Carol Yinghua Lu
Carol Yinghua Lu lives and works in Beijing. She is a contributing editor to Frieze and on the advisory board of the Exhibitionist. Lu served on the jury for the Golden Lion Award of the 2011 Venice Biennale, was co-artistic director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen Sculpture Biennale in 2012. Since 2012, she has been the artistic director and chief curator of OCAT Shenzhen. She was a member of the jury of the Pinchuk Foundation’s 2012 Future Generation Art Prize.
In 2013, Lu was the first Visiting Fellow of Asia-Pacific at Tate Research Centre. Together with Liu Ding, she initiated the research and exhibition project ‘Little Movements: Self-Practice in Contemporary Art’, which was first presented at OCAT Shenzhen in 2010 and then in the Museion, Bolzano, Italy, in 2013. Currently, Lu and Liu Ding are working on a research project entitled ‘From the Issue of Art to the Issue of Position: Echoes of Socialist Realism’, a critical examination of the methodologies and perspectives in narratives of contemporary art histories in China.
Lu has co-authored several publications with Liu Ding, including Little Movements: Self-Practice in Contemporary Art (Guangxi Normal University Press, 2011), Little Movements II: Self-Practice in Contemporary Art (Walther König, 2013), Accidental Message: Art is not a System, not a World (Lingnan Art Publishing House, 2012), and Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000 (Lingnan Art Publishing House, 2013).
Chien-Hung Huang is an Associate Professor at the Taipei National University of Arts in the Institute of Trans-disciplinary Art.
He has published numerous books, including COQ (2009), An Independent Discourse (201), Trans-Plex Agenda (2011), EMU (2012) and Smile of Montage (2013). Huang is also a film critic and a critic of contemporary art and the spectacle. He has translated books by G. Deleuze, J. Baudrillard and J. Rancière. Since 2007, he has been also working as a curator.
Huang has curated shows such as Ex.ception (2007), S-HOMO at K’s Art (2009), POST.O at Taipei MoCA (2009), Look by the cinema in OCAT China (2010), TRANS-PLex and Solarium (2011), Chim.Pom’s Beautiful World and Crush on EMU (2012), Schizophrenia Taiwan 2.0 (2013) and Post-Movement (2014).
Sunjung Kim is curator and director of Samuso, a non-profit curatorial organization in Seoul. She is Artistic Director of Asia Culture Information Agency in Asian Culture Complex in Gwangju and works on the REAL DMZ PROJECT, engaging issues surrounding the division of Korea and the border region near the demilitarized zone.
Kim has taken part in a wide range of projects: she was Commissioner of the Korean Pavilion at the 51st Venice Biennale (2005), Artistic Director of Media City Seoul (2010), Artistic Co-Director of Gwangju Biennale (2012), and Agent for dOCUMENTA 13 (2013). Kim co-curated Walls to Talk to, a travelling solo exhibition of Jewyo Rhii (2013), and co-curated a sole exhibition of Lee Bul at Mudam Luxembourg(2013). Recently she realised an exhibition of Sung Hwan Kim’s works in Korea, which was held at Art Sonje Center in 2014.
From 1993 to 2004, Kim was the chief curator at the Art Sonje Centre, Seoul, and worked on numerous exhibitions of artists such as Tobias Rehberger, Martin Creed, Kim Beom and Heague Yang. Through Samuso, Kim established and curated Platform Seoul, an annual art festival whose editions include ‘Projected Image’ (2010), ‘Platform in KIMUSA: Void of Memory’ (2009), ‘I have Nothing to Say and I Am Saying It’ (2008), ‘Tomorrow’ (2007), and ‘Somewhere in Time’ (2006). She has received several prizes such as the Ministry of Culture and Tourism Award (2004) and been honoured with the Chevalier de l’Ordre des Arts et des Lettres medal by the French Minister of Culture and Communications (2003). From 2005 to 2012, Kim was a professor in the Department of Art Theory at Korea National University of the Arts.
Yukie Kamiya has been Chief Curator at the Hiroshima City Museum of Contemporary Art, Japan, since 2007. She was formerly Associate Curator at the New Museum of Contemporary Art, New York.
Kamiya has organized many international exhibitions, including solo exhibitions by Francis Alÿs, Cai Guo Qiang, Yoko Ono, Tsuyoshi Ozawa, Tadasu Takamine and Do Ho Suh (all at the Hiroshima MoCA), and co-curated exhibitions such as Vital Signals –Japanese and American Video Art from the 1960s and ‘70s, which toured Japan and the USA in 2009-10, and Re: Quest-Japanese Contemporary Art since the 1970s (Museum of Art, Seoul National University, 2013). She was awarded the Academic Prize of the Foundation of Western Art, Japan, in 2011 for her curation of Simon Starling, Project for a Masquerade (Hiroshima).
Kamiya served on the advisory board of Yokohama Triennial 2014 and currently fills the same position at Parasophia, Kyoto International Festival of Contemporary Culture, 2015. She also served on the jury of festivals such as The Rolex Mentor and Protégé arts Initiative, DAAD artist-in berlin and Japan Media Arts Festival; has contributed to catalogues and publications, including Taipei Biennial 2006 (Taipei City Museum of Fine Art) and 2013 California-Pacific Triennial (Orange County Museum of Art, California); and is one of the contributors to Creamier –Contemporary Art in Culture (Phaidon, 2010) and Ravaged - Art and Culture in Times of Conflict (Mercatorfonds, 2014).