. It is impossible to discuss the relationship between art and commerce in the same way as describing the correlation between a #9 screw and a #9 nut.

▼布展前，崔灿灿在展览场地兜圈，Cui Cancan circling at the venue before the exhibition opens © 照片由崔灿灿提供

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策展风格与感兴趣的对象
Methods and Objects of interest

“我的展览的与生俱来的特质可能就是混乱。”

“对我来说，激发创作本身更为重要，没有明确的诉求……因此没有刻意的规划，更没有什么明确的风格。”

“If there must be a definition, I would say chaos is the innate quality of my exhibitions.”

“There is no clear profile of what I should do in my mind, because it is more important for me to inspire and stimulate creating itself.”

这么多年我尽量地去消除自己的风格，但是好像还是给别人留下了一些印象。从策展人角度来说，一方面你试图给出定义，另一方面你又在不停地反定义。我的展览的与生俱来的特质可能就是混乱，混乱就是我的风格。2013年之后我做过100个展览，搞过运动会，做过晚会，做过比赛，做过传统的展览，做过实验空间，想着上天入地，能干的事我都干过。对我来说，激发创作本身更为重要，没有明确的诉求，这个展览可以做也可以不做，可以这个时候做也可以那个时候做，因此没有刻意的规划，更没有什么明确的风格。

Over the years I have tried to eliminate my own style, but it seems to still have left some impression on others. If there must be a definition, I would say chaos is the innate quality of my exhibitions, and then chaos can probably be the symbol of my style. I have engaged with about 100 exhibitions since 2013, including sports events, parties, competitions, traditional and experimental shows. I do everything I can imagine. There is no clear profile of what I should do in my mind, because it is more important for me to inspire and stimulate creating itself.

▼2015年，艾未未中国首展，北京当代唐人艺术中心，策展人：崔灿灿 © 照片由崔灿灿提供
Ai Weiwei’s first solo exhibition in China at Tang Contemporary Art, Beijing, 2015, curated by Cui Cancan

2018年，艾未未香港个展“驳议” 展览现场，策展人：崔灿灿 © 照片由崔灿灿提供
Ai Weiwei’s solo exhibition“Refutation” in Hong Kong, 2018, curated by Cui Cancan

▼2019年”陈丹青回顾展“退步”，展览海报和现场，策展人：崔灿灿 © 照片由崔灿灿提供
Chen Danqing’s solo exhibition“Set Back” in Beijing, 2019, curated by Cui Cancan

▼2019年隋建国个展“体系”，OCAT深圳馆，策展人：崔灿灿 © 照片由崔灿灿提供
Sui Jianguo‘s solo exhibition“System” at OCAT Shenzhen, 2019, curated by Cui Cancan

我可能对三类个展兴趣比较大。第一类是这个艺术家的历史跨度足够大，你能通过一个人的历程来反观社会、历史和个人之间的关系。他可以作为一个切入的途径指引你进入过去或连接未来。第二种就是“疑难杂症”，就是这类艺术家的作品是我从来没见过的，他跟绝大多数主流的、我们见到的艺术家不同。换句话说，艺术策展要保持它的一个兴奋点：它是一个新的东西，作为一种特例而存在。比如前几年我合作了一个艺术家叫张玥，他在家里做了8000多种白（潘通色谱里面只有100多种白），他寻找各种环境色里面的白，例如《VOGUE》杂志的第327页的那张白色的裙子中的白，济南某条马路下午3:00白墙的颜色，某部电影中一个镜头里的白桌布的白，这种近乎于疯狂的行为，会让你觉得这个东西很好，是这种奇特性让你对他保持了巨大的兴趣。第三类就是新一代的、全新的艺术方式，比如说赵赵这类艺术家，做潮玩、做设计，也做古玩和当代艺术。当你发现新一代有他的不一样的工作方式和生活方式，这时候你也会去关注新的视野和新的可能性。从我的角度来说，做这三种类型的艺术家的展览，也是一种对自己的修复。

There are three types of artists that I am most interested in. The first is whose work spans a sufficiently large period of time, through which you can have a review on the relationship among society, history and individuals. Such kind of artists can act as a guider who point out the access to the past and the future. The second type of artists are the “odd”ones who create works that I have never seen before, and they are distinct from the majority of the mainstream artists. In other words, they emerge as exceptional cases that can greatly inspire the curators. For example, a few years ago I collaborated with artist Zhang Yue who produced a work showing 8000 shades of white（there are about 100 shades of white in the Pantone colors）. He collected a series of white colors from various environments and contexts, such as the white of a skirt from a photo in the Vogue magazine, the white of a wall at 3:00 pm on a road in Jinan City, and also the white of a tablecloth from a movie scene. What he has done can be regarded as madness, and it is such kind of peculiarity that makes me so attracted. The third type is the new-generation who create with brand new tools and methods, like Zhao Zhao, whose practice involves in design, fashion, but also antiques and contemporary art. When you find a new group of artists who have a totally different way of working and living, you will naturally exposed to new horizons and possibilities. From my point of view, doing exhibitions for these three types of artists is also a kind of restoration to myself.

▼2013年张玥个展“不明真相 ”，策展人：崔灿灿 © 照片由崔灿灿提供
Zhang Yue’s solo exhibition“You Miss the Truth” , 2013, curated by Cui Cancan

▼2016年赵赵个展，西部三部曲之一：塔克拉玛干计划，策展人：崔灿灿 © 照片由崔灿灿提供
Project Taklamakan by Zhao Zhao, presented on his solo exhibition in 2016, curated by Cui Cancan

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九层塔：和建筑师一起工作
Nine-Tiered Pagoda: Working with architects

“我觉得建筑师还是有另外一种思维，我试图去学习和靠近那种思维。”

“I realized that they do have a different way of thinking, and I tried to learn and get close to that thinking.”

我在做九层塔展览期间接触了非常多的建筑师，也对建筑产生了浓厚的兴趣。建筑师的主战场是他们要盖一个真实的房子，而展览其实是他们的一个附属的创造力的体现，有点像他们的文献，或者说存在于繁杂的工程、竞标和甲方叙述之外的一个呼吸的地方。和建筑师合作不像在圈里做展览那样有一个很高的配合度，而是会产生比较多的磨合和有意思的争论，比如建筑师王子耕说“我的空间不是为你的展览服务的”，我认为这个话有道理，但是后来我又想，展览也不是为了空间服务的。只是两个不同的出发点而已，彼此都不为服务关系。当我和建筑师合作的时候，我觉得他们还是有另外一种思维，我试图去学习和靠近那种思维，试图去听他们对空间的表述和我们有什么不同。但合作上还是有很高的兴奋点的，因为我对所有新的事物都保持着巨大的兴奋，只不过在这个兴奋点开始之后，你会重新选择哪些东西是有用的，哪些东西是没用的。比如为了营造形式感，很多建筑师会把走道和楼梯弄得比展厅还要充沛，但对我们来说这个楼梯就非常浪费空间——可能就是这样的一个概念。

I came into contact with a very large number of architects thanks to my working on the exhibition “Nine-Tiered Pagoda”, and in the meantime I became quite interested in architecture. As the main task for architects is to realize a real building, the exhibition here is more like an appendant result of their creativity, which is a bit similar to an archive, or a place for them to breathe from those complicated work of engineering, bidding and consultation with clients. Working with architects is quite different from what I did with artists, since we often have more collision of ideas and interesting arguments. For instance architect Zigeng Wang once told me that “my architecture does not serve your exhibition.”I think it makes sense, but on the other hand my exhibition does not serve his architecture either. They are just two different starting points, neither of which serves the other. When I collaborated with architects, I realized that they do have a different way of thinking, and I tried to learn and get close to that thinking to understand how their narrative of space differs from mine. Anyway, there is still a great excitement in terms of the collaboration, since I’m always stimulated by the things I have not known before. But after this excitement occurs, it will be the time to rethink about what can be used and what needs to get rid of. In a given space, for example, architects may take corridors and staircases as dominated elements rather than the exhibition area, while from our perspective such elements would be a huge waste of space. This might be the difference of our concepts as I just mentioned.

▼九层塔：空间与视觉的魔术①：政纯办个展“团结就是力量” ，建筑师：王子耕；平面设计师：刘治治
Nine-Tiered Pagoda ①: Polit-Sheer-Form Office (PSFO)’s solo exhibition “Unity is Strength”. Architect: Wang Zigeng; Graphic designer: Liu Zhizhi
(点击查看展览详情，Click here for more details about the exhibition)

© 照片由坪山美术馆提供

3年前我去山西和河北看了很多寺庙和塔。塔是一个非常特殊的结构，它的壁画，它的雕塑，它的建筑是一体化的，甚至来说是先有一个故事，然后才有了塔的每一层。九层塔的概念寓意着，当你进入美术馆的时候，你获得的是一个综合性的感知，它包含了建筑、空间和艺术，包含了文字和阅读，是这种完整的流程给予了你一个故事，因此我希望用九层塔去呈现这样一种综合感觉。展览也是这样，它需要空间，也需要平面设计，并且这是刚需，也是有益的合作。所以这个时候我想，为什么大家不联名合作呢？为什么我们非要把彼此搞成甲乙方关系？我觉得这是我做九层塔的一个初衷。一开始我也不知道要做什么，我就找到这个项目的另一个发起人建筑师刘晓都（都市实践 on gooood）一块商量，怎么样把建筑、设计和艺术结合在一起，后来我们就想到了这样的方式。这种方式是需要磨合的，我们也为此做出了很多调整。

I went to Shanxi and Hebei province about three years ago to see a number of temples and pagodas. I think a pagoda is a very special structure, with each tier telling a different story, and of which the murals, the sculptures and the architecture are all well-integrated. In this sense, Nine-Tiered Pagoda suggests an idea that when you enter a venue for exhibition, what you are supposed to acquires is also an integrated perception. The venue contains the architecture, the space, the artwork, the descriptive text and also the act of reading. It is this complete process and flow that tells you a story, and this is what I tried to convey with Nine-Tiered Pagoda. It is the same with exhibitions, which needs both physical spaces and graphic designs as a rigid demand. So at that point, I thought, why don’t we take this opportunity to collaborate? Why must we work separately as opposite parties? This leads to the entry point of the plan for Nine-Tiered Pagoda. At the beginning, I was not sure about what I could do and therefore I got in touch with Liu Xiaodu (URBANUS on gooood) , the architect who was the other initiator of the project, discussing how to combine architecture, design and art all-together. While there were conflicts in the actual process of realization, both of us have made a lot of compromises to optimize the result.

▼九层塔：空间与视觉的魔术②：李青个展 “陈列与重现”，建筑师：李涵；平面设计师：梅数植
Nine-Tiered Pagoda②: Li Qing’s solo exhibition “Display and Replay”. Architect: Li Han; Graphic designer: Mei Shuzhi

© 照片由坪山美术馆提供

“九层塔也可以理解为九重天，它是九个世界、九种选择。”

“Nine-Tiered Pagoda can also be perceived as “Cloud Nine”, which symbolizes nine universes or nine choices.”

具体的流程是我们先选择不同类型的艺术作品，比如说绘画、装置、影像、行为艺术。我们希望找到一些需要空间并且能和空间产生互动和有趣关系的作品。然后我们把这些资料抛给建筑师，说你来搭建空间，你愿意怎么搭怎么搭，然后再把这些资料抛给设计师，你来做海报和折页，你愿意怎么做怎么做。这九个空间都是300平左右，每个空间都是一样的形状，一样的资金预算。在今年的9月份，大家将会看到9位建筑师的空间和9位艺术家的作品融汇在一起，形成的九个不同的展览，就像一个楼房的剖面图一样，你能看到不同的语境，所以九层塔也可以理解为九重天，它是九个世界、九种选择，每一个选择既是建筑师的选择，又是艺术家导致建筑师作出的选择。

The process was that we started by selecting different creative mediums, including paintings, installations, videos and performance art. We hoped to find works that necessitate spaces and would have an interesting interactive with the spaces. Then we provided these selected materials for both the architects and the designers, asking them to respectively work on spatial and graphic design. Each of these nine spaces has an area of 300 square meters, with a same shape and a same budget. In September this year, we will see nine architects’ spaces and nine artists’ works merging together to form nine different exhibitions, just like the section of a building that contains varying scenes and contexts. In this way,“Nine-Tiered Pagoda”can also be perceived as “Cloud Nine”, which symbolizes nine universes or nine choices, and each of the choices is simultaneously the one made by the architects and the one that the artists lead the architects to make.

▼九层塔：空间与视觉的魔术③：毛焰、韩东展览“我的诗人”，建筑师：王辉；平面设计师：朱砂
Nine-Tiered Pagoda③: Mao Yan and Han Dong’s exhibition “My Poet”. Architect: Wang Hui; Graphic designer: Zhu Sha

© 照片由坪山美术馆提供

▼九层塔：空间与视觉的魔术④：厉槟源个展“天堂电影院”，建筑师：吴林寿；平面设计师：何见平
Nine-Tiered Pagoda④: Li Binyuan’s solo exhibition “Cinema Paradiso”. Architect: Wu Linshou; Graphic designer: Jumping He
(点击查看展览详情，Click here for more details about the exhibition)

© 照片由坪山美术馆提供

这时候艺术家、建筑师、设计师面对的工作都是一样的，都是将这个基础世界的点、线、面不断地置于新的情境，不断地使其产生变量，使其接近于无穷。九层塔的每一个项目都是既要去讨论建筑、设计、艺术三个领域之间的关系，又要试图让其围绕着一个议题。比如说建筑师王子耕（Pills Architects on gooood）那一组，包括艺术小组政纯办和设计师刘治治，都在讨论集体主义美学在不同学科中的呈现，名字叫“团结就是力量”；建筑师李涵（绘造社 on gooood）、设计师梅数植、艺术家李青那一组都在讨论城乡结合部的边缘文化；建筑师王辉（都市实践 on gooood）、设计师朱砂那一组，用迷宫的空间方式，重新设计我们抵达毛焰绘画和韩东诗歌的动线和路径；建筑师吴林寿（WAU Design on gooood）、设计师何见平，艺术家厉槟源，为我们呈现了一个有着身体记忆，温暖的天堂电影院；建筑师张永和（非常建筑 on gooood）给我们搭建了一个古典的意大利议会式的广场，然后做了很多内外空间的处理，它让观看方式非常多元，艺术家陈文骥、丁乙、梁诠、谭平的作品在空间中获得了全新的状态，设计师韩家英又给了另一种组合方式；建筑师马岩松（MAD on gooood）的这一组，艺术家是刘韡，设计师是广煜，这一组试图讨论的是对形式感知的想象，是关于形式和力量、未来、时空、动势、幻想的关系，展览的名字叫做“形式的狂想”。

This is when the artists, the architects and the designers are all faced with the same task to constantly place the points, lines and surfaces of this fundamental world into new situations and to draw forth the variables to bring it closer to infinity. Each of the projects in Nine-Tiered Pagoda tries to discuss the relationship between the three fields of architecture, design and art, and in the meantime to make the their narratives stick to a single topic. For example, the team that includes architect Zigeng Wang (Pills Architects on gooood), artist PSFO and designer Zhizhi Liu, discussed the presentation of collectivist aesthetics in different disciplines, and their exhibition was named as“Unity is Strength”. Architect Li Han (Drawing Architecture Studio on gooood) , artist Li Qing and designer Mei Shuzhi investigated the marginal culture in the rural-urban fringe. Architect Wang Hui (URBANUS on gooood) and designer Zhu Sha used the spatial form of a labyrinth to redesign the routes and paths that lead to Mao Yan’s paintings and Han Dong’s poems. Architect Wu Linshou (WAU Design on gooood), designer Jumping He collaborated with artist Li Binyuan to present a “Cinema Paradiso” with physical memory and warmth. Architect Chang Yungho (Atelier FCJZ on gooood) built a classical form that was similar to an Italian parliament square through a series external and internal interventions, allowing for a diverse way of viewing, through which the art pieces of Chen Wenji, Ding Yi, Liang Quan and Tan Ping have gained a brand new status in the space. Architect Ma Yansong (MAD on gooood) collaborated with artist Liu Wei and designer Guangyu on discussing the imagination of the perception of form, which referred to the relevance of form to the power, the future, the space and time, the kinetic potential and the fantasies revolving around the title of “Forma Fantasia”.

▼九层塔：空间与视觉的魔术⑤陈文骥+丁乙+梁诠+谭平群展“相似的结果，不同的路径” ，建筑师：张永和；平面设计师：韩家英
Nine-Tiered Pagoda ⑤: Chen Wenji + Ding Yi + Liang Quan + Tan Ping, group exhibition “Similar Results, Different Approaches”. Architect: Chang Yungho; Graphic designer: Han Jiaying
（本展览已于2021年5月9日在深圳坪山美术馆开放，The exhibition has been open from May 9th, 2021 at Pingshan Art Museum）

© 照片由坪山美术馆提供

▼九层塔⑥：刘韡个展“形式的狂想” ，建筑师：马岩松；平面设计师：广煜
Nine-Tiered Pagoda⑥: Liu Wei’s solo exhibition “Forma Fantasia”. Architect: Ma Yansong; Graphic designer: Guang Yu
（本展览已于2021年5月9日在深圳坪山美术馆开放，The exhibition has been open from May 9th, 2021 at Pingshan Art Museum）

© 照片由坪山美术馆提供

“九层塔”倡导的跨界方式，希望在建筑、设计和艺术的连接点，创造一个全新的交叉学科。”

“The “Nine-Tiered Pagoda”advocates a boundary-breaking approach to establish a new discipline that lies in the intersection of architecture, design and art.”

当艺术建筑设计结合在一起的时候，一方面我们试图去共同讨论一个问题，另一方面我们也都在彼此放弃一些过去的习惯。建筑，艺术设计可以混合，可是当它真正实现的时候，你的目的就不再是为了让它混合，而是确定彼此的边界到底在哪里。当你试图去打破边界的时候，确认边界反而成为了一件重要的事情，就像当你试图去拍一个复仇故事的时候，不复仇才是深刻的；当你试图去寻找一种抵达的时候，最后不抵达才是你的反思。

我们今天做的所有的跨界的目的，不是为了把你搞得不是你，我们其实还是在寻找各自的处境和状态，获得更多选择权之后，然后做出一个选择。“选择权”就像“可能性”，可能是这个世界上最虚无和最无聊的一个词汇，因为所有东西都具备可能性。但我们还是要做一些有意义的和有效的建构。即便我在做一个“无聊”和“无意义”的项目，但“无聊”和“无意义”在一个刻板实用的社会里面就是一种有效的建构。

换句话说，一直以来我们缺乏一种高质量的跨界，不是流俗明星和网红效应，迎合一种快餐式的出圈，就是自说自话，拘泥于专业壁垒。“九层塔”倡导的跨界方式，希望在建筑、设计和艺术的连接点，创造一个全新的交叉学科，它既是三个专业间的实际需求，有益协作，又保留了各自的专长和优势，分工得当。九层塔是一个混了思想、方法、工具的实践项目，拓展彼此方向的攻关小组，也饱含了创造一个全新领域和事业的雄心。

When incorporating art and architecture together, we are trying to discuss the same issue, and on the other hand, we have to give up some of our ingrained habits. It is possible to have architecture, art and design mixed, but when it is really realized, the objective will be altered to identify where the boundary is. When you try to break the boundary, confirming the boundary becomes a more important thing. It is in some way like a story of revenge, where giving up the revenge can sometimes lead to a more profound ending.

It is not the purpose of all the cross-disciplinary practices we do today to force yourself to become another person, but to find your own situation and state of being to expose yourself to more options. “Option”is similar to “possibility”, which I think may be the most meaningless and boring word in the world, because everything is associated with possibilities. However, it is still necessary for us to have the ambition of creating something meaningful and effective. Even if I’m working on a project that is “meaningless”and“boring”, in a society enslaved to stereotype and pragmatism，it is the so-called “meaningless”and“boring”that reflects the essence of effectiveness.

In other words, we have been lacking a quality cross-disciplinary practice that neither caters to the immediate influence of celebrities, nor sticks to professional barriers. The “Nine-Tiered Pagoda”advocates a boundary-breaking approach to establish a new discipline that lies in the intersection of architecture, design and art, which shows a practical need between these three professions and in the meantime retains their respective expertise and strength to achieve the synergy. It is a hands-on project that mixes ideas, methods and methodologies, and also a strategic union in which the participants can cooperate and expand their development realms together. It represents the ambition to create an unprecedented field and career.

▼崔灿灿和刘晓都、张永和在九层塔展览现场，Cui Cancan, Liu Xiaodu and Yungho Chang at the exhibition of “Nine-Tiered Pagoda” © 照片由坪山美术馆提供

▼崔灿灿和刘晓都、马岩松、广煜在九层塔最新一场展览的开幕式论坛，Cui Cancan, Liu Xiaodu, Ma Yansong and Guang Yu at the opening forum of “Nine-Tiered Pagoda” © 照片由坪山美术馆提供

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“策展课”：探索新的策展语言
The Curation Workshop: exploring new curatorial languages

“我们希望在创造和谈论艺术的时候，同样谈论我们自身的变革。”

“When we talk about historical changes, it is equally important to examine the change of ourselves.”

策展课是我一直感兴趣的关于策展语言的讨论。上一届的主题叫策展与设计，这一届叫故事与结构，两届策展课都在讨论我们能够用什么样的方法来讲出故事。其他的展览是在关心表达什么样的文化议题，而策展课的价值在于探讨我们可以用多少种方法和语言来呈现这个议题，它更关注的是语言本身的多变性。古典叙事的时代已经结束了，我们不能再用展示古典艺术的方式展示现代艺术，不能再用古典的逻辑来思考现在的问题。

The Curation Workshop discusses on new curatorial methods and languages that I have always been interested in. The first edition of the workshop is titled “Curation and Design”, and the second is “Story and Structure”. Both workshops intend to talk about the ways of telling stories. While many exhibitions are concerned with how to represent a specific cultural issue, The Curation Workshop focuses on the methodology and the versatility of language itself. The era of traditional narrative is gone, and we can no longer present modern art in the same way as we do to classical art, since the classical logic is no longer adaptive to contemporary issues.

▼第一届策展课：策展与设计，The Curation Workshop I: “Curation and Design” © 照片由崔灿灿提供

我们准备把策展课做成一个长期的项目，例如最后可能会编著一本类似于建筑的营造法式，一个工具书。策展课的价值不在于实现（我们邀请的19位策划人的方案没有一个实现的），它的价值是让我们可以想象一些“永远很难实现的展览”，像是“永远盖不出来的房子”，比如一个方案是让观众从下水道进入展厅，打破美术馆正厅的大空间宏伟叙事，有的是让观众成为策展人，有的是把展览变成一张答题考卷，有的使用博彩“双色球“方法随机做展览等等。策展课是关于展览的展览，它就是为了纸上谈兵，为了提供一种无用的想象力，一种被制度化和现实所捆绑的展览的创造力，并让它重新解放。解放最好的办法就是不进入现有的生产通道，而是进入一种完全个人化的自我想象和创造，因此策展课提供的是一种乌托邦价值。乌托邦价值不是为了接近于传统的古典主义的理想，而是为了告诉我们，原来这个世界上有那么多选择和方式，原来我们可以不用一种方法来推进历史的变革。我们希望在创造和谈论艺术的时候，同样谈论我们自身的变革，这是非常重要的。

We intend to make The Curation Workshop a long-term project. Maybe it will be ended with a handbook for exhibition curating. Rather than realizing projects physically ( none of the structures made by the 19 curators has been really built), the aim of The Curation Workshop is to allow us to imagine some “exhibitions that can barely been achieved”, which are like houses that can never been constructed. For example, one of the projects during the workshop built a sewer-like passage for the audience to enter the exhibition hall, which boldly broke the traditional narrative of a magnificent space for an exhibition hall. Some of the projects invited the audience to play the role of curators; some interpreted the exhibition area into an answer sheet; while some were organized in the same random mechanism as of the Duotone Ball Lottery. The Curation Workshop is an exhibition of exhibition itself. It was endowed with the mission to become idealistic, providing a sort of useless imagination, and ultimately liberating the creativity that has been long restricted by institutionalization and reality. The best way to achieve liberation is to enter a completely personal and private imagination and creation only about ourselves. Therefore, The Curation Workshop indicates a value of utopianism, which can push us to get aware of the fact that there are numerous options and methods with which we can promote historical changes. And when we talk about historical changes, it is equally important to examine the change of ourselves.

▼第二届策展课：故事与结构，The Curation Workshop II: “Story and Structure” © 照片由崔灿灿提供

_____________
不向后看，只向前看
Never Reminiscing About The Past

“新的东西太迷人了，哪有时间念旧?”

“The new things are too fascinating for me to waste time reminiscing about the past.”

我不太回顾自己的展览，也没有特别满意和不满意的，因为对我来说这其实是一种咬合关系，就像下五子棋一样，只有当5个棋子连在一起的时候，你才知道输赢的关键在哪里。我们今天的工作也是一样，我们试图追求的东西，设想放在人生的长度里如何看待？因为有了这个设想，我们才会去想工作的意义，生命的意义和个人的使命，这才会有形而上学的追问，有了这个追问才能理解到“工作“对你意味着什么。如果没有这种更长的追问，谈论自己过去的“好”或者是“效果成功”，不过是一种陷阱，它是一种自我的加固。把过去的展览和工作说的像现在的伏笔一样，一副过往“顿悟”的感觉。人一定要制止一种通过过去不断地发明自己和说明自己的冲动。

但是我经常会反思我的失败，即便观众说你这个展览挺好的，但是有些事情我没做到，这些失败只属于我自己，和别人没有关系。人的事实由两部分构成，展览也是一样：一部分是你做到了什么，一部分是你没做到什么，往往没做到的这一部分会被你所谓的回顾成功而掩盖。只有理解和在乎这个失败和错误，你才能持续地精进，你才能在专注中去燃烧自己。陶渊明有一首诗，说到一种叫木槿的植物，朝开夕落（《荣木并序》），当它到了晚上落下的那一刻，才知自己知道生命如此短暂，那我想它一定非常地后悔。所以我觉得人总要有一些形而上学意义的追求，我们知道无限的事业和有限的生命，我们开始理解我们的创造力是如此的乏味和局限，所以我们对过去真的是没有时间抚摸，也没有时间玩弄自己的情绪。赶夜路的人，在天亮前要达到，哪有时间左顾右盼，对我来说，还有那么多的工作要做，新的东西太迷人了，哪有时间念旧？

I rarely look back on my past exhibitions, because I believe that what we actually pursue can only be reviewed when placed on the axes of our whole lifetime. Without this long-term process of self-inspect, any talk about “success” or “effective results” will be reduced to a trap. It is just an embodiment of self-praise. But I often reflect on my failures, and these failures have nothing to do with others. Only if you understand the failures and mistakes can you step forward to fully devote yourself to what you have been doing. There’s a poem by Tao Yuanming about a plant called Mujin (hibiscus flower) that blooms in the morning and falls at night. It is a lament for the fleeting life. A little flower realized that its life was just a short trip, and for our human beings, we know we have infinite careers but limited lives, and we begin to realize that our creativity is so insufficient and pathetic. For me, there is still a great deal of work to be done. The new things are too fascinating for me to waste time reminiscing about the past.

▼崔灿灿在展览作品前，Cui Cancan standing in front of an artwork © 照片由崔灿灿提供

我现在准备做摄影师刘香成的回顾展，他是唯一一个获得普利策奖的华人。艺术家艾未未、陈丹青、谭平、李青、赵赵等艺术家的个展也在陆续展开；6月在北京有一个新一代艺术家、建筑师和设计师的群展；9月份在深圳还有建筑师张永和的个展，展出的都是他的装置系列，这是我对“纯空间实验”最感兴趣的一部分；11月份我会在南京做一个小说、诗歌、电影和艺术结合的项目，下半年可能还有一个南方植物园的项目，包含各个学科的不同工作者。

I’m now preparing a retrospective exhibition for photographer Liu Heung Shing who is the first and only Chinese to have won the Pulitzer Award. Solo exhibitions for Ai Weiwei, Chen Danqing, Tan Ping, Li Qing and Zhao Zhao are also now in progress. This June in Beijing there will be a group exhibition of new generation artists, architects and designers. In September I will curate for Yung Ho Chang’s solo exhibition in Shenzhen, which will feature his installation series, and this is also the most interesting part I think in a pure spatial experimentation. In November there will be a multi-medium exhibition in Nanjing that combines fiction, poetry, film and art, and in the second half of the year there may be a project of Botanical Garden in Southern China which includes practitioners from various disciplines.

▼刘香成个展部分作品，Part of works on the solo exhibition of Liu Heung Shing © 刘香成

“艺术来自于一种改变的宏愿。这很古典，很宏大，但我想要相信。”

“Art comes from an ambition to change. This may be a classical and grandiose statement, but also what I genuinely want to believe.”

我每年都有近20个展览，持续了快十年了，在艺术圈算是做的最多的。每年都会有近百个项目找过来，但我只会选一些自己感兴趣的，具有挑战性的工作。也因为这样，我对重复性的“接活”毫无兴趣，我特别怕自己“腐败”，意识和精神的腐败。现在就是试图先让自己尝试在不同的领域里面去寻找一些让我感兴趣的事情，它能重新激发我的今天的工作，去寻找一些不同的源头的活水，让我得以充沛地去开始一些新的工作。

无论做什么，我一直希望去改变我们的文化处境，改变我们的政治现实，创造更好的社会制度和更好的语境。艺术一定来自于一种改变的宏愿。这个世界存在着苦难，存在着残酷的、因为我们的各种羞耻、虚荣而不愿意正视的现实。艺术是什么？艺术就是指出并且改变现实的愿望。这很古典，很宏大，但我想要相信。艺术一定有它的历史抱负，这个抱负是要改变我们如今的文化处境，改变我们对新旧世界的认识和判断，但最终是否真的能改变其实并不重要——改变的宏愿有时候大于改变的结果。

I receive nearly 100 project invitations every year, but I only choose the ones that are intriguing and challenging. I’m always looking for new things to do from the fields I was not known before, which I think can greatly reenergize my creation and everyday work, just like the sources of living water.

I’m always with the expectation of changing our cultural situation and political reality, so as to achieve a better social system and context. Art must come from an ambition to change. There is misery existing in the world, and there is a cruel reality that we are unwilling to face with due to all the shame and vanity we have. Then what is art? Art is the desire to reveal and change the reality. This may be a classical and grandiose statement, but also what I genuinely want to believe. Art has its historical ambitions, which means to change our cultural situation today, and also to change our perceptions and judgements of both the old and new worlds. However, it doesn’t really matter whether they can really be changed in the end — the ambition to change is sometimes more significant than the result of change.

▼崔灿灿，Cui Cancan
© 照片由崔灿灿提供

崔灿灿曾获CCAA中国当代艺术评论青年荣誉奖，《YISHU》中国当代艺术批评奖，艺术权力榜年度展览奖和策展人奖，《艺术新闻》亚洲艺术贡献奖林肯策展人提名、《当代艺术新闻》年度最佳艺术家个展、北京画廊周最佳展览奖，以及多家媒体的年度策展人或是艺术贡献奖等。

Cui Cancan has won CCAA (Chinese Contemporary Art Award) Art Review Award for Youth, Critics’ Award in Chinese contemporary art by YISHU, Annual Exhibition Award by Art Power 100, Nominee for Lincoln Curator Prize by TANC Asia Prize, The Best Artist Solo Exhibition of the Year Award by Chinese Contemporary Art News, Best Exhibition Award by Gallery Week Beijing, Annual Curator Award by Art Bank, et cetera.