Introduction to the Board and Executive Committee
 

The International Awards for Art Criticism (IAAC) were devised by Awards for Art Criticism Ltd. ,an international company limited by guarantee and registered in the UK with the aim of supervising the annual "International Awards for Art Criticism". The company is governed by a board chaired by Henry Meyric-Hughes (critic, curator and honorary President of the International Association of Art Critics [AICA], Paris) and its members include Lewis Biggs (freelance curator, writer and cultural consultant), Prof. Juan Cruz (artist and Dean of Fine Art and Design at the Royal College of Art), Prof. Ling Min (Associate Professor of Art History at Shanghai University) and Gan Zhiyi (Director of the Shanghai Minsheng Art Museum). The Board operates in full independence from national or supranational organisations and is free from commercial and other constraints.

Biographies of the Board Members
 
Henry Meyric Hughes

Henry Meyric Hughes, who chairs the jury, as a non-voting member, is an independent curator, writer and editor. He is Honorary President of the International Association of Art Critics (AICA), Paris and was, until recently, the General Co-ordinator of Council of Europe exhibitions. He was a co-founder of the European Biennial of Contemporary Art (2003), Manifesta and President of the Manifesta Foundation, Amsterdam, from 1996-2007.

From 1968-92 he worked for the British Council in Germany,Peru,France and Italy, ending up as Director of Visiting Arts (1994-96) and Director of Visual Arts (1986-92). He was the British Commissioner for the Venice Biennale and the São Paulo Biennial, 1986-92 (Richard Hamilton, Tony Cragg, AnishKapoor …). He was then Director of the Hayward Gallery, including National Touring Exhibitions and the Arts Council Collection from 1992-96, (exhibitions incl.‘Art and Power: Europe under the Dictators 1930-1945',‘The Spirit of Romanticism in German Art,1790-1990’and ‘The‘British Art Show 4’).

His recent projects include curating a survey exhibition, 'Blast to Freeze: British Art in the Twentieth Century' for Wolfsburg and Toulouse (2002-2003); the Cypriot Pavilion (Nikos Charalambidis) at the 2003 Venice Biennale; a touring exhibition of contemporary art in Norway for Oslo (2005-2006); and 'No Borders, Just N.E.W.S.', a touring exhibition of young European artists, 2008. He co-curated the XXX Council of Europe exhibition, 'The Desire for Freedom: Art in Europe since 1945' for Berlin, Krakow, Tallinn and Milan, with extensions to Sarajevo, Prague, Thessaloniki and Brussels (2012-2015). Recent co-publications include AICA in the Age of Globalisation (AICA Press, 2010) and African Contemporary Art: Critical Concerns / Art Contemporiain Africain: Regards Critiques (AICA Press, 2011, co-ed.). Contributions to recent publications include essays in various languages on Pierre Restany, Herbert Read, Dansaekhwa, curating exhibitions,‘The Reception of British Sculpture Abroad’(Yale) and pan-European aspects of contemporary art. He has taught and written about curating contemporary art and been an external examiner at the ENSBA, Paris and RCA, London.

He has acted as an adviser to UNESCO and as a consultant and general co-ordinator for Council of Europe exhibitions. He is a Board member of the Institute of International Visual Arts (Iniva) and Matt’s Gallery, London, and member of the Advisory Board of the Archives de la critique d’art and editorial committee of the review, Critique d’art, in Rennes, France. He was appointed Officier des Arts et des Lettres by the French Government and the Cross of Merit (Bundesverdienstkreuz) by the President of the Federal Republic of Germany.

Prof. Lewis Biggs

Lewis Biggs is a freelance Curator, Writer and Cultural Consultant. He was Director of Liverpool Biennial 2000-2011, having been a founding trustee of the charitable company in 1998. The 2002 Liverpool Biennial Festival 'broke the rules' by focusing on newly commissioned art, much of it for the public realm, researched collaboratively and realised by a team of locally based curators. This approach – and its success - established Liverpool Biennial as an original and significant contributor to the international spectrum of biennales, and the organisational model it established has become influential around the world, as competition between biennales forces them to differentiate their offer.

The success of the 2002 Biennial contributed to Liverpool winning its (2003) bid to be nominated European Capital of Culture 2008. Lewis played an active role in the formation and leadership of Liverpool Art and Regeneration Consortium, which delivered the majority of the City's arts programmes in 2008, and of Culture Campus, which created links between the arts sector and three Liverpool universities.

Lewis was Director of Tate Liverpool from 1990 to 2000 – a decade in which it was the only dedicated Museum of Modern Art in the UK, and at a time when the Tate 'brand' was associated overwhelmingly with the work of Turner and Constable. The programme he initiated in Liverpool introduced contemporary British and International art to new audiences nationally and especially in the North of England. It included groundbreaking art exhibitions from Japan, Korea, North Africa and Sub-Saharan Africa. The programme's structure, and accompanying education programme, were influential on London's Tate Modern when it opened in 2000.

Biggs is now the Curator of the Folkestone Triennial 2017, General Editor of Tate Modern Artists (books on contemporary artists since 2002), International Advisor, School of Fine Arts, Shanghai University and Chair, Organising Committee, International Award for Excellence in Public Art (Shanghai). He was Co-curator, Aichi Triennale 2013, and undertook a consultancy in 2011-2013 with Osage Art Foundation, Hong Kong.

Lewis is a member of the Board of International Advisors to the Rockbund Art Museum, Shanghai, a Visiting Professor of Contemporary Art at Liverpool School of Art and Design (he was awarded an Honorary Fellowship at Liverpool John Moores University in 1998) and an Honorary Professor at Glasgow University (School of Art). He is active as a trustee of several boards including the John Moores Liverpool Exhibition Trust (Painting Competition), Chinese Arts Centre, Manchester, Foundation for Art and Creative Technology (FACT), Liverpool and Situations, Bristol

Prof. Juan Cruz

Professor Juan Cruz is the Dean of the Schools of Fine Art  and Design at the Royal College of Art (RCA). He is an artist whose work employs a broad range of approaches to exhibition-making, including video, performance, text and site-specificity.

Prior to joining the RCA, Cruz was Director of Liverpool School of Art and Design at Liverpool John Moores University, where he introduced an innovative model of research and knowledge transfer with leading arts organisations, including Tate Liverpool, Liverpool Biennial and Foundation for Art and Creative Technology (FACT).

Also in Liverpool, Cruz facilitated the foundation of the Exhibition Research Centre, which saw the school research and develop a series of leading exhibitions and keynote lectures around the theme of exhibition studies, attracting international audiences, funding and media.

Cruz is a member of the Tate Liverpool Council, a trustee of the John Moores Liverpool Exhibition Trust and a board member of the Liverpool Biennial. He has played a leading role in Arts Council groups tasked with reaching new understandings about the relationship between HEIs and the cultural sector in the UK, leading to funding for 'Artist's City', a project designed to enhance opportunities for artists in Liverpool through better integration of institutions. He was also a trustee of the A Foundation between 2009 and 2011.

Under Cruz's leadership, Liverpool School of Art and Design became a partner in 'The Uses of Art', a €2.5-million European project delivered in collaboration with 'L'Internationale', a key European museum confederation including MACBA in Barcelona, the Reina Sofia in Madrid, MuKHA in Antwerp, Salt in Istanbul, Van abbemuseum in Eindhoven and Moderna Galerija in Slovenia, as well as other collaborating Institutions including Grizedale Arts, University of Hildesheim and KASK in Ghent.

Cruz is a member of the REF (Research Excellence Framework) sub-panel 34 and between 2011 and 2014 was a co-opted member of the executive of CHEAD, the Council for Higher Education in Art and Design. Earlier in his career, between 1999 and 2002, Cruz was also a member of the Arts Council National Touring Programme selection panel, as well as a Member of the London Arts Visual Arts Advisory Group.

Prof. Ling Min

Prof. Ling Min is an associate professor in art history at Fine Arts Academy of Shanghai University. Prior to this, she served as a research scholar of art curation at Goldsmiths London and also had leadership placement in Liverpool Biennial. From 2009 to 2014, she was a key coordinator of the John Moores Painting Prize in China.

She is currently a member of the Open Section and an International Vice-Presdient of the International Association of Art Critics (AICA), Paris and a trustee of John Moores Liverpool Exhibition Trust.

In 2012 she was a keynote speaker of section four of 33rd Congress of the International Committee of History of Art in Nuremberg, a keynote speaker at the Arts Annual Convention in Pittsburgh and the AICA annual congress in Slovakia, and a keynote speaker at the 2014 RMIT public art forum of spatial dialogue in Melbourne.

Biograpy of the Additional Lead Member of the Organising Committee
 
Gan Zhiyi

Gan Zhiyi is an economist. who received her MBA degree in 2003. She has worked on the management side of a number of state-owned commercial banks, including the Shanghai Branch of the Industrial and Commercial Bank of China and the Shanghai Brach of the China Minsheng Bank, where she has taken the lead on a number of innovative real estate projects. In 2014, she was appointed Director of the Shanghai 21st Century Minsheng Art Museum. which developed into the Shanghai Minsheng Art Museum in 2017 under her leadership. At the same time, she continues to exercise responsibility for the overall management of the Minsheng’s different art institutions, and to contribute with her financial skills and varied experience to these organisations’ artistic development. She has participated in writing and compiling several of the museum’s catalogues, including that of the opening exhibition, ‘COSMOS’ (2014) and the exhibition, ‘Nonfigurative’ (2015). She has contributed regular columns to Internet Finance News, as well as articles on financial research for media outlets, including Jiefang Daily, Xingmin Evening News, Shanghai Financial News and Labour Daily Economic World. In addition, she has been guest contributor on financial matters to a variety of TV and radio stations over the past 15 years.