- 25 June 2021
- 12:00 – 3:15 pm
- This event is part of London, Asia, Art, Worlds, a multi-part programme of online events taking place in May and June 2021. It is envisioned as a murmuration, a series of interconnected papers, conversations, performances and interventions.
- Zoom Webinar
The Thinking from Asia panel rejects the epistemological bias of Asian studies, which thinks about Asia, to think from Asia, using conceptual frames and tools that emerge out of Asia, often in dialogue with regions beyond Asia.
Zoom webinar guidance
London, Asia, Art, Worlds is convened by:
Hammad Nasar, Senior Research Fellow, Paul Mellon Centre
Ming Tiampo, Professor, Art History, and Institute for Comparative Studies in Literature, Art and Culture, Carleton University, Ottawa, Canada
Sarah Victoria Turner, Deputy Director for Research, Paul Mellon Centre
Image caption: Himali Singh Soin, we are opposite like that, film still, 2019. Digital image courtesy of Himali Singh Soin
About the speakers
Yeewan Koon is associate professor and Chair of the Fine Arts Department at the University of Hong Kong. Her publications include Nara Yoshitomo (2020), A Chinese Canton? Painting the Local in Export Art (2018) and A Defiant Brush: Su Renshan and the Politics of Painting in 19th Century Guangdong (2014). She is the recipient of research awards including a Fulbright Senior Fellowship, American Council of Learned Scholars, and visiting scholarships at Cambridge University and Columbia University. Koon also works in the contemporary art field as independent curator. In 2014, she was guest curator of It Begins with Metamorphosis: Xu Bing at the Asia Society, Hong Kong Centre, and was one of the selected curators for the 12th Gwangju Biennale, 2018. She is currently working on an exhibition of Hong Kong art, So ong, thanks again for the fish, in Helsinki, June 2021.
Patrick Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference ‘Histories of Art History in Southeast Asia’ in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015. He was the Artistic Director of Singapore Biennale 2019 and is the Curator of the Taiwan Pavilion for Venice Biennale in 2022.
Amrita Dhallu is a curator and researcher based in London. She provides support structures for emerging British artists through commissioning, editorial projects, creating artistic networks and intergenerational learning spaces. Her current research examines care, healing and ethno-futurist discourse within arts education, exhibition-making and supporting artists in re-thinking ways of professional development. She is the lead artist of Camden Art Centre's 2018–19 PEER FORUM. She currently holds the post of Assistant Curator, International Art at Tate Modern, London and is an Associate Board Member for a-n.
Farida Batool is an independent artist, researcher and educationist. She received her Bachelors in Fine Arts from the National College of Arts, Masters by Research in Art History and Theory from the College of Fine Arts at the University of New South Wales, and PhD from the Centre for Media Studies at the School of Oriental and African Studies, London. She has been teaching since 1997 and currently heads the Department of Cultural Studies at National College of Arts, Lahore, and has authored a book, Figure: The Popular and the Political in Pakistan. She was involved in many art projects and community workshops for awareness raising among women communities in several urban and rural areas of Pakistan and also conducted cultural and political dialogue among different communities. She presented papers and presentations at international conferences and workshops. She has exhibited extensively in many international and local solo and prestigious group shows. She is an active member of Awami Art Collective which aims to use art in public spaces to generate a discourse of peaceful co-existence.
Sehr Jalil is a visual artist, researcher, writer and a PhD candidate. She obtained her BFA (2006) and MA (Hons) Visual Arts, from the National College of Arts, Lahore. An urge to find mid points between material and surreal, practical and theoretical connects her with diverse media and archive. Doing public art in Lahore as a member of the Awami Art Collective since 2015 further supported this subversion. Most recent curiosities are Indian soldiers in World War II through personal archive, entertainment in times of restraint, memory/archive - and probing stardust scientifically to discover cosmic unity. She is a Lecturer in the department of Cultural Studies at the National College of Arts, Lahore. Jalil has participated in various group shows, art‐research projects and contributed to publications national/international. Her solo show Stray Reflections (2018/19) was curated at the Javed Manzil, house museum of the National poet Allama Iqbal. She presented her co-authored paper 'the sky drew some new lines' on the case studies of Awami Art Collective projects at the URBAN HERITAGE CONFERENCE Simulizi Mijini / Urban Narratives, TU Berlin, March 2017.
Stephanie Bailey is editor-in-chief of Ocula Magazine, ART PAPERS contributing editor, managing editor of Podium, the online journal for M+ in Hong Kong, an advisory board member of D’ivan, A Journal of Accounts, and part of the Naked Punch editorial collective. She also writes for Artforum, ArtMonthly, Canvas, and Yishu Journal of Contemporary Chinese Art, and has curated the Art Basel Hong Kong Conversations programme since 2015. Between 2012 and 2017, she was managing and senior editor of Ibraaz.
Bailey’s research centres on power relations coded into the production and exchange of culture. Essays have appeared in Navigating the Planetary (eds. Hildegund Amanshauser and Kimberly Bradley, VfmK, 2020); Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East (ed. Anthony Downey, Sternberg Press, 2016); The Future is Already Here – Tt’s Just Not Evenly Distributed, 20th Biennale of Sydney catalogue (ed. Stephanie Rosenthal, 2016); Armenity, the catalogue for the Armenian Pavilion at the 56th Venice Biennale (ed. Adelina von Furstenburg, Skira, 2015); Happy Hypocrite #8: FRESH HELL (ed. Sophia Al-Maria, Book Works, 2015); Hybridize or Disappear (ed. Joao Laia, Mousse Publishing, 2015); and You Are Here: Art After the Internet (ed. Omar Kholeif, Space/Cornerhouse, 2014).
Editorial projects include: ‘Children of Empire’, LEAP 37 (February 2016), with contributions from, among others, Walter D. Mignolo and Uzma Rizvi; ‘Geopolitics on the Edge’, a dossier for Art Papers 40:06 (November/December 2016); ‘Non-Aligned Movements’, LEAP 45 (June 2017), with contributions from, among others, Mi You and Vijay Prashad.
John Tain is Head of Research at Asia Art Archive, where he oversees a team based in Hong Kong, New Delhi, and Shanghai. Recent projects include the exhibition Crafting Communities (2020), which looks at the confluence of feminism, crafts, and social practice in the biennial series of Womanifesto events organized in Thailand from 1997 to 2008, and MAHASSA (Modern Art Histories in and across Africa, and South and Southeast Asia, 2019-2020), a collaboration with the Dhaka Art Summit and the Institute for Comparative Modernities at Cornell University. He is an editor for the Exhibition Histories series with Afterall and CCS Bard, the latest volume of which is Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, and also an advisor for the upcoming Asia Forum. He was previously a curator for modern and contemporary collections at the Getty Research Institute in Los Angeles.
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