The Third Edition of the International Awards for Art Criticism (IAAC 3)
The Organizing Committee of the International Art Critics Award
China Minsheng Bank, Anxin trust co., ltd., Shanghai Minsheng Art Foundation
Ute Meta Bauer
Professor Ute Meta Bauer is the Founding Director of NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Professor at Nanyang Technological University (NTU), School of Art, Design and Media. She was educated at the Hochschule für Bildende Künste Hamburg. She was formerly Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge, where she also served as Founding Director of the MIT Program in Art, Culture, and Technology (2005-2012). From 2012–2013, she was the Dean of Fine Art at the Royal College of Art, London, UK.
Bauer was Co-Curator for Documenta11 (2001/2002) and Artistic Director for the 3rd Berlin Biennale for Contemporary Art (2004). As Founding Director of the Office for Contemporary Art Norway (2002-05), she was also Commissioner for the Nordic Pavilion at the 50th Venice Biennale (2003) and the Norwegian contribution for the 26th São Paulo Biennale (2004). Most recently, in 2015, she co-curated with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th Venice Biennale, presenting the eminent artist, Joan Jonas. The exhibition was honoured with a special mention. For NTU CCA Singapore, she curated Paradise Lost (with Anca Rujoiu) featuring Zarina Bhimji, Trinh T. Minh-ha and Fiona Tan; Theatrical Fields – Critical Strategies in Performance, Film and Video (with Anca Rujoiu, commissioned by Bildmuseet Umeå, Sweden), Yang Fudong: Incidental Scripts (with Khim Ong), Simryn Gill: Hugging the Shore (with Anca Rujoiu), Allan Sekula: Fish Story, to be continued (with Anca Rujoiu), Tomas Saraceno: Arachnid Orchestra.Jam Sessions (with Anca Rujoiu) and Joan Jonas: They Come to Us without a Word. Bauer has edited numerous publications in the field of contemporary art, most recently Intellectual Birdhouse, Artistic Practice as Research (co-edited with Florian Dombois, Michael Schwab and Claudia Mareis, 2012), World Biennale Forum No 1 – Shifting Gravity (co-edited with Hou Hanru) and AR – Artistic Research (co-edited with Thomas D. Trummer), both 2013.
Bauer also serves on various boards including Iniva London, nbk Berlin, Rockbund Art Museum, Istanbul Biennial and the Bergen Assembly.
Dr. Brian Dillon is part-time Reader in Critical Writing in Art and Design at the Royal College of Art, where he teaches on the two-year MA in Critical Writing, in addition to supervising a number of PhD candidates and MA dissertations. From 2008 to 2011, he was a Research Fellow in the Creative and Performing Arts at the School of English at the University of Kent, working on a project entitled ‘Ruins of the Twentieth Century’, involving a literary response to sites, landscapes and ideas of modern ruin. This led to a number of publications, including a novella, Sanctuary (Sternberg Press, 2011); an anthology of artists’ writings and theory, Ruins (MIT Press/Whitechapel, 2011); and The Great Explosion (Penguin, 2015), which was a substantial work of creative non-fiction on a specific site. The project also produced essays on the broad subject of culture and ruins for publications such as Cabinet, Artforum, frieze, The Guardian, the Dublin Review and the London Review of Books.
Since 2001, he has worked as a freelance writer and critic. His first book, Room (Penguin), published in 2005, mixes autobiography with philosophical and cultural reflection on mourning and memory. His second book, Tormented Hope: Nine Hypochondriac Lives (Penguin) – a volume of biographical essays on illness and creativity – was published in 2009. Its subjects include James Boswell, Charlotte Brontë, Marcel Proust, Glenn Gould and Andy Warhol.
Brian Dillon is UK Editor of Cabinet magazine (a cultural quarterly based in New York), a Contributing Editor and columnist at Art Review magazine and a member of the editorial board of Tate etc. magazine. He has also contributed to a wide range of publications, including the Irish Times, the Dublin Review, the London Review of Books, the Times Literary Supplement, The Guardian, Artforum, Aperture and frieze, as well as several other national newspapers and arts and culture magazines. He has written catalogue essays for institutions such as Tate, the Barbican, the Guggenheim and the Hayward Gallery. His forthcoming publications include Essayism (London: Fitzcarraldo Editions, 2016), on the history and present relevance of the essay as form in literature, art and film; and A Canterbury Tale (London, British Film Institute, 2018), on Powell and Pressburger’s film of the same title.
Cao yiqiang, doctor of Philosophy at Oxford University, now is the director and doctoral supervisor of School of Arts and Humanities in China Academy of Art. He also takes the 6th chairman of Art Review Group of the State Council, Fine Art Team leader of Master of Arts Steering Committee for Ministry of Education, member of Art Theory Commission of Chinese Artists Association, distinguished professor and doctoral supervisor at Nanjing Normal University and Shanghai University. He is the editorial board member of World Art and the chief editor of New Art. He was the former international consultant of British Art History, researcher of Oxford University Museum, senior researcher of American National Gallery, academician of Clark Art Institute, and visiting professor at University of Michigan and University of Pennsylvania. He focuses on construction of Chinese Art History, and works on studying the relationship between art and ideology, image and history, art and international exchanges.
David Elliott is a British curator, writer and professor of modern and contemporary art who has directed museums in Oxford, Stockholm, Tokyo, and Istanbul. He is currently Chairman of the Board of Triangle Art Network/Gasworks in London, Chairman of the Advisory Board of MOMENTUM in Berlin and a Visiting Professor in Curatorship at the Chinese University in Hong Kong.
A specialist in Soviet and Russian avantOgarde, as well as in modern and contemporary Asian
art, he has published widely in these fields as well as on many other aspects of contemporary art. In 2008-10 he was Artistic Director of the 17th Biennale of Sydney and in 2011-12 directed the inaugural International Biennale of Contemporary Art in Kyiv. From 2012 to 2014 he was Artistic Director of A Time for Dreams, the IV International Moscow Biennale of Young Art, co-curator of PANDAMONIUM: New Media Art from Shanghai and curator of Fragments of Empire (both for MOMENTUM, Berlin) and curator of Art From Elsewhere. Art from British Regional Galleries, a Hayward Gallery Exhibition that is touring the UK.
During 2015 his exhibitions included Scheisse: a solo show by Zhou Xiaohu and BALAGAN Contemporary Art from the Former Soviet Union and Other Mythical Places and Shen Shaomin THERE IS NO PROBLEM opened in Guangzhou, China.
During 2016 his exhibition Social Fabric: new work by Kwan Sheung Chi and Marianna Hahn was at Mill6 Foundation in Hong Kong in March-April and in during September-October in Belgrade he is curating The Pleasures of Love, the 56rd International October Salon. Elliott’s new book Art and Trousers: Tradition and Modernity in Contemporary Asian Art will also be published by AAP.
Philip Tinari assumed the directorship of UCCA in 2011. In this role, he organizes an exhibition program devoted to established figures and rising talents both Chinese and international, as well as a wide range of public and educational programs and development activities, aimed at UCCA’s annual public of nearly a million visitors. In the past four years, he has curated exhibitions at UCCA of artists including William Kentridge, Liu Wei, Sterling Ruby, Matthew Monahan, Kaari Upson, Alex Israel, Pawel Althamer, Xu Zhen/MadeIn Company, Ji Dachun, Tino Sehgal, Taryn Simon, Wang Keping, Teppei Kaneuji, Tehching Hsieh, Wang Xingwei, Kan Xuan, Yung Ho Chang, Yun Fei-Ji, and Gu Dexin among many others.
Prior to joining UCCA he was founding editor of the bilingual art magazine LEAP, published by the leading Chinese publishing group Modern Media. Before that, in addition to independent work as a writer, translator, publisher, and curator, he served in roles including China advisor to Art Basel, lecturer at the Central Academy of Fine Arts, and founding editor of Artforum’s Chinese web edition, where he remains a contributing editor. He speaks and writes Mandarin fluently, and has written and lectured around the world on contemporary art in China. Tinari currently serves on advisory boards to institutions including the Guggenheim, the Asia Society, and NTU Center for Contemporary Art Singapore, and was recently named a Young Global Leader by the World Economic Forum. He holds a B.A. from the Program in Literature at Duke, an A.M. in East Asian Studies from Harvard, was a Fulbright scholar at Peking University.
Laura Oldfield Ford First Prize
Laura Oldfield Ford is a London based artist and writer concerned with issues surrounding contested space, urbanism, architecture and memory.
Her multidisciplinary practice investigates new forms of socio-political discourse that have arisen as a result of the radical reordering of urban space in the post-industrial era.
Central to her practice is the dérive , a process of walking in order to map the psychic contours of the city. She draws on her experiences as political activist and involvement in subcultural scenes, particularly protest movements. More recently the work has shifted into an intense scrutiny of religious zealotry, nationalism and class.
She completed a BA at the Slade in 2001 and an MA in Painting at the RCA in 2007 .In 2013-2014 she was Stanley Picker Fellow at Kingston University. She is author Savage Messiah ,Verso 2011 and is currently a researcher at the Royal College of Art.
Title: DETROIT:TECHNO CITY
Exhibition: DETROIT:TECHNO CITY
YAO Mengxi Joint Second Prize
YAO Mengxi (b. 1985) lives and works in Shanghai. She involves into various aspects of Art such as curating, art criticism and participation-oriented / project-based practice. YAO co-founded Radical Space in 2014. She is awarded 2015 EMERGING CURATORS PROGRAM by Power Station of Art. She curated projects including All new-formed ones become obsolete before they can ossify (2013), Hidden Energy (2013), Everyday Life (2014). Previously she’s participated in projects such as Deputy Director Project (Xi’an Art Museum, 2015), and Hinterland Project (Times Museum, Guangzhou, 2015). Yao Mengxi is a regular contributor of Artforum China, Artword, LEAP, etc.
Title: Display and Escape——"He Chi: Next Door"
Exhibition: Next Door
Peter Lunenfeld Joint Second Prize
Professor in the Design|Media Arts department at UCLA, also on the Digital Humanities and Urban Humanities faculties. Writings include Digital_Humanities (co-‐author); The Secret War Between Downloading and Uploading (winner of the 2013 Dorothy Lee Prize for Outstanding Scholarship); USER: InfoTechnoDemo, Snap to Grid:
A User’s Guide to Digital Arts, Media & Cultures; and, The Digital Dialectic (all MIT Press). 2015-‐16 Dana and David Dornsife Fellow at the Huntington Library, working on a new book project titled City on the Edge of Forever: Los Angeles Beyond the Screen.
Title: A Review of “From the Archives: Art and Technology at LACMA, 1967–1971,”
Exhibition: “From the Archives: Art and Technology at LACMA, 1967–1971,”
Title: Walking on the Stars: The Big Three Angles of the Summer
Exhibition: Summer Triangle
Chen Jia Ying
Title: Dichotomous Narrative
Gu Qian Fan
Title: Yunyu “Ayo” Shih: “I must, if I may…”
Exhibition: Yunyu “Ayo” Shih: The Seals Are Shedding Their Coats
Title: Asia is Still Unfamiliar
Exhibition: Unfamiliar Asia: The Second Beijing Photo Biennial (2015)
Lin San Wei
Title: The Meaning of Life
Exhibition: Don't be too hard to let things happen
Title: What is “Bentu”? A Review of the Group Exhibition of Contemporary Chinese art at the Fondation Louis Vuitton in Paris
Exhibition: Bentu, Chinese Artists In A Time Of Turbule
Wang Peng Jie
Title: Art : The Aesthetic Politics and Individual Enlightenment
Exhibition: Liu Weiwei's Solo Exhibition “Lost Comrad”
Title: Opposites and Connection: Commentary on Huang Yong Ping’s Solo Exhibition, Bâton Serpent III: Spur Track to the Left
Exhibition: Bâton Serpent III: Spur Track to the Left
Title: The Logic of Pleasure and its Ideological Contradictions
Exhibition: Total War or Nothing at all：Hot
Title: Light Therapy
Exhibition: Apichatpong Weerasethakul: The Serenity of Madness
Title: Misogyny and the Myth of the ’90s
Exhibition: XYLAÑYNU: Taller de los Vierne
Sarah Bay Gachot
Title: The Secret Message in the Image
Exhibition: Julien Bismuth: Steganograms
Alice Ming Wai Jim
Title: RoCH Redux
Exhibition: 30 Years of CFCCA – Susan Pui San Lok: RoCH Fans & Legends
Title: Extreme Culture: Music, Videos and Video Art at The Infinite Mix
Exhibition: The Infinite Mix: Contemporary Sound and Image
Title: A Tapestry of Thoughts
Exhibition: Seth Siegelaub: Beyond Conceptual Art
Title: Manifesta 11: What Artists and Curators Do for Money
Exhibition: Manifesta 11
Title: The Art of Quiet Speaking
Exhibition: Utopias/Heterotopias: Wuzhen International Contemporary Art Exhibition
Title: A Queer Bend in the Botanical Turn
Exhibition: Inda Peralortega: Lexicon
Gary Zhexi Zhang
Title: Content-Aware: Half-Arsed Aesthetics in the Age of the Sub-Amateur
Exhibition: Miao Ying: Content-Aware