From Beijing to Sydney: meet visiting Ph.D. student Nan Li

During her time at UNSW as a visiting Ph.D. student, Nan Li deepened her research on Chinese contemporary art criticism under the guidance of the UNSW Judith Neilson Chair of Contemporary Art. Now, as she finalises her doctoral dissertation, she reflects on her enriching experience at UNSW—one that directly contributed to two research articles, both recently completed and published during her time here. 

Nan, can you tell us a bit about your research and what brought you to UNSW?

I am a Ph.D. candidate at Beijing Language and Culture University (BLCU), supported by a China Scholarship Council award for an international exchange at UNSW from 11 September 2023 to 11 September 2024. My research focuses on 20th- and 21st-century overseas critical writing on Chinese art, including the work of Professor Paul Gladston, which made the opportunity to work with him at UNSW invaluable. 

You recently published two articles—can you give us some details about them?

During my exchange at UNSW, I had the opportunity to develop and complete two research articles, both of which have now been published. The first article, ‘Localized Curatorial Discourse and “International” Standards: A Case Study of the Shanghai Waves Exhibition at a Chinese Art Museum’, examines how curatorial approaches in China navigate global exhibition standards while responding to unique local cultural and political contexts. It highlights the complexities Chinese curators face when balancing global art world expectations with the realities of domestic artistic discourse.

The second article, ‘Deconstructing the map of the paradigm struggle: tracing a nationwide debate on “I do not get it” in Art Magazine (Meishu)’, explores a long-running debate in China’s art world about how contemporary art should be understood and critiqued. It focuses on a significant national discussion sparked by the phrase “I do not get it,” which reflects broader tensions between traditional Chinese aesthetics, modernist frameworks, and postmodern critical theories.

Both articles critically examine how contemporary Chinese art is framed, interpreted, and understood both within China and internationally—conversations that were greatly enriched through my time at UNSW.

What were the highlights of your time at UNSW?

I was fortunate to be part of a vibrant and supportive research environment at UNSW, where I engaged in frequent discussions with colleagues. Being immersed in this community allowed me to connect with scholars working in contemporary art, fostering meaningful exchanges that broadened my perspectives and deepened my understanding of the field.

As my supervisor, Paul regularly organised supervisory meetings where we discussed my research in depth, and he patiently addressed many of my questions about his work. These conversations provided valuable clarity and encouragement, especially during challenging moments, helping me stay focused and make steady progress.

What’s next for you?

Right now, I’m focused on finalising my Ph.D. dissertation. I hope to continue exploring the evolving discourse of Chinese contemporary art and contributing to academic discussions on cultural criticism, aesthetics, and curatorial studies. My experience at UNSW has truly shaped the way I approach my research, and I’m excited for what’s ahead! 

We welcome aspiring scholars to join the UNSW Judith Neilson Chair of Contemporary Art and our esteemed domestic and international network for a transformative academic experience that empowers you to make a meaningful impact in the field of contemporary art studies. Whether you're pursuing doctoral research or undergraduate studies, our vibrant community offers a conducive environment for learning and personal development. Find out more.