Phil Zheng Cai is a curator and writer based in New York. He graduated from the University of Wisconsin-Madison with a BA in Social Science, and received his MA from Sotheby’s Institute of Art. He has held posts at Mary Boone Gallery, Phillips Auctioneers, and is currently a partner at Eli Klein Gallery.
Phil Cai’s curated exhibitions have received critical acclaim. His curated exhibition “(In)directions: Queerness in Chinese Contemporary Photography” was reviewed by Hyperallergic, Musee Magazine, Asian American Arts Alliance AMP Magazine, and many others. His curated exhibition “Alienation?” was reviewed by the Brooklyn Rail. His independent curatorial projects include “Open Kitchen – Assembly,” and others.
Phil Zheng Cai’s writings are regularly published. His exhibition review, “The Estate of Joshua Caleb Weibley at CHART Gallery Asks if We Still Want to Play,” was recently published in WhiteHot Magazine. His multiple exhibition reviews and critical essays were featured in the Widewalls Magazine. His critical text “Everything can become an NFT, is it true?” was published by the New York Time T Magazine China.
With an interest in philosophy and institutional critique, his translated book “The Story of Philosophy” was published by Shanghai Yuandong Press in 2020. His essay “Nomad Photography” was published in the Parsons MFA Photo thesis catalog in 2024.
Phil Zheng Cai currently works and lives in New York.
Hello, Phil, thank you for joining us. Could you please introduce yourself?
My name is Phil Zheng Cai. I am currently a partner at Eli Klein Gallery, focusing on Asian Contemporary Art. I also write and curate independently. Pleasure to be here. Thank you, Li Tang!
How do you develop the concepts for each exhibition? Could you share some key themes or references you aim to highlight?
I would summarize my methodology of developing curatorial concepts as a mixture of simultaneously broadening and narrowing to the extreme: I dip into history, philosophy, and social studies to continuously broaden the potential connections of each concept. But at the same time, I would dig very deep into each potential “hit” in these searches. On a recent studio visit day trip with Mike Tan and Sofia D’Amico, we came up with the term “Rabbit Hole Studies,” I like it a lot and believe it is truly representative of both the artists’ and the curators’ practice.
In terms of key themes or references, it differs from show to show. But I am generally interested in criticizing the traditional functions of a system, questioning and changing the rules of the game. I look up to Hans Ulrich Obrist and Benjamin Buchloh as my predecessors in this area.
Can you tell us more about Eli Klein Gallery’s publications? How do they complement the exhibitions, and what role do they play in sharing the gallery’s vision and the artists’ stories?
Publications can be an integral part of an exhibition, especially for historically important survey exhibitions, because they will become critical research material for others down the road. Take “(In)directions: Queerness in Chinese Contemporary Photography,” for example; we were fortunate enough to have the catalog collected by international institutions and libraries, The ICP, The Met, The Getty, Cleveland Museum, Dallas Museum, Princeton University, Oxford University, to name a few. I never believed this show was perfect or complete by any means. It should serve as an entry point for more research and shows in this domain. It is merely an impetus, hopefully, for more important and impactful things to come.
What role do you see art playing in today’s cultural landscape, especially in terms of raising awareness or starting conversations around Asian identity and experiences?
This question could be easy to answer for many, but it is very tricky for me. In the US, one of the biggest issues in the art world (both emerging and institutional) is using art as a means of expression to voice political and social needs. This degenerates art, in my opinion. In a conversation with Sun Yuan Peng Yu a couple of years ago, they mentioned that art is a “tool to criticize, but also the critique of the tool.” I live by that quote. Perhaps Asian identity should be elaborated on in how we criticize the tool of art.
Photo by Li Xiaofei
As a gallery that features contemporary Asian art and supports Asian artists, how does Eli Klein Gallery foster a sense of community among Asian artists, and how does this community contribute to the gallery’s mission and exhibitions?
A sense of community is crucial. The gallery business is the ultimate business of longevity, and the art world, in general, should always be treated with a long-term vision, maybe excluding the few speculators that ride the trends. To better practice this, I initiated a residency program at the gallery last year and invited three young artists to take over the gallery as their studio space. I also invited numerous people to bond and crit for them, including writers, curators, collectors, and established artists. That was a magical experience of co-growth. Please check out and support Yang Shuai, Echo Youyi Yan, and Quan Wenfei’s works!
Photo by Song Jianshu
Do you have any advice that you would offer to others?
This is a very general question so perhaps I shall provide a general answer: To always believe in art, but to always question the system.
text & photo courtesy of Phil Zheng Cai
- Website: https://galleryek.com/
- Instagram: @phil.z.cai
