Sean H. Gao

A study of communicative strategy, interpretation, and display approach in contemporary museums in presenting Chinese porcelains

Sean's research investigates how Chinese porcelains are curated, interpreted, and displayed in cross-cultural museum contexts. His case studies expand into on-site curatorial studies in prestigious museums internationally, including the Palace Museum, the British Museum, the V&A, and the Metropolitan Museum of Art. It interrogates tensions between object-based displays and narrative-driven curation, examining the intertwined relationships between cross-cultural museography, cultural difference in narration and interpretation, and narrative storytelling and exhibition communication.

Research Questions

• How do visual presentation modes and methods differ when displaying similar or comparable objects across museums with distinct cultural or museological frameworks?
• What strategies/approaches might curators employ in the presentation of Chinese porcelain in order to ensure that Chinese culture and history are represented culturally respectful?

This research project examines how visual presentation and curatorial methods vary across institutions within distinct museological frameworks, identifying cultural biases or interpretive asymmetries in exhibition strategies in Chinese ceramic displays. It aims to develop context-aware curatorial strategies that promote impartial and authentic representations of Chinese culture and history.

The originality of this research lies in its cross-institutional and dual-cultural perspective, challenging Western-centric museological performances. Its findings aim to advance theoretical discourse by redefining cross-cultural exhibition models and professional practice by providing evidence-based recommendations for culturally sensitive, visually effective, and culturally respectful curation of Chinese porcelain.

Methodology and Method

This research project employs a mixed-methods and practice-based approach:

• museum on-site observations to refine research questions and identify visual variables;
• systematic observational analysis;
• bilingual archival and exhibition research; and
• qualitative evaluation of spatial design, labelling, and interpretation.

The practice-based methodology integrates research and curatorial experimentation throughout the development of a final demonstrative exhibition. Mid-phase in-studio curatorial practice test curatorial elements include lighting, spatial configurations, and interpretive methods, generating iterative findings that inform the latter theory and methodology. The practice will generate the final exhibition, designed for the Viva, which will demonstrate how tested elements mediate cross-cultural Chinese porcelain interpretation as a whole.