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Victor Wang

MA work

Future Institutions in the Age of a Global Art History

For this dissertation I have adopted an interdisciplinary approach in my method of constructing a systemic explanation of global art and its current non-linear expansion. One that draws from the fields of social sciences to the humanities, from ecological economics to inheritance systems, to formulate a system that addresses the exchange of living things as well as objects, histories, politics and commodities, and engaging the hard sciences such as physics for an understanding of the movement of culture, contemporary art, ideology, borders, form and matter, and how these events and ideologies move across borders and formulate the construction of institutions and publics which have created ruptures in art history as a Western canon. 

My thesis outlines a scenario of a decentralising art world, one that contains multi-centres, all of which formulate spatial, temporal and ideological content. This contributes to an examination of my core concern: what is global art, and what is its temporal relation to the contemporary?  Who is it for, and how does it affect them?  What does the museum of the 21st century look like? 

By investigating the phenomenon of global art through a curatorial lens I have put forward key theories that unite my argument, and position a need for non-linear institutional models that utilise local or indigenous and aboriginal cultural values and beliefs in the development of museological structures that reconsider current strategies of display, object and audience relationships, curation, interpretation, and archiving. Concepts such as Global cubingTransverse wavesGlobal modernityTransitional publicsThe Crisis of Identity age and Future institutions will be explored and defined in moving towards an assertion of the necessity for alternative models that can facilitate a truly global art. The importance of such a thesis lies in its relevance to the reformulation of a global art history that breaks with the traditional linear Western canon and the formulation of other possibilities, ones that could facilitate the development of a new art history.

Info

  • Victor Wang
  • MA Degree

    School

    School of Fine Art

    Programme

    MA Curating Contemporary Art, 2014

  • Victor Wang is a London-based exhibition maker and curator. He was recently appointed associate curator/research fellow at Contemporary Art Heritage Flanders (CAHF), a research environment and knowledge platform initiated by and built around the collections of the four contemporary art museums in Flanders, Belgium: S.M.A.K. (Ghent), Mu.ZEE (Ostend), M HKA & Middelheimmuseum (Antwerp).

    Victor has organised exhibitions and events with such institutions as the Institute of Contemporary Arts, London, the Vancouver Art Gallery, The Künstlerhauses Bethanien, Berlin, and Acme Studios, London, and was an assistant curator for the Vancouver Pavilion at the 9th Shanghai Biennale, 2012. In 2013, with Ruth Noack and the CCA students curated the exhibition 'Not Dressed for Conquering – Ines Doujak’s Loomshuttles/Warpaths' and the symposium 'How to do Research with Art?' with participants such as Bartomeu Marí, director of MACBA, Barcelona and Francesco Manacorda, director of the Tate Liverpool, for the MeLa (European Museums in an age of migrations) research project,. In 2009 he co-founded Here Is Now, and in 2010 founded Make Art History. He has written for such publications as Yishu: Journal of Contemporary Chinese Art, Performa Biennale Magazine New York, and  has attended curatorial residencies and workshops such as Curating Performance, at the ICI Curatorial Intensive Program, New York, Curating in the Gallery field at De Appel (intensive workshop), Amsterdam. 

  • Degrees

  • BA Commerce and Economics, Langara College, Vancouver, Canada
  • Experience

  • Research fellow, Contemporary Art Heritage Flanders (CAHF): S.M.A.K. (Ghent), Mu.ZEE (Ostend), M HKA & Middelheimmuseum ; THE HARDER YOU LOOK, David Roberts Foundation, London A temporary institute and workshop , 2013 (workshop participant) ; Institute of Contemporary Arts, Student Forum, London, 2013; De Appel, Curating in the gallery field, Amsterdam, 2011 (Intensive workshop participant); ICI Curatorial Intensive Program, (Curating Performance), New York, 2011 (residency) ; Node Center for Curatorial Studies, Berlin, 2010–11 (residency) ; Artist and Exhibitions, Galerie Johann König, Berlin, 2010-12; Curatorial Department, Vancouver Art Gallery, Vancouver, 2012; Artist and Exhibitions, Galerie Johann König, Berlin, 2010-12; Curatorial Department, Vancouver Art Gallery, Vancouver, 2012; Gallery Manager, Blanket Gallery, Vancouver, 2009-10; Gallery Manager, Blanket Gallery, Vancouver, 2009-10
  • Exhibitions

  • Man, Machine and Images in Motion, with artists: Murat Akagündüz , Mark lecky, Elizabeth Price, Zineb Sedira, Jeremy Shaw, Institute of Contemporary Arts, London; New Terms: Reading Group with Daniel Silver and Heather Phillipson, in collaboration with Bloomberg New Contemporaries, Institute of Contemporary Arts, London, 2014 ; Manga Made, Institute of Contemporary Arts, London, 2013 ; Shēng: Exploring the spectacle: A representation of Cai Guo-Qiang’s Extraterrestrials Projects, Royal College of Art, London, 2013 ; Love me, Love me not, performance by Emma Smith, Institute of Contemporary Arts, London, 2013; Honk! If Your Body’s Not Yours!, Institute of Contemporary Arts, London, 2013 ; Ian Wallace: At the Intersection of Painting and Photography, Vancouver Art Gallery, 2013; In Defense of the Poor Image, Bcc # 12 at OUTPOST Gallery, Norwich, 2013 (project in conversation with Hito Steyerl); Not Dressed for Conquering: Ines Doujak’s Loomshuttles/Warpaths, Royal College of Art, London, 2013 (Curated with Ruth Noack and the Curating Contemporary Art programme); Adjacent Practice Colliding Daily, Acme Project Space, London, 2013 ; Vancouver Pavilion, 9th Shanghai Biennale, Shanghai, 2012; Cory Arcangel - A Couple Thousand Short Films About Glenn Gould, Nue Radio, Oslo, 2012 ; Lost in Translation, ONO Gallery at UNGE KUNSTNERES SAMFUND, Oslo, 2012 ; IMPRINT, In collaboration with The Goethe-Institut & Freie Internationale Tankstelle. Goethe Satellite, Vancouver, 2012 ; Unfolding Processes, Grim Museum, in partnership with Künstlerhauses Bethanien (Berlin) and the Node Center of Curatorial Studies, Berlin, 2011
  • Awards

  • Conferences

  • Art History Graduate Conference 2014. Performing Money: The Problematic of Performance Art and the Art Market. University of Essex, Colchester, UK, (Speaker); London College of Communication, Seminar, Photography Department, London, UK, June 5, 2013 (Tutor) ; Independent Curators International (ICI) Curatorial Symposium, New York, 2011 (speaker) ; The Sound of Conversation, Satellite Gallery (Presentation House Gallery, Morris and Helen Belkin Gallery, Museum of Anthropology). Vancouver, 2011 (speaker) ; The Vancouver International Centre for Contemporary Asian Art Tenth Year Anniversary, LET'S TWIST AGAIN: The Archaeology of the Future, Vancouver (speaker) ; Art History Graduate Conference 2014. Performing Money: The Problematic of Performance Art and the Art Market. University of Essex, Colchester, UK, (Speaker); London College of Communication, Seminar, Photography Department, London, UK, June 5, 2013 (Tutor) ; Pecha Kucha Night Volume 13, The Vogue Theatre, Vancouver, 2010 (speaker)
  • Publications

  • 'Zhang Enli, "Space Painting" at the Institute of Contemporary Arts, London', Yishu: Journal of Contemporary Chinese Art, January/February (13), 2014 ; 'Forgotten Poems, Curated by Victor Wang, images from John Akomfrah, Poetry by Amiri Baraka'. Arc (17:1) Rural, 2013; 'Anna-Bella Papp’s Untitled Clay at Modern Art', NY Arts Magazine, 2013; Performing Around Capitalism: Museum as a Place of Art Production, Performa Biennale Magazine, 2013; '19:30 The Art of History Telling', Collabrative essay with Aleksandra Domanović, 'Unfolding', Publication in collaboration with the Node Center for Curatorial Studies (Berlin) & Künstlerhaus Bethanien