Hello, I’m Hang Li (李航), a researcher, curator and designer. My pronouns is she/her. 

keywords: RCA, UCL, curator
My research interests include institutional currents, curatorial theories and practices, global capitlaism, technopolitics, feminist theories, social justice, and structural and  infrastructural change. If you’re looking for a bio, I’ve pasted one below. Thanks for visiting!


Hang Li is a researcher, curator and designer based in London and Beijing. Her research focus is on the curatorial as regards network cultures, feminist theories and organisational approaches to social justice and structural change. 

Hang’s essays about online curating, institutional analysis and social justice are published in journals and books. She has curated several contemporary art events at institutions and organisations such as The Photographers’ Gallery, Royal College of Art and OPEN research initiative in London, Spazju Kreattiv in Valletta and Skelf, an experimental online art platform. 

She is a second-year PhD student and a visiting mentor in the School of Arts and Humanities at the Royal College of Art (RCA). She graduated from the Bartlett, University College London with an MArch in Architecture Design, which was followed by an MA in Curating Contemporary Art from the RCA. 

ongoing_online art project

no-longer-being-able-to-be-able began from an urge to think about a shared unease in an over-saturated contemporary life. The limitless productivity and growth encouraged by neoliberal ideology have redefined people as labourers who have to continue to able to work and consume in order to be able to be.

The title of the project refers to Byung-Chul Han’s The Burnout Society (2010), which interrogates contemporary life’s immanent excessive positivity and information. In such a society, everybody becomes an entrepreneur fully responsible for the outcomes of their ‘individual’ lives. In order to be responsible in this sense, people are so busy proving they are able to work, compete, consume and survive. It becomes hard to hold on and ask why we should be able to be able, and for the sake of whom. The predominating fantasies of unlimited growth have rendered feelings of tiredness, anxiety and disorientation daunting and negative. They become symptoms of being fragile, defective and incompetent. These ‘negativities’ have promoted the contemporary myths of health, care, safety and protection. The pandemic, once seen as a chance to suspend and contest these myths, is instead fuel for the continuation of ‘the normal' in both the art field and wider society.

In response to the neoliberal norm of being-able-to-be-able, no-longer-being-able-to-be-able explores the unease in excessive everyday life from the perspective of labourer, consumer, woman, Queer individual, ethnic minority, teenager, internet user, art worker and an exhausted ‘regular person’. By unpacking the culture of abundance and expansion, this project questions the meaning of be and being able that are underpinned by particular ideologies, powerholders and histories. The works presented in the project aim to explore the possible ways of recognition, articulation and interrogation amid overloaded, oversaturated, and overdrawn beings.
October 2020 - Janurary 2021

collaboration with Skelf
listen to a podcast hosted by Mark Beldan about the project here.

artists/artist groups:

Babeworld (Ashleigh Williams), Meech Boakye, Joshua Citarella, DANK Collective (Grant Bingham, Tori Carr, James D. Hopkins, Ian Williamson, and Zen Khalid), DIRD (Zijing Zhao and Rui Shi), Emma Finn, Anna Frijstein, Max Grau, Mina Heydari-Waite, Sae Yeoun Hwang, Judit Kis, Simona Me., Donatella Della Ratta, Frankie Roberts, Geraldine Snelll

The project is curated by Hang Li with special thanks to Claire Undy for building up the website, Mark Beldan for hosting a podcast to introduce the project, and Lizzie Munn for promotion. The project won’t realise without the generous support from Nan Wang and Mengyuan Gu.

The project took inspiration from Byung-Chul Han, Olia Lialina, Joana Chicau, Aldo Clementi and Trisha Brown. Thanks for their rich practices in philosophy, net.art, website design, choreography and music.

Sense-Making for Sharing Sensibilities

28th of July   
RCA2020, Royal College of Art 

A one-day event opening up discussions on the approaches to gaining shared recognition and to channelling social actions as critical forms of collective sense-making.

The event is curated by Hang Li. It is part of an RCA 2020 SOAH Research Programme In the Realm of Re-Sensing, which focused on the transformation of the senses and sense making in an increasingly online world. The event understands re-sensing not only as the digitally propelled thinning or withering of the senses, but also as their potential extension, intensification, recombination, splitting and remodelling induced by today’s cyborg assemblages. It asks more generally how we can connect sense-making with sensation to think about their mutual transformation in times of such abundant crisis.

Textual Bodies: Online Studio Visit with Adam Walker

Adam Walker showed in his online studio visit his current and recent performances, texts, moving-image and digital projects, as an ongoing critical exploration of the relationship between the human and abstracting, increasingly textual structures affecting contemporary life. In conversation with curator Hang Li, Adam discussed the urgent need for speculative profferings of other ways of being in addressing and contesting self-perpetuating structures of inequality. Our human messiness, irrationality, desire and relationality were  considered in both vulnerability and also the potential for resistant agency. 

28th of July   

video recording available here.

image credit: Adam Walker

Adam Walker's recent projects, performances and exhibitions have taken place at and with the Serpentine Gallery, NEoN Digital Arts Festival and Tyneside Cinema (UK), Izolyatsia and Yermilov Centre (Ukraine) and online at www.skelf.org.uk. He is soon to complete his PhD at the Royal College of Art.

Sense-Making for Sharing Sensibilities: Art, Design and Social change

COVID-19 has hindered physical connection and blocked senses at large. Yet, there are a few organisations that have been working on making sense together during the pandemic by cultivating discussions in world-making with social justice, care and alternative economic and political infrastructures.

This panel discussion presented the organisational practices that are coming into being during the pandemic along with the on-going social, political and economic crises. It  discussed the ways to configure and reconsider the role of art, design and organisation today confronting challenges and opportunities arising in and after the pandemic. The panel also covered how the internet is impacting the process of collective sense-making and social change.

28th of July

Jennifer Lyn Morone, Wesley Taylor and Marc Garrett

moderated by Hang Li

image credit: Hang Li

New Directions? Art Practice and the Covid Pandemic


Researchers across all disciplines in the RCA were invited to reflect upon the changing conditions of our working environment affected by Covid-19 pandemic and the implication of this for work we produce as well as the opportunities and challenges this might bring. The event included formal presentation, screening, performance and live podcast as well as Q&A.

July 2020

Doctoral Training Event,  RCA

Invited artists and speakers: Sook-Kyung Lee, Lawrence Lek, Ajamu X, Judah Martina Attille and Caroline Kraabel

co-organised with Dr Catherine Ferguson and Nie Xiaoyi

image credit: Caroline kraabel

For The Time Being

For the Time Being is an experimental programme of photo-performance, conceived as a response to the everyday presence of social media. Through a series of on and offline events and performances, the artists will interrogate the way in which popular apps like Snapchat, Whatsapp and Instagram have affected understandings of intimacy, digital connectedness and notions of personal and collective memory.


May 2019

The Photographers’ Gallery

commissioned artists:
Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama

presenting the writings of Katharina Niemeyer, Prayas Abhinav, Katrina Sluis, Antoine Catala, Zefi Kavvadia, Monica Okello

co-curate with Rachel Chiodo, Sitara Chowfla,  Esther Moerdler, Carlos Pinto and Caroline Rosello

thanks to Katrina Sluis, Sam Mercer, Shama Kanna, Kelly Large and Victoria Walsh for offering generous help

photograph: Deepak Singh Kathait © For The Time Being

Emotional Practices

The online project presented the questions of
+ how emotions shape our work;
+ how we as artists position ourselves emotionally in our work;
+ how our emotional work transcends orthodox practices.

It is a test-case in what decolonial curatorial diversity and inclusivity can look like; the design pivots critically around ideas of otherness and otherwise. The purpose of the project was to draw on cutting edge decolonial thinking to privilege emotions as a critical lens of enquiry into subjectivity and our world views, experiences, feelings and lexicons.


October - December  2019

OPEN research initiative

presenting works of
Lubna Gem Arielle, Annie Bellamy, Elise D'Arbaumont,
Lubna Gem, Elvira Korman & Anne Goldenberg, Linnea Kristensen & Jamie, Sofie Layton, Leren Li, Ian McArthur, Ryan McDonagh
ChenImani Robinson & Halima Haruna, Ceyda Oskay, Tatiana Pinto, Audrey Roger, Eda Sarman, Iria Suarez & Paula Turmina, Eriko Takeno, Menara Vieira

co-curate with Shehnaz Suterwalla, Sarah Cheang, Livia Rezende and Katie Irani

Restaging For the Time Being

The project restatged the documentation of a digital art programme For the Time Being (May 2019). Originally, For the Time Being was an experimental programme of photo-performance, conceived as a response to the everyday presence of social media. The project used Snapchat, an app devised to share intimate, disappearing images, as a central protagonist. In May, 2019, the project invited Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama to reflect on the role of image sharing networks in their personal lives. In addition to the art programme, selected writers were invited to contribute texts that extend the themes of art production, memory and social media. The writings of Media theorist Katharina Niemeyer, curator Prayas Abhinav, digital curator and scholar Katrina Sluis, the winner of the teen-writing competition: Monica Okello and our artists can be accessed on www.forthetimebeing.co.uk. In Video Vortex, the documentation, website and writings of For the Time Being will be shown to host discussions around the approaches, value and problems of curation, documentation and re-staging in the networked culture.

September 2019

shown in Video Vortex XII at Spazju Kreattiv in Valletta, Malta

commissioned by the Institute of Network Cultures  

exhibiton organised by Sabrina Calleja Jackson, Justin Galea and Adnan Hadzi

curator: Toni Sant

presenting the art documentation of Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama

presenting the writings of Katharina Niemeyer, Prayas Abhinav, Katrina Sluis, Antoine Catala, Zefi Kavvadia, Monica Okello

co-curate with Caroline Rosello

thanks to Lorenzo Maria Centioni for offering help with installation

photograph: Caroline Rosello © Restaging For The Time Being


Li, H., 2020. If There Still is a Point to Curating on Social Media, What Is It?, in: Lovink, G., Treske, A., Wilson, J. (Eds.), Video Vortex Reader III: Inside the YouTube Decade, INC Reader. Institute of Network Cultures, Amsterdam, pp. 245–357.

Li, H., 2019. The decoloniality is just too on point for online curation at this moment, in Emotional Practices.

李航, 2020. 戒断,应激,文化断层?从COVID-19期间的艺术机构网络实践谈起术馆 2.
文章委任于中央美术学院美术馆 (CAFAM) 的“疫情后的美术馆“研讨写作计划,转发于凤凰艺术并收录于北京大学视觉与图像研究中心 ( Center for Visual Studies CVS)的中国现代艺术档案的精选文献中。
(Li, H., 2020. Cultural Stratum and Disjunction: A reflection on the art institutional practices online during COVID-19, Museums 2.
The journal article was commissioned by CAFA Art Museum (Beijing). It is collected by the Chinese Modern Art Archive (CMAA), the CVS. A short version of the essay was also published online by CAFAM, The Center for Visual Studies (CVS) at Peking University, and Phoenix Art Network. )


Curating on the web, from net.art to the present, Mason Gross School of the Arts, Rutgers University.

previous design practices

A Wrinkle in Space

Wrinkle in Space uses cellular division (CD) to develop architectural fabrics at variable resolutions of “wrinkling”. Original CD code is modified to fit generation of a series of tooling paths for 3D robotic extrusion. Such constraint resulted in lowering the number of dimensions to run cellular division in a planar setting, programming accelerations and decelerations of “wrinkling”. This feature inspired the name of the project, A Wrinkle in Space, for the spatial sensations it produces, with poly-dimensional wrinkling of its fabric, where smaller scale wrinkles are densifying the fabric and providing larger structural resilience, while more relaxed larger scale wrinkles are forming inhabitable textured voids of space.

The project is also referencing a science fantasy novel A Wrinkle in Time by Madeleine L’Engle, since its generative core contains accelerations and decelerations of programmed computational time, causing above tectonic features. It resonates bending of the space-time continuum, and the concept of tesseract, or travelling through “wrinkled” time. Custom-written software for design search and implementation of cantilevering and other structural constraints was developed for this project. Proto-architectural geometries are tested at the furniture scale and fabricated by layer-by-layer robotic extrusions in various polymers.

2016 - 2017

co-design with Chris Pang, Baolin Zhou and Siqi Chen

project tutor: Alisa Andrasek with Daghan Cam, Andy Lomas

The project was exhibited in Meta Utopia - Between Process and Poetry Exhibition, Zaha Hadid Design Gallery, London

Further iterations of this type of reduced CD adapted to robotic extrusion are being developed for various design applications, including a series of clay printed furniture, and robotically 3D printed urban furniture amongst others.

here for project video

to be a committed, dedicated ‘outsider’

with committed dedication to curiosity

to be fluid

to touch with words, actions and breath

to connect

to empath

to feel the invisible, those not observable

to interpret

to synthesis

to break down

to suspend

to acknowledge and to be challenged

to not assume

to be conscious of what I assume

to self-reflect

to be vulnerable before touching the others

to synthesis or,

to break down

to be fluid

to start over

and over again

︎︎︎  here are some links that I wish to spread