This discussion will focus on the contemporary landscape of critical writing. How do writers, scholars, and artists understand, define, and practise critical writing? It will examine why such writing is needed and what influence and role it plays not only within the art scene, but also within a broader discourse.
H. G. Masters (United States/Hong Kong), Deputy Editor and Deputy Publisher, Art Asia Pacific
Carlos Quijon, Jr (Philippines), writer, curator
Ema Tavola (Fiji/New Zealand), artist-curator
Moderated by Qinyi Lim (Singapore), Curator, National Gallery Singapore
Qinyi Lim (Singapore) is Curator at the National Gallery Singapore. She completed the De Appel Curatorial Programme, Amsterdam in 2012. Lim holds a Masters in Southeast Asian Studies from the National University of Singapore and Bachelor of Arts (Honors) in Art History from the University of Queensland, Australia. She has previously held curatorial positions at Para Site, Hong Kong; National University of Singapore (NUS) Museum, and Singapore Art Museum.
H. G. Masters (United States/Hong Kong) is a writer, and Deputy Editor and Deputy Publisher at ArtAsiaPacificmagazine in Hong Kong. Masters has been an editor at ArtAsiaPacificsince 2007 and is the editor of the ArtAsiaPacific Almanac, an annual survey of the year in art in 53 countries across Asia and the Middle East. Additionally, he has written catalogue essays about artists including Ha Chong-Hyun, Haegue Yang, Shinro Ohtake, Monir Shahroudy Farmanfarmaian, Hajra Waheed, Lee Mingwei, Aslı Çavuşoğlu, Nuri Kuzucan, Şener Özmen, Tsherin Sherpa, and others. In 2010, he was awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant for short-form writing. His essays and reviews have been published in magazines and journals including Frieze, Even, Art Papers, RES Artworld, and Portal 9.
Carlos Quijon, Jr (Philippines) is a writer and curator based in Manila. In 2017, he was a curatorial research resident at MMCA in Seoul, and a fellow of the TransCuratorial Academy in Berlin and Mumbai. His works have been published in Art Monthly (UK), Trans Asia Photography Review, Asia Art Archive’s Ideas, Art+ Magazine, High Chair, and Kritika Kultura. He was shortlisted for the Purita Kalaw-Ledesma Prize for Art Criticism in 2016. In 2019, he curated Courses of Action at the Goethe-Institut in Hong Kong, with support from Para Site (Hong Kong) and the Institut. He is a fellow of the research platform Modern Art Histories in and across Africa, South and Southeast Asia, supported by the Getty Foundation’s Connecting Art Histories initiative.
Ema Tavola (Fiji/New Zealand) is an independent artist-curator based in South Auckland, New Zealand. Having established her practice whilst managing Fresh Gallery Ōtara, a local government-funded community art gallery, Tavola’s curatorial concerns are grounded in the opportunities of contemporary art to engage grassroots audiences, shift representational politics, and archive the Pacific diaspora experience. Tavola is committed to curating as a mechanism for social inclusion, centralising Pacific ways of seeing, and exhibition-making as a mode of decolonisation.
Image caption: Panel: Publishing Complexes, Friday, 29 June 2018, during Singapore Art Book Fair 2018, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.