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Jul 15, 2024 | 
artomity.art | Caroline Ha Thuc
Kurt Chan received formal training in traditional Chinese art in the late 1970s and later studied contemporary art in the US in the mid-80s. For almost 25 years, he focused on mixed media sculpture, aiming to bridge the influences of both traditions. Recently, though, he decided to go back to ink painting and calligraphy, questioning the very essence of painting and landscapes as representations of reality and nature.
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Jan 15, 2024 | 
artomity.art | Caroline Ha Thuc
Tiger in Mountains, Deer at Ocean / Blindspot Gallery / Hong Kong / Nov 28, 2023 – Jan 13, 2024 / Tiger in Mountains, Deer at Ocean, curated by Leo Li Chen at Blindspot Gallery, focuses on Zhang Wenzhi’s latest series of works, primarily consisting of large-format ink-on-paper pieces, accompanied by a video. Zhang’s artistic practice is deeply rooted in the historical context of Dalian, his hometown in northeastern China, now a modern port city.
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Jan 12, 2024 | 
artasiapacific.com | Caroline Ha Thuc
People This conversation is part of a series between Caroline Ha Thuc and curators across Asia Pacific. Nobuo Takamori is an independent curator and the director of “Outsiders Factory,” a curatorial collective that emerged in 2012.
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Jan 3, 2024 | 
artasiapacific.com | Caroline Ha Thuc
People This conversation is part of a series between Caroline Ha Thuc and curators across Asia Pacific. Gridthiya Gaweewong is a curator and artistic director at the Jim Thompson Art Centre in Bangkok since 2007.
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Dec 5, 2023 | 
artasiapacific.com | Caroline Ha Thuc |David Frazier |Emily Chun
People This conversation is part of a series between Caroline Ha Thuc and curators across Asia Pacific. Carol Yinghua Lu is a curator, art critic, and director of the Beijing Inside-Out Art Museum, where she recently curated the first major survey of Wang Youshen, “Codes of Culture” (2022), and the Yokohama Triennale (2023) with co-curator Liu Ding. She was a contributing editor at Frieze magazine (2008–2018) and a visiting fellow at Tate Research Centre (2013).
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Dec 1, 2023 | 
artomity.art | Caroline Ha Thuc
Offerings for Escalante / Para Site / Hong Kong / Oct 21, 2023 – Feb 28, 2024 /Negros is a large island located in the Visayas, in the central part of the Philippines, with a population of about 4.7 million. Since the mid 19th century, it has relied on the production of sugarcane, a crop that quickly became one of the Philippines’ most important export goods.
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Nov 1, 2023 | 
artasiapacific.com | Caroline Ha Thuc |David Frazier |Emily Chun
People This conversation is part of a series between Caroline Ha and curators across Asia Pacific. Bill Nguyen is an artist, educator, and curator based in Vietnam. Nguyen co-led education programs at Hanoi Documentary Lab (DOCLAB) until 2013 and co-founded Manzi, a non-profit gallery and café. He has been an assistant curator for The Factory of Contemporary Arts Centre in Ho Chi Minh City since 2017. In 2022, Nguyen was appointed as the director of The Nguyen Art Foundation.
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Sep 26, 2023 | 
artasiapacific.com | Caroline Ha Thuc |David Frazier |Emily Chun
People Curators Conversations is a series of dialogues between Hong Kong-based writer, researcher, and curator Caroline Ha Thuc and curators across the Asia-Pacific region. The first in the series is Indonesian-born Alia Swastika, a curator and writer who has been working as director of the Biennale Jogja Foundation since 2015.
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Jul 19, 2023 | 
artomity.art | Caroline Ha Thuc
Swiss urban designer Daphné Mandel used to work in public spaces before moving to Hong Kong, where she decided to reinvent herself as an artist. Since then, she has been observing, depicting and reimagining the landscape of the territory, questioning its identity and specificities. Increasingly, she has engaged deeper in fieldwork, exploring abandoned villages in the New Territories and collecting stories from local villagers whose lifestyle is on the brink of disappearing.
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May 28, 2023 | 
artomity.art | Caroline Ha Thuc
For decades, Leung Chi Wo has been exploring the history and historical sites of Hong Kong, mixing archival material with photographs, videos, texts and multimedia installations. While his research-based practice brings forth the contradictions and complexities of historiography, it also injects fantasies, intimacy and emotion into collective narratives.
