Curatorial art now exists as a performative endeavor that uses space, technology, and cultural signifiers to construct affective mechanisms, going beyond mere display. This paper investigates the curation of emotions through factors such as cultural specificity, collaboration, and technological mediation, in a comparative framework between Xu Bing's Memory of the Air (2003) and Olafur Eliasson's The Weather Project (2003). Xu's installation uses spatial choreography that is claustrophobic with UV light to induce feelings of existential dread brought about by the pandemic and involve gamma-wave responses from threat detection; it combines SARS-CoV RNA sequences with Song dynasty poetry. Eliasson's artificial sun and mist served to synchronize circadian rhythms in the Turbine Hall of the Tate Modern, allowing for collective vulnerability through sensory deprivation, which could be read as either an Anthropocene critique or a comment on Buddhist impermanence. The paper suggests an exploration of curatorial practices that act against cultural epistemologies and techno-aesthetic ecosystems, relating universal physiology to symbolic meaning. Through these questions, the research underscores the world of curatorial art as one where emotional resonance is choreographed, while at the same time, ethical parameters are put forward so as to prevent their subversion into market co-optation. Integrating neurobiological evidence, semiotic insights, and cross-cultural articulation, this conception of curation places it as a dynamic interaction for planetary emotional literacy and suggests the necessity of future endeavors toward joining cognitive science with postcolonial critiques to buttress collections' affective genuineness.
Qisen Shao (Sun,) studied this question.