THE 5TH VH AWARD

2022년 4월 24일2022년 8월 30일

VISION (5th ENG)

VISION

The VH AWARD supports emerging Asian media artists to share their artistic experiments and amplify their voices on diverse issues by offering the opportunity to participate in the online residency program and showcase their works across various global platforms.

Initiated in 2016, the VH AWARD has been discovering and cultivating promising artists engaged with the context and future of Asia. The award emboldens the artists who are working at the edges of audiovisual creation to challenge how we understand ourselves and each other in relation to the past, present, and future.

The VH AWARD is hosted by Hyundai Motor Group (HMG) and is led by Hyundai Motor Company, as a part of HMG’s commitment to supporting cross-cultural innovation and development.

CONTACT

Please email us for inquiries regarding entry and any technical issues.
Email : vhaward.official@gmail.com

2022년 4월 24일2023년 12월 14일

JURY & NOMINATORS (5th ENG)

JURY

Aaron Seeto

Director, Museum MACAN

Aaron Seeto is the Director of Museum of Modern and Contemporary Art in Nusantara (Museum MACAN). 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 4A Centre for Contemporary Asian Art.
Martin Honzik

CCO Ars Electronica Linz (Chief Curatorial Officer) Managing Director of Ars Electronica Festival, Prix, and Exhibitions, Linz, Austria

Martin Honzik is an artist CCO of Ars Electronica Linz, and Managing Director of the Ars Electronica’s Festival, Prix and Export. He studied visual experimental design at Linz Art University (graduated in 2001) and completed the master’s program in culture & media management at the University of Linz and ICCM Salzburg (graduated in 2003). Besides being independent Artist in several art projects, he joined the staff of the Ars Electronica Future Lab as a researcher, in 2001, where, until 2005, his responsibilities included exhibition design, art in architecture, interface design, event design and project management. Since 2006, Martin Honzik has been Managing Director of the Ars Electronica Festival, the Prix Ars Electronica, the Exhibitions in the Ars Electronica Center and Ars Electronica Export. He has been curating a considerable amount of international Exhibitions in the context of Art, Science and Technology. Since 2021 he became CCO (Chief-Curatorial-Officer) of Ars Electronica Linz.
Roderick Schrock

Curator, Executive Director of Eyebeam

Roderick Schrock is an arts organizer and curator. As a non-profit leader, he specializes in building institutional capacity and conceives and implements programs that elevate artists’ works in society. As the executive director of Eyebeam, he guides its focus to realign societal relationships with emergent technologies. Additionally, he is the host of Informer, a podcast featuring conversations with artists, technologists, and thinkers.

He has been an active practitioner in the arts, living and working in Japan and continuing studies in the Netherlands. He has written extensively for anthologies, periodicals, and other publications. As a digital and 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. He received an MFA from Mills College in Oakland.

He 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 was a founding board member of Art+Feminism. He regularly juries and nominates for national and international art awards.
SOOK-KYUNG LEE

Director, The Whitworth, University of Manchester

Lee is a director of the Whitworth at The University of Manchester. She curated Nam June Paik at Tate Modern in 2019 with Rudolf Frieling, which was on tour to institutions in Europe, USA, and Asia until early 2022. She has also curated several collection exhibitions and displays at Tate Modern, including A Year in Art: Australia 1992 (2021-23), 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).

Lee was a Senior Curator of International Art since 2019 she had been led the ‘Hyundai Tate Research Centre: Transnational’ and the Artistic Director of the 14th Gwangju Biennale in 2023. She also 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).
Yukiko Shikata

Curator/critic based in Tokyo.

President of AICA (International Association of Art Critics) Japan, Artistic Director of <Forest for Dialogue and Creativity>. Visiting professor at Tama Art University and Tokyo Zokei University, lecturer at Musashino Art University, Institute of Advanced Media Arts and Sciences (IAMAS) and the Postgraduate School of Kokugakuin University. Her activities traverse existing fields by focusing on <Information flows>.

In parallel, working as a curator of Cannon ARTLAB (1990-2001), Mori Art Museum (2002-2004), senior curator of NTT InterCommunication Center[ICC] (2004-2010), as an independent curator, realized many experimental exhibitions and projects. Recents works include SIAF 2014 (Associate Curator), KENPOKU ART 2016 (Curator). Works in 2020 including the Symposium of AICA Japan (Chairperson), MMFS 2020 (Director), <Forking PiraGene> (Co-curator, C-Lab Taipei). Works in 2021 including the Forum ‘Information as a form of ‘ (Kyoto Prefecture), ‘EIR’ (Energies in Rural) (Co-curator, Aomori Contemporary Art Centre + Liminaria, Italy, ongoing), ‘Forum Spirits as Energy｜Stone, Water, Forest and Human’ (General Incorporated Association Dialogue Place). Juror of many international competitions, many co-publications. Essay series ‘Ecosophic Future’ at HILLS LIFE. yukikoshikata.com

NOMINATOR

Bi Xin

BI Xin (Milia) is a curator and researcher based in Shanghai.
She also serves as the Executive Director of Chronus Art Center, and leads the curatorial vision of public programs at CAC.
Xin’s curatorial practices focus on the intersection of arts and decentralised technologies. Her recent projects explores the entanglement of consensus mechanisms and its carbon footprint issue. Through writings, curating and collaborating, she is exploring an alternative prototype to re-consider the ethical relationship between technology development and environmental consumption and the infrastructures and future sustainable technologies in web 3.0.

Xin has long-standing interest in net art, virtual spaces and online culture. Her papers were selected for the 4th and 5th Annual Conference of Network Society and published in NETIZEN 21: Beyond Personal Account. She is the founder of MondayOFF惬意忙, a series of self-published art books which explore youth and hybrid culture/subculture in the digital age. In 2020, Xin initiated the column “unscented” on Art-Ba-Ba, discussing topics such as metafiction, electronic music, universal basic income, crypto-archaeology, code crime through essays and interviews.

Xin has a master degree of Curating from the Chelsea College of Art and Design, University of Arts London, UK and a bachelor’s degree of Art History from Central Academy of Fine Arts, China.

Xin is the winner of the Hyundai Blue Prize Art+Tech 2022.
Do Tuong Linh

Đỗ Tường Linh is a curator / art researcher in Hanoi, Vietnam. Đỗ holds a BA in Art History and theoretical criticism from Vietnam University of Fine Arts and a MA in Contemporary Art and Art Theory of Asia and Africa at SOAS (University of London), UK.

She has engaged in various art exhibitions and projects in Asia, Europe and beyond since 2005. She is a fellow researcher for Site and Space in Southeast Asia – a research project run by the Power Institute, University of Sydney, Australia funded by Getty Image Foundation, USA. In 2022, Đỗ is the one of curators from the artistic team of the 12th Berlin Biennale.
Iris Long

Iris Long (irislong.xyz) is an independent curator with a research focus on how art responds to computing. She was shortlisted for the first M21-IAAC Award (International Awards for Art Criticism). She has curated exhibitions around art and technology, such as <Lying Sophia and Mocking Alexa>(Hyundai Blue Prize), <Blue Cables in Venetian Watercourse> and so on.

She is on the art jury of ISEA 2019, and the art jury of SIGGRAPH ASIA 2020. In 2021, she initialized <Port: Under the Cloud>, long-term research and curatorial project on the infrastructures of science and technology in China.
Je Baak

Je Baak graduated from Seoul National University and Royal College of Art in UK. He has held solo exhibitions in London and Seoul and participated in several group exhibitions such as <New Visions New Voices>, <Samramansang> at MMCA Korea and <Korean Eye> at Saatchi Gallery, <the Future is Now!> exhibition at MAXXI Art Museum in Italy, <Media City Seoul 2016> at Seoul Museum of Art, <Lux> in 180 Strand London, <Seoulight> in DDP, Seoul and at Ars Electronica exhibition in Austria.

Baak has received several prominent recognitions. He was awarded the Grand Prize of Joongang Fine Arts Prize in 2010 and won the Grand Prix of VH AWARD in 2016 by Hyundai Motor Group. Baak’s works are in the collections held by MMCA, DDP, Kumho Museum, Museum of Art in Seoul National University and Joongang Ilbo and proceeding many projects with companies such as Hyundai Motor Company, LG and etc. He is currently educating art & technology and installation art as a professor of the department of sculpture, Seoul National University.
Joel Kwong

Joel Kwong, an international media art curator, writer, producer and educator based in Hong Kong. She is currently the Programme Director for Microwave Festival, and the founder of SIBYLS. Over 15 years of experience, her most recent involved projects includes Future Media Art Festival in Taiwan, Microwave Festival, <Fireflies: The Glowing Dots> online exhibition, Connecting the Dots Media Art Archaeology Online Project etc. She has also given talks and lectures at many festivals and institutions, including Ars Electronica in Linz, Transmediale in Berlin, ACT Festival in South Korea; the University of Electro-Communications in Tokyo etc.
Joselina Cruz

Joselina Cruz is currently Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle-College of Saint Benilde, Manila. Cruz has worked as a curator for the Lopez Memorial Museum in Manila and the Singapore Art Museum.

She was a curator for the 2nd Singapore Biennale in 2008 and curated the Philippine Pavilion for the 57th Venice Biennale in 2017. She is a Fellow of the Nippon Foundation’s Asian Public Intellectuals, and the Asian Cultural Council. She studied art history at the University of the Philippines, and Curating Contemporary Art (MA, RCA) at the Royal College of Art, London. She writes essays, reviews, criticism and commentary on art and culture.
Manuporn Luengaram

Manuporn Luengaram is a curator and researcher based in Bangkok, Thailand. She works primarily in the areas of art, digital media and social practice in the context of Thailand and Southeast Asia. She was also a former manager of Arts Network Asia (ANA), a regional arts network.

In 2018, she joined the Jim Thompson Art Center’s curatorial team, overseeing artists’ commissions and projects. In 2020, she was an assistant curator of the 2nd Bangkok Art Biennale. In 2021, she was Director of Projects at 100 Tonson Foundation in Bangkok where she curated a new two-part video installation by Apichatpong Weerasethakul.

In her art historical research, she is a co-editor of an anthology of Southeast Asian Contemporary Art, a Thai version, published by Thailand’s Ministry of Culture (2015); a research assistant for ‘Artist-to-Artist’: Independent Art Festivals in Chiang Mai, 1992-1998’, published by Afterall Books (2018). She has joined the editorial committee for ‘Writing the Modern in Southeast Asian Art’ publication, which will be published by National Gallery Singapore (2022).
Michelle Ho

As director of the ADM Gallery at the Nanyang Technological University, Michelle Ho launched a new curatorial vision connecting contemporary art and new media with the university’s research fields. With more than 15 years curatorial experience in Southeast Asian art, some of her exhibitions include Vertical Submarine and the Amusement of Knowledge and Illusion (2022), Reformations: Painting in post 2000 Singapore Art (2019) and Exceptions of Rule: Counterpoints to Truth (2018). Formerly a curator at the Singapore Art Museum, she led the acquisition strategies of its contemporary art collection from 2013 to 2015, and co-curated exhibitions with museums like Queensland Art Gallery, Museum of Contemporary Art Tokyo and Kunsthaus Zurich. She was co-curator of the 2013 Singapore Biennale, and was curator for the Singapore Pavilion at the 58th Venice Biennale in 2019.
Miki Fukuda

Editor of a webzine and exhibition catalogues related contemporary arts, coordinator of exhibitions, talk events and workshops related to media art. In the early 1990s, participated in making the conceptual planning of NTT-InterCommunication Center [ICC], In the 2000s, has worked at the National Museum of Emerging Science and Innovation as a curatorial staff, Institute of Advanced Media Arts and Sciences (IAMAS) as a lecturer, Yamaguchi Center for Arts and Since as a production manager. Director of Media Design Research Inc. since 2015.
Ritika Biswas

Ritika Biswas (b. 1995) grew up in Kolkata, India and holds a Liberal Arts degree from Yale-NUS College, Singapore, and an MPhil in Film and Screen Studies from the University of Cambridge. She was a curator and special projects producer at New Art Exchange, UK, and Artistic Director for the 2021 Sea Art Festival, Non-/Human Assemblages, for the Busan Biennale. Currently working on experimental virtual art platforms and decolonial digital strategies, her practice exists at the nexus of deep research, eco-critical play, collaborative kinships, and justice, particularly within the Global South.
Rizki Lazuardi

Rizki Lazuardi (b. 1982) is an Indonesian artist and curator who works mainly with moving image and expanded cinema. He obtained his MA in film and media art at the Hochschule für bildende Künste Hamburg. Central to his practice is subjects related to institutionalized information. His works and programs have been presented in many festivals, exhibition, or institutions, among others IFFR Rotterdam, Jakarta Biennale, European Media Art Festival Osnabrück, Image Forum Tokyo, and Singapore Art Museum. In 2019, he was commissioned to conduct artistic research on the colonial-related film archives at the Netherlands Institute for Sound and Vision, Hilversum. Lazuardi is a program consultant for Arsenal Berlin at the Berlinale Forum.
Tan Hui Koon

Tan Hui Koon (a.k.a. Koon) Diploma in Visual and Digital Art from Limkokwing University, BA (Hon) in Fine Art from University Science Malaysia (USM) at 2007. Her curatorial involvement included community art project: Gerakan Seni (2015), National Collection: Mapping on Malaysia Modern Art History 1920-1970 permanent exhibition (2016), 101: Malaysian Women Artists’ Exhibition (2017), The First KL Biennale – KL Beloved (2017) and Minta Perhatian: Media Baru (2019). Artist’s solo exhibition: Chang Yoong Chia: Second Life (2018) and Arang: Ronnie Mohammad (2018). Curatorial team of Contemporary Forum (2017), Young Contemporary Award (2019) and and Ipoh International Art Festival (2019). Jury of UOB Painting of the Year 2020.
WU Dar-Kuen

Artist / Curator, Currently working as the Director of Contemporary Art Platform at Taiwan Contemporary Culture Lab (C-LAB), and has been a slashie across artist / curation / teaching / administration / writing. He was the former director of Taipei Artist Village and Treasure Hill Artist Village, chairman of Taiwan Art Space Alliance (TASA), and a curator at Kuandu Museum of Fine Arts. Endeavoring to bridge art and social practices, He not only reflects on the social conditions of Asian countries with his unique artistic language, but also consider social and technological issues of the Anthropocene.

2022년 4월 24일2023년 1월 10일

RESIDENCY (5th ENG)

RESIDENCY

In collaboration with Hyundai Motor Group, Eyebeam plans to build from the successes of this online program intended to support five finalists to the 5th VH AWARD. It will take place with the following leaders and mentors, unfolding from October 2022 to December 2022.

ABOUT EYEBEAM

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.

MENTORS

CLARINDA MAC LOW

Clarinda Mac Low was brought up in the avant-garde arts scene that flourished in NYC during the 1960s and ‘70s started out working in dance and molecular biology. in the late 1980s and now works in performance and installation, creating participatory events that investigate social constructs and corporeal experience. She is also a professor in digital arts and a former HIV/AIDS medical journalist. Mac Low is co-founder and Executive Director of Culture Push, an organization that links artistic practice and civic engagement and co-founder and co-director of Works on Water, an organization that supports art that works on, in, and with waterways. Recent work and ongoing projects include: “Sunk Shore,” participatory tours of the future rooted in climate change data, made in collaboration with Carolyn Hall, a dancer and historical marine ecologist; “Incredible Witness,” a series of game-based participatory events looking at the sensory origins of empathy; and “Free the Orphans,” a project that seeks to “free” copyright orphans, investigating the spiritual and intellectual implications of intellectual property in a digital age. Residencies include as a Back Apartment Resident in St. Petersburg, Russia through CEC (2019), as a MacDowell Fellow (2000, 2016), through the Society for Cultural Exchange in Pittsburgh (2007) and as a guest at Yaddo and Mount Tremper Arts (2012). She received a BAX Award in 2004, a Foundation for Contemporary Arts grant, 2007 and a 2010 Franklin Furnace Fund for Performance Art grant. Mac Low holds a BA, double major in Dance and Molecular Biology, from Wesleyan University and an MFA in Digital and Interdisciplinary Arts Practice from CCNY-CUNY, and has taught at NYU, CCNY-CUNY, Hunter College, Parsons School of Design, and Pratt Institute.
JON IPPOLITO

The inaugural winner of the Thoma Arts Writing prize, Jon Ippolito has exhibited artwork with collaborative teammates Janet Cohen and Keith Frank at venues such as the Walker Art Center and ZKM/Center for Art and Media Karlsruhe. As Associate Curator of Media Arts at the Guggenheim Museum, he curated Virtual Reality: An Emerging Medium and, with John G. Hanhardt, The Worlds of Nam June Paik. Ippolito’s critical writing has appeared in periodicals ranging from Flash Art and the Art Journal to the Washington Post. At the Still Water lab co-founded with Joline Blais, Ippolito has worked on three projects–the Variable Media Network, ThoughtMesh, and the books At the Edge of Art and Re-collection–that aim to expand the art world beyond its traditional confines.
KAMAU AMU PATTON

Kamau Amu Patton is an interdisciplinary artist and educator whose work examines history and culture through engagement with archives, documents, stories, and sites. Patton’s projects are dialogic and take form as expanded field conversations. Patton received his MFA from Stanford University in 2007 and received a degree in Sociology from the University of Pennsylvania. His work was shown in 2012 as part of Pacific Standard Time and in 2013 as part of the Machine Project Field guide to LA Architecture. Patton has completed projects in soundscape studies through support provided by the State University of New York at Buffalo, the Mellon Elemental Arts Initiative, and the Tang Teaching Museum. He presented research in 2016 at the ABF house in Stockholm, Sweden, as a part of The Shape of Co- to- Come symposium and exhibition. Patton participated in a series of performances as part of Projects 107: Lone Wolf Recital Corps at the Museum of Modern Art in August 2017. In September 2017, he installed an iteration of his ongoing project, Tel, at the Tang Museum. In 2019, Patton’s public art commission with the Bowman Montessori School in Palo Alto, CA, was open to the public. Patton is a 2020 Creative Capital Grant Awardee. In 2020 Patton was an artist in residence at Coaxial Arts Foundation in Los Angeles and he was a 2020 Archive Artist in Residence at Experimental Sound Studio in Chicago. Utilizing recordings from the Sun Ra / El Saturn Collection, Patton created “The Past & Other Dreams”, a double cassette produced by the artist in collaboration with the Creative Audio Archive at ESS. A box set LP of Patton’s arrangements of Terry Adkins’s Lone Wolf Recital Corps Recitals, Second Mind and Alto Age, was released in partnership with the Pulitzer Arts Foundation in 2021. In 2022, Patton performed new sound compositions at Roulette Intermedium and Basilica Arts in Hudson New York.
MAGDALENA MAGIERA

Magdalena Magiera (Germany/Singapore) is currently Curator and Research Associate at NTU CCA Singapore. Her practice and expertise encompasses a wide range of disciplines, including exhibition-making and venue building; developing process-based research; organising lectures and conferences; and staging events and performances. She has worked with institutions throughout Europe, North America and Asia, including biennales, museums and artist-run spaces, and collaborated with artists, curators, academics and researchers working across multiple fields.
Her extensive experience includes developing projects with NTU CCA Singapore; Rockbund Art Museum, Shanghai; dOCUMENTA(13); KW Institute for Contemporary Art, Berlin; Kulturprojekte Berlin e.V.; e-flux in Berlin, Mexico City and New York City; mono.kultur and frieze d/e.
MARTON ROBINSON

Costa Rican artist and scholar Marton Robinson has an interdisciplinary background informed by his studies in both Physical Education and Art and Visual Communication. Robinson currently teaches in the Design Department at Ontario College of Arts & Design University. The result is a multimedia art practice that investigates modes of communication and translation – of history, culture, and identity – that challenge popular culture’s representations and assumptions. Robinson’s work exposes the nuances present in the Afro-Latino experience, enriching the critical discourse of contemporary works of the African Diaspora.

Robinson has participated in exhibitions in spaces such as: The Getty Center, Los Angeles, California; Museo de Arte y Diseño Contemporáneo, Costa Rica; Vincent Price Art Museum, California; Fundación Ars TEOR/éTica, Costa Rica; Museo de Arte Costarricense, Costa Rica; X Bienal Centroamericana, Costa Rica; Pacific Standard Time LA/LA, California; Le Palais de Tokyo, France; Bergen Kjøtt, Bergen, Norway; Centro de la Imagen, México; Gallery GVCC, Casablanca, Morocco; Museo Amparo, México; 21st Biennial Contemporary Art Sesc Videobrasil, Brazil; Trienal Internacional de Performance Deformes, Chile.
Taeyoon Choi

Taeyoon Choi (born 1982, San Mateo, California) explores the poetics of science, technology, society, and human relations. He works with computer programming, drawing, and writing, oftentimes in collaboration with fellow artists, experts and community members.

Most recently, he collaborated with Christine Sun Kim on lecture performances about sound and technology. He collaborated with Nabil Hassein and Sonia Boller to organize the Code Ecologies conference about the environmental impact of technology. He coorganized the first New York Tech Zine Fair with Mimi Onuoha to support independent publishing about technology. He collaborated with Cori Kresge, Jerron Herman, stud1nt, Chancey Fleet on Distributed Web of Care.

His projects, participatory workshops, performances, and installations were presented at the New Museum of Contemporary Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Smithsonian Asian Pacific American Center, Van Alen Institute, M+ Museum and more. He participated in Shanghai Biennale, Mediacity Seoul Biennale, Istanbul Design Biennale and Biennale Architettura 2021. He was an artist in residence at Eyebeam Art and Technology Center, Lower Manhattan Cultural Council, Frank-Ratchye Studio for Creative Inquiry, Pioneer Works, NEW INC, Data and Society and Centre for Heritage, Arts and Textile. He’s worked with the support of the Open Society Foundation and the Knight Foundation. He spoke at Creative Time Summit, Decentralized Web Summit, Google SPAN, Adobe 99U, and various academic conferences. He contributed to alternative education such as the Public School New York, Occupy University, and Triple Canopy Publication Intensive. He taught at the New York University, Parsons School of Design | The New School, The City University of New York, and the University of Seoul. As a co-founder of the School for Poetic Computation, he helped build the school’s curriculum and administration.
Barbara London

Barbara London is a New York-based curator and writer who founded the video-media exhibition and collection programs at The Museum of Modern Art, where she worked between 1973 and 2013.

Her recent projects include the podcast series Barbara London Calling (barbaralondon.net), the book Video Art/The First Fifty Years (Phaidon: 2020), and the exhibition “Seeing Sound” (Independent Curators International).

London was the first to integrate the Internet as part of curatorial practice, with Stir-fry (1994), Internyet (1998) and dot.jp. (1999.) She organized one-person shows with such media mavericks as Laurie Anderson, Peter Campus, Teiji Furuhashi, Gary Hill, Joan Jonas, Shigeko Kubota, Nam June Paik, Song Dong, Steina Vasulka, Bill Viola, and Zhang Peili. Her thematic exhibitions at MoMA included Soundings: A Contemporary Score (2013), Looking at Music (2009), Video Spaces (1995), Music Video: The Industry and Its Fringes (1985) and Video from Tokyo to Fukui and Kyoto (1979). London’s writing has appeared in many catalogs.

THE 5TH VH AWARD Exhibition at Objectifs,in partnership with National Art Council, Singapore

THE 5TH VH AWARD Exhibition at Objectifs, in partnership with National Art Council, Singapore

The 4th VH AWARD VIRTUAL CEREMONY

The 4th VH AWARD VIRTUAL CEREMONY

The 4th VH AWARD x Museum MACAN

The 4th VH AWARD x Museum MACAN

The VH AWARD x Ars Electronica Festival

The VH AWARD x Ars Electronica Festival

The 5th VH AWARD x Ars Electronica

The 5th VH AWARD x Ars Electronica

The VH AWARD x ELEKTRA Virtual Museum

The VH AWARD x ELEKTRA Virtual Museum

The 4th VH AWARD Private Viewing Event

The 4th VH AWARD Private Viewing Event

The 5th VH AWARD Virtual Ceremony

제5회 VH 어워드 시상식

Hyundai Motor Group Vision Hall

현대자동차그룹 비전홀

The ELEKTRA Virtual Museum (EVM)

The ELEKTRA Virtual Museum (EVM)

Aaron Seeto

Director, Museum MACAN

Martin Honzik

CCO Ars Electronica Linz (Chief Curatorial Officer) Managing Director of Ars Electronica Festival, Prix, and Exhibitions, Linz, Austria

Roderick Schrock

Curator, Executive Director of Eyebeam

SOOK-KYUNG LEE

Director, The Whitworth, University of Manchester

Yukiko Shikata

Curator/critic based in Tokyo.

Bi Xin

Do Tuong Linh

Iris Long

Je Baak

Joel Kwong

Joselina Cruz

Manuporn Luengaram

Michelle Ho

Miki Fukuda

Ritika Biswas

Rizki Lazuardi

Tan Hui Koon

WU Dar-Kuen

CLARINDA MAC LOW

JON IPPOLITO

KAMAU AMU PATTON

MAGDALENA MAGIERA

MARTON ROBINSON

Taeyoon Choi

Barbara London

THE 5TH VH AWARD Exhibition at Objectifs,
in partnership with National Art Council, Singapore

THE 5TH VH AWARD Exhibition at Objectifs,
in partnership with National Art Council, Singapore