Independent Curators International (ICI) supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. Curators are arts community leaders and organizers who champion artistic practice; build essential infrastructures and institutions; and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political and cultural borders. They form an international framework for sharing knowledge and resources — promoting cultural exchange, access to art, and public awareness for the curator’s role.
Dr. Sook-Kyung Lee is curator, lecturer, and writer, and is currently Research Curator of Tate Research Centre: Asia-Pacific. Dr. Lee is also the Curator for Tate’s Asia-Pacific Acquisitions Committee, an international art collection initiative that focuses on enhancing and expanding Tate Collection’s cultural and geographical remit. She was previously Exhibitions & Displays Curator at Tate Liverpool, and curated a number of exhibitions including Nam June Paik (2010), Doug Aitken: The Source and Thresholds (as part of Liverpool Biennial 2012). She also worked on major collection displays at Tate Liverpool as a key member of its curatorial team. Before joining Tate Liverpool, she was Arts Council England’s Curatorial Fellow in Cultural Diversity and curated a number of exhibitions including Liu Jianhua: Regular/ Fragile (Oxburgh Hall), Kira Kim: A Palace of Mirages, Julian Opie in the 1990s, and Modest Monuments: Contemporary Art from Korea at the King’s Lynn Arts Centre. Born in South Korea, Dr. Lee was a Curator at the National Museum of Contemporary Art, Korea, and organized several exhibitions such as New Venture: Korean Young Artists, Michelangelo Pistoletto, and Distinctive Elements: Contemporary British Art. She was also a part-time Lecturer at Hong-ik University in Seoul and Guest Lecturer at the Sotheby’s Institute of Art, London. She has written for several exhibition catalogues as well as for a variety of international art publications, and contributed an essay for Power of Now: Korean Art (2013).