2018 Curatorial Intensive in Bangkok: Public Symposium

2018 Curatorial Intensive in Bangkok: Public Symposium
Sunday, October 28, 2018

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
Amanda Parmer, Director of Programs, ICI
1:30pm-3:00pm Sessions 1 & 2
3:00pm-3:30pm Refreshments
3:30pm-5:00pm 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-Zhen Tsai (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)

For more information, please contact .(JavaScript must be enabled to view this email address)
Tel: 02 612 6741
Venue: Ayara Hall, 2nd Fl, Jim Thompson House Museum
Access : Kasemsan Soi 2 (BTS. National Stadium)
This event is free and open to the public.
The public symposium is partially supported by JHW Thompson Foundation and DC Collection.


October 28, 2018

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


Ellie Buttrose

Ellie Buttrose is Associate Curator of Contemporary International Art at the Queensland Art Gallery | Gallery of Modern Art, Brisbane-Meanjin, Australia, serving on the curatorial team for ‘The 9th Asia Pacific Triennial of Contemporary Art’ (2018). At QAGOMA, Ellie has curated ‘Limitless Horizon: Vertical Perspective’ (2017), ‘Cindy Sherman’ with Dr Miranda Wallace that toured to City Gallery Wellington, New Zealand (2016), ‘Harvest’ (2014), ‘Sculpture is Everything’ with Kathryn Weir (2012), ‘Pacific Jewellery’ with Zoë De Luca (2010), and contributed to the 6th, 7th, and 8th Asia Pacific Triennials (2009, 2012, and 2015). Ellie is a guest programmer for ‘Brisbane International Film Festival’ (2018) and for the Australian Cinémathèque has curated the thematic film and video programs ‘Limitless Horizon’ with Robert Hughes (2018) and ‘Divided Selves’ (2014), as well as a survey of The Otolith Group (2013). Ellie is curating a forthcoming exhibition at University of New South Wales Galleries (2019); and was on the curatorial team for ‘Cosmopolis: Collective Intelligence’ (2017) at Centre Pompidou, Paris.

Gridthiya Gaweewong

Gridthiya Gaweewong founded arts organization Project 304 in 1996, and is currently Artistic Director of the Jim Thompson Art Center, Bangkok. Her curatorial projects have addressed issues of social transformation confronting artists from Thailand and beyond since the Cold War. Gaweewong has organized exhibitions and events including Underconstruction, Tokyo (2000 - 2002), Politics of Fun at the Haus der Kulturen der Welt, Berlin (2005), the Bangkok Experimental Film Festival (1997–2007) (co-founded with Apichatpong Weerasethakul)}, Saigon Open City in Saigon, Vietnam (2006-07) (with Rirkrit Tiravanija) and Unreal Asia, Oberhausen International Short Film Festival (2010). Gaweewong is on the curatorial team for the 2018, 12th Gwangju Biennale, Imagined Borders. She is also the head curator of ICI’s traveling exhibition Apichatpong Weerasethakul: The Serenity in Madness.

Amanda Parmer

Amanda Parmer is the Director of Programs at Independent Curators International. She previously worked as the Curator of the Vera List Center for Art and Politics and is a 2009-10 Whitney Independent Study Program Helena Rubenstein Curatorial Fellow. She has organized diverse exhibitions, programs and events with artists, collectives, curators and thinkers at Abrons Art Center, Brooklyn Academy of Music‬, Cleopatra’s Brooklyn and Berlin, The Cooper Union, e-flux, High Line‬, The Kitchen, New Museum, The New School, The New York Armory and Volta Shows and Sunview Luncheonette. She was a co-organizer of the LEGACY and PERSONA New Museum Seminars: (Temporary) Collection of Ideas and has taught at Eugene Lang College of Liberal Arts at The New School and Rhode Island School of Design. In 2014 she initiated Parmer, a curatorial platform for exhibiting, programming and writing based in New York that focuses on queer and feminist strategies and post-colonial analysis.

Mari Spirito

Mari Spirito is Executive Director and Curator of Protocinema, a cross-cultural, site-aware art organization commissioning and presenting exhibitions and public programs in Istanbul and New York, since 2011. She launched Protocinema’s Emerging Curator Series mentorship program in 2015. In 2020 Spirito was commissioning curator of Ahmet Öğüt: “No poem loves its poet’, Yarat Contemporary Art Center, Baku, and Theo Triantafyllidis’ “Anti-Gone” which premiered at Sundance Film Festival, New Frontier; she curated public talks for Beijing Art Summit, 2019; was faculty for Independent Curators International (ICI) Curatorial Intensive, Bangkok, and guest curator, Alserkal Arts Foundation Public Commission, Dubai, with Hale Tenger, in 2018. From 2013 - 2018 Spirito programed Conversations for both Art Basel and Art Basel Miami Beach; served as International Advisory Committee Member for the Inaugural High Line Plinth Commissions, New York, 2017; was Curator and Director of Alt Art Space, Bomonti, Istanbul from 2015 to 2017; curated “On the Nature of Justice” exhibition and talk for Onassis Cultural Center, 2017, Advisor to the 2nd Mardin Biennial, Turkey, 2012; and Director of 303 Gallery New York, 2000 - 2012. She is on the Board of Participant, Inc, New York, and holds a BFA from Massachusetts College of Art, Boston.

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).

Abhijan Toto

Abhijan Toto is a curator and writer, interested in ecosophy, indisciplinary research, labour and finance, based in Bangkok and Seoul. In 2018, he co-founded the Forest Curriculum with Pujita Guha, a multi-platform project for research and mutual co-learning around the naturecultures of the forested belts of South and Southeast Asia. He is the Artistic Director of A House In Many Parts, a multi-disciplinary festival in Bangkok, supported by the Goethe-Institut and French Embassy, which he founded in 2020. He is also curator, with Mari Spirito of A Few In Many Places (2021), Seoul, Bangkok, Istanbul, New York, San Juan, Guatemala City, a platform for international collaboration and collective practice, conceived by Protocinema.  He has previously worked with the Dhaka Art Summit, Bangladesh; Bellas Artes Projects, Manila and Bataan, the Philippines; Council, Paris; and Asia Art Archive. Selected recent exhibitions include In The Forest, Even The Air Breathes, GAMeC, Bergamo, Italy (2020); Minor Infelicities, Ujeongkuk, Seoul, South Korea (2020); Southern Constellations, Museum of Modern Art, Ljubljana (2019); The Exhaustion Project: There Is Still Work To Be Done, Haus der Kulturen der Welt, Berlin (2018). He has participated in residencies at Museum of Modern and Contemporary Art, Seoul; HSLU-University of Applied Arts and Sciences, Luzern, Switzerland and guest lectured at the Royal Danish Academy of Fine Arts, Copenhagen; the Sanderg Instituut, Amsterdam, Chulalongkorn University, Bangkok; Monash University, Melbourne among others and is part of the steering committee of the Artist-for-Artist Program. He is a contributor to collective research initiatives such as ‘A Glossary of Common Knowledge’, MG+MSUM (2021) and ‘Under the Mango Tree’, the slow institute (2020). He was awarded the 2019 Premio Lorenzo Bonaldi X, at the GAMeC, Bergamo.

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,, 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 studied Statistics and Curatorial Theory, and has been worked at Seoul Museum of Art as a curator based in Seoul, South Korea. She participated Curatorial Studies Venice(2017), one of intensive course focusing on contemporary curatorial practices and contemporary museology, all of process went off during the season of 2017 Venice Biennale. From 2015 to 2017, she worked Asia Culture Center as a researcher and curator for a permanent public art project, it was her crucial experience to deal with space and art simultaneously as bringing the work with Ugo Rondinone, CHOIJEONGHWA, Leebul, Seungwoo Back and Wang Du. Prior that Jimin started to work as an exhibition coordinator at Busan Biennale Committee(2012) directed by Roger M.Buergel and also she was the curator of KT&G Sangsangmadang(2014) and Artsonje Center(2013). As an independent curator, she was selected by exhibition supporting program of Seoul Foundation for Arts and Culture(2015) and Sempio Cultural Foundation(2015). As an critic, she distributed Review for 13th Istanbul Biennale(2013), Essay about Practice of Jessica Morgan(2013), Translation for Essay of Massimiliano Gioni on EXHIBITIONIST(2014) and Review for Mapping Asia held at Asia Art Archive(2015).

Melissa Karmen Lee

Melissa Karmen Lee is the Director of Education and Public Programs at Vancouver Art Gallery. Prior to this, Lee was the 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. Recent and forthcoming curatorial projects include: “Now that We Have Established a Common Ground” opening in June 2020 at Assembly Room, New York; “I open my eyes and see myself under a tree laden with fruit that I cannot name” opened in January 2020 at The Center for Book Arts in New York; the “On Echoes of Invisible Hearts” series of location-specific exhibitions featuring contemporary artists from Yemen, the first took place in 2018 at Berlin’s Poetry Project and the second opened at Station Beirut in April 2019, the third edition will open in April 2020 at the Middle East Institute in Washington, D.C.; “Spheres of Influence,” at Tehran’s Mohsen Gallery in 2016. In 2017, she was the U.S. Projects Director at CULTURUNNERS, where, on behalf of the King Abdulaziz Center for World Culture (Ithra), she managed a Saudi artist residency in New York and supported various American Museums to produce their exhibitions of Saudi art. Prior to this, she was the Curatorial Associate at Leila Heller Gallery, New York for over four years where she helped organize more than 15 exhibitions. She received a B.A. in History from Scripps College, and an M.A. in Near Eastern Studies from N.Y.U. She is a QAYYEM 2019 Curatorial Fellow, was among the inaugural participants of the 2018-2019 Interdisciplinary Art and Theory Program in New York and participated in ICI’s 2018 Curatorial Intensive in Bangkok.

Emilia Quiñones-Otal

Emilia Quiñones-Otal was born in 1986 in Mayagüez Puerto Rico and lives and works between Mayagüez and San Juan Puerto Rico. She has 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), Más allá de la capucha (San Juan, Puerto Rico, 2017), and other exhibitions and curatorial projects. She is also a founding member of the first curatorial collective in Puerto Rico: Trans Forma, a women only curatorial group. The collective has 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 research and creation 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”.

Cheng Jia Yun

Cheng Jia Yun 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, she has 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). She has 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. Cheng Jia Yun 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 they organized four artist talks and launched a publication. Past curatorial programmes she has 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).

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.

event updates

NEW YORK, NY 10013
T: +1 212 254 8200 F: +1 212 477 4781
E: .(JavaScript must be enabled to view this email address)