2019
 
 
Introduction To The Jury Members
For The IAAC 6 (2019)
Chantal Faust

Chantal Faust is an artist and writer. She is the Academic Curriculum Lead and a Senior Research Tutor in the School of Arts & Humanities at the Royal College of Art in London, where she has been teaching since 2010. Prior to this, Faust was a Lecturer at the Victorian College of Arts, University of Melbourne from 2003-2009. 

Dr Faust has led research groups and conferences on absurdity, subjectivity, and the urgency of the arts. Her research interests primarily focus on the scanner as a conduit for the study of visualisations of touch, immediacy and blatancy, extending into a practice of works in video, performance, photography and painting. 

Recent exhibitions include There Is A Hole In The Bagel, Gallery TOM, Tokyo (2019); Solitary Pleasures, Freud Museum, London (2018); NaturBlick, Koppel Project Hive, London (2018); and Antipodean Emanations, Monash Gallery of Art, Melbourne (2018). 

Faust’s writing has been published widely in catalogues and journals with recent book chapters including The Masochistic Pulse in Dark Habits, Home/Cornerhouse Publications and Thinking Through Outline in Anchor, Marmalade Publishers of Visual Theory. Faust's monograph 'Pleasure Machines: Towards a Philosophy of Scanning' is due to be published by Bloomsbury Academic Publishing in 2020. 

 
 
Juliana Engberg

Juliana Engberg is an artistic director, curator, cultural and events producer and writer. She is currently the Curator for the Australian presentation at the Biennale di Venezia 2019: Angelica Mesiti ASSEMBLY. Until recently she was Programme Director of the year-long celebrations of Aarhus European Capital of Culture (2007), in Denmark.


Engberg has created numerous innovative multi-form festivals, visual arts projects, commissions, events and public engagement programmes. She has been Artistic Director of the Sydney Biennale, Melbourne International Biennial and Adelaide Biennial.Her other festival work has included lead collaborations with events in Glasgow, Manchester, Hull and Hay in the UK, in addition to the Liverpool, Lyon and Istanbul Biennials.
TEMPEST, her award-winning exhibition for the Tasmanian Museum and Art Gallery, was a catalyst feature of the Dark Mofo Festival, in 2016. She has also been Artistic Director of the Australian Center for Contemporary Art, in Melbourne.


In addition to her directorial and curatorial work, Engberg has a background in Strategic Marketing and Communications, Film Writing, Architectural and Design teaching, Cultural Tourism, Theatre Arts, Literature, and Music and Dance. This enables her to create cross-pollinated events, led by creativity but anchored in effective outcomes for business, industry and education.


Engberg has contributed to international catalogues, journals and books. She is also an experienced editor, commissioning editor and publisher. She has produced over 150 major catalogues and publications. She has also written for The Guardian newspaper; frieze magazine, UK; Art in America; Art Forum; Agenda; Photofile; Art Monthly; The Age; Sydney Morning Herald; The Monthly; Art and Australia; Art and Text and many other titles. Her book, En Route, was recently published by Melbourne University Publishing.

 
 
Jonathan P. Watts

Jonathan P. Watts is an art critic, editor and curator. Recently he was co-director of LOWER.GREEN, a non-profit, artist-led space in Norwich, which ran a monthly programme of exhibitions and residencies by contemporary and historic artists.

Jonathan is an Associate Lecturer at Nottingham Trent School of Art and Design and a Visiting Lecturer at The Royal College of Art, London. In both positions he lectures on aspects of critical writing, contemporary art and visual culture. He a regular contributor to Art Monthly, frieze and Artforum. He has written for Tate Etc magazine, FlashArt, the TLS and Blueprint, among other things, and has produced radio programmes for BBC Radio 4 and Resonance FM. 

Collaboration is a central aspect of Jonathan’s work. Since 2014, he has worked with the LA-based choreographer Adam Linder on a piece that explores the relationship between language and the moving body. ‘The Annotated Reader’, an ‘exhibition-as-book and book-as-exhibition’, which he co-curated with the artist Ryan Gander, is currently touring international venues. In 2015, he co-curated an exhibition of Per Kirkeby’s brick sculpture in collaboration with Piper Keys gallery, Whitechapel. In the same year the book he co-authored with the Suffolk-based artist filmmaker Emily Richardson, titled ‘Ideas of Disorder’, on the Suffolk home of the modernist architect HT Cadbury-Brown, was published by Occasional Papers.

Jonathan is one of this year’s recipients of the Joanna Drew Travel Bursary, a legacy left by the former Hayward Director to enable artists and writers to travel for research. The bursary will be used to fund preliminary research trips for a book Jonathan is planning on contemporary British art of the past decade. Jonathan is a member of the AICA (The International Association of Art Critics). 


 
 
Shao Yiyang

Shao Yiyang (born 1970) is a professor of art history and theory, Deputy Chair of the School of Humanities at the Central Academy of Fine Art in Beijing, and a member of the executive committee of the Chinese section of the Comité international d’histoire de l’art (CIHA). In 2003, she received her PhD in art history and theory from the University of Sydney. The topic of her thesis was ‘Chinese Art Institutions and Modern Art from 1980 to 2000’. Since 2004, she has been teaching at the Art History Department of the Central Academy of Fine Arts (CAFA), in Beijing. Her research focuses on modern/contemporary art and theory. 


In 2016 Shao chaired a session in the CIHA Congress in Beijing. She has also presented papers on Chinese modern art at the 32nd CIHA Congress in Melbourne (2008), the 33rd CIHA Congress in Nuremberg (2012), and the 29th art history conference organised by Verband deutscher Kunsthistoriker (Association of German Art Historians) in Regensburg (2007). She was a participant in the CAA-Getty International Program in 2015 and 2017. 


Shao’s publications in Chinese include books such as Global Perspective in Contemporary Art (2019), Modern and Contemporary Art in the Twentieth Century (2018), Beyond Postmodern (2012), and Art after Postmodern (2008). She has published numerous essays on Chinese art and wider, theoretical issues in English, as well as Chinese, in a wide range of academic journals and conference proceedings.

 
 
Anthony Yung

Anthony Yung is senior archival researcher at Asia Art Archive (AAA), in Hong Kong, where he has worked for over eleven years. He graduated from Hong Kong University and has subsequently specialised in contemporary art in Mainland China, Hong Kong and Taiwan. His main focus is research and the gathering of primary and secondary material, as well as their digitalisation., annotation and activation.


In addition to working full-time at the AAA, Yung writes extensively on archives and the history of Chinese contemporary art and is the recipient of several awards, including The Fourth Yishu Awards for Critical Writing on Contemporary Chinese Art, in 2014. He also curates exhibitions and co-curated A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations at the Para Site Art Space in Hong Kong, in 2015.


Yung is co-founder (with Hu Xiangqian) of Observation Society, an independent art space in Guangzhou.

 
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