联合策展 Co-Curate 是经常出现的一个词，特指合作的策展人，那么合作的策展人到底需要哪些合作，以及如何达成合作呢?这直接指向了策展者的身份，及其 联动的某些领域和机构。联合策展也可以成为一个被直接和间接委托的关系，并 在项目中扩延。
策展人通常是给出学术框架的工作者，并对应艺术家的实际工作线索和潮流流向， 有时候是观念先行，此类策展可以被看作是强策展。策展人也可以顺应艺术家的 现象和现实，进行梳理和呈现。
这些都指向了关于如何分配权利、资源和知识构架的问题，这些也同样出现在任 何一个展览体系的框架中，如何分配联合策展人，联合策展人如何在项目中获得 应该有的位置和项目呈现，以及如何区别联合策展和策展之间的差异性。
来自机构的联合策展人，往往是项目中最多见的，联合策展人本身代表着机构的立场，也就自然的引入机构自身的资源和系统，如第三届深圳独立动画双年展中来自瑞士傀儡动画节的安妮特女士，荷兰一分钟电影节的牟雪和朱莉娅女士，法国 Le Fresnoy 的刘真辰先生，香港录映太奇的梁学彬先生，意大利努奥罗美术馆的罗伦佐先生，摩登天空的策展人，都可以被看作是来自机构的联合策展人，他们各自代表着机构和个人构建的网络关系，有些直接呈现机构的内容，如瑞士傀儡动画节的最佳作品，就是这一现实最好的范例。而除此之外的机构线索，伴随 策展人的工作，得到了有机的平衡。如荷兰一分钟电影节通过双年展发起了一个 线上征集策展的项目，就是一个借助机构和双年展去发现和拓展的范例。来自机 构的内容和知识，来自其他领域的内容和知识被整理呈现在项目框架内，这是联 合策展人的选择，并通过其专业知识和方法来策划呈现。
联合策展的独立身份和项目，有时候是不依附于上述情况的，如廖文峰策划的 GIF-ing 项目，这是一个完全按照第三届深圳独立动画双年展的时间框架和网络 构架给出的项目，呈现一个以网络图像技术标准为基准的项目，并在其中发现国 内外美学的新方向。这个项目直接作用在基于网络和手机平台的多媒介关系中， 并不在空间中呈现，来回应关于基于时间的概念。
联合策展还可以是有着更宏大历史观和艺术史理论基础的工作，并将这一工作带 入到任何一个项目的框架中，这需要一定的知识和勇气，通过分析理解策展主题 和双年展构架，来完善一个处于独立姿态，同时与总方向并存的状态。
Li Zhenhua 2016
Co-curating is a frequently used word, referring to cooperating curators. What kind of cooperation do these cooperating curators carry out and how do they cooperate? The issues point directly at the identity of the curators and their associated elds and institutions. Co-curating can also indicate a relationship of trust, directly or indirectly, which will be carried through in the projects.
Curators generally provide the intellectual frame. For them, the concept comes first, followed by the works of artists and the artistic trends. This is known as a strong curatorial position. On the other hand, they may also give priority to the conditions and realities of artists.
Co-curating not only complements the intellectual frames and approaches proposed by curators but also constitutes the basis for independent curating by virtue of their fields, geographies and sets of knowledge. This can be observed in the main exhibitions and in the national pavilions at the Venice Biennale. The latter can be compared to state sovereignty politically speaking, which removes co-curating from subordination to imagery.
All this points to the issues of how rights, resources and knowledge structures are distributed. The related issues may also exist in the framework of any exhibition—how the co-curators are allocated, how they claim the positions they deserve and present the project, and how the differences between co-curating and curating are identi ed.
Co-curators from institutions are most commonly seen in the project, curators who themselves represent the standpoints of the institutions and hence bring in their resources and systems. Ms. Annette from Fantoche in the 3rd Shenzhen Independent Animation Biennale, Ms. Mu Xue and Ms. Julia at the The One Minutes, Mr. Zhenchen Liu from Le Fresnoy in France, Mr. Isaac Leung from Videotage in Hong Kong, Mr. Lorenzo from MAN Museum in Nuoro, and the curator of Modern Sky can all be considered co-curators from institutions. Each of them represents the webs of relationships between institutions and individuals. Some directly present the content from their institutions—the most typical of which is seen in the best works of Fantoche. The other institution- based exhibitions, with the efforts of curators, are balanced organically. The One Minutes launched a project for an online curating collection through the biennale, a good example of discovery and expansion by dint of institutions and biennale. The content and knowledge from institutions and other elds are sorted through and presented within the overall frame of the project. It is the selection of co-curators and the presentation achieved with their expertise and approach.
The independence and projects of co-curating sometimes do not rely on the above-mentioned cases. The GIF-ing project curated by Liao Wenfeng, for example, is conducted in full compliance with the limits of time and networks of the 3rd Shenzhen Independent Animation Biennale. This project follows the technical standards of the online images, in which new aesthetic trends at home and abroad are discerned. The project functions directly within the multi-media relationships based on network and mobile phone platforms instead of in real space, in order to respond to time based concepts.
Co-curating may also be situated in a grander conception of history and art historical theory, inserting these ideas in any project, which requires a certain knowledge and courage. By analyzing and understanding the curatorial theme and the structure of biennale, one works towards a more independent status while not deviating from the overall direction.
Co-curating should not be interpreted as being affiliated to a chief curator but rather as the improvement of the entire system, framework, resources and knowledge. It embodies joint efforts and sharing in any sectors related to contemporary art.