INDEPENDENT CURATORS INTERNATIONAL
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2013 Tokyo Curatorial Intensive Symposium


2013 Tokyo Curatorial Intensive
Public Symposium: Saturday, November 2, 2013

10:00am–2:45pm Symposium
3:15–4:00pm Keynote: Michio Hayashi
4:15pm–6:00pm Panel Discussion

Symposium: Free and open to the public
Panel Discussion: Admission JPY 1,000
(Please reserve from Mori Art Museum’s website)

Mori Art Museum
Academyhills, Roppongi Hills Mori Tower 49F
6-10-1 Roppongi, Minato-Ku, Tokyo, Japan


Join ICI and the Tokyo 2013 Curatorial Intensive on Saturday, November 2 for a daylong public symposium where the participants will present the exhibition and project proposals that they have developed through the program. The symposium will include a keynote by Michio Hayashi (Professor, Faculty of Liberal Arts, Sophia University, Tokyo), as well as a discussion with Mami Kataoka (Chief Curator, Mori Art Museum, Tokyo), Doryun Chong (Chief Curator, M+ Hong Kong), Dr. Sook-Kyung Lee (Research Curator, Tate Research Centre: Asia-Pacific, London), and Michio Hayashi.

The 2013 Tokyo Curatorial Intensive: What Does it Mean to be International? offers curators the opportunity to learn among colleagues the concept, logistics, and challenges of working within the Asian contemporary art scene as well as the larger global context. Click HERE for more information on the program.

Participants include: Marina Coelho (Sao Paulo, Brazil), Alfred Dong (Beijing, China), Michelle Ho (Singapore), Haruko Kumakura (Tokyo, Japan), Shasha Liu (Beijing, China), Tess Maunder (Brisbane, Australia), Vera Mey (Auckland, New Zealand), Shabbir Hussain Mustafa (Singapore), Kukiko Nobori (Tokyo, Japan), Ayako Osanai (Tokyo, Japan), Sidd Perez (Manila, Philippines), Grace Samboh (Jakarta, Indonesia), Isabella Tam (Hong Kong), and Ryan Wong (Brooklyn, NY).

November 3, 2013

Roppongi Hills Mori Tower (53F)
6-10-1 Roppongi, Minato-Ku, Tokyo, Japan

presenter

Marina Coelho

Marina Coelho (b. 1978, São Paulo) began developing her own photography practice after receiving a graphic design degree from Faculdade de Belas Artes de São Paulo. She has curated several exhibitions throughout Brazil and published a book by Editora DBA - Dorea Books and Art. Coelho interned at the Peggy Guggenheim Collection in Venice and worked as exhibition producer at Galeria Leme, São Paulo. Further developing her curatorial skills, Coelho attended the Masters in Curating Contemporary Art at the Zurcher Hochschule der Kunste (ZHDK) in Zurich, where she lived and worked for two years. Based on the development of institutional critique, her thesis analyzed how independent art spaces emerge and how they operate within the art system. In São Paulo, Coelho implemented her thesis project, opening KUNSTHALLE São Paulo, where she has been developing several projects since 2012. Projects include: Process, a series of exhibitions of unestablished Brazilian artists through a long curatorial process; LX92, a series of exhibitions of foreign artists that create an international dialogue between São Paulo and Europe; Urbanities, a platform for projects generating debate around the idea of civility; and Dreams don’t grow old, an online publication focused on one artist that includes an interview, texts, and images of works.


Alfred Dong

Alfred Dong is independent curator and visual artist living in Beijing, Bangkok, and New York. His curatorial practice explores identity in a globalized society, as well as ideas inspired by Nicolas Bourriaud’s theory “Altermodern.” Dong has curated exhibitions internationally, co-organizing with various American, Italian, and Dutch institutions. He is the guest curator for the 2012 Noorderlicht International Photofestival (The Netherlands). Other curatorial projects include: The Harmony between Man and Heaven at Blokhuispoort in Leeuwarden; co-curator and planner of the exhibition by International Center of Photography (NY) at China Lishui Museum of Photography; and the 2011 Lishui International Photography Festival (China). Dong was the curator for a large slide presentation, China Face 1990-2010 at the 2010 Athens Photography Festival (Greece); and curator of American Chinese Design Exhibition at Hangzhou Creative Expo 2011. He was also Adjunct Director of the International Exhibition at China Lishui Museum of Photography (2011). As a visual artist, Dong’s films and videos were screened in the United States, France, and Italy. His artworks have been exhibited at Bienal de Cerveira in Portugal; WRO Media Art Biennale in Poland; Hokkaido Museum of Modern Art, Japan; Moscow Museum of Modern Art; Corcoran Gallery of Art, D.C; White Box, New York; Apexart, New York; and Arcade Gallery, Chicago, among many others.


Michelle Ho

Michelle Ho is a curator at the Singapore Art Museum and oversees its Thailand collection. Her past exhibitions include Not Against Interpretation: Untitled (2013), The Collectors Show: Weight of History (2013), Amanda Heng: Speak to Me, Walk with Me (2011), Natee Utarit: After Painting (2010), and The Artists Village: 20 Years On (2008). In 2013, she was a guest co-curator for Omnilogue: Your Voice Is Mine, an exhibition at the NUS Museum. She is also a co-curator of the upcoming 2013 Singapore Biennale. She holds a Masters in Curatorship and a BA in Comparative Religion from the University of Sydney, Australia.


Haruko Kumakura

Haruko Kumakura is an independent writer and assistant curator at Mori Art Museum, Tokyo. She has worked on several exhibitions including Lee Bul: From Me, Belongs to You, Only (2011), Aida Makoto: Monument for Nothing (2012), All You Need Is Love: From Chagall to Kusama and Hatsune Miku (2013), and Roppongi Crossing 2013: OUT OF DOUBT” (2013). She currently writes monthly reviews and articles for “Bijutsu-techo” (BT). She received a B.A. in Media art and an M.A. in Art History at Tama Art University, Tokyo.


Shasha Liu

Shasha Liu is an independent curator from Beijing. She received her MA in Curatorial Practice from California College of the Arts in San Francisco, CA in 2007. She was the Curatorial Fellow for Diversity in Arts in the Visual Arts Department at the Walker Art Center (2007–08). From 2009 to 2012, Liu served as the Director at F2 Gallery, located in the Caochangdi art district of Beijing. In February 2013, F2 Gallery relocated to Mayfair, London, changing to Fabien Fryns Fine Art, a gallery focusing on private advising as well as the promotion of established and emerging artists; Liu continues to act as the gallery’s Beijing representative. She has written for several publications including Beijinger Magazine, Yishu: Journal of Contemporary Chinese Art, Art Papers, and Map Magazine, among others.


Tess Maunder

Tess Maunder works as a curator, writer and editor in the Asia-Pacific region. She currently works as a Curatorial Collegiate for the 11th Shanghai Biennale curatorial team, led by Chief Curators: Raqs Media Collective. The biennale is called Why Not Ask Again? and will run from 11 November 2016 – 12 March 2017 at the Power Station of Art in Shanghai, China. This year Tess was awarded the prestigious 2016 MPavilion / Art Monthly Australasia Writing Award, where she will be presenting and publishing writing about Australian Indigenous artist Archie Moore. She is a founding Co-Director of the trans-national editorial initiative: Approximating, between New Delhi, Yogyakarta, Manila and Brisbane. Her recent independent curatorial projects include: the Curator of Anywhere Elsewhere at Jan Murphy Gallery, (2015) Brisbane, Co-Curator of the exhibition: Herding Islands session: Intervention, Reaction and Violence, conceived by Renan Laru-an at the University of the Philippines, (2015) Manila, and the Curator of the Subtropic Complex at the Institute of Modern Art (2014), Brisbane. Recent curatorial workshops, training and conferences that she has participated in, include Para Site’s workshop for young professionals (2016) in Hong Kong, The Australia India Youth Dialogue (2016) in New Delhi, Bangalore and Mohali, 4a Centre for Contemporary Asian Art’s Curators Intensive (2014) Sydney, the 5th Gwangju Biennale International Curator Course with Maria Lind (2013) in Gwangju and the Independent Curators International (ICI) Curatorial Intensive: What Does It Mean To Be International? held at Mori Art Museum (2013) in Tokyo. Prior to joining the Shanghai Biennale Curatorial team, Maunder worked in a programming capacity at the Institute of Modern Art, Brisbane. In 2017, Maunder will be undertaking curatorial research during a funded residency at the International Studio and Curatorial Program (ISCP) in New York, which will result in a publishing outcome.


Vera Mey

Vera Mey is currently an independent curator. She was part of the founding team of the NTU Centre for Contemporary Art Singapore, a contemporary art research centre of Nanyang Technological University (NTU) as Curator, Residencies. Since it’s inauguration in January 2014, the Residencies Programme has brought together artists, curators and writers in a research driven residency with particular emphasis on artists from Singapore and Southeast Asia alongside artists from the rest of the world. She was Assistant Director of AUT University’s ST PAUL St Gallery in Auckland, New Zealand from 2011 to 2014. Her last project there was co curated with Erin Gleeson from Sa Sa Bassac, Phnom Penh called FIELDS: an itinerant inquiry across the Kingdom of Cambodia (2013). The project involved a group of 17 artists, curators and researchers traveling across 20 days together, questioning the intersection between contemporaneity, archaeology, history, trauma and fields of mutual unknowing within the context of contemporary Cambodia. For 2013 she was curator in residence at Arts Initiative Tokyo, Japan as well as convener of the AUT University Master of Arts Management Curatorial Strategy program. Curatorial projects include: The Disappearance (2014), NTU CCA Singapore; Invisible Energy and In Spite of Ourselves: Approaching Documentary (2012) at ST PAUL St Gallery and The Dowse Art Museum, Wellington. She is co-founder of the scholarly journal SOUTHEAST OF NOW: Directions in Contemporary and Modern Art. In 2015-16 she joins Ambitious Alignments: New Histories of Southeast Asian Art, a research initiative of the Getty Foundation. She is currently on the curatorial team of SEA Project an exhibition due to open in July 2017 at the Mori Art Museum Japan and National Art Centre Tokyo. She will undertake a PhD at SOAS, University of London commencing in September 2016. ​


Shabbir Hussain Mustafa

Shabbir Hussain Mustafa is Curator at the National Art Gallery, Singapore, where he researches art from Singapore and Southeast Asia. He was formerly Curator (South-Southeast Asia) at the National University of Singapore Museum (NUS Museum). Mustafa’s curatorial approach has centered heavily on deploying archival texts as ploys in engaging different modes of thinking and writing, all in an attempt at opening up the archive to multivariate struggles of perception and reading. Selected Southeast Asian exhibitions that Mustafa has curated at NUS Museum include: Archives and Desires: Selections from the Mohammad Din Mohammad Collection (2008); I Polunin: Memories of Singapore Through Film and Photographs (2009); Writing Power | ZulkifliYusoff (2011); Semblance/Presence: Renato Habulan and Alfredo Esquillo Jr (2012); and most recently, Come Cannibalise Us, Why Dont You? | Erika Tan (2013). Some of his publications include “Remembering the Intimate Past” in Shifts: Wong Hoy Cheong, 2002-2007 (2008); “Something” in Being: Ahmad Zakii Anwar (2009); “Confessional Curation” in The Sufi and The Bearded Man: Re-membering a Keramat in Contemporary Singapore (2011); and “Curatorial Notes” in Camping and Tramping (2011), an essay and exhibition that lays out some methodological considerations for the rethinking of curatorial practice in Singapore. He also co-conceived the online platform http://www.malayablackandwhite.wordpress.com and the curatorial project space at NUS Museum titled, Prep Room | Things That May or May Not Happen (2011).


Kukiko Nobori

Kukiko Nobori is a researcher and an independent curator. She is currently a PhD candidate in Anthropology at the School of Human Sciences, Osaka University, Japan. Having studied and worked internationally in such countries as Japan, the US, Romania, Bulgaria, the Netherlands, France, and Poland, Nobori analyzes and questions contemporary art practices in the face of globalization from an anthropological and sociological viewpoint. She co-curated Franklin Furnace Artists’ Book Collection at Book Art Picnic, held in Osaka (2009). While working at Kronika Contemporary Art Center (Bytom, Poland), Museum of Modern Art in Warsaw, and Franklin Furnace Archive. Inc., she was involved in various public art projects such as Johannes Burr’s KREDYT #6 (2010), Warsaw Under Construction (2010), Museum Under Construction (2012), and Chin Chih Yang’s Kill Me or Change (2012). She is currently preparing her PhD thesis on the topic of alternative art spaces in 1970s New York. Her recent articles include “Art Biennial of ‘Europe’ and ‘Asia’: Comparison Between Manifesta European Art Biennial and Fukuoka Asian Triennale (2010, MA thesis), “Anthropological Study on ‘Contemporary Art’ – in the case of making installation art – ” (2011), and “A Study on Art Management of the Alternative Art Space: A Case Study of Non-Profit Art Organization Franklin Furnace Archive, Inc. in New York” (2013 to be published).


Ayako Osanai

Ayako Osanai (b. 1976, Hokkaido, Japan) studied at the Department of Architecture, Musashino Art University. While working as a freelance designer, she launched an art unit Survivart with an artist Masaru Iwai, organizing talks and exhibitions for young artists. She has also worked as an assistant curator for Fumihiko Sumitomo on exhibitions such as Point: Korea-Japan Exchanging Artists and Critics Exhibition (Alternative Space LOOP, Korea, 2008; and Kyoto Art Center, Japan, 2010), Re:Membering (Doosan Art Center, Korea, 2010), and Daegu Photo Biennale 2012 (Daegu, Korea). From February 2010 through September 2011, Osanai was a program coordinator of 3331 Arts Chiyoda (Tokyo), planning and managing exhibitions and special events. While juggling various roles such as coordinator, art director, and designer, she established Whole Hole Hall in her home, opening the space for artists’ residencies, unconventional talks, and film screenings. Since April 2012, Osanai has been an MA student in the Department of Intermedia Art, Faculty of Fine Arts at Tokyo University of the Arts, researching the possibility of recording artistic expression and storytelling.


Sidd Perez

Sidd Perez is part of a two-person, Manila-based curatorial team, Planting Rice, with Lian Ladia (founded in 2011). Aside from curatorial projects featuring emerging artists and online and physical publications, Planting Rice aims to foster the rise of cross-pollination among artistic communities. Through their online platform, Plantingrice.com, the collaborative generates a resource of writings on current discussions and collaborations that are developing beyond available publications or mainstream spaces in the Philippines. Planting Rice’s previous exhibitions include: SPROUT, a project that investigated curatorial contributions in contested artistic communities; #studiovisit, which offered an intimate opportunity to engage with contemporary art practices within artists’ personal or self-regulated environments; and #offshoot, a program centered on guerrilla events and happenings, continuing Planting Rice’s interest in re-potentializing spaces and acknowledging that art production goes beyond the regular syntax of gallery programming.


Grace Samboh

Born in Jakarta, Indonesia, 1984, Grace Samboh lives in between Yogyakarta and Medan, Indonesia. Due to questioning (a little bit) too many things all at once, she does curatorial work as well as research. She truly believes that every person needs at least three copies of themselves. Some of her recent curatorial work are POLLINATION, with Bill Nguyen, at the Factory Contemporary Art Center, Ho Chi Minh City, Vietnam (2018); Moelyono: A retrospective, at the National Gallery of Indonesia (2018); SUNSHOWER – Contemporary art from Southeast Asia 1980s to now at the Mori Art Museum, and the National Art Center Tokyo, Japan (2017); Carte Blanche: Anxiety, at the Mizuma Gallery, Singapore (2017); Museum Tanpa Tanda Jasa (Unsung Museum) in ROH Projects, Jakarta, Kedai Kebun Forum, Yogyakarta, & Galeri Gerilya, Bandung, Indonesia (2016-…); #banyakbanyak (many-many) in different sites and galleries in Indonesia and Australia in collaboration with Kristi Monfries, Helen Hughes & Gertrude Contemporary, Melbourne (2015). With Hyphen, her partners in curiosity, she is unraveling datas, facts and stories about Gerakan Seni Rupa Baru Indonesia (1975-1989) into an upcoming publication. With Yogyakarta Biennale Foundation, she is taking care of the programing part of the Equator Symposium (2012-2022).


Isabella Tam

Isabella Tam joined M+ museum in Hong Kong in 2012. She is now the Associate Curator (Visual Art) and works closely with the Museum’s premium collection of M+ Sigg Collection of contemporary Chinese art as well as to strategise the museum’s strategy on photography. She co-curated M+ Sigg Collection - Four Decades of Chinese Contemporary Art in 2016, and Canton Express in 2017, Song Dong: 36 Calendars in 2013 and the outdoor art exhibition Mobile M+: Inflation! in 2013. Prior joining M+, Tam holds other positions at the Visual Arts Centre in Hong Kong and a curatorial fellow at the Whitechapel Gallery in London. Her upcoming projects includes an online exhibition of the museum’s collection.


Ryan Wong

Born and raised in Los Angeles, Ryan Lee Wong lives in Brooklyn, where he connects Asian American movement histories to the present.  Ryan organized the exhibitions Serve the People at Interference Archive and Roots at Chinese American Museum. He has presented talks at Brooklyn Museum, Boston Museum of Fine Arts, Asia Art Archive, Independent Curators International, and numerous universities. He has worked as and exhibitions administrator at the Metropolitan Museum, Assistant Curator at Museum of Chinese in America, and Managing Director for Kundiman. He currently serves on the Board of the Jerome Foundation. He regularly writes arts criticism and exhibition reviews for outlets such as Hyperallergic, T Magazine, and the Village Voice, and has contributed to catalogues or anthologies for the New Museum, Temporary Art Review, and Social Practice Queens.


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