INDEPENDENT CURATORS INTERNATIONAL
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2018 Curatorial Intensive in Bangkok: Public Symposium


2018 Curatorial Intensive in Bangkok: Public Symposium
Sunday, October 28, 2018
12pm–5pm

Ayara Hall, 2nd Fl,
Jim Thompson House Museum
6 Kasemsan 2, Rama 1 Road Phatumwan, Bangkok
FREE and open to the public


This day-long symposium concludes the inaugural ICI Curatorial Intensive in Bangkok. The panel discussion will addresses the question of “Why Curators?”  thinking through the need for curatorial work today, it’s effects on artists and cultures. The Curatorial Intensive Sessions provide a platform for each of the 2018 Bangkok CI participants to present the project they have been developing over the course of the program. These will be presented in small groups, reflecting the intimacy of the intensive and briefly discussed.


Symposium Schedule

12:00pm-12:15pm Welcome remarks
Gridthiya Gaweewong, Artistic Director, Jim Thompson Art Center, Bangkok
Professor Dr. Bussakorn Binson, Dean of Faculty of Fine and Applied Art, Chulalongkorn University

12:15pm-1:15pm Panel Discussion
Ellie Buttrose, Associate Curator of Contemporary International Art at the Queensland Art Gallery
Mari Spirito, Founding Director, Protocinema, Istanbul
Amanda Parmer, Director of Programs, ICI

1:15pm-1:30pm Curatorial Intensive Opening remarks
Renaud Proch, ICI Executive Director
1:30pm-3:00pm Sessions 1 & 2
3:00pm-3:30pm Refreshments
3:30pm-5:10pm Sessions 3 & 4


The Curatorial Intensive is a weeklong professional development program which brings together emerging curators for the opportunity to exchange ideas, develop their curatorial practice, and learn from their colleagues. Please click here for more details.


Participants include: Pojai Akratanakul (Bangkok, Thailand), Latifa Al Khalifa (West Riffa, Bahrain), Jia Yun Cheng (Singapore), Abhijan Gupta (Bangkok, Thailand), Shih-yu Hsu (Tai Pei, Taiwan), Melissa Karmen Lee (Ho Man Tin, Hong Kong), Jimin Lee (Seoul, South Korea), Lila Nazemian (New York, USA), Emilia Quiñones-Otal (Caguas, Puerto Rico), Arham Rahman (Yogyakarta, Indonesia), Ulya Soley (Istanbul, Turkey), Randel C. Urbano (Quezon City, Philippines), Wilson Yeung Chun Wai (Melbourne, Australia)


This event is free and open to the public.


October 28, 2018

Ayara Hall, 2nd Fl,
Jim Thompson House Museum
6 Kasemsan 2, Rama 1 Road Phatumwan, Bangkok

presenter

Pojai Akratanakul

Pojai Akratanakul, based in Bangkok, is an independent curator, researcher in-practice and member of curatorial collective Charoen Contemporaries, with whom she curated public art exhibition PostScripts (2018). Until recently, Pojai managed and acquired works for The Petch Osathanugrah Collection and worked as the Project Director for the collector’s museum-in-planning Sansab Museum of Contemporary Art. Previously, she has worked on exhibitions, publications, and public programs for non-profit institutions including Bangkok University Gallery, BACC, MAIIAM Contemporary Art Museum, where she assisted in producing shows such as Mon Art du Style (2017); Operation Bangkok (2014) with Roslisham Ismail; Concept Context Contestation: art and the collectives in SEA (2013). She was a guest lecturer at King Mongkut’s Institute of Technology Ladkrabang and Chulalongkorn University. Pojai holds an MA in Visual Arts Administration with Non- profit Management and Curatorial concentration from New York University, and a BFA in Visual Arts from Chulalongkorn University. Between 2014-2016, Pojai lived in New York and interned at ICI, the SculptureCenter, and the Solomon R. Guggenheim Museum.


Latifa Al Khalifa

Latifa Al Khalifa is a researcher, writer and curator who found her passion for the arts by combing through the galleries and museums of London, whilst carrying out her MA in Cultural and Creative Industries at King’s College London. Upon graduation in 2012, she focused her energies on championing the myriad of uncelebrated talents from her region. Following the success of “IN THE OPEN”, an exhibition curated in collaboration with Edge of Arabia and The Bahrain Museum, and further to collaborations with the QMA and Al Riwaq Art Space, Latifa founded her own company Too Far Co. in 2016, with the support of Bahrain Development Bank and Tamkeen. Since then, Too Far Co. has showcased the work of Bahraini and Arab artists in Bahrain, Dubai and London. And in 2019, the company will host its first Cultural Festival in partnership with the Bahrain Tourism and Exhibition Authority (BTEA).


Jia Yun Cheng

Jia Yun Cheng is an Assistant Curator with the National Gallery Singapore, with a strong interest in understanding how artistic, institutional and societal agency intersect to produce art in post-war Southeast Asia. Since graduating with a Bachelor of Arts in Art History with Material Studies from University College London and joining the museum in 2012, I have worked on the post-1970s sections of the inaugural hang of the Southeast Asia Gallery, Between Declarations and Dreams (2015) and the exhibition Reframing Modernism (2016). Forthcoming projects include Awakenings: Art in Society in Asia 1960s-1990s (2018) and Suddenly Turning Visible (2019). I have been involved in developing and implementing the museum’s first artwork information management system since 2013. Independent engagements from 2017-2018 include artist talks at the artist-run space Peninsular and Jendela Gallery at the Esplanade. I co- curated opening day, a four-part series of artistic interventions sited in the disused common space of Upper Serangoon Shopping Centre, a space selected for its anomalous state within the constantly renewed urban fabric of Singapore. The project ran from 02 December 2017 to 31 January 2018, during which time we organized four artist talks and launched a publication. Past curatorial programmes I have participated in include the Curating Lab Programme (2014-2015) helmed by National University of Singapore Museum and mentored by Heman Chong and Shabbir Hussain Mustafa, and the inaugural Asian edition of the French Encounters programme held in Hong Kong (March 2018).


Abhijan Gupta

Abhijan Gupta is an independent curator and writer, and with Pujita Guha, the co-director of the Forest Curriculum. He has been the Curatorial Assistant to the Artistic Director of the Samdani Art Foundation, and Assistant Curator for the 2018 edition of the Dhaka Art Summit. Previously, he served as the Programs Manager at the Bellas Artes Project, Manila and Project-and-Curatorial Assistant, Council and the Against Nature Journal, Paris, France; the Majlis Cultural Centre, Mumbai, and the Asia Art Archive. He is currently a fellow of the Forecast Platform at the Haus der Kulturen der Welt, Berlin, and has been a fellow of the Tate Research Centre: Asia, at the MMCA, Seoul and researcher-in-residence at the HSLU-University of Applied Arts and Sciences, Luzern Switzerland and at the Tentacles Art Gallery in Bangkok. He is a member of the Chareon Contemporaries collective, based in Bangkok. Selected exhibitions include Occupy Exhaustion, Haus der Welt, Berlin (2018); Postscripts, Bangkok Biennial (with the Chareon Contemporaries Collective) (2018); History Zero, Mumbai Art Room, Mumbai (2017) and is participating in the School of Storytellers, part of Ghost2561, with the Forest Curriculum, and Southern Constellations, Moderna Galleria, Ljubljana (Contributing Curator, 2019). He will participate in the TransCuratorial Academy in Phnom Penh and the Parasite Workshop for Young Curators (2018), and has participated in the Curators‟ Workshop, Kochi Biennial (2016) and Gwangju Biennale (2018). He graduated from the Faculty of Fine Arts, MS University of Baroda, India and holds a certificate from the ENSBA, Paris.


Shih-yu Hsu

Shih-yu Hsu studied Communication Engineering and Visual Art Administration at National Central University in Taiwan and New york University. Her research field includes media art, image, memory and space. Hsu worked at National Palace Museum, Taiwan in 2012 and supervised the touring exhibition of the new media art installations. She interned at Digital Media Department at Whitney Museum of American Art and at Social Media Relation at Residency Unlimited in New York. Hsu also worked as studio manager at Grimanesa Amoros Studio in 2015. She co- founded bi-lingual online media art platform SCREEN, organizing What Kind of Technology is Culture? as part of program in Asia Contemporary Art Week 2015, and presenting three-city screening The Art of Living in Beijing, Berlin and New York. In 2016, she joined the curatorial team of Taiwan Pavilion of Venice Biennale 2017. She currently works at Taipei Contemporary Art Center (TCAC) as curator. Her writing on art has been published on several publications including Artist Magazine, Artforum.com.cn, Art Investment and Yishu. Her curatorial projects include Emit at The Schoolhouse, Brooklyn, New York (2014); Level Up at Taiwan Economic And Cultural Office New York (2015); Resistance is Futile at Gallery 456, Chinese American Arts Council, New York (2017), and Video Lounge Series 1- 3 at Taipei Contemporary Art Center (2018).


Jimin Lee

Jimin Lee is currently working at Seoul Museum of Art as a curator at an Exhibition Division for Curatorial Bureau. Last summer, I was selected one of the member of Curatorial Studies Venice, and participated in curatorial course from May to October at Venice. The program was intensive course focusing on contemporary curatorial theory and practice and contemporary museology, all of process went off during Venice Biennale season in concert with Biennale Committee. From 2015 to 2017, I worked at Asia Cultural Center as a researcher and a curator for a permanent public art project. Ugo Rondinone, Lee Bul, CHOIJEONGHWA, Matali Crasset and Seungwoo Back did that project to bring their newest version of art works as permanent installation. Busan Biennale Committee was my first working platform, Roger M. Buergel was our director for Garden of Learning, 2012 Busan Biennale. And I moved to Artsonje Center (SAMUSO : Space for Contemporary Art) and covered such as international exhibition matters or fundraising process to get from government institution since SAMUSO was non-profit organization. In the meantime, I was chosen as independent curator with personal exhibition proposal for getting fundraising from Seoul Foundation for Arts and Culture and Sempio Cultural Foundation in 2015. Also there are several articles that I contributed at Gyonggi Cultural Foundation, on activation project for community art, as , , and

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Melissa Karmen Lee

Melissa Karmen Lee is Education and Public Programmes Curator at Tai Kwun Heritage and Arts Centre, Hong Kong. Her experience primarily consists of curating beyond the exhibition space through pedagogical and public practice. Her work on public art has spanned from interventionist graffiti performances to outdoor large-scale sculpture parks, organized public seminars on the subject of Peace, to the creation of an online digital archive. In July 2018, she has just recently organised and conceived of ‘Summer Institute,’ an inaugural programme where three distinguished scholars and one contemporary artist will lead seminars and public lectures on the theme of Labour and Privilege, explored through art historical and contemporary art case studies. A recent project that she is particularly proud of is a 2014-2015 curator at large project with Slought Foundation, Philadelphia in which she curated a series of ‘On the Cloud’ exhibitions with Executive Director Aaron Levy. These exhibitions included a newly commissioned work ‘Bozo on the Boom Boom Badass Beat ’, performed online and in a gallery space by digital artists Young-Hae Chang Heavy Industries. This exhibition was contextualised in a curatorial essay alluding to Sherry Turkle’s text Life on the Screen. A second ‘cloud’ exhibition entitled ‘Add Oil Machine : 打氣機,’ was about the 2014 Hong Kong Umbrella Movement and the revolutionary potential of language and enunciation contextualised with Deleuze and Guattari’s Kafka: Towards a Minor Literature.


Lila Nazemian

Lila Nazemian is an independent curator based in New York. In 2017, she was the U.S. Projects Director at CULTURUNNERS, where, on behalf of Ithra, she managed a Saudi artist residency in New York and supported national institutions such as Brooklyn Museum, LACMA, and the Utah Museum of Contemporary Art, for their Saudi exhibitions. Prior to this, she was the Curatorial and Special Projects Associate at Leila Heller Gallery New York for five years where she helped organize over 15 exhibitions including solo shows by artists such as Hadieh Shafie, Shiva Ahmadi and Reza Aramesh, and the group exhibition “Calligraffiti” which explored relationships between Islamic calligraphy and Western movements like Abstract Expressionism, Lettrism, and Graffiti writing. Her upcoming exhibition,“OnEchoesofInvisibleHearts,“opensinBerlinthisSeptember 2018, and features work by artists in Yemen and the diaspora. Recent independent curatorial projects include: “Spheres of Influence,” the first show of Arab contemporary art in Iran at Tehran’s Mohsen Gallery in April 2016 which received critical recognition from Artforum.com, ArtinAmerica.com, and Vice.com; “This is Not an Image” and “Out Among the Stars,” co-curated with Ava Ansari, featured artists Peyman Shafieezadeh and Sara Ouhaddou at Detroit’s Red Bull House of Art in June 2015. She received a B.A. in History from Scripps College, California, and an M.A. in Near Eastern Studies from N.Y.U., New York. She is among the inaugural participants of the 2018 Interdisciplinary Art and Theory Program in New York.


Emilia Quiñones-Otal

Emilia Quiñones-Otal lives and Works between Mayagüez and San Juan Puerto Rico. Has a curatorial experience of 10 years working in exhibitions in Spain and Puerto Rico. Her works include In-Out House. Circuitos de género y violencia en la era tecnológica (Valencia, Spain 2012-2013), where Latin American artists dialogued with Spanish artists around the theme of sexist violence and the way technology can help us communicate and stablish solidarity links; Más allá de la capucha (San Juan, Puerto Rico, 2017), exhibition organized after a period of strikes and intense street protests against the recently stablished FinancialOversightandManagementBoard(FOMB),thegroupshow pretended to contribute to a debate between a group of protesters who defended the right to violent protest against the violent measures of the FOMB and another group of protesters who claimed the only way to protest efficiently is participating in peaceful actions. She is also a founding member of the first curatorial collective in Puerto Rico: Trans Forma, a women only curatorial group. The collective organized not only exhibitions, but also public events, interviews and dialogues with local curators, artists, exhibition space coordinators and art historians to participate actively in the development of the curatorial practice in Puerto Rico. Emilia Quiñones-Otal holds a PhD in Art History from the Universidad de Valencia, Spain (2014) and is an adjunct professor at the University of Puerto Rico, Mayagüez Campus.


Arham Rahman

Arham Rahman is an Indonesian curator and visual art researcher who lives and works in Yogyakarta, Indonesia. He was graduated from Magister Program of Religious and Cultural Studies, Sanata Dharma University, Yogyakarta. During this time, he is working in several art and cultural communities, such as; Erupsi (Academia of Psychoanalysis, Art, and Politic), Colliq Pujie Art Movement, Study on Art Practices (SOAP), and a curatorial studies and art criticism group, SPASI. Besides doing research on art and cultural issues, he writes and curate some exhibitions on some art spaces in Yogyakarta. Now he work as a curator on Lorong Gallery. He interest on Lacanian psychoanalysis discourse, post-colonial criticism, and other approach on cultural studies. In art studies, he interest on the discourse about Indonesian art history, the political economy of art, digital art, and contemporary craft.


Ulya Soley

Ulya Soley works at Pera Museum as a project manager and contributes to the Museum’s exhibitions and publications as a curator and editor. She completed her MA in Culture, Criticism and Curation at Central Saint Martins, and her BA in Art History and Psychology at McGill University. Recently, she curated the digital exhibition “You Look Familiar” as part of the British Council’s Curatorial Residency Program. Her past curatorial projects include “Katherine Behar: Data’s Entry” and “Bring Your Own Beamer” at Pera Museum, “Waiting Room” at South London Gallery, and “Stereo-Reality” as part of Proto5533’s emerging curators program. Her writing appeared in printed and online publications such as Pine Magazine, UQ, The Believer Logger, Istanbul Art News and Sanatatak. She is an AICA member, and co-founder of the publication project “Stimuli”.


Randel C. Urbano

Randel C. Urbano is a Vargas Museum worker for four years now. Vargas Museum is the primary modern and contemporary art museum and Filipiniana Research Center of the University of the Philippines. I work as the coordinator of exhibition and events at the museum. I also engage in the public programs of the museum. Simply, with a curatorial staff of three with two installers, I and my colleagues work all around. I also do freelance curatorial, graphic design, exhibition coordination, and workshop facilitation if time permits. I was very much fortunate to have been part of a project of Bangkok Arts and Culture Centre’s “Young Artists Network” in late 2014 to early 2015 as an ‘artist’ residentunderThaicontemporaryartist-curatorHenryTan’s “Autopilot Project.” I was given a curatorial research fellowship at the Museum of Modern and Contemporary Art (MMCA) Korea in 2015. I observed and annotated general working conditions of the MMCA staff, their presented artists, and the “amoeboid” community as an attempt to correlate their working habits to the labor habits in my home museum. I also had the chance to go to the CIMAM 2016 Conference in Barcelona under a Getty Foundation grant. In 2017, I was able to go to the Annual Meeting of the American Alliance of Museums (AAM) as a Multicultural Delegate. As the only Southeast Asian among thirty or so international delegates, it was a fortunate experience to share my anecdotes and ideas as a worker for a Filipino university museum and I was able to listen to experiences from colleagues from around the world.


Wilson Yeung Chun Wai

Wilson Yeung Chun Wai is an independent curator and artist. He is a research fellow at the Laboratorio de Creaciones Intermedia (LCI) at the Polytechnic University of Valencia, Spain (2018). He is currently a PhD candidate at the School of Architecture and Design and a member of the Contemporary Art, Society and Transformation (CAST) Research Group at the RMIT University. He held the position as research assistant at the University Art Gallery in Sydney University Museum. He holds a Master of Art Curating in the Department of Art History at the University of Sydney and a Bachelor Degree of Arts (Fine Art) with distinction awarded by the RMIT University. His PhD research Curating the In- Between: Rethinking and Reinventing Contemporary Curatorial Practices focuses on rethinking the traditional role of the curator and curatorial process. This practice-led research articulates curatorial practice that interrogates the role of a curator in facilitating cross-cultural collaborations as a ‘cultural collaborator’. It adopts the contemporary performance method of the ‘collective creation’ to devise and demonstrate how to present models of curating contemporary visual art to the public in an alternative way. Wilson is the founder and president of the RMIT Curatorial Collective in Melbourne, Australia. His curatorial projects have been presented nationally and internationally, including the Shenzhen Bi-city Biennale of UrbanismArchitecture, Sydney Art Crawl - Public Art Project, IMPACT - International Multidisciplinary Printmaking Conference, International Academic Forum (IAFOR), China Pingyao International Photography Festival, Ballarat International Foto Biennale, Hong Kong Jockey Club Creative Arts Centre.


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