ArtoEast策展駐留、文物保護對話，以及於中國各地的藏品與學術研究交流。
為策展團隊、文物保護部門、學術交流，以及認真看待藏品與學術研究的捐助者培育項目而設。
我們為機構團隊設計策展駐留、文物保護團隊的田野對話，以及董事會的文化參訪——提供策展級別的接觸機會，進入在地工作室與家族藏品的現場，並由通曉藝術史專業詞彙的人員主持中英雙語的交流。
當一般的文化參訪無法滿足策展級別的學術嚴謹時，博物館會找上 ArtoEast。我們的駐留項目由策展團隊、文物保護部門或公眾項目辦公室主導設計，其結構確保機構帶回的成果具備文獻記錄、可供引用，並可用於後續的展覽或學術研究。
我們安排策展級別的接觸機會，進入一般訪客無從觸及的在地工作室與家族藏品。文物保護專業的引介與文化對話並行——紡織品修復師與白族藍染匠人會面，陶瓷修復師走訪龍泉窯，紙本修復師前往涇縣探訪宣紙製作者。對於任何可能涉及徵集的機構合作，來源審慎的採購屬基本準則。
簡報背後的實質內容。
以下技術詞彙保留英文（IRB、indemnification 等為機構採購標準用語）。
- 01
Curatorial briefs shape the programme, not the reverse
Every engagement starts from a written curatorial or conservation brief — the question your team is trying to answer, the collection or acquisition it relates to, the scholars or craftspeople whose dialogue would advance it. We then draft the programme against that brief and revise it with your curatorial lead before any logistics are booked. Donor-cultivation and board visits are scoped the same way, against a written development objective.
- 02
Conservation-specific introductions, not generic studio visits
Conservation exchanges are matched at the level of material and technique: textile conservators with Bai indigo dyers in Dali and Miao pleating workshops in Guizhou; ceramics conservators with Longquan celadon and Jingdezhen porcelain kilns; paper and scroll conservators with Anhui xuan paper makers and Suzhou mounting studios. Time is built in for hands-on observation, sample handling, and technical conversation, not display.
- 03
Provenance-sensitive sourcing for institutional partnerships
Where a programme touches on potential acquisitions, gifts, or long-term loans, we work to provenance standards your registrar and deaccession ethics review committee will recognise. We document workshop and family-collection provenance in writing, flag where attribution is contested, and keep the institutional relationship — not the object — as the primary deliverable. We will say no to sourcing requests that do not meet that bar.
- 04
English-Chinese moderation by art-historical readers
Our moderators are fluent in the art-historical and conservation vocabulary in both languages — the difference between a glaze recipe and a glaze formula, between guild lineage and family lineage, between literati and scholar-official. Conversations with master craftspeople and museum colleagues are interpreted with that register intact, and written summaries are produced afterwards for your curatorial files.
- 05
Documentation your registrar and counsel can use
Each programme is delivered with a written record: participant roster, host institutions and craftspeople met, photographs cleared for internal use, and a curatorial summary. Where the engagement is the groundwork for an MOU, public-programmes partnership, or scholarship exchange, we draft the follow-up correspondence in both languages and stay involved through the institutional sign-off cycle.
起點，而非菜單。
每個項目都從第一次對話開始量身設計——以下是典型的出發點，我們會按你帶領的群體、希望理解的事、以及你帶來的限制條件作調整。
- 01
Curatorial residency, single craft or region
2-4 weeksA single curator or a pair embedded with one master workshop or kiln lineage — for example, Longquan celadon, Suzhou silk embroidery, or Dali Bai indigo — with structured studio time, family-collection access, and weekly written reflection sessions.
- 02
Conservation-team field dialogue
1-2 weeksA conservation department of three to six meets counterpart craftspeople and museum conservators across two or three regions, matched by material — textiles, ceramics, lacquer, or paper — with sample handling, technique demonstrations, and bilingual technical notes.
- 03
Donor-cultivation cultural delegation
5-7 daysA small delegation of trustees, major donors, and a curatorial host moves through two cities with private studio visits, a family-collection viewing, and one or two host-museum dinners — paced for development conversation rather than coverage.
- 04
Public-programmes partnership development
3-5 daysYour public-programmes or learning team meets Chinese counterparts at two or three host museums and cultural foundations to scope a co-produced exhibition, residency exchange, or schools programme, with MOU drafting time built into the schedule.
- 05
Board-of-trustees cultural visit
5-7 daysA board visit shaped around a single curatorial question facing the institution — a forthcoming gallery, an acquisition strategy, a scholarship endowment — with three or four anchor encounters and structured trustee discussion sessions led by your director.
這種策展式相遇的不同之處。
Access beyond the standard museum circuit
Working studios, kiln sheds, and family collections that are not part of any public programme — held open through long relationships, not introductions bought on the day. Where a master craftsperson does not normally receive institutional visitors, we ask first and decline gracefully if the answer is no.
Conservation matched at material level
Introductions are made conservator to craftsperson and conservator to conservator, matched by material and technique rather than by general subject area. Time at each host is long enough for handling, sampling where permitted, and the kind of technical conversation that produces useful notes.
Provenance discipline your registrar will recognise
Where sourcing or acquisition is in scope, we work to documentation standards a registrar and deaccession ethics review committee can sign off on. Where it is not in scope, we keep the line clear and keep the visit purely about scholarship and partnership.
Bilingual art-historical moderation
Conversations are interpreted by people who read the field in both languages, not by general guides. Written summaries in English and Chinese are produced for your curatorial files, and follow-up correspondence with host institutions is drafted in both languages where an MOU or partnership is intended.
Small, interdisciplinary, properly paced
Groups of four to twelve, often mixing curators, conservators, learning staff, and trustees. Programmes are paced for sustained encounter and reflection rather than coverage — usually one substantial host per day, with written debrief time built in.
策展與文物保護團隊通常需要了解的事項。
Can you work to an MOU between our institution and a Chinese host, and at what stage do you step back?
Yes. We routinely scope first visits as groundwork for an institutional MOU or scholarship-exchange agreement, draft the introductory correspondence in both languages, and stay involved through the sign-off cycle. Once the agreement is signed and the two institutions are in direct contact, we step back unless you ask us to continue as a programme manager.How do you handle provenance and deaccession-ethics concerns where a visit touches on potential acquisitions or gifts?
Acquisitions are not the default outcome of any of our programmes. Where they are in scope, we document workshop and family-collection provenance in writing, flag contested attribution, and decline to facilitate transactions that would not pass a standard registrar or deaccession ethics review. Your registrar and general counsel are involved from the brief stage, not retrofitted afterwards.What does indemnification and duty-of-care coverage look like for a conservation team in studio and kiln environments?
We carry public-liability cover for the programme itself and require host studios and kilns to confirm site-safety arrangements in advance. We do not replace your institutional travel insurance or workers'-compensation cover for staff, and we will ask you to confirm those are in place before fieldwork begins. A written risk note for each host is included in the pre-departure pack.How are donor-cultivation visits handled with respect to ethics policies on donor travel and benefits?
Donor-cultivation programmes are designed around a stated development objective and documented accordingly. We can structure the engagement so that the cultural content is the substantive benefit, separate from any fundraising conversation, and we will work to your institution's gift-acceptance and donor-benefits policy. We do not arrange transactions or solicit on your behalf.How do you price, and how is the contract structured?
Pricing is per-programme and itemised: design and curatorial scoping, in-country logistics, moderation and interpretation, documentation, and direct costs. We contract directly with the institution under your standard supplier terms where possible, including data-protection, anti-bribery, and safeguarding clauses. A non-refundable design fee is payable on engagement; the balance is staged against milestones.
請告訴我們您的策展簡報、文物保護專業範疇，或學術交流的關注方向，以及隨行的團隊成員。我們將草擬一份地區脈絡分析、一份具名工作室與匠人的接待名單，以及一份適合機構審議的項目架構。