Independent Curators International (ICI) Related Program
What Does It Mean to Be International? - Interrelations and Interconnectivity of Art, Culture, Nation, Locality, and Language
In a world where politics, economics, and contemporary art are globally connected, taking an "international" stance is inevitable. While terms like international, internationalization, and internationality remind us that nations collaborate with and influence one another, they also make us conscious of national presence. Internationalization frequently seems to have been used as a synonym for modernization and westernization, which leads to debate regarding common global platforms, or the discussion of the center and the peripheries. As the economic importance of the Asia-Pacific region continues to mount, there is also a need for mutual, cultural understanding as well as development of new relationships within the region, instead of individual nations simply concentrating on cultural internationalism relative to the conventional idea. Meanwhile, leading Western art museums are working on projects that aim to understand the global development of art history from a variety of perspectives, and one of the leading research topics is Asia.
This panel discussion "What Does It Mean To Be International?" will be held in conjunction with "Curatorial Intensive" in Tokyo, a training program for young curators organized by Independent Curators International (ICI) of New York and the Mori Art Museum. It is an opportunity to discuss the new meaning of international in the 21st century from the perspective of the interrelations and interconnectivity of art, culture, nation, locality, and language.
- Date & Time
- 17:20-19:30, November 2 [Sat], 2013 (Doors Open: 16:50)
- Speakers
- Hayashi Michio (Professor, Faculty of Liberal Arts, Sophia University)
Doryun Chong (Chief Curator, M+ Hong Kong)
Dr. Sook-Kyung Lee (Research Curator, Tate Research Centre: Asia-Pacific)
Kataoka Mami (Chief Curator, Mori Art Museum) - Timetable
- Part 1 Presentation * In English only
10:00-16:00
* Attendee who has made a booking for the 'Panel Discussion (Part 2 17:20-)' may join in 'Presentation (Part 1)' by ICI participating curators. - Break
16:00-17:20 - Part 2 Panel Discussion * Japanese-English simultaneous interpretation available
17:20-18:00 Keynote Lecture: Hayashi Michio
18:00-19:30 Panel Discussion - Organizers
- Mori Art Museum, ICI, Academyhills
- Hayashi Michio
- Professor, Faculty of Liberal Arts, Sophia University. Born in 1959 in Hakodate, currently lives in Tokyo. He earned his Ph.D. from Columbia University in 1999, and has been in the current position since 2003, specializing in art history and visual culture. Publications include Painting Dies Twice, or Never, vol.1-7 (Art Trace, Tokyo, 2003-2009), Tracing the Graphic in Postwar Japanese Art, "Tokyo 1955-1970: A New Avant-Garde" The Museum of Modern Art, New York (2012), Painting Degree Zero-RR's Whisper, "Robert Ryman" Kawamura Memorial Museum of Art (2004). Recently co-edited a volume of Japanese postwar art criticism, From Postwar to Postmodern: Art in Japan 1945-1989 (The Museum of Modern Art, New York, 2012). Co-curated the international exhibition, "Cubism in Asia" in 2005 (The National Museum of Modern Art, Tokyo; The National Museum of Contemporary Art, Korea [Deokusugung]; Singapore Art Museum).
- Doryun Chong
- Doryun Chong is Chief Curator at M+ Hong Kong. Previously Chong was Associate Curator of Painting and Sculpture at MoMA, where he organized contemporary exhibitions and acquired works for the museum's collection. At MoMA, he organized "Bruce Nauman: Days" (2010) and "Projects 94: Henrik Olesen" (2011), and "Tokyo 1955-1970: A New Avant-Garde" (2012), and co-edited From Postwar to Postmodern, Art in Japan, 1945-1989: Primary Documents. Prior to his appointment at MoMA in 2009, Chong held various positions a curator in the Visual Arts department at the Walker Art Center in Minneapolis from 2003 to 2009, and co-organized exhibitions including "Haegue Yang: Integrity of the Insider" (200910);"Tetsumi Kudo: Garden of Metamorphosis" (2008); "Brave New Worlds" (2007); and "House of Oracles: A Huang Yong Ping Retrospective" (2005). He has also curated or coordinated exhibitions at venues including REDCAT, Los Angeles, the 2006 Busan Biennale, and the Korean Pavilion at the 2001 Venice Biennale, and his writings have appeared in journals such as Artforum, Afterall, The Exhibitionist, and Parkett, and museum and biennale publications by the Auckland Triennial, the Gwangju Biennale, and Kunsthaus Bregenz. Chong is the recipient of the first ICI Gerrit Lansing Independent Vision Award in 2010.
- Sook-Kyung Lee
- Dr. Sook-Kyung Lee is curator, lecturer, and writer, and is currently Research Curator of Tate Research Centre: Asia-Pacific. Dr. Lee is also the Curator for Tate's Asia-Pacific Acquisitions Committee, an international art collection initiative that focuses on enhancing and expanding Tate Collection's cultural and geographical remit. She was previously Exhibitions & Displays Curator at Tate Liverpool, and curated a number of exhibitions including "Nam June Paik" (2010), "Doug Aitken: The Source and Thresholds" (as part of Liverpool Biennial 2012). She also worked on major collection displays at Tate Liverpool as a key member of its curatorial team. Before joining Tate Liverpool, she was Arts Council England's Curatorial Fellow in Cultural Diversity and curated a number of exhibitions including "Liu Jianhua: Regular/ Fragile" (Oxburgh Hall), "Kira Kim: A Palace of Mirages, Julian Opie in the 1990s," and "Modest Monuments: Contemporary Art from Korea" at the King's Lynn Arts Centre. Born in South Korea, Dr. Lee was a Curator at the National Museum of Contemporary Art, Korea, and organized several exhibitions such as "New Venture: Korean Young Artists," "Michelangelo Pistoletto," and "Distinctive Elements: Contemporary British Art." She was also a part-time Lecturer at Hong-ik University in Seoul and Guest Lecturer at the Sotheby's Institute of Art, London. She has written for several exhibition catalogues as well as for a variety of international art publications, and contributed an essay for "Power of Now: Korean Art" (2013).
