Art for Breakfast | 藝術早餐VIEW EVENT DETAILS
Our inaugural Art for Breakfast series at ASHK invites visual enthusiasts to share highlights on view during art fair week. In the casual setting of Lippo Amphitheater, guests will enjoy a light breakfast while a guest curator will share a visual digest of art just seen on view during the art week. Art for Breakfast aims to be a meeting point at the start of the art day by seeing through the eyes of another. Each session takes place daily from March 27 to 30 at 9:30 to 10:30am at Asia Society Hong Kong Center.
9:00am– Breakfast buffet
9:30am—Speaker sharing begins
10:30am—Speaker sharing ends
11:00am—Breakfast buffet ends
- March 27 (Wednesday)
Art Breakfast with Enid Tsui
Speaker: Enid Tsui, Senior Culture Writer, South China Morning Post (SCMP)
- March 28 (Thursday)
Art Breakfast with Stephen Little
Speaker: Stephen Little, Florence & Harry Sloan Curator and Department Head, Chinese Art, Los Angeles County Museum of Art (LACMA)
- March 29 (Friday)
Art Breakfast with Zheng Shengtian and Diana Freundl
Zheng Shengtian, Vancouver Art Gallery Adjunct Director for the Institute of Asian Art (IAA)
Diana Freundl, Vancouver Art Gallery Associate Curator, Asian Art
- March 30 (Saturday)
Art Breakfast with Tan Boon Hui
Speaker: Tan Boon Hui, Asia Society Vice President for Global Arts and Cultural Programs, and Director of Asia Society Museum
- Book here.
- 3月27日 (星期三)
- 3月28日 (星期四)
講者：Stephen Little, 洛杉磯郡立博物館Florence and Harry Sloan 中國藝術策展人、中國及韓國藝術部主管
- 3月29日 (星期五)
- 3月30日 (星期六)
Enid Tsui is Senior Culture Writer, South China Morning Post (SCMP). She joined the SCMP as Senior Culture Writer in 2015 after many years of covering business and politics in Hong Kong and London. One of her earliest jobs was launching the Economist Group's first Chinese-language publication, CFO China, a corporate finance publication. She then became an editor and correspondent at the Financial Times for about a decade. She also hosted live shows on RTHK Radio 3 for a while. These days, she writes about exhibitions, performances, the art market and cultural policies across Asia and is extremely grateful for the art history courses she took as an undergraduate all those years ago.
An authority on East Asian art, Stephen Little grew up in Southeast Asia and the Middle East. He received his BA from Cornell University (1975), MA from UCLA (1977), and PhD from Yale University (1987). He served as Curator of Chinese Art at the Asian Art Museum of San Francisco (1977–1982) and the Cleveland Museum of Art (1987–1989); Curator of Asian Art at the Honolulu Academy of Arts (1989–1994); Pritzker Curator of Asian Art at the Art Institute of Chicago (1995–2002); and Director of the Honolulu Academy of Arts (2003–2010) before coming to LACMA in 2011. His research interests include Chinese and Japanese painting, Chinese and Korean calligraphy, Chinese ceramics, and the classical arts of Southeast Asia. His publications include Chinese Ceramics of the Transitional Period (1983), Visions of the Dharma: Japanese Buddhist Paintings and Prints in the Honolulu Academy of Arts (1991), Spirit Stones of China(1999), Taoism and the Arts of China (2000), Chinese Paintings from Japanese Collections (2014), and 17th-Century Chinese Paintings from the Tsao Family Collection(2016). Little has taught at the University of Virginia, the University of Chicago, the University of London, and Harvard University.
Shengtian Zheng is the adjunct director of Institute for Asian Art at the Vancouver Art Gallery, the founding managing editor of Yishu: Journal of Contemporary Chinese Art, and a trustee of Asia Art Archive in America. He previously served as the chair of the oil painting department at the China Academy of Art in Hangzhou, and as a visiting professor at the University of Minnesota and San Diego State University. Zheng has curated and co-curated numerous exhibitions including “Yellow Signal: New Media from China” series at Centre A (Vancouver International Centre for Contemporary Asian Art), Morris and Helen Belkin Art Gallery, the University of British Columbia, and other venues in Vancouver, 2012; “Art and China’s Revolution” at the Asia Society Museum, New York, 2009; and “Shanghai Modern” at Museum Villa Stuck, Munich, 2004. He has been the senior curator for Asia at the Vancouver Biennale since 2009. His current project, “Crossing Pacific,” focuses on the cultural dialogue between China and Latin America in the twentieth century. In 2013, four volumes of Zheng Shengtian, Selected Writing on Art were published by the China Academy of Art Press. Zheng was awarded a Lifetime Achievement Award for his curatorial work and he received an Honorary Doctorate of Letters from Emily Carr University of Art and Design in 2013. Zheng received a BFA from China Academy of Art.
Diana Freundl is Associate Curator, Asian Art at the Vancouver Art Gallery. She has curated and co-curated major exhibitions including major retrospectives Lee Bull and Bharti Kher Matter, in 2015 and 2016 respectively and Unscrolled: Reframing Tradition in Chinese Contemporary Art in 2014.
Recent exhibitions include Pacific Crossings: Hong Kong Artists in Vancouver, Howie Tsui: Retainers of Anarchy in 2017 and 空 / Emptiness: Emily Carr and Lui Shou Kwan in 2018. Freundl has been the curator of the Gallery’s public art space, Offsite, since 2013 and has presented several site-specific installations from artists including MadeIn Company, Reena Saini Kallat, Asim Waqif among others. Prior to joining the Vancouver Art Gallery, Freundl was living and working in mainland China and Taiwan from 1998 to 2013. She studied at the Tsinghua University of Art And Design in Beijing and has an academic background in comparative religion, philosophy and graduate studies in journalism.
Tan Boon Hui (陳文輝) is Vice President for Global Arts and Cultural Programs and Director, Asia Society Museum, New York, where he leads the organization’s global arts and cultural activities spanning visual arts, performing arts, literary arts, and film. As museum director, he oversees Asia Society Museum’s acclaimed exhibition programs and the Asia Society Museum Collection, which comprises the Mr. and Mrs. John D. Rockefeller 3rd Collection of Traditional Asian Art and the Contemporary Art Collection of photography and new media works by Asian and Asian American artists. Additionally, he will direct the organization’s initiative Transfuze: The Asia Arts and Museum Network and Arts & Museum Summit. Prior to this, he was Assistant Chief Executive (Museum & Programs) at the National Heritage Board (NHB) in Singapore, overseeing exhibitions, programs, and outreach events across the Board’s museums, institutions, and divisions. In 2015, he was Artistic Director for Singapour en France, le Festival, the largest multidisciplinary presentation of contemporary culture from Singapore and Southeast Asia in France. As a curator and programmer, his research and writing interests focus on the contemporary artistic expressions of Southeast Asia and Asia and the remaking of traditions among artists of today. Tan is a founding board member of the International Biennial Association. He was Director of the Singapore Art Museum from 2009 to 2013, where he led the transformation of the museum into a contemporary art institution focused on Southeast Asia and assembled the largest public collection of contemporary art from the region. He was concurrently Director of the Organising Secretariat for the Singapore Biennale 2011. He initiated the regional focus and group curating approach which became the distinguishing feature of the Singapore Biennale 2013: If the World Changed, as well as being a cocurator and Project Director.
Asia Society Hong Kong Center, 9 Justice Drive, Admiralty, Hong Kong