Humanities and Arts
When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center, by M WOODS, and by independent curator Yu Minhong – and explores how they communicate ‘being-in-common’ (a concept by Jean-Luc Nancy) in the online realm; it also proposes alternative forms of cosmopolitanism that do not rely on physical mobility. The exhibitions are analyzed using visual and discourse analysis and supported by semi-structured in-depth interviews with the curators. This study shows that a cosmopolitan art world does not need to rely on physical travel if connectedness is understood as being-incommon rather than meeting-in-person, digital technology is mobilized effectively, and cosmopolitanism is grounded in a relocalization. In an era when the global art world is looking for ways to reinvent itself and the mobility system on which it operates, the article contends that it would do well to look to and learn from the example of Chinese online exhibitions.
The article focuses on how Chinese online art exhibitions adapted and thrived during the COVID-19 pandemic. It examines how virtual platforms became essential for maintaining cultural connections and engagement with art during times of social distancing and lockdowns, highlighting the role of technology in fostering virtual connectedness.
Online art exhibitions provided an innovative solution to the challenges posed by the pandemic by offering virtual spaces for artists, curators, and audiences to connect. These exhibitions allowed art to be shared and experienced without physical attendance, breaking down barriers imposed by lockdowns and social distancing measures.
The article focuses on how Chinese online art exhibitions adapted and thrived during the COVID-19 pandemic. It examines how virtual platforms became essential for maintaining cultural connections and engagement with art during times of social distancing and lockdowns, highlighting the role of technology in fostering virtual connectedness.
Online art exhibitions provided an innovative solution to the challenges posed by the pandemic by offering virtual spaces for artists, curators, and audiences to connect. These exhibitions allowed art to be shared and experienced without physical attendance, breaking down barriers imposed by lockdowns and social distancing measures.
Technology played a crucial role in the success of Chinese online art exhibitions during the pandemic. Virtual platforms and social media allowed for wider audience reach, enabling art institutions to maintain cultural visibility and interact with viewers globally. These technological tools were integral in transforming the way art was consumed and engaged with during the crisis.
Virtual connectedness had a profound impact on the art community in China by providing new opportunities for collaboration and interaction. It allowed artists to continue showcasing their work, curators to maintain their exhibition schedules, and audiences to engage with art in an accessible way. This shift also highlighted the growing importance of digital platforms in the future of the art world.
Despite their success, Chinese online art exhibitions faced several challenges, including the digital divide, technological limitations, and ensuring meaningful viewer engagement. While technology provided a solution for connecting artists with audiences, the shift to virtual platforms raised questions about the authenticity of the experience and the potential loss of the physical connection between artwork and viewer.
The pandemic accelerated the evolution of art exhibition practices in China by pushing institutions to adopt digital and hybrid models. It highlighted the need for adaptability in the art world and showcased the potential of virtual exhibitions to reach global audiences, prompting a reevaluation of how art can be exhibited and experienced in the future.
Virtual exhibitions opened up new opportunities for artists and curators to engage with a broader, more diverse audience. Artists could showcase their work to global viewers, while curators could explore innovative ways of presenting art in digital formats. These exhibitions also allowed for creative collaborations that would not have been possible in traditional, physical spaces.
Online platforms maintained audience engagement during the pandemic through interactive features, live streaming events, and the integration of social media. These platforms encouraged viewers to participate in discussions, share their experiences, and engage with the art in a dynamic way. By leveraging digital tools, online exhibitions fostered a sense of community and connection despite physical separation.
The long-term impact of virtual exhibitions on the art world may include a permanent shift towards hybrid exhibition models, combining physical and digital experiences. This could expand access to art, increase global engagement, and encourage the development of new formats for curating and presenting art. It may also influence how art institutions think about accessibility, audience engagement, and the future of art education and programming.
The article offers valuable insights about the future of art exhibitions, suggesting that the pandemic has permanently altered the way art is presented and consumed. While in-person exhibitions will remain important, virtual and hybrid exhibitions are likely to continue as integral parts of the art ecosystem, offering increased accessibility and global reach for artists and curators alike.
Show by month | Manuscript | Video Summary |
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2025 April | 8 | 8 |
2025 March | 69 | 69 |
2025 February | 41 | 41 |
2025 January | 46 | 46 |
2024 December | 54 | 54 |
2024 November | 52 | 52 |
2024 October | 52 | 52 |
2024 September | 46 | 46 |
2024 August | 25 | 25 |
2024 July | 33 | 33 |
2024 June | 21 | 21 |
2024 May | 41 | 41 |
2024 April | 35 | 35 |
2024 March | 38 | 38 |
2024 February | 20 | 20 |
2024 January | 20 | 20 |
2023 December | 21 | 21 |
2023 November | 39 | 39 |
2023 October | 11 | 11 |
2023 September | 13 | 13 |
2023 August | 5 | 5 |
2023 July | 17 | 17 |
2023 June | 12 | 12 |
2023 May | 24 | 24 |
2023 April | 18 | 18 |
2023 March | 26 | 26 |
2023 February | 1 | 1 |
2023 January | 2 | 2 |
2022 December | 21 | 21 |
2022 November | 53 | 53 |
2022 October | 36 | 36 |
2022 September | 31 | 31 |
2022 August | 55 | 55 |
2022 July | 47 | 47 |
2022 June | 92 | 92 |
2022 May | 42 | 42 |
2022 April | 23 | 23 |
Total | 1190 | 1190 |
Show by month | Manuscript | Video Summary |
---|---|---|
2025 April | 8 | 8 |
2025 March | 69 | 69 |
2025 February | 41 | 41 |
2025 January | 46 | 46 |
2024 December | 54 | 54 |
2024 November | 52 | 52 |
2024 October | 52 | 52 |
2024 September | 46 | 46 |
2024 August | 25 | 25 |
2024 July | 33 | 33 |
2024 June | 21 | 21 |
2024 May | 41 | 41 |
2024 April | 35 | 35 |
2024 March | 38 | 38 |
2024 February | 20 | 20 |
2024 January | 20 | 20 |
2023 December | 21 | 21 |
2023 November | 39 | 39 |
2023 October | 11 | 11 |
2023 September | 13 | 13 |
2023 August | 5 | 5 |
2023 July | 17 | 17 |
2023 June | 12 | 12 |
2023 May | 24 | 24 |
2023 April | 18 | 18 |
2023 March | 26 | 26 |
2023 February | 1 | 1 |
2023 January | 2 | 2 |
2022 December | 21 | 21 |
2022 November | 53 | 53 |
2022 October | 36 | 36 |
2022 September | 31 | 31 |
2022 August | 55 | 55 |
2022 July | 47 | 47 |
2022 June | 92 | 92 |
2022 May | 42 | 42 |
2022 April | 23 | 23 |
Total | 1190 | 1190 |