The VH AWARD is Asia’s leading award for media artists. The VH AWARD contributed to the growth of Korean media art. The 4th VH AWARD is extended for Asian artists engaged with the context of Asia and its futures.

The five shortlisted artists are invited to participate in the Eyebeam online residency program and exhibitions across various global platforms.
The call for entries opens on 18 January, 2021 and closes on 19 March, 2021. HOW TO PARTICIPATE


    Senior Curator, International Art (Hyundai Tate Research Centre: Transnational), Tate Modern

    Lee works on exhibitions, acquisitions and collection displays at Tate Modern as Senior Curator, International art, and heads a major research initiative Hyundai Tate Research Centre: Transnational.

    She curated Nam June Paik at Tate Modern in 2019 with Rudolf Frieling, which will be on tours to institutions in Europe, USA, and Asia until early 2022. She has also curated collection exhibitions and displays at Tate Modern, such as A Year in Art: Australia 1992 (2021-22), CAMP: From Gulf to Gulf to Gulf (2019-20) and Xiao Lu and Niki de Saint Phalle (2018-19). Lee was previously Exhibitions & Displays Curator at Tate Liverpool and curated a number of exhibitions and collection displays including Doug Aitken: The Source and Thresholds (2012-13, as part of Liverpool Biennial). She served as the Commissioner and Curator of the Korean Pavilion at the 56th Venice Biennale (2015). Lee has convened and participated in several international symposiums and conferences at the Tate and internationally, including From Alexandria to Tokyo: Art, Colonialism and Entangled Histories (Digital conference with Mori Art Museum, Tokyo, 2020), Axis of Solidarity: Landmarks, Platforms, Futures (Tate Modern, 2019), and Territories Disrupted: Asian Art after 1989 (National Museum of Modern and Contemporary Art Korea, 2017). She has also written and lectured widely on modern and contemporary art, and her publications include Nam June Paik (with Rudolf Frieling, exhibition catalogue, Tate Publishing, 2019) and MOON Kyungwon & JEON Joonho (exhibition catalogue, Korean Pavilion, Venice Biennale, 2015).


    Independent Curator & Critic

    Christopher Phillips is an independent curator and critic based in New York City. He is a board member of Asia Art Archive in America, and a contributing editor of the magazine Art in America. He teaches courses on the history and theory of photography and media art at Tisch School of the Arts, New York University.
    From 2000 to 2016 he was a curator at the International Center of Photography (ICP) in New York. He has organized many exhibitions that examine
    contemporary Asian photography and media art. These exhibitions include Between Past and Future: New Photography and Video from China (2004, co curated with Wu Hung); Atta Kim: On-Air (2006); Shanghai Kaleidoscope (2008); Heavy Light: Recent Photography and Video from Japan (with Noriko Fuku, 2008); Wang Qingsong: When Worlds Collide (2011); Han Youngsoo: Photographs of Seoul 1956-63 (2016); Life and Dreams: Contemporary Chinese Photography and Media Art (2018); and Zheng Guogu: Photoworks 1993-2016 (2019).


    Curator, Executive Director of Eyebeam

    Roderick Schrock is a curator and arts executive. Since 2015, Schrock has been the Executive Director of Eyebeam in New York City, an institution dedicated to supporting art that engages technology. There, he manages the functional capacities of the organization’s direct artist support and guides its focus on supporting work that aims to realign societal relationships to emergent technologies. He received an MFA from Mills College and currently teaches in the Curatorial Practice MA Program at the School of Visual Arts and has taught at the Studio for Electro-Instrumental Music (STEIM), California College of the Arts, and New York University’s Interactive Telecommunications Program. He sits on the Netherlands America Foundation Cultural Committee and is a founding board member of Art+Feminism.

    He has been an active practitioner in digital and sound art, living and working in Japan and continuing studies in the Netherlands. He has served on, and nominated for, local and international art award committees. His essays have been published by MIT Press, and he writes regularly for online publications, such as Hyperallergic. He has previously written for New Music Box, Fucking Good Art, and e/i Magazine. As a sound artist, Schrock has been commissioned by Meet the Composer, the American Music Center, The Netherlands America Foundation, and Ostrava New Music Days, among others.


    Director, Museum MACAN

    Aaron Seeto is the Director of Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) since 2016. He has experience with working to advance the goals of contemporary arts organizations and curating significant exhibitions for artists from Asia to Pacific regions.

    Seeto was formerly a Curatorial Manager of Asian and Pacific Art, at Queensland Art Gallery | Gallery of Modern Art in Brisbane, Australia where he led the curatorial team at the eighth Asia Pacific Triennial of Contemporary Art (APT8) in 2015. For eight years prior, he was the Director of Sydney’s ground-breaking 4A Centre for Contemporary Asian Art.


    Director, Curatorial, Collections and programmes, Singapore Art Museum

    Dr. June Yap is Director of Curatorial, Collections and Programs at the Singapore Art Museum, where she oversees content creation and museum programming.
    Her prior roles include Guggenheim UBS MAP Curator (South and Southeast Asia), Deputy Director and Curator at the Institute of Contemporary Arts Singapore, and curator at the Singapore Art Museum. Amongst exhibitions she has curated are: They Do Not Understand Each Other co-curated with Yuka Uematsu from National Museum of Art, Osaka, at Tai Kwun Contemporary; No Country: Contemporary Art for South and Southeast Asia as part of the Guggenheim UBS MAP Global Art Initiative; The Cloud of Unknowing at the 54th Venice Biennale with artist Ho Tzu Nyen; The Future of Exhibition: It Feels Like I’ve Been Here Before at the Institute of Contemporary Arts(Singapore); Paradise is Elsewhere at Institut für Auslandsbeziehungen (Germany); media art exhibitions Interrupt and Twilight Tomorrow at the Singapore Art Museum. She is the author of Retrospective: A Historiographical Aesthetic in Contemporary Singapore and Malaysia (2016).


In collaboration with Hyundai Motor Group, Eyebeam plans to build from the successes of this online program intended to support five finalists to the 4th VH AWARD. It will take place with the following leaders and mentors, unfolding from 1 May, 2021 to 31 July, 2021.


    Workshop focused on creating better understanding of international video art landscape, covering topics such as studio visits and additional international opportunities.
    Karen Archey is Curator of Contemporary Art, Time-based Media at the Stedelijk Museum Amsterdam. She is an American curator and art critic formerly based in Berlin and New York, and a 2015 Creative Capital | Warhol Foundation Arts Writers Grant recipient for short-form writing.
    Since joining the Stedelijk Museum in April 2017, Archey has organized solo exhibitions by artists Rineke Dijkstra, Stefan Tcherepnin, Catherine Christer Hennix, and Metahaven, as well as the latest edition of the Stedelijk Museum Amsterdam’s biannual Municipal Art Acquisitions, titled Freedom of Movement.


    American Artist (b. 1989, lives and works in New York, USA) is an artist whose work considers the labor and visibility of Black Americans in the networked age. Their art practice is foregrounded by their legal name change to American Artist in 2013. Artist’s practice makes use of video, installation, new media, and writing. They are a resident at Red Bull Arts Detroit, Michigan, USA and a 2018-2019 recipient of the Jerome Foundation Fellowship of the Queens Museum in New York.

    They are a former resident of Eyebeam and completed the Whitney Museum Independent Study program as an artist in 2017. They have exhibited artwork internationally at Nam June Paik Art Center, Seoul, KR; Savvy Contemporary, Berlin, DE; MoMA PS1, New York, USA; Museum of Contemporary Art Chicago, USA; and Museum of African Diaspora, San Francisco, USA, among others. Their work has been featured in the New York Times, Artforum, and Huffington Post. Recent solo exhibitions include Looted, Whitney Museum of American Art (online), 2020, My Blue Window, Queens Museum, New York, USA, 2019, and I’m Blue (If I Was █████ I Would Die), Koenig & Clinton, New York, USA, 2019.


    Ute Meta Bauer is the founding director of the Centre for Contemporary Art (CCA) in Singapore, a national research center of the Nanyang Technological University (NTU) and Professor of Art at NTU’s School of Art, Media and Design, since 2013. She has served as Dean of Fine Art at the Royal College of Art, London; founding director of MIT’s program in Art, Culture, and Technology (ACT); and director of the MIT Visual Arts Program.


    Workshop focused on building understanding of potential new digital coding skills and greater engagement with the global digital art and design field as a whole.
    Zach Lieberman’s work has appeared in numerous exhibitions around the world, including Ars Electronica, Futuresonic, CeBIT, and the Off Festival.
    He collaborated with artist Golan Levin on the interactive audiovisual project Messa Di Voce. With TheoWatson and Arturo Castro, he created openFrameworks, an open source C++ library for creative coding and graphics. Lieberman has held residencies at Ars Electronica Futurelab, Eyebeam, Dance Theater Workshop, and the Hangar Center for the Arts in Barcelona. In 2013, he co-founded the School for Poetic Computation, a hybrid of a school, residency and research group in New York City. His work uses technology in a playful way to break down the fragile boundary between the visible and the invisible. His artwork focuses on computer graphics, human-computer interaction, and computer vision.


    Barbara London is a US curator and writer specializing in new media and sound art. She is best known for founding the video collection at the Museum of Modern Art (MoMA), as the author of Video/Art, The First Fifty Years (Phaidon, 2020) and the podcast series Barbara London Calling https://www.barbaralondon.net/.


    Kamau Amu Patton is Assistant Professor of Visual and Critical Studies at School of the Art Institute, Chicago. He is an interdisciplinary artist whose work is an examination of history and culture through engagement with archives, documents, stories, and sites. Patton’s projects are dialogic constructs and take form as expanded field conversations. Temporary architectures made solid through attention, his work is always becoming, continuing, and undergoing transformation. Patton has exhibited extensively nationally and internationally. His work is in the collection of SFMOMA and MoMA, New York.


    Eyebeam was established in 1998, as a resource for artists to engage creatively with technology in an experimental setting. Eyebeam has opened its breadth of support to equitably compensate over 125 artists each year through its diverse programming. Eyebeam has committed to amplifying the voices of artists, inventors, designers, and engineers who show us the horizon of what is possible, creating space for them to imagine the future.

    Society’s ever-shifting relationship to technology can be charted through the work of those that have come through our doors over the past two decades. Now more than ever, Eyebeam radically centers artists in the cultural conversation, giving them the support to both interrogate and re-imagine what technology can be and who it is for.