Catalogue: Ahead of the Curve: New China from China

“My pieces reflect the influence of tradition; nevertheless, I refuse to be confined within it,” writes ceramic artist Zhang Jingjing of her sinuous porcelain sculptures.

How does one go about researching 20 Chinese artists, most of whom have never previously shown their work in this country?

This was one of the challenges of producing a catalogue for Ahead of the Curve: New China from China, a touring exhibition of contemporary Chinese ceramics and glass that is a partnership between Bristol Museum & Art Gallery; The Wilson: Cheltenham Art Gallery & Museum; the Potteries Museum & Art Gallery, Stoke-on-Trent; freelance curator Helen Brown; and Twocities gallery, Shanghai.

Funding for the project was confirmed by Arts Council England in April 2014, giving us six months to secure 45 works, arrange transport from China and write a catalogue before the exhibition opened at The Wilson (11 October–30 November 2014).

It then moved to Bristol (13 December 2014–1 March 2015) and from there is going to the Potteries Museum & Art Gallery (14 March–31 May).

Reaching Chinese readership

There was little written material existing in English about many of the artists, particularly those still early in their careers. Twocities gallery arranged for the participants to complete Chinese-language biographies, artist statements and commentaries on individual works, which the gallery staff then translated into English.

At this stage it was invaluable to have the skills of exhibition coordinator, Alexandra Nachescu, who, with a degree in Chinese, was able to refine the translations and do further research in Chinese before writing the majority of the artist profiles.

Articles by co-curators Shannon Guo (Twocities gallery) and Claire Blakey (the Potteries Museum & Art Gallery) introduce the ceramics and glass scenes in China and explain the background to the project, which grew out of study tours to China by the UK curators, funded by the British Council and a Jonathan Ruffer curatorial research grant from the Art Fund.

It is dual language (English and simplified Chinese), for several reasons. Firstly, Chinese visitors are a key audience for the exhibition, particularly Mandarin-speaking students at local universities.

Secondly, a Chinese leg of the tour is a distinct possibility. Thirdly, we are keen for the exhibition to have a lasting profile online in the Chinese world. The finished English text was translated professionally into Chinese, a process worth every penny, by the agency, Media-Translation.

Kate Newnham is the senior curator, arts, at Bristol Museums, Galleries & Archives