Prof. VIGNERON Frank Joseph E.
Room 201B, Leung Kau Kui Building
Professor Vigneron received a Ph.D. in Chinese Art History from the Paris VII University, a Ph.D. in Comparative Literature from the Paris IV Sorbonne University and a Doctorate of Fine Arts from the Royal Melbourne Institute of Technology. He joined the Department of Fine Arts, CUHK in 2004, teaching courses on the History of Western Art, the theories of Modernism and Postmodernism in art, and Chinese and Western comparative aesthetics. His research focus is on the history of Chinese painting from the 18th century onwards and on different aspects of contemporary Chinese art seen in a global context. He is a member of the International Association of Art Critics Hong Kong and a Museum Expert Adviser for the Leisure and Cultural Services Department of the Hong Kong SAR. Professor Vigneron is also a practicing artist. He has held several solo exhibitions in Hong Kong and has taken part in local and international exhibitions.
1. China Pluperfect I. Epistemology of Past and Outside in Chinese Art, ISBN: 978-988-237-246-7 (hardcover), 192 pages. Hong Kong: The Chinese University Press, 2022.
2. China Pluperfect II. Practices of Past and Outside in Chinese Art, ISBN: 978-988-237-247-4 (hardcover), 242 pages. Hong Kong: The Chinese University Press, 2022.
3. (Forthcoming) Epistemology and Practices of Past and Outside in Chinese Art.
4. Hong Kong Soft Power. Art Practices in the Special Administrative Region 2005-2014. Hong Kong: The Chinese University Press, 2018.
5. I Like Hong Kong… Art and Deterritorialization. Hong Kong: The Chinese University Press, 2010.
6. Académiciens et Lettrés. Analyse comparative de la théorie picturale du 18e siècle en Chine et en Europe. Paris: Editions You Feng, 2010.
7. Pour et Contre l’Académie. Les traités de pratique picturale en Europe aux 17e et 18e siècle. Saarbrücken: Editions Universitaires Européennes, 2010.
8. In Between (translated by Wong Yan-tak). Hong Kong: The Chinese University Press, 2007.
9. Shen Zongqian : Jiezhou Xuehua bian, un traité de peinture chinoise du dix-huitième siècle. France: Presses Universitaires du Septentrion, Publication of the Ph.D. thesis, 1999.
Articles and Book Chapters:
1. ‘Some Tangible, some Forgotten: Art About borders in the Hong Kong SAR’, in Visual Culture Wars at the Borders of Contemporary China. Art, Design, Film, New Media and the Prospects of “Post-West” Contemporaneity, editors: Paul Gladston, Beccy Kennedy and Ming Turner. Pp 27-58. London: Palgrave-MacMillan, 2021.
2.‘From Antiquarianism to Chaos Script’ (从古物主义到草书), in ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival, volume 2, theory’ (书非书: 2019 杭州国际现代书法艺术节, 卷二, 论文), p. 118-130, translated by Zhu Chunhang 朱春杭, published at the occasion of the exhibition ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival (书·非书: 2019 杭州国际现代书法艺术节), 12 to 24 October 2019, Art Museum of China Academy of Art (218 Nanshan Road, Hangzhou, Zhejiang, China) 中國美術學院美術館(浙江省杭州市南山路218 號).
3.‘New Frontier: Three Painters from Shenzhen and their relation with the Hong Kong art market’, in Journal of Contemporary Painting, March 2022, Volume 7. Issue 1-2, p. 177-198 (ISSN 20526695 , ONLINE ISSN 20526709), editor: Rebecca Fortnum, Bristol UK & Willington US: Intellect Ltd.
4. ‘When is a landscape like a body?,’ in di’van. A Journal of Accounts, issue 9 (April 2021), p. 80-105. Editor: Alan Cruickshank, Sydney: University of New South Wales, Art & Design: 2021.
Di’van | A Journal of Accounts | School of Art & Design (unsw.edu.au)
5. ‘What art history for Hong Kong? 該如何為香港藝術撰史?, in HK Experience. HK Experiment, exhibition catalogue, Hong Kong Museum of Art.
6. ‘Two approaches to socially engaged art with the Hong Kong Filipino community,’ in Journal of Contemporary Chinese Art, p. 131-148, Volume 5 Numbers 2 & 3, ISSN: 20517041. Online ISSN: 2051705X. Bristol UK & Willington US: Intellect Ltd. 2018
7. ‘Hong Kong’s M+: a museum of visual culture at a time of political unrest’, in Journal of Contemporary Chinese Art, edited by Karen Smith, p. 83-99,. Volume 4, number 1, ISSN: 20517041. Online ISSN: 2051705X. Bristol UK & Willington US: Intellect Ltd. 2017.
8. ‘“Ink Art” as Strategy for Hong Kong Institutions’, in Journal for Cultural Research, Volume 21, Issue 1: Special issue on Art, Society and Contemporary China. Edited by Paul Gladston, published 13 February 2017, http://dx.doi.org/10.1080/14797585.2017.1281473, ISSN: 1479-7585 (Print) 1740-1666 (Online) Journal homepage: http://www.tandfonline.com/loi/rcuv20, Routledge, Taylor and Francis Group, 2017.
9. ‘Theory as Practice and Practice as Theory – Praxis and the PhD in art,’ in Proceedings of Symposium on Development of Arts Education – Arts Education for Tomorrow, p. 57-64, Hong Kong: Hong Kong Art School, 2017.
10. 自立与解除﹕獨立藝術空間的角色 ‘Emancipation and Dissensus: the Roles of Independent Art Spaces’, in Survival Strategies of Independent Art Spaces 獨立藝術空間的生存方式, Feng Boyi 馮博一, Fang Lihua 方立華 (ed.), p. 75-79, Shenzhen: He Xiangning museum 何香凝美術館, 2017.
11. ‘王冬龄——行为书法’, translated by Zhu Chunhang 朱春杭, in Poetry Calligraphy Painting 诗书画, edited by Han Bi 寒碧, volume 22, Winter 2016, p. 57-67, ISSN: 2095-3674. Beijing, Shishuhua Zazhishe 诗书画杂志社, 2016.
12. ‘Cunning intelligence – teachable and unteachable notions for higher education ’, in World Art, edited by George Lau, Daniel Rycroft and Veronica Sekules. London and New York: Routledge, September 2015. ISSN Print : 2150-0894 ISSN Online: 2150-0908. Online version (published 23 September 2015): http://www.tandfonline.com/doi/full/10.1080/21500894.2015.1088468
13. “King of Kowloon.” In Esther Lorenz and Li Shiqiao ed. Kowloon Cultural District – An Investigation into Spatial Capabilities in Hong Kong(Hong Kong: MCCM Creations, 2014), pp. 294-308.
14. “‘Conservative nativist’ Chinese art in Hong Kong and Mainland China.” In Paul Gladston ed.Journal of Contemporary Chinese Art. Volume 1, Issue 1. (Bristol UK & Willington US: Intellect Ltd., 2014), pp. 25-43.
15. “Introductory article”, “The ever-changing hybridity between global art practices.”, “Cute and cuddly (about Eastman Cheung).”, “Bizarre rhymes (about Joey Leung).”, “Labor of collage (about Tang Kwok-hin).” In Cordelia and Christoph Noe ed.Hong Kong Artists/ 20 Portraits (Nüremberg: Verlag für Moderne Kunst, 2012). pp. 10-17, 54-57, 122-125, 158-163.
16. “Nice painting’ et al. – different kinds of painting and related practices in Hong Kong” in Yishu: Journal of Contemporary Chinese Art, Vol.11, no.6, November/December 2012, pp. 15-33. (Republished in translation (translated by Zheng Jingjing) in the Chinese version of Yishu. Journal of Contemporary Chinese Art, Vol.12, no.1, March 2013
17. ‘‘No outside’ for socially-engaged art practices? – The reception of the aesthetic regime of art and its frequent malfunctions.” In Yishu: Journal of Contemporary Chinese Art, July/August 2013, Vol.12, no.4, pp. 16-32.
18. “Teaching Chinese Painting – A Problem of Words.” In Professor Sheng Kuan Chung ed. Teaching Asian Art: Content, Context, and Pedagogy(Reston: Department of Curriculum and Instruction, University of Houston, National Art Education Association, 2012), pp. 40-44.
19. “Period style as ‘life cycle’ in Euro-American and Chinese painting history.” In Paul Hockings ed.Visual Anthropology. London and New York: Routledge, 2012.
20. “Le Songe Creux– between literatitheory, Minimalism and Maximalism.” In George Lau, Daniel Rycroft and Veronica Sekules ed.World Art, VoL.1, no.1, January 2011, pp. 101-124.
21. “Two competing habitus among Hong Kong art practitioners.” In Visual Anthropology, Volume 26, Issue 2, Jan-March 2011, pp. 132-146
22. “Mining or undermining ‘Tradition.’ Shifts in the work of Tony Ng Kwun Lun.” In Yishu: Journal of Contemporary Chinese Art, Vol.10, no.4, July/August 2011,. pp. 6-20.
23. “Doxa and Episteme of the Image.” In James Elkins and Maja Naef ed. What is an Image?Volume 2 of the Stone Theory Seminars (University Park: Pennsylvania State University Press, 2012), pp. 119-121.
24. “‘Parisianisme’ and Local Cultures. Supra-national, national and infra-national cultures.” In Alice Arnold, Ann Kuo, Elizabeth Delacruz, and Michael Parsons ed. Globalization, Art and Education(Reston: National Art Education Association, 2009), pp. 35-40.
25. “Curators and translators as ‘passeurs’.” In Victor Lai Ming-hoi ed. Artists’ Studio in Hong Kong II(Hong Kong: Asia One Product & Publishing Limited, 2008), pp. 323-324.
26. “Damned if you do; damned if you don’t.” In James Elkins ed. Is Art History Global?(London and New York: Routledge, 2006), pp. 322-341.
1. Speaker at the Symposium ‘The Historical Context and Cultural Heritage of Calligraphy’, organized by China Academy of Art, at the occasion of the exhibition ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival’, (書非書: 2019 杭州國際現代書法藝術節), 12 October 2019, Nanyuan Lecture Hall, CAA, Hangzhou, China. Title of the paper: ‘Wang Donglin and the Body as Trans-cultural Access’
2. Speaker at the Symposium ‘Hong Kong Creative Cultures: A HKS Symposium’, organized by Hong Kong Studies (Tammy Lai-Ming Ho, Baptist University; Michael O’Sullivan, Eddie Tay and Michael Tsang, CUHK). 9 November 2019, English Department, CUHK. Title of the paper: ‘Socially engaged art practices in the Hong Kong countryside’
3. Speaker at ‘The “commons” in art: sharing and public engagement’ (藝術的「常態」：共用與公共參與). Co-organized by Fine Arts department, CUHK, and School of Management and pedagogy of the Chinese Academy of Fine Arts (Hangzhou) (中國美術學院管理與教育學院校), symposium on socially engaged art practices at the Comprehensive Base for Art Education, Qianfenxi Villlage (前汾溪), Pingnan County (屏南縣), Fujian Province. 19-23 August 2019. Title of the paper: ‘Mêtis and Universal Education – Some Socially Engaged Art Projects in Hong Kong.’
4. Speaker at the 22nd Biennial Conference of the European Association for Chinese Studies, University of Glasgow, UK. 29 August 2018. Title of the paper: ‘Some tangible, some forgotten: about borders in the Hong Kong SAR’
5. Speaker at the 10th annual conference, Center for Chinese Visual Art, School of Art, Birmingham City University, UK. 29 September 2017. Title of the paper: ‘Socially engaged art projects in Hong Kong – Easy theory, difficult practice’
6. Speaker at ‘10th International Convention of Asia Scholars (ICAS)’, organized by the Institute of Asian Studies (IIAS) of Leiden University, Netherlands, 20-23 July 2017, Chiang Mai, Thailand. Title of the paper: ‘Objects of protest: countervisuality and Socially-engaged art practices in Hong Kong’
7. Speaker at Symposium ‘Multifaceted Reflections in a Contemporary Context’, organized by the Guangdong Museum of Art, Guangzhou, China, 8-9 December 2016. Title of the paper: ‘Socially engaged art projects in Hong Kong – Easy theory, difficult practice’
8. Speaker at Symposium on Development of Arts Education – Arts Education for tomorrow (6-7 October 2016), organized by the Hong Kong Arts Center at the Asia Society Hong Kong. Title of the paper: ‘Theory as Practice and Practice as Theory – Praxis and the PhD in art.’
9. Speaker at ‘Creative Arts in Tertiary Education CATE Roundtable 2016: An Inter-tertiary Symposium on Creative Arts Education in Hong Kong,’ organized by the Education University of Hong Kong, 1st December 2016. Title of the paper: ‘Assessing art when anything goes – grading the ungradable’
10. Speaker at ‘Exploring the China Dream – Trajectories and Articulations of Soft Power in the Sinophone World’, organized by the Department of Asian, Middle Eastern and Turkish Studies, Stockholm University, 15-16 August 2016, Stockholm, Sweden. Title of the paper: ‘The China Nightmare – Re-colonization of Hong Kong?’
11. Speaker at ‘Comparative Perspectives on Sensation, Sensibilities and Sentiment’, organized by the Division of Humanities, The Hong Kong University of Science and Technology, 6-7 May 2016, Hong Kong. Title of the paper: ‘‘Emotions’ 情and cultural capital in 18th century Chinese painting theory’.
12. Speaker at the symposium ‘Cross-cultural experiments in book art’ (at the occasion of the opening of the exhibition ‘Open Books. Artists and the Chinese Folding Book,’ the Art Museum), CUHK. Title of the paper: ‘Signs and Books – A cross-cultural genealogy.’
13. Speaker at the conference ‘Contemporary Art, Curating and Social Engagement in Twenty-first Century China,’ Rockbund Art Museum, Shanghai, 27-28 November 2014. Title of the paper: ‘Shopping Malls as Art Spaces’: Case Study – the K11 mall in Tsim Sha Tsui’.
14. Speaker at the Fifth International Conference on the Image, 29-30 October 2014, organized by the Image Knowledge Community (http://ontheimage.com/about-the-community), at the Freie Universität Berlin, Berlin, Germany. Title of the paper: ‘Le Songe Creux – between literati theory, Minimalism and Maximalism.’
15. Speaker in the panel ‘Asian American Art and a transnational perspective: Ink painting’ at the symposium ‘Asian American Art: Transnational, Circulation & Diasporic Framings,’ 30-31 May 2014. Presented by the Asian/Pacific/American Institute, New York University, at the Smithsonian Institution’s Archives of American Art, Washington DC, USA. Title of the paper: ‘American Experiences – Three age groups, six artists (plus one) from Hong Kong.’
16. Speaker in the session ‘Tradition’ at the international forum ‘Developing Common Stage’ organized by the Zurich University of the Arts (ZHdK), School of Creative Media, City University of Hong Kong, 27 February to 1 March 2014. Title of the paper: ‘Visual Arts: Conservative and Traditional in Mainland China and Hong Kong.’
17. Speaker at the conference 中國性在當代藝術中的實踐和再現 (Practice and Reappearance of Chineseness in Contemporary Art), organized by Visual Art Center (Leisure and Cultural Services Department, HKSAR), He Xiangning Art Museum, Fine Arts Department CUHK, 19 January 2014. Title of the paper: ‘The Political and Cultural Context of Official Chineseness in Early 21st Century Mainland China.’
18. Speaker at the symposium ‘Transcultural Visualities: Global Asian Art,’ 9-10 July 2013. Symposium presented by the Asian/Pacific/American Institute at New York University and New York University in Shanghai, in collaboration with James Cohan Gallery, Shanghai Studies Society, Leo Xu Projects, Aike Dellarco, and MABSOCIETY. Title of the paper: Socially-Engaged Art Practices in Hong Kong.
19. Speaker and discussant at the international conference “Global goes Local: Visualizing Regional Cultures in the Arts of Greater China,” 27-29 June 2013. Organized by the Academy of Visual Arts, the Baptist University of Hong Kong. Title of the paper: Two competing habitus among Hong Kong art practitioners.
20. Speaker at the International Conference on Research Creativity: Praxis, 21 – 23 November 2012. Organized by the Academy of Visual Arts, the Baptist University of Hong Kong. Title of the paper: Theory as Practice and Practice as Theory – Praxis and the PhD in art.
21. Speaker at the conference “Opportunities and Challenges – Conference on Visual Arts Education in Asia,” 23-25 June 2010. Organized by the Academy of Visual Arts, the Baptist University of Hong Kong. Title of the paper: Some useful concepts from the past and the present: teachable and unteachable notions for higher education in art.
22. Speaker at the International Conference on “Globalization: Cultures, Institutions and Socioeconomics”, Co-Sponsored by The Chinese University of Hong Kong and Washington University in St. Louis. Held at CUHK, December 12-13, 2008. Chaired the session ‘Globalization and Asian Cosmopolitanism’. Title of the paper: Curators and Translators as ‘Passeurs’.
23. Speaker at the “International Conference on East-West Studies”, School of Chinese, The University of Hong Kong, 5-7 October 2007. Title of the paper: Moving Epistemes: creative misreadings and fruitful dialogue in the arts of the 18th century.
24. Speaker at the roundtable symposium “HistoriCITY – Art Historical Writing in and On Hong Kong”, 29 September 2007. Title of the paper: Translation in World Art History: a Utopian Project.
25. Speaker at “Symposium on Daily Lives of Urban Elite in the Twentieth Century – China and France”, Organized by the History Depatment , the United College of the Chinese University of Hong Kong, the Université de Paris IV and the French Centre for Research on Contemporary China. 18-19 December 2006. Title of the paper: ‘Parisianisme’ and ‘Local Cultures.’
1. ‘Le Songe Creux,’ at 敬一书院 (杭州弧山一片云文化藝術中心), West Lake, Hangzhou, China. 13 October to 12 December 2019.
2. ‘Le Songe Creux,’ organized by Lucie Chang Gallery, Art Central, Hong Kong, 27-31 March 2017.
3. ‘Le Songe Creux,’ exhibition at ODRADEK, Brussels, Belgium, 10 March – 10 April 2017.
4. ‘Le Songe Creux’, at Lucie Chang Fine Arts, Hong Kong. 26 May to 26 July 2016.
5. ‘Le Songe Creux,’ Le Pont des Arts Gallery, Shanghai, 2011.
6. ‘Le Songe Creux,’ MOCA China, Delay No Mall, Hong Kong, 2008.
7. ‘Le Songe Creux,’ Invitational Exhibition, during the Graduation Show of the Fine Arts department. Hui Gallery, Sheng Ming Building, the Chinese University of Hong Kong, May-June 2005.
8. ‘Le Songe Creux,’ Hong Kong Institute of Education, Hong Kong, 2005.
9. ‘Le Songe Creux,’ Baptist University, during the French Festival. 08 to 19/03/2004. Wo Foo Foundation Amelia Lee Student Centre, Student Common Room. With a master class, ‘Le Songe Creux – Writing within the Blanks’, 15/03/2004.
10. ‘Le Songe Creux,’ John Batten / Gallery, Hong Kong, 2004.
11. Le Songe Creux. John Batten / Gallery, Hong Kong, 2003.
12. Le Songe Creux / The Hollow Dream. John Batten / Gallery, Hong Kong, 1999.
13. ‘Le Songe Creux,’ Hong Kong Institute of Education, Hong Kong, 1998.
14. ‘Le Songe Creux,’ organized by John Batten / Gallery, Hong Kong Country Club, Hong Kong,
15. ‘Le Songe Creux,’ Fringe Club, Hong Kong, 1997.
1. ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival’ (書非書: 2019 杭州國際現代書法藝術節), 12 to 24 October 2019, Art Museum of China Academy of Art (218 Nanshan Road, Hangzhou, Zhejiang, China) 中國美術學院美術館(浙江省杭州市南山路218 號).
2. Ink Brussels 2019. Advanced Research in Ink Art. 6-12 May 2019. Espace d’Architecture (Faculté d’Architecture, La Cambre Horta, 19 Place Flagey, Brussels, Belgium), Curatorial team: Kiran Katara, Lia Wei, Zhang Qiang, Simone Schuiten.
3. Frank Vigneron, Ho Siu Kee (韋一空，何兆基), Le Songe Creux + Mountain and Sea Series (想虛空+ 山水系列), curator: Frank Yang 楊鋒. Overseas Chinese Town (OCT) Boxes Museum (華僑城盒子美術館), Shunde 順德, Guangzhou 廣州, China. 10 August – 17 September 2018.
4. 2017 Bi-City Biennale of Urbanism/Architecture (Shenzhen) 深港城市建築雙城雙年展(深圳), Luo Hu Sub-Venue 羅湖分展場, Shenzhen Industrial Station深圳工業站, 19 December 2017 – 15 March 2018.
5. Borrowed People, Curator, Francis Yu 余偉聯, 18 November-1 December 2017, AVA, Kowloon Tong, Hong Kong.
6. Ink Global 2017 全球水墨畫大展, 2017, 3-8 August 2017 Hong Kong Convention and Exhibition Center, Hong Kong.
7. ‘Please Turn Over,’ short exhibition to coincide with the conference ‘The Art of the Book’ (https://scolarcardiff.wordpress.com/2015/08/13/cfp-art-of-the-book/), 4-6 December 2015, Cardiff Met University in the ‘HEARTSPACE”, Cardiff, Wales, UK.
8. ‘Writing/Non-Writing: Position and Context’ “书非书——方位与境域”杭州国际书法艺术展, 2015 International Modern Calligraphy Exhibition, Hangzhou. Museum Of Contemporary Art, China Academy of Art中国美术学院美术馆. 8-22 May 2015.
9. Reproducing the Classic: The Experiment of Line and Ink. Koon Wai Bong & Frank Vigneron, part of Restoration (Taiwan) VS Appropriating the Classics (Hong Kong). am space, Hong Kong, 2014.
10. The 20th Taipei Art Fair International, Taipei World Trade Center, Taipei, 2013.
11. Hong Kong Painting On & On 3: Taciturn. gallery of the HKICC Lee Shau Kee School of Creativity, Hong Kong, 2013.
12. Fine Art Asia International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, 2013.
13. Open Books (traveling exhibition), National Library of Wales, Aberystwyth, Ceredigion, 2012. BayArt Gallery, Cardiff, 2012. Library of the University of Western England (UWE), Bristol, 2013. Sanshang Art Museum Hangzhou, China, 2013 – 2014. Logan Regional Gallery, Queensland, 2014. ADFA (Australian Defense Force Academy) Library, Canberra, 2014. Art Museum, The Chinese University of Hong Kong, Hong Kong, 2015. – Wenzhou Contemporary Art Museum 溫州當代美術館, China, 19 to 30 August 2015. – Library and Archives Canada, Ottawa, 28 September – 30 November 2016. – Lalit Kala Academy, Jaipur, Rajasthan, India, 9–28 January 2017. – Chu-Griffis Asian Art Collection, Connecticut College, New London, USA, November 2017.
14. Shanghai Art Fair, Le Pont des Arts Gallery, Shanghai, 2011.
15. Two Cities – The Third Shenzhen Hong Kong Ink Art Exchange Exhibition(organized by the Promotion Department of the Shenzhen Municipal Committee, the Shenzhen Municipal Cultural Association, the City Cultural Tourism Council, the Shenzhen Fine Art Institute, the Hong Kong Leisure and Cultural Services Department and the Hong Kong Arts Development Council). Hong Kong Central Library, Hong Kong, 2011. Shenzhen Fine Art Institute, Shenzhen, 2011.
16. Legacy and Creations—Ink Art vs. Ink Art. Hong Kong Museum of Art, Hong Kong, 2011.
17. The 7thInternational Ink Painting Biennial of Shenzhen – Hong Kong Ink Art.
Guan Shanyue Art Museum, Shenzhen, 2010 – 2011.
1. Co-curator (with Law Yuk Mui and Yim Sui Fong): ‘Our Everyday – Our Borders’, works by Tang Kwok Hin and Motoyuki Shitamichi, Tai Kwun Contemporary 大館 – 當代藝術, Tai Kwun Center for Heritage and Arts大館當代美術館, Hong Kong. 14 September 2018 – 31 October 2018.
2. Guest curator for ‘Dead Serious. Experimental comics from Belgium, France and Hong Kong’, in collaboration with professors from the Saint Luc Academy of Art in Brussels, Belgium. 3-14 April 2018, AM Space, Hong Kong.
3. Guest curator of The Hong Kong Jockey Club Presents: Light and Shadows. Caravaggio. The Italian Baroque Master exhibition of Caravaggio’s Supper at Emaus of 1606 with four Hong Kong artists (Tsang Kin-wah, Chow Chun-fai, Wucius Wong, So Hing-keung) sponsored by the Hong Kong Jockey Club, Asia Society Hong Kong, Hong Kong, 12 March – 13 April 2014
4. Guest curator for ‘Teaching and Healing’, Group Exhibition with Ho Siu-kee, Shi Jin-Hua, Wei Qing-Ji, 24 March to 20 May 2016, Lucie Chang gallery, Hong Kong.
1. The Chinese University of Hong Kong’s Faculty of Art Outstanding Teaching Award, 2016.
2. Chinese University of Hong Kong’s Faculty of Art, Arts Faculty Publication Subvention Fund Scheme, in support of the English book “Hong Kong Soft Power – Art Practices in the Special Administrative Region 2005-2014”. 2016.
3. The Chinese University of Hong Kong Young Researcher Award, The Chinese University of Hong Kong, Hong Kong, 2007.
4. University Research Prize, Royal Melbourne Institute of Technology, Melbourne, 2006.
5. Visiting Scholar at Saint Luc Arts College (accommodation provided by the ODRADEK gallery), Brussels, Belgium. 5-19 March 2018.
6. One-week residency at the Royal Melbourne Institute of Education, Melbourne, 3-9 August 2014.
7. Fellow at the Stone Summer Theory Institute for a one-week conference on the theme ‘What do artists know?’ (www.stonesummertheoryinstitute.org) (airfare and accommodations paid by the Department of Art History, Theory, and Criticism, Department of Visual and Critical Studies, School of the Art Institute of Chicago), 20-26 September 2009.
8. Two-week residency at TrAIN (Research Centre for Transnational Art, Identity and Nation), Chelsea College of Arts, The University of Arts London (airfare, accommodations and a £2000 stipend provided by the University of Arts London). London, UK, 13-24 October 2008.
For details, please visit Department of Fine Arts.