Sam Shiyi QIAN

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	<title>Sam Shiyi QIAN</title>
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	<description>Sam Shiyi QIAN</description>
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		<title>about me</title>
				
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		<pubDate>Tue, 21 Nov 2023 03:57:31 +0000</pubDate>

		<dc:creator>Sam Shiyi QIAN</dc:creator>

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钱诗怡

钱诗怡是一位策展人和作者。她目前是上海外滩美术馆的策展人。她的策划和研究关注历史书写空间和知识生产的权力关系，围绕环境作为媒介组织有关视觉政治和地缘政策的叙事。此前，她是上海明当代美术馆的策展人和展览主管（2018至2024年），她入选2024-25年德英基金会策展学者。她的艺术写作散见于艺术论坛Artforum，《艺术世界 Artreview China》，Art-ba-ba等。


Sam Shiyi Qian is a curator and writer based in Shanghai. She is currently a curator at the Rockbund Art Museum. Her curatorial projects and research addresses historiography and knowledge production from speculative approaches to visual politics and environmental media, through lens of regional land and water. Previously, she was Curator and Head of Exhibitions at the Ming Contemporary Art Museum in Shanghai (2018-2024). She was also a Curatorial Fellow (2024-2025) with De Ying Foundation. Her writings on contemporary art publish on&#38;nbsp; Artforum Chinese platform, Art-ba-ba, and ArtReview China.
📧samsamshiyi@gmail.com
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		<title>Mutual Benefits</title>
				
		<link>https://shiyiqian.com/Mutual-Benefits</link>

		<pubDate>Wed, 04 Feb 2026 12:07:10 +0000</pubDate>

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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/15b01fa76dacd2e25170111d76eb326bbbb12bc4ff053821a32b5feecc3f2652/10-1.jpg" data-mid="244424289" border="0" alt="Diana Policarpo: Mutual Benefits installation at Rialto 6. Photo by Vasco Stocker de Vilhena " data-caption="Diana Policarpo: Mutual Benefits installation at Rialto 6. Photo by Vasco Stocker de Vilhena " src="https://freight.cargo.site/w/1000/i/15b01fa76dacd2e25170111d76eb326bbbb12bc4ff053821a32b5feecc3f2652/10-1.jpg" /&#62;
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Curatorial text:

In Mutual Benefits, an exhibition created specifically for the Rialto 6 space, Diana Policarpo delves into two enigmatic subjects—the human mind and mycelium—investigating their intricate connections to language and the effects of excessive extraction and synthesis of medicinal resources within fragile ecosystems. This exploration unfolds in an immersive landscape where bodies—human, more-than-human, and their remnants—merge in a complex web of mutual interference. Central to this narrative is the eerie vitality of a carcass: Ophiocordyceps sinensis, a parasitic fungus that zombifies its host, turning ghost moth caterpillars into vessels for its own survival.

As Policarpo traces the social and ecological life of Cordyceps, another laboring body emerges in Summer Grass Winter Worm, a site-specific installation styled as a shop window: figures on the Tibetan Plateau, bent over rugged slopes, their hands carefully plucking the precious fungus as the seasons shift from spring to summer. In Fungal Highways, a 3D animation shows scientific imagery that captures human neurons, abstracted and juxtaposed with the tangled mycelial networks of fungi intertwined with plant roots—mycorrhizal networks—suggesting a profound layer of interconnection. A voice from a speculative near-future space mission echoes through the ether, while the amplified movements of athletes—arms swinging, muscles taut—underscore yet another dimension of the human body as a site for the exercise of biopower (Adaptogens).
These vivid fragments, documenting the world’s most expensive fungus—renowned for its medicinal, therapeutic, and pharmacological properties—come together in Policarpo’s latest solo exhibition. Featuring six sets of new works in speculative video installations, sound pieces, and color pencil drawings, Mutual Benefits marks the conclusion of her multiyear, on-site research into caterpillar fungus, tracing its complex value chain since 2019. The research spans India, Nepal, and, more recently, China, delving into the social, sexual, economic, and political dimensions surrounding the Cordyceps species.
In China, where Cordyceps is consumed the most, Policarpo observed its booming commercial use and examined the key players and institutions driving the global market. Mutual Benefits highlights the dynamics of this market, the consequences of over-extraction, and the role of the biotech industry in synthesizing this highly valuable medicine. Since this type of fungus can only be harvested on the Tibetan Plateau and cannot be artificially grown, the demand also significantly impacts the livelihoods of poor local communities in the Himalayas. Despite its importance to Indigenous mountain communities, there remains a lack of knowledge about the commercial processes involved in Cordyceps collection and trade, particularly its pathways from remote communities to urban markets—and even into space.
As a lifeform thriving on parasitism, Cordyceps epitomizes necropolitics—the death of larvae is both the precondition and the price of its production. This exploitative cycle reflects the looming threat of ecological collapse. Nicknamed “soft gold,” Cordyceps captivates consumers with promises of vitality and longevity. The drive to regenerate Cordyceps for economic profit—whether through extraction or synthetic reproduction—has become a central focus of its research. A two-channel video Adaptogens presents a semi-fictionalized tale of a medicinal fungus transported into space in the near future, even as it faces extinction on Earth. The narrative shifts between various bodies—from a scientist to a parasitic fungus. In a hallucinatory landscape of light and atmosphere, capitalist decadence on Earth intertwines with the astromycologist’s body, merging the fungus and extraterrestrial plants into a newly created symbiotic organism.

This theme of pushing bodies beyond fact and fiction extends into the world of sports. In another two-channel video, 29:31.78, Policarpo references the historic 1993 world record set by Chinese runner Wang Junxia, known as the “Eastern Deer,” who achieved a sub-30-minute time in the 10,000-meter race, as indicated by the title. Her coach, Ma Junren, famously credited Cordyceps as a crucial part of her training regimen, a narrative thread that spurred the emergence of new companies seeking to commercialize this medicinal fungus. However, controversy soon followed. Just two years later, as a wave of athletes began to drop out, scandals emerged, revealing that Ma’s extreme and manipulative training methods were the true foundation of this miraculous performance. As Policarpo employs prolonged temporality and detailed zooming in to counterpoint the stories behind the scenes, she suggests that the very blurring of lines between reality and fiction is, in fact, clarifying the profound connections among biology, labor extraction, and capitalism.
Complementing the artworks, the exhibition is enriched with details where the artist implicitly employs elemental mediums that evoke the atmosphere of science labs cultivating Cordyceps species, inviting viewers to briefly adopt the perspective of a fungus being. The wood chips stuffed into the cushion recall the materials used in artificial cultivation, while the lighting temperature, lending the show an electric vibe, mirrors the controlled illumination of the growth process. The ventilation system, reminiscent of airborne fungal dissemination, further strengthens this connection. 

While Policarpo’s use of sensory environments—wood, lighting, and wind—may allude to the consumptive impulse of capitalist seduction, a comparative examination of our bodily presence in relation to these elements prompts a series of critical questions: Who is the parasite? Initially, this question appears to be a cerebral experiment in metabolism, in which relationships dissolve into fluid states of becoming. However, upon further reflection, this assumed symbiosis—blurring the lines between virtual and real, subject and object—is often romanticized as “interdependency,” concealing the underlying dynamics of value exchange, manipulation, sacrifice, and violence that it subtly entails in a capitalist world. In this spirit, Policarpo’s speculative narrative urges us to engage our perceptions across various agents and bodies, each acting as a medium or conduit, to interrogate the power dynamics behind the production of fungal science. Taking into account the factors of scale and power relations, a key question her work raises is: What causes mutualism to dissolve into veiled parasitism, and to what extent can exchange foster mutual survival rather than exploitation?&#38;nbsp;


︎Exhibition PDF︎</description>
		
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		<title>Writing &#38; Editing</title>
				
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		<pubDate>Mon, 20 Nov 2023 05:59:42 +0000</pubDate>

		<dc:creator>Sam Shiyi QIAN</dc:creator>

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Review:
An Echo from Golden Triangle: 
on Thailand Biennale
Artforum, Jan, 2024
第三届泰国双年展“开放的世界”（The Open World）此次在泰国北部清莱府举办，行前不少朋友与我再三确定，我去的是清莱而非清迈，这或许能反映出大多人对于泰北最简易的认知——只能用普遍到成为标签化的“金三角”（Golden Triangle）一词取代解释。13世纪末，傣阮族孟莱王在如今的泰北建立兰纳王国，设都清迈和清莱。这片土地在此后的500余年中，不断陷入与缅甸以及暹罗军对于土地和权力的争夺中，直至归属暹罗至今。夜晚到达距离清莱中心城区仅9公里的国际机场，不论是机场内为数不多的几个广告位，或是在等车时看到贴着双年展logo的车辆驶过，都让我确信双年展已经渗透进城市的日常。在和接机司机用英文闲聊几句之后，他蹦出几句中文与我对话。原来，他出生于清莱华人集聚的美斯乐（Mae Salong），所以会说几句中文。美斯乐的华人聚落来自上世纪50年代国民党从云南撤退的遗军，多族群混居的现实状态让我开始期待这里举办的双年展会发展出怎样的叙事。


Review:&#38;nbsp; &#38;nbsp; 
Chen Tianzhuo Ocean Cage and Leah Zhang Notes on Carbonization
 谈陈天灼《海笼》和张紫璇《化碳记事》Art-ba-ba, June, 2023“张紫璇于2021年创作的影像作品《化碳记事》(Notes on Carbonization) ，是从她在美国宾州煤矿山区调研出发所创作的一系列多媒介作品的其中之一。2023年春天，艺仓美术馆“码头计划”推出的双人展“底喘”则是这件作品在国内的首次亮相。在我看来，艺术家口述旁白和影像画面并行的双重时间性始终贯穿着《化碳记事》。即便是单通道的影像作品，只要旁白并非全为影像内容的阐释或补充，艺术家在视觉和听觉两种感官路径的编排必然会产生不同的组合效果，给作为时基 (time-based) 媒介的影像另一种维度的感官体验和解读。” 
...
“也许，我们或多或少都难以将陈天灼的新作《海笼》脱离他在油罐艺术中心的个展“山水”来独立观看。这么说是因为，艺术家利用到两件主要的影像作品（《尘埃》与《海笼》）和现场灯光、高空吊挂的充气水熊虫、烟雾机、“天梯”、热带植物和水果等现成、制成物组成了一个巨型自动剧场舞台。《海笼》作为其中一件影像装置有其登场的次序，而在候场时，这片位于印度尼西亚狭长岛屿群东南部龙布陵岛外 (Lembata Island) 的海域，平静得略显失真，在艳阳的照射下波光粼粼。”

	
Review:&#38;nbsp; &#38;nbsp; 
“Relic of the Future: Temu Basaw, Ciwas Tahos Joint Exhibition”

Artforum, December, 2022
“锈迹斑斑的铁架倒在地上，黄杨树脂制成体积厚重的浓墨从旁流淌、盘踞在地，与不远处的文房四宝对望呼应；充满年代印记的木窗在树脂的修补下，艰难地耸入空中，散落一地的杂志刊物、读本破破烂烂……这几组装置的材料源于艺术家黄林育麟（Temu Basaw）已故祖父的私人物件。黄林育麟出身马烈霸部落，其最新作品《爷爷山上的家屋重建计划：墨窗》（2022）是他与祖父未竟的对话。
“未来遗物计划”的另一位艺术家林安琪（Ciwas Tahos）的创作则是她作为一名酷儿女性对于其泰雅家族失落记忆的追溯与挑战。林安琪选择从泰雅神话中具有酷儿生态隐喻的“女人社”（Temahahoi）入手，并透过创造部落的虚拟空间织造出一种基于女性身体的族群想像。”


Artist Profile:
 “Lies, Personas and Marginality: Multiplicity of Xiao Fang”谎言、分身与边缘：“小芳“背后的多面人性


						The Thinker No.
86, 2022Editor: Huang Tingting《信睿周报》第86期，2022编辑：黄婷婷

“我为艺术家胡尹萍策划的首个美术馆个展“胡小芳和乔小幻”于2022年9月至12月在上海明当代美术馆举行。借用项目式呈现手法，展览强调胡尹萍创作的内部关系，展览结构既还原了她以事件为核心进行创作的过程，也意图展现不在普遍视线中的当代艺术和艺术家生存的普遍性。

胡尹萍较为人知的项目“小芳”始于2015年，那年她回到四川老家过年，发现母亲在织毛线帽子，并被廉价收购。回到北京之后，她托朋友假装收购者小芳，以较高的价格收购母亲织的帽子。自此，母亲的信心得以建立，由“小芳”所编织的网络也开始蔓延——小镇上的阿姨陆续参与到这个由甜蜜谎言织造的人情中去，随着越来越多的阿姨投入到“小芳”千奇百怪的命题创作中，小镇的生态和她们的生活发生了巨大改变。

本文将从几个方面来解构胡尹萍及其“小芳”项目，包括其艺术家生涯的转折、参与式艺术牵涉的多边复杂性、“乔小幻”作为胡尹萍的美学分身所提供的创作土壤和边缘设定等。”

Fiction:
The Octopus Chapter One
commissioned by Sonic Screen
published on No Man’s Land Issue.51 trans. Lina Dann

“It was an ordinary morning, not much different from before. Inside The Octopus, an underwater station beneath Island Coelacanth, LDS wakes up as usual just as luminated letters at the foot of the bed begin to scroll, displaying today’s news flash:”

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		<title>research &#38; curating</title>
				
		<link>https://shiyiqian.com/research-curating</link>

		<pubDate>Mon, 20 Nov 2023 07:06:21 +0000</pubDate>

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	Diana Policarpo:
Mutual Benefits18 Oct, 2024 - 24 Jan, 2025

	Curator: Sam Shiyi Qian
Organizor: Rialto 6

Rua Conde Redondo 6, 
1 andar 1150-105 Lisboa, Portugal&#38;nbsp;

	
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	Postscript of Silence
4 Nov, 2023 - 25 Feb, 2024


	Curators:Iris Long, Sam Shiyi Qian
Assitant Curator:&#38;nbsp;
Zihan Chen

Artists:
Vibeke Mascini &#38;amp; Ella Finer, 费亦宁 Fei Yining, Julie Freeman, 刘窗 Liu Chuang, Nicole L’Huillier, 许家维 Hsu Chia-Wei, Knowbotiq, Jeroen van Loon, Nicholas Mangan, Yuri Pattison, Diana Policarpo, Shubigi Rao, Riar Rizaldi, Susan Schuppli, Nastassja Simensky, Himali Singh Soin, 苏郁心 Su Yu Hsin, Jol Thoms, Nomeda &#38;amp; Gediminas Urbonas, Richard Vijgen, Susanne M. Winterling, 黄美婷 Cosmo Wong, 张北辰 Zhang Beichen
Organizor:
Ming Contemporary Art Museum
No. 436 East Yonghe Rd, Shanghai

	
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	Yangtze River Waterways:An Interdisciplinary Artistic Research (ongoing)
	“The Yangtze River Delta holds a historical reflection on waterborne trade routes via the Yangtze River, which shifted with changing sovereignties in ancient times. This history is representative in the context of modern regional development. While Shanghai may be viewed as a new land, its history cannot be isolated from the study of the ancient Gangshen seashore line, Lake Tai Plain, and the Yangtze River Delta, which all played pivotal roles in its geological, topographical, and cultural development.”


Field Trip I
Artists:
Sun Dasi 孙大肆, Yanqin 焉沁, Payne Zhu 佩恩恩, Fei Yining 费亦宁


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Hu Yinping: Weaving Realities3 Sep - 25 Dec, 2023


	Curator: Sam Shiyi Qian
Organizor:Ming Contemporary Art MuseumNo. 434 East Yonghe Rd, ShanghaiSponsor by: Double SpaceSupport by: BLACKHEAD, AA GLOBAL LTD&#38;nbsp;

	
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Back to Stage:
Ming Contemporary Art Museum’s Fifth Anniversay Art Festival13 Nov, 2021 - 13 Feb, 2024


	Curator: Sam Shiyi QianCuratorial team: Tsai Yunting, Tang Ziqin
Artists:Xavier Cha, Daniel Kok &#38;amp; Luke George, Dreaming Julie 发梦朱莉, Er Gao 二高, Future Host (Tingying Ma &#38;amp; Kang Kang)&#38;nbsp; 未来主人(马汀莹 &#38;amp; 康康), Grass Stage 草台班, Hou Ying 侯莹, Jan Lauwers &#38;amp; Needcompany, Jin Feng 金锋, Marco Donnarumma &#38;amp; Nunu Kong, Patrick Tresset, Post-Sense Sensibility Group 后感性小组, Sarina Scheidegger &#38;amp; Jimena Croceri, Lane Shi Otayonii 施金豆, Shi Qing 石青, Siedl/Cao / Social Sensibility R&#38;amp;D Department, Sun Dasi &#38;amp; SHENQIXIANXING 孙大肆&#38;amp;神炁现行, Total Art Studio 总体艺术工作室, Hiroaki Umeda, Wen Hui 文慧, Sunteck Yao 姚尚德, Zhang Yunfeng &#38;amp; Li Haiguang 张云峰&#38;amp;李海光, Zhihao 志豪, Zhou Tao 周滔
Organizor:Ming Contemporary Art MuseumNo. 436 East Yonghe Rd, Shanghai&#38;nbsp;

	
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Participation Mystique27 Jun - 15 Nov, 2020

	Curator: Sam Shiyi QianArtists:
Nadim Abbas, Kader Attia, Birdhead 鸟头, Vivian Caccuri, Francisco Camacho Herrera, Chen Zhe 陈哲, Leung Chi Wo + Sara Wong 梁志和+黄志恒, Museum Clausum, Miljohn Ruperto, Marianna Simnett, Yuichiro Tamura, Wang Hanlin 王翰林, Yu Cheng-Ta 余政达, Gary Zhexi Zhang 张哲熙
Organizor:Ming Contemporary Art MuseumNo. 436 East Yonghe Rd, Shanghai 

	
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