VICTOR WANG 王宗孚

Victor Wang 王宗孚 is the Executive Director of Artspace on Gadigal Country/Sydney and an Adjunct Curator at the Mori Art Museum, Tokyo. Previously, he served as the Executive and Artistic Director of M WOODS Museum (2019–2025), overseeing its Beijing and Chengdu locations.

Wang is a member of the Director’s Circle at Bangkok Kunsthalle, serves on the Curatorial Advisory Group at the Pitt Rivers Museum, University of Oxford—contributing to the Changing Curatorial Legacies project to rethink the museum’s permanent galleries and advance decolonising curatorial practices—and is also a member of the Selection Committee for Sydney Contemporary.

Across his career, Wang has curated major collaborative exhibitions with leading institutions including the Palais de Tokyo, Paris; Tate Modern, London; Nationalgalerie, Staatliche Museen zu Berlin, Berlin; and the first collaborative exhibition between the British Museum (U.K.) and a non-state-run art museum in China. In 2025, Wang curated the first solo exhibition in Japan of British artist Sonia Boyce DBE RA at the Mori Art Museum, Tokyo.

His recent curatorial projects have included first museum surveys in China, and in several cases across the region, of influential artists such as Ryuichi Sakamoto (co-curated with Sachiko Namba, 2023), Ann Veronica Janssens (2023), Huang Rui 黄锐 (at the Long Museum, Shanghai, 2023), Salman Toor (2023), Martin Margiela (co-curated with Rebecca Lamarche-Vadel, 2022), Bruce Nauman (2022), Man Ray (co-curated with Marion Meyer, 2021), Ryuichi Sakamoto (co-curated with Sachiko Namba, Zhang Youdai, 2021), Giorgio Morandi (2020), Haroon Mirza (at the Sifang Art Museum, Nanjing, 2019), Richard Tuttle (2019), Katja Novitskova (at Cc Foundation in Shanghai, 2017), Jac Leirner (at the Museum of Contemporary Art, Shanghai, 2016), Neïl Beloufa (at the chi K11 art museum, Shanghai, 2016), among others.

Performance and time-based practices form a central strand of Wang’s curatorial methodology. In 2020, he served as curator of Frieze LIVE at the Frieze Art Fair in London, where he developed the Institute of Melodic Healing with participating artists and collaborators such as Alvaro Barrington, Mandy El-Sayegh, Anthea Hamilton, and Zadie Xa & Benito Mayor Vallejo. He is the founder of the Institute of Asian Performance Art (IAPA), an ongoing research initiative developed with artists, historians, and scholars such as Reiko Tomii, Kim Ku Lim (김구림), and Tehching Hsieh (謝德慶). Wang is also the editor of "Performance Histories from East Asia 1960s–90s," published by DRAF in 2018, a publication that has become a key reference for performance histories in the region.

His curatorial work has examined and reconfigured relationships between global Asia(s) and the West, including exhibitions such as "Afterimage: Dangdai Yishu" at Lisson Gallery in London in 2019, which marked the first presentation in London of works by Chinese female artists such as Yu Hong, Lin Tianmao, and Xiang Jing.

He also co-curated, alongside Anna-Catharina Gebbers, Yang Beichen, and curatorial advisor Pi Li, the exhibition "Micro Era. Time-based Media-Art from China" (2019). This special exhibition, held at the Nationalgalerie Berlin – Staatliche Museen zu Berlin, featured works by artists such as Cao Fei and Zhang Peili.

Earlier in his career, Wang developed a series of exhibitions and performances in the United Kingdom and Europe that established his long-term engagement with Asia(s), performance, and institutional translation. In London, he curated the first UK presentation of Xu Zhen’s XUZHEN Supermarket and the group exhibition Zhongguo 2185 (2017) at Sadie Coles HQ, introducing the work of artists including Lu Yang, Yu Ji, and Nabuqi to UK audiences. He also curated landmark UK performances by influential Korean artists Kim Ku Lim and Lee Kun-Yong, contributing to the introduction of experimental performance practices from East Asia into European institutional contexts.

Wang’s commitment to reframing global art histories has also extended to Indigenous and decolonial contexts. In 2017, he curated the first institutional solo exhibition in Europe by Lawrence Paul Yuxweluptun (Hul’q’umi’num’ Coast Salish and Okanagan (Syilx) First Nations descent) at the Canadian High Commission in London. Earlier, he worked with the Twelfth Havana Biennial and co-curated Ensemble sin órganos (co-curated with Blanca Victoria López, 2016) at the Centro de Arte Contemporáneo Wifredo Lam in Havana, the institution’s first performance-based exhibition and the first presentation in Cuba of works by artists including Trisha Brown, VALIE EXPORT, and Yvonne Rainer.

Alongside these projects, Wang also developed early institutional collaborations in China. In 2015, he was appointed by the K11 Art Foundation, alongside Jo-ey Tang of the Palais de Tokyo, as a curator for Inside China – L’Intérieur du Géant (Shanghai Station), the first collaboration between the Palais de Tokyo and the K11 Art Foundation. In 2018, he curated The Same But Also Changed (物是人非) for PHOTOFAIRS Shanghai.

Wang has collaborated on numerous publications with artists, including The Build-up of Content and Information with Oscar Murillo, published by David Zwirner Books (2018), and worked with Katja Novitskova on her first solo exhibition in the United Kingdom at the Whitechapel Gallery (2018). He is a regular contributor to international art periodicals including Artforum International, Art Review, and Yishu: Journal of Contemporary Chinese Art, and has served as guest editor of LEAP 艺术界 magazine (Art Basel Hong Kong Special Issue, 2017). He is co-editor of the first Chinese monograph on Bruce Nauman, co-published by Tate Publishing and M WOODS (2024), and has contributed as a writer and advisor to Phaidon publications including Prime: Art's Next Generation (2022) and Vitamin Txt: Words in Contemporary Art (2024).

In recognition of his curatorial work, Wang was awarded “Curator of the Year” in China by Robb Report in 2023. He was named one of Apollo International Art Magazine's “40 Under 40: Europe Thinkers” in 2018, and received the AICA Incentive Prize for Young Critics from the International Association of Art Critics in 2016.

Wang has given lectures on contemporary art and curating at institutions including the Royal Academy Schools, The Courtauld Institute of Art, Goldsmiths, the Royal College of Art, the Architectural Association in London, the Central Academy of Fine Art in Beijing, and Tokyo University of the Arts. He has served as a guest curator for the Royal College of Art Graduate Show (2020).

He has undertaken research and curatorial residencies at Tokyo Arts and Space (TOKAS) in Japan in 2017, and Contemporary Art Heritage Flanders (CAHF) in Belgium from 2014 to 2015. He attended the 7th Gwangju Biennale International Curator Course in South Korea in 2016, was part of the ICA Student Forum at the Institute of Contemporary Arts London from 2013 to 2014 and participated in the ICI Curatorial Intensive Program in New York in 2011. He holds an MA in Curating Contemporary Art from the Royal College of Art in London.

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王宗孚VICTOR WANG 个人介绍

王宗孚(Victor Wang) ，现任悉尼Artspace美术馆馆长、现任东京森美术馆客座策展人，曾任木木美术馆常务副馆长兼艺术总监。以文化交流为基础，他与巴黎东京宫、伦敦泰特现代美术馆、柏林国家博物馆等机构共同策划展览，并促成大英博物馆与中国非国营美术馆的首次展览合作。

王宗孚近期策划了多位艺术家在国内的首次大型研究型展览，其中包括在木木美术馆呈现的：娜布其（2024年）、安·维罗妮卡·詹森斯（2023年）、萨尔曼·图尔（2023年）、马丁·马吉拉（2022年）、布鲁斯·瑙曼（2022年）、曼·雷（2021年）、坂本龙一（2021年）、乔治·莫兰迪（2020年）和理查德·塔特尔（2019年），以及在南京四方当代美术馆策划的哈龙·米尔扎（2019年）、在上海CC Foundation策划的卡嘉·诺维茨科娃（2017年）、在上海chi K11美术馆策划的尼尔·贝鲁法（2016年）。

此前，王宗孚曾担任伦敦弗里兹艺术博览会（2020年）的弗里兹LIVE策展人，及上海影像艺术博览会（2018年）的策展人。他还为商业画廊策划了重要展览，如伦敦里森画廊、伦敦萨迪科尔斯HQ和上海香格纳画廊。

出于对写作的热情，王宗孚近期担任编辑的出版物和书籍包括DRAF于2018年出版的《1960至1990东亚行为艺术史》（DRAF, 2018年）、大卫卓纳图书出版的《奥斯卡·穆里略：聚合内容与信息》、由木木美术馆和泰特出版社联合出版的布鲁斯·瑙曼的专著《OK OK OK》，并作为撰稿人和顾问参与了2024年菲登出版社出版的《Vitamin Txt: Words in Contemporary Art》和2022年出版的《Prime: Art's Next Generation》。

王宗孚在多所大学就策展为中心进行讲座，包括伦敦考陶尔德艺术学院和伦敦大学金史密斯学院，并且是伦敦皇家艺术学院的常客导师。此外，他还是亚洲表演艺术研究所（IAPA）的创始人。