CCEF 2025 讲座回顾｜ 高等教育中的艺术与策展: 中英课程创新与机构实践  Pre-Forum | Art and Curating in Higher Education: Possibilities and Practices in Curricula and Institutions of China and the UK

讲座回顾｜ 高等教育中的艺术与策展: 中英课程创新与机构实践

Pre-Forum | Art and Curating in Higher Education: Possibilities and Practices in Curricula and Institutions of China and the UK

近年来，策展在高等教育课程中为艺术教育及更广泛的知识生产注入了新的方向与活力。高校与公共艺术文化机构之间日益紧密的联系，也为课程设置、教育理念，以及跨学科理论与实践的融合提供了良好的社会基础。

本次线上预热论坛了邀请中国与英国在策展与艺术教育领域具有代表性的前沿学者与教育者，高鹏教授 与 马夸德·史密斯博士 展开对话，共同探讨当代策展与艺术教育的实践经验、关键议题与未来发展方向，拓展国际视野，激发跨文化交流与合作的可能性。

在讲座开始前，我们向嘉宾提出了本次讨论的三个方向。

This online pre-forum brings together two leading scholars and educators in the field of curating and art education from China and the UK: Professor Gao Peng and Dr Marquard Smith. Their dialogue will explore current practices, key issues, and future directions in contemporary curating and art education, aiming to expand international perspectives and stimulate possibilities for cross-cultural exchange and collaboration.

In recent years, curating has brought new directions and vitality to art education and broader forms of knowledge production within higher education curricula. The increasingly close relationships between universities and public art and cultural institutions have also laid a strong social foundation for curriculum development, new educational philosophies, and the integration of interdisciplinary theory and practice.

Before the talk began, we presented the guest speakers with three key directions for this discussion:

中英高校艺术教育理念和课程设置：北师大未来设计学院与伦敦大学学院的专业和培养方向

Art Education in China and the UK: Philosophies, Curriculum Design, and Training Approaches at BNU’s Academy of Future Design and UCL

中英策展与策展教育的新视角：今天的策展与策展教育在教什么？

Curating and Curatorial Education Today: New Perspectives from China and the UK

结合实践和业界的艺术教育新方向：艺术机构（博物馆与画廊）与高校教育

Towards Art Education and Practice: Collaborations Between Art/Cultural Institutions and Universities

通过他们的回答，我们看到了中英在策展与教育领域中的不同切入视角与共同的关切。我们希望这次讲座与回顾，能够为更广泛的公众带来关于博物馆的过去、现在与未来的启发与思考，关注其多样性与批判性交织的社会角色，以及公众、策展人和教育者如何共同参与其中。

Through their responses, we gained insight into the different perspectives and shared concerns between China and the UK in the fields of curation and education. We hope that this lecture and its review can inspire broader audiences to reflect on the past, present, and future of museums, to consider their socially entangled roles of diversity and criticality, and to explore how members of the public, curators, and educators themselves can engage and participate in these processes.

首先，北京师范大学未来设计学院院长高鹏教授 根据他的经验和实践出发为我们带来了他对于策展与教育的观点。

First, Professor Gao Peng, Dean of the Future Design School at Beijing Normal University, shared his points of view on curating and education with his experience and practice with us.

高鹏 教授

Professor Peng Gao

主题：数字时代中的青年策展人：探索新媒体策展

Theme: Young Curators in the Digital Era: Exploring New Media Curation

作为当时今日美术馆的馆长与策展人，高鹏院长首先提出了一个问题：当一家当代美术馆因为交通距离的限制，而难以触达当地的年轻观众和青年艺术家群体时，该如何通过创造性的方式来破解这一困境？

As the Director and Curator of the Today Art Museum at the time, Professor Gao Peng first posed a question: when a contemporary art museum struggles to reach local young audiences and emerging artists due to transportation distance, how can it creatively overcome this challenge?

从他在2014至2015年间与建筑师、雕塑家共同发起的“今日未来馆（The Future of Today Art Museum）”项目谈起，他分享了一个针对这一问题的实践性解决方案。

Starting from the “Future of Today Art Museum” project, which he jointly initiated with architects and sculptors between 2014 and 2015, he shared a practical solution to address this challenge.

该项目中的艺术作品有三个不同的版本，分别呈现在线下美术馆的实验空间、线上手机应用“今日未来馆”，以及AR互动场景中。

The artworks in this project existed in three different versions, presented in the experimental space of the physical museum, in the “Future of Today Art Museum” mobile application, and within AR interactive environments.

一个有趣的细节是，作为馆长，高鹏院长本人也参与其中，不过他的形象是通过互动装置被呈现和变化，由观众重新进行“定义”。

An interesting detail is that, as the museum director, Professor Gao Peng also took part in the project; however, his image was presented and transformed through interactive installations, allowing the audience to “redefine” it.

在2017年， “今日未来馆”系列迈向了它第二阶段，“.zip”。而小米集团的参与也为商业科技公司跨界艺术的实践提供了借鉴。

In 2017, the “Future of Today Art Museum” series entered its second phase, titled “.zip.” The involvement of Xiaomi Group provided a reference for commercial technology companies exploring cross-disciplinary collaborations with art.

对于许多项目的参与者来说，艺术家并不是他们唯一的身份。其中有人是机器学习科学家、程序员、创新科技专家……此外，这个项目还汇集了中外自早期就开始关注多媒体和数字艺术的创作者与实践者。

For many of the participants in this project, being an artist was not their only identity. Among them were machine learning scientists, programmers, and innovative technology experts. Beyond that, the project also brought together creators and practitioners from China and abroad who had engaged with multimedia and digital art since its early stages.

高院长提到，展览与艺术作品的互动性，尤其是AR和VR技术的加入，改变了许多观众将博物馆视为“一次性体验场所”的看法，而是将其看作一个“艺术俱乐部”（Art Club），从而会多次进入场馆去探索新的体验。在此期间，音乐与视觉艺术的跨界音乐会（Live Coding & Piano Concert）、舞蹈表演、夜间活动、论坛研讨会等也相继举办，为观众呈现了博物馆空间除展示之外的多种可能性。

Professor Gao noted that the interactivity of the exhibitions and artworks, especially with the addition of AR and VR technologies, changed many visitors’ perception of the museum as a one-off experience. Instead, they began to see it as an Art Club, returning repeatedly to explore new experiences. During this period, cross-disciplinary events such as live coding and piano concerts, contemporary dance performances, evening sessions, and panel discussions also took place, offering audiences a sense of the museum space’s possibilities beyond traditional exhibitions.

据此，“.zip”在2017年就开始探讨三个至今仍然重要的问题，

On this basis, in 2017, “.zip” began to explore three questions that remain important to today:

未来的美术馆会是什么样的？What are fine art museums going to look like in the future?

未来的美术馆需要承载什么样的艺术形式？What kind of art forms will fine art museums embody in the future?

未来的美术馆和观众需要怎样的互动关系？What will be the ways of interaction between fine art museums and visitors in the future?

2019年，沉浸式艺术席卷中国，甚至在商场都推出了沉浸式体验。而未来美术馆项目却将眼光投向了从人工智能（AI）视角探讨艺术、科技与人的关系。

In 2019, immersive art swept across China, even appearing in shopping malls. However, the Future of Today Art Museum project instead turned its gaze toward exploring the relationship between art, technology, and humanity from the perspective of artificial intelligence (AI).

在这一展览项目中，两条动线背道而驰。一条由展览中创造的AI人格“SOPHIA”引导，另一条则引导观众试图想象，如果从几百年后的未来回望，我们是否依然会将AI视为“智能”，以及我们又会如何看待这种技术。

In this exhibition project, two lines of exploration ran in opposite directions. One was guided by an AI persona created by the exhibition called “SOPHIA,” while the other led audiences to imagine, from the vantage point of hundreds of years into the future, whether we would still consider AI to be “intelligent” and how we might view this technology.

高院长提到，在2019年，还没有像今天这样广泛的AI应用，也没有那么多运用这一技术的艺术家。但这个展览项目依然涉及了许多至今仍在被持续探讨的议题，例如人工与自然的模糊边界、人工智能电影、以及AI伦理。

Professor Gao noted that in 2019, there were not yet as many AI applications or artists working with this technology as there are today. Yet the exhibition project still delved into many topics that continue to be explored today, such as the blurred boundaries between artificial and natural, AI cinema, and AI ethics.

同时，教育也被纳入了讨论和实践之中。互动体验和技术为博物馆及当代艺术展览提供了条件，使其成为儿童通过空间、身体和感知进行创造性学习、提升空间思维能力的场所。

At the same time, education was incorporated into the discussion and practice. Interactive experiences and technology provided opportunities for museums and contemporary art exhibitions to become places where children could learn creatively through space, bodily experience, and perception, thereby enhancing their spatial thinking abilities.

在讲座的第二部分，高院长分享了北师大未来设计学院作为实验性的高等教育机构，对教育以及世界提出的问题与回答。

In the second part of his talk, Dean Gao shared how the Future Design School at Beijing Normal University, as an experimental higher education institution, responds to questions and challenges posed by education and the world.

我们面对怎样的未来？

What do we face?

需要什么样的人才？

Who do we need?

未来设计学院通过三个方向的研究和人才培养、多样化的国际师资团队、师生合作实验室设计实践项目、校企、研究所、国际院校合作，不断丰富着艺术和设计作为世界现实和未来重要推动力的意涵。

Through research and talent development in three directions, a diverse team of international faculty, faculty–student co-designed experimental projects, and collaborations with enterprises, research institutes, and international universities, the Future Design School continues to enrich the significance of art and design as a driving force for both the present and the future of the world.

最后，作为策展人和教育者，高院长总结了他对于教育与策展的看法。

Finally, as both a curator and an educator, Dean Gao concluded by summarising his views on education and curation.

随后，马夸德·史密斯博士作了以 “五个C：策展、关怀、好奇、协作与社区”为主题的分享。

Dr. Marquard Smith then gave a presentation themed around “The Five Cs: Curation, Care, Curiosity, Collaboration, and Community.”

马夸德·史密斯 博士

Dr Marquard Smith

讲座开始前，马夸德·史密斯博士 回应了高院长的分享，强调了两位共同关注的问题，即作为艺术和教育机构需要做什么，如何回应多样化的观众。

Before the lecture began, Dr. Marquard Smith responded to Professor Gao’s presentation, highlighting two shared concerns: what art and educational institutions need to do, and how they might respond to increasingly diverse audiences.

马夸德·史密斯博士首先介绍了他目前所在的伦敦大学学院的博物馆与画廊教育硕士课程。该课程至今已有三十年的发展历史，由当时大英博物馆与维多利亚与阿尔伯特博物馆教育部门的主管共同创立并推动，因而拥有深厚的博物馆、画廊、文化遗产及相关教育领域的基础。

Dr. Marquard Smith first introduced the MA in Museum and Gallery Education at University College London, where he is currently based. The programme has a history of over thirty years, having been established and developed by the former Heads of Education at the British Museum and the Victoria and Albert Museum. As a result, it has a strong foundation in museums, galleries, cultural heritage, and related educational practices.

这一项目的独特之处在于致力于平衡博物馆学术研究与策展实践、行业发展之间的张力，而马夸德·史密斯博士认为合作(collaboration)是达成这一目标的重点。

The unique feature of this programme lies in its commitment to balancing the tensions between academic research on museums, curatorial practice, and industry development. Dr. Marquard Smith sees collaboration as central to achieving this aim.

在课程中，学生在合作过程中首先需要思考的重点，是马夸德·史密斯博士所称的“三个P”：人（People）、场所（Places）与政治（Politics）。

Within the course, the first key focus for students to consider in collaborative practice is what Dr. Marquard Smith describes as the “Three Ps”: People, Places, and Politics.

马夸德·史密斯博士提到，与博物馆及其教育相关的人，不仅仅是策展人，还包括幕后从业者及多样的文化机构。同时，观众和公众的定义也与对社会正义和多样性的关注密切相关。

Dr. Marquard Smith noted that the people involved in museums and their educational work include not only curators, but also those working behind the scenes and across diverse cultural institutions. At the same time, definitions of audiences and the public are closely tied to considerations of social justice and diversity.

此外，对于“场所”（places）、“空间”（spaces）以及“环境”（environments）的关注也是课程的另一个重点。这些概念是如何被理解、被建构、被运用的？甚至外部及公共空间又是如何被界定、被利用，并与博物馆、画廊和文化遗产联系起来的？

In addition, a focus on places, spaces, and environments forms another key aspect of the programme. How are these concepts understood, constructed, and used? And how are external and public spaces defined and utilised, and connected to museums, galleries, and cultural heritage?

第三个重点是“政治”（politics）。马夸德·史密斯博士指出，政治在英国的艺术与人文历史中扮演着重要角色。而无论学生的背景如何，都需要学习并思考从博物馆、画廊和文化遗产的视角出发所涉及的社会伦理议题，包括与人、机构以及多样化公众之间的复杂关系。

The third focus is politics. Dr. Marquard Smith pointed out that politics has played an important role in the history of the arts and humanities in the UK. Regardless of students’ backgrounds, they need to learn about and reflect on social and ethical issues from the perspectives of museums, galleries, and cultural heritage, including the complex relationships between people, institutions, and diverse publics.

随后，马夸德·史密斯博士分享了他设立的‘策展与教育’Curation and Education课程。

Dr. Marquard Smith then went on to share about the ‘Curation and Education’ course he has developed in recent years.

课程首先让学生了解策展、教育以及相关的探讨议题，带领他们回顾十八至十九世纪英国现代博物馆的诞生，以及其全球性收藏（universal collecting）的发展历程，探讨现代博物馆作为国家机构（national institution）所承担的复杂角色，以及全球性展览的重要作用。在此基础上，他希望在高院长提出的两个问题之上，再补充一个他认为同样重要的问题：博物馆/画廊/文化遗产，是为谁而存在的？（Who is this for?）

The course begins by introducing students to curation, education, and the questions surrounding them, guiding them to review the emergence of modern museums in eighteenth- and nineteenth-century Britain, the historical development and processes of universal collecting, the complex role of modern museums as national institutions, and the importance of global exhibitions. Building on this, he wished to add a further question to Professor Gao’s two earlier questions, one that he considers equally important: museums/galleries/cultural heritage — who is this for?

此外，课程还会探讨“公共”的概念及公众参与，激进展览设计的理念与历史，策展人的角色与责任，以及“自然”（nature）与“文化”（culture）、策展（curation）的定义。课程同样希望学生关注当下英国博物馆教育理念的转变。

In addition, the course also explores the concept of the “public” and public participation, the ideas and history of radical exhibition design, the roles and responsibilities of curators, as well as the definitions of nature, culture, and curation. The programme also aims to encourage students to pay attention to shifts in the philosophy of museum education in the UK today.

最后，马夸德·史密斯博士重申了该课程的重点，即以“协作”（collaboration）和“共同工作”（working together）为实践方法，培养学生对“五个C”（The Five Cs: Curation, Care, Curiosity, Collaboration, and Community）的理解与关注。在实践过程中，学生们通过长期的集体讨论，发展这一以学术与实践为基础的项目，与英国本地的博物馆和文化机构合作，甚至自发创建项目的社交平台，以实现真正的协作。

Finally, Dr. Marquard Smith reaffirmed the programme’s emphasis on using collaboration — working together — as a practical method to develop students’ understanding and engagement with the Five Cs: Curation, Care, Curiosity, Collaboration, and Community. Throughout the practical process, students build on long-term collective discussions to develop this academically- and practice-based project, working in partnership with local museums and cultural institutions in the UK, and even creating their own project-based social platforms to achieve meaningful collaboration.

在回应与提问环节中，高院长向马夸德·史密斯博士提出了一个问题：在当代艺术中，数字技术已经成为比以往任何时候都更为重要、且备受关注的质料，那么从他的视角来看，今天的数字艺术是否算作“艺术”？而“艺术”在当下又该如何被定义？

During the response and Q&A session, Professor Gao posed a question to Dr. Marquard Smith: in contemporary art, digital technology has become a material that is more important and more closely scrutinised than ever before. From his perspective, does he consider today’s digital art to be “art”? And how should “art” be defined today?

马夸德·史密斯博士提到，关于“什么是艺术”以及数字技术与艺术媒介的关系，已经有着非常丰富的史料、文献和讨论。人类自古以来就一直在运用各种“技术”，而许多对当下问题的回答其实就潜藏在“过去”之中。因此，也许我们能够在历史中，在“昨天的博物馆”里，找到对“明天的博物馆”的答案。

Dr. Marquard Smith noted that there is already a rich body of historical materials, literature, and discussion on what constitutes art, as well as on the relationship between digital technology and artistic media. Throughout history, humans have consistently engaged with “technology,” and many of the answers to today’s questions lie hidden within the “past.” Therefore, perhaps it is in history — in the “museum of yesterday” — that we might find answers for the “museum of tomorrow.”

随后，马夸德·史密斯博士向高院长提出了关于博物馆可及性以及多样化观众的问题，特别是探讨文化遗产和博物馆与高等教育之间的合作、共同基础及其潜在可能性。同时，他还提出：对于那些缺乏“文化资本”或被忽视的群体，我们该如何通过合作，让他们能够享有自身应有的文化权利？

Dr. Marquard Smith then raised a question to Professor Gao about museum accessibility and the diversification of audiences, particularly exploring the collaboration, shared foundations, and potential opportunities between cultural heritage institutions, museums, and higher education. At the same time, he asked: for those groups who lack “cultural capital” or have been marginalised, how might we work collaboratively to ensure they can enjoy their own cultural rights?

高院长回应说，今日美术馆是一家聚焦于当代艺术的机构，因此观众常常会提出这样的问题：什么是意义？艺术究竟向我们展示了什么？而在高等教育体系内的学生，有时又会过于关注历史、研究和文献。与此同时，艺术家与艺术机构之间对于展览的关注点往往也存在差异。因此，他认为最重要的是在各方之间通过持续的对话（conversation），找到共同的、能够在同一层面交流的话题。

Professor Gao responded that the Today Art Museum is an institution focused on contemporary art, and therefore, visitors often raise questions such as: What is the meaning? What is art showing us? Meanwhile, students within the higher education system sometimes place too much emphasis on history, research, and documentation. At the same time, there are often different points of focus between artists and art institutions when it comes to exhibitions. Therefore, he believes that the most important thing is to establish ongoing conversations among all parties to identify shared topics that can be communicated on an equal footing.

在最后的观众提问环节，有观众向两位老师提问：在各自所关注的实践过程中，遇到过最大的挑战是什么？是否存在无法解决的问题？

During the final audience Q&A session, a member of the audience asked both speakers what had been the greatest challenges in their respective areas of practice, and whether there were any problems they found impossible to solve.

高院长回答说，最具挑战性的依然是直面真正的问题（Real Problem and Question）。他提到，即使与观众和艺术家保持沟通和交流，有时对话仍可能产生更大的误解。有效沟通最重要的是找到共同的关键点，否则就会如同中国古话所说，“鸡同鸭讲”。

Professor Gao responded that the most challenging aspect remained confronting the real problems and questions. He explained that even with ongoing communication and exchanges with audiences and artists, dialogue can sometimes lead to even greater misunderstandings. The most important part of effective communication is to identify shared key points; otherwise, as the old Chinese saying goes, it would be like “a chicken talking to a duck.”

马夸德·史密斯博士则认为，就策展而言，最困难的部分是如何在自我阅读、教学和直观理解之间取得平衡，并持续发展这三种不同的理解方式，以便更好地理解自身及自身的行动（activities）。这一挑战并没有永久的解决方案，因为我们始终需要在聆听（listening）与学习中前进，而聆听和学习又来源于我们的好奇心。好奇心也关联着人们如何关怀、为何选择是否关怀，以及是否真正投入关怀。例如在博物馆的情境下，“关怀”这个词常被提及，但人与人之间那些令人惊喜、有趣或甚至令人失望的关怀，仍然需要更多关注、反思与实践。在合作中，我们要不断追问：他人真正需要的是什么？社区真正需要的是什么？

Dr. Marquard Smith, for his part, considered that the hardest aspect in curatorial work is achieving a balance between personal reading, teaching, and intuitive understanding, and how to continue developing these three ways of knowing in order to understand oneself and one’s own activities. There is no permanent solution to this challenge, because we must continuously move forward through listening and learning, which are themselves rooted in our curiosity. Curiosity, he explained, is also connected to how people care, why they choose to care (or not), and whether they truly care in practice. For example, within a museum context, “care” is often discussed, but the surprising, interesting, or even disappointing forms of care between people still require more attention, reflection, and practice. In collaboration, he said, we must keep asking: what do others really need? What does the community really need?

另一位观众向高院长提问：未来设计学院的学生是如何参与跨学科与国际化的合作项目的？

Another audience member asked Professor Gao how students at the Future Design School participate in interdisciplinary and international collaborative projects.

高院长回答说，未来设计学院的建立是以研究生学位为起点的。它第一年的培养模式与他在英国皇家艺术学院（RCA）的经历相似，即来自不同学科和背景的学生基于PBL（project-based learning）框架共同协作。他指出，团队中每一个人最根本需要回答的问题是：我们所面临的“真正的项目”是什么（What is the real project we need to face?）。基于对这一问题的共同理解，团队才能进一步发展在同一层级的对话、明确合作方向与项目形式。

Professor Gao explained that the Future Design School was established with a focus on postgraduate degrees. In its first year, the training model was similar to what he had experienced at the Royal College of Art (RCA) in the UK, where people from different disciplines and backgrounds work together within a project-based learning (PBL) framework. He noted that the most fundamental question every participant in a project needs to answer is: What is the real project we need to face? Only with a shared understanding of this question can the team move forward in developing dialogue, directions for collaboration, and project formats on an equal footing.

第三位观众提问，马夸德·史密斯博士提出的5Cs在现实，尤其是跨文化的环境中，应该如何被考虑和倡导。

A third audience member asked how Dr. Marquard Smith’s proposed Five Cs could or should be considered and promoted in practice, especially in cross-cultural environments.

马夸德·史密斯博士回应道，乐观地看，不同群体和社区对于合作始终怀有精神、意愿与渴望，人们之间也有许多可以被分享和共同关注的话题。然而，他也指出，目前仍然存在阻碍这些行动的制度、框架以及个人层面的障碍。同时，资金的分配和分享依旧是一个问题。除此之外，我们还需要更多关注技术及其应用、以及沟通与交流过程中带来的环境成本。

Dr. Marquard Smith replied that, optimistically speaking, different groups and communities have maintained a spirit, willingness, and desire for collaboration, and there are many topics that can be shared and addressed together. However, he also acknowledged that there are still systemic, structural, and personal obstacles that hinder such action. At the same time, how resources and funding are shared and distributed remains an issue. Beyond this, he added, we need to pay greater attention to the technologies we use, as well as the environmental costs brought about by communication and exchange.

最后，两位嘉宾也向对策展与教育事业感兴趣的观众提出了建议。

Finally, both speakers offered advice to audience members interested in curatorial and educational work.

高院长指出，最重要的仍然是敢于直面那些最本质的问题。只有保持这样的态度，在面对困难和不同情境时才能持续追问自我、寻找解决方案，最终实现成长。而成长也意味着在不断探寻真正本质问题的过程中积累经验和内在的力量。

Professor Gao emphasised that the most important thing is still to have the courage to confront the most fundamental questions. Only with such an attitude can one continue to interrogate oneself, seek solutions, and ultimately achieve personal growth when facing difficulties and different situations. Growth, he added, also means accumulating experience and inner strength in the ongoing pursuit of these core questions.

马夸德·史密斯博士赞同高院长的观点，并补充指出能动性（agency）的重要性。他还强调，另一个必须关注的重点是实践伦理（ethic of practice），即你所信仰的是什么，你致力于什么，为什么要致力于此，你希望到达怎样的位置，或者你希望如何改变这个世界。他认为，高等教育与文化机构需要同时具备安全性与勇气，而教育和文化也应持续为困难、挑战和对话提供良好的环境，使人们能在其中以真诚和开放的态度，进行不同意见的交流，并实现富有成效且相互尊重的互动。

Dr. Marquard Smith agreed with Professor Gao’s perspective and further highlighted the importance of agency. He also stressed another key point to consider: the ethic of practice — what you believe in, what you are committed to, why you are committed to it, where you hope to position yourself, or how you wish to change the world. He argued that higher education and cultural institutions need to maintain both safety and courage, and that education and culture should continue to provide environments for difficulty, challenge, and dialogue, where people can engage with sincerity and openness, express disagreement, and achieve productive and respectful interactions.

主持人Co-hosts

周天歌TiangeZhou

北京师范大学特聘副研究员，未来设计学院艺术与科技方向负责人Research Associate Professor, Director of Art&Technology Section, School of Future Design and Future Design Center, Beijing Normal University

楼菲凡 Feifan Lou

策展与教育实践者，剑桥大学教育系博士生，伦敦大学学院博物馆与画廊教育硕士

Curator, Educator, PhD student in the Faculty of Education, University of Cambridge, and graduate of the MA Museums & Galleries in Education programme at UCL, London.

整理：楼菲凡

审阅：北京师范大学未来设计学院,马夸德·史密斯博士