Lu Jie's curatorial plans:

Lu Jie's first curatorial plan for "The Long March - A Walking Visual Display" London 1999
Site 15 - Mizhi, Sha'anxi Province
-Background
-Exhibition - "Folk Art"
-Discussion about Learning
-Exhibition - The women of the area are renowned for their paper-cuttings. -Examine the participation of local women in the Red Army and their connection with feminist movements. Is "folk art" "contemporary art?"
-Research the discussion of "folk art" in poststructuralism
-Artists: Xiao Xiong, Mao Zedong, Sui Jianguo, Zeng Yingquan, Barbara Broughel

Second draft of Lu Jie's curatorial plan for "The Long March - A Walking Visual Display" New York 2000

Site 17 Mizi, Sha'anbei, Sha'anxi Province
-Background: the papercuttings of women from Mizi
-Revisit the resistance to utility in traditional Chinese art practice and Western perception of foreign/ethnic art.
-Theme: What is art? Who is it for? Who's voice matters?
-Location: Create artworks with several women in a yaodong (cave dwelling) in a particular county of Mizhi.

Sixth draft of Lu Jie's curatorial plan for "The Long March - A Walking Visual Display" Beijing 2002
Site 18 - Mizi, Yulin, Hengshan and other counties in Northern Shaanxi Province
- Paper cutting tradition by the women of Mizi, Dao music, folklore and other local 'Folk Arts'
- Marginalization of public art as 'folk art' and 'vogue art' in Chinese tradition
- Denigration of non-Western folk art as 'low art' 'non art' by the West
- What is art, who is it for and who decides?
-Location: Cave dwellings of Mizi, Mao Temple, and The Doom of Ancient Prince
-Dates: September 28 - October 10

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