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          Victor Wang 王宗孚 is an independent curator and exhibition-maker based in London and Shanghai. He is editor of the recent publication ‘Performance Histories from East Asia 1960s–90s‘ (DRAF 2018), and founder of the  Institute of Asian Performance Art (IAPA).

Working collaboratively with institutions and galleries in Mainland China to deepen exchanges with artists internationally, Wang curated the first museum survey exhibition of pioneering artist Richard TuttleRichard Tuttle: Introduction to Practice” (forthcoming 2019), at MWOODS 木木美术馆 museum in Beijing. And  the first museum and gallery solo exhibitions in China of British artist Michael Dean, ‘Analogue LOL’ (2018) at ShanghART Gallery, Shanghai (Westbund); Estonian artist Katja Novitskova, ‘Katja Novitskova: 洛基的城堡’ (2017) at the Cc Foundation & Art Centre, Shanghai; Brazilian artist Jac Leirner , 'Jac Leirner: Borders Are Drawn By Hand' (2016), at the Museum of Contemporary Art, Pavilion, Shanghai, and French-Algerian artist Neïl Beloufa  'Neïl Beloufa: Soft(a)ware' (2016), at the chi K11 art museum, Shanghai.           In 2015, Wang was appointed by the K11 Art Foundation as a curator, with Jo-ey Tang, of the travelling exhibition 'Inside China - L’Intérieur du Géant' (Shanghai Station), the first collaborative exhibition between the Palais de Tokyo, Paris, and K11 Art Foundation.          
Wang was part of the curatorial team, with Daina Augaitis, Chief Curator, for the Vancouver Pavilion at the 9th Shanghai Biennale(2012), and has lectured on contemporary Chinese and East Asian art at universities such as Tokyo University of the Arts, Tokyo, The Courtauld Institute of Art, London, Central Saint Martins, London, Sotheby’s Institute of art, London, and was a Visiting Lecturer at the Royal College of Art, London. 

         Working internationally, Wang founded the Institute of Asian Performance Art (IAPA), in 2018, for the 11th edition of the David Roberts Art Foundation Curator’s Series, which saw the first performance by influential Korean artist Kim Ku Lim in the United Kingdom; Wang also curated the first presentation in the United Kingdom of Shanghai-based artist Xu Zhen’s ‘XUZHEN Supermarket’ (2007/2017) and the group exhibition ‘Zhongguo 2185 at Sadie Coles HQ, London; He collaborated with artist Oscar Murillo on his publication The Build-up of Content and Information’ (2018), published by David Zwirner Books, Hong Kong; and collaborated with artist Katja Novitskova on her first solo exhibition in the UK, ‘Invasion Curves’ (2018) at Whitechapel Gallery, London; he curated the first institutional solo exhibition in Europe by artist Lawrence Paul Yuxweluptun, who is of Hul’q’umi’num’ Coast Salish and Okanagan (Syilx) First Nations descent, at the Canadian High Commission’s gallery in London; he was co-curator of 'Rehearsals from the Korean Avant-Garde Performance Archive’ (2017) at the Korean Cultural Centre UK, which saw the first performance by influential Korean artist Lee Kun-Yong in the United Kingdom.

       In 2014 Wang began working with the curatorial team of the Twelfth Havana Biennial (2015), under Artistic Director and Curator Margarita González Lorente, and was co-curator of 'Ensemble sin órganos' (2016), with Cuban curator Blanca Victoria López, the first performance-based exhibition at the Centro de Arte Contemporáneo Wifredo Lam (Wifredo Lam Center of Contemporary Art ), Havana, presenting works by artists such as Yvonne Rainer and VALIE EXPORT in the museum exhibition.

In 2018 Wang will  curate the  exhibition The Same But Also Changed (物是人非 ) for the 2018 edition of PHOTOFAIRS | Shanghai.

       Wang has presented projects at the Institute of Contemporary Arts, London, such as ‘Restaging Exhibitions: Reconsidering Art History and Exhibition Making’ (2014); ‘A Return to Pre-Modernity’ (2014); Man, Machine and Images in Motion’ (2014); ‘Manga Made’ (2013); and ‘Emma Smith: Love Me, Love Me Not’ (2013); and has co-organised discursive events and projects such as ‘An Incomplete Guide: Artist-Run Spaces in Gwangju’ (2016), Gwangju Biennale Foundation (GBICC), Gwangju; ‘Why the Snowman is the Best Sculpture in the Public Realm’ Keynote with Kasper König (2015), Beaufort Triennial, Ostend; and ‘Fleur Melbourn: Thelma & Louise’ prologue (2015), for the Serpentine Gallery Park Nights, London.

         Wang has written for art periodicals such as Artforum International Magazine, Yishu: Journal of Contemporary Chinese Art, and has been a guest editor of LEAP 艺术界 magazine. In 2016 he was awarded the AICA Incentive Prize for Young Critics by the International Association of Art Critics (AICA) for his text “The Creation of Sanctioned Spaces and the Fall of the Cuban Wall: The 12th Bienal de La Habana”.

From 2014 to 2015 he was the Researcher in Residence at Contemporary Art Heritage Flanders (CAHF), a multi-institutional collaborative platform initiated by and built around the collections of the four contemporary art museums in Belgium: S.M.A.K. (Ghent), Mu.ZEE (Ostend), M HKA & Middelheimmuseum (Antwerp).

Wang holds an MA in Curating Contemporary Art from the Royal College of Art, London, and is a graduate from the 7th Gwangju Biennale International Curator Course, South Korea.


王宗孚介绍:王宗孚近期策展的展览包括上海艺术家徐震的英国首展《徐震超市》(2007/2017)、英国赛迪HQ画廊群展《中国2185》、在上海Cc基金会举办的爱沙尼亚艺术家卡特娅·诺维兹科娃的中国首次机构级别个展以及在上海chi K11美术馆举办的法籍阿尔及利亚艺术家尼尔•贝卢法的中国首次机构个展:《尼尔•贝卢法:软•见》。王宗孚曾为Artforum、Yishu等艺术期刊撰稿,也曾担任LEAP艺术界杂志的客座编辑。2018年,王宗孚将策展英国艺术家迈克尔·迪恩的首次中国个展,展览将于香格纳画廊举行,还受邀担任大卫·罗伯茨艺术基金会第十一届策展人系列的策展人。

与的展览包括韩国先锋表演档案馆(2017年)的《复述》,这是韩国著名艺术家李昆勇在英国的首次演出;Jac Leirner《Borders Are Drawn By Hand》(2016年);Neïl Beloufa《Soft(a)ware》(2016),这是在中国的法国阿尔及利亚艺术家Neïl Beloufa在上海的艺术博物馆举行的第一个机构个人展;《Ensemble sin órganos》(2016),这是第一个在哈瓦那当代艺术中心举办的以表演为基础的展;在中国国内他曾参与——《中国内部:巨人之内》2015;他还曾为第12届哈瓦那双年展(2015)和第9届上海双年展(2012)的温哥华馆工作过。


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