Professor, Art History
Concordia University Research Chair in Critical Curatorial Studies and Decolonizing Art Institutions (Tier 1)
Co-Editor-in-Chief, Journal of Asian Diasporic Visual Culture and the Americas
Graduate Program Director (GPD), as of July 1, 2023, Art History
Current Research Projects
Conferences & Lectures
If you are requesting reference letters
As Concordia University Research Chair (CURC, Tier 1) in Critical Curatorial Studies and Decolonizing Art Institutions, Dr Alice Ming Wai Jim and her team will examine the impact of recent social justice movements, decolonizing methodologies, and the new field of critical race museology on the role of the curator. Professor of Contemporary Art in the Department of Art History and previously Tier 2 CURC in Ethnocultural Art Histories, 2017–2022, Dr Jim has galvanized a new generation of students and scholars in the study of ethnocultural art histories that extends to curatorial studies and critical race museology. Her research on diasporic art in Canada and contemporary Asian art has generated new dialogues within and between the fields of ethnocultural and global art histories, critical race theory, media arts, and curatorial studies. Her current SSHRC-funded curated oral histories project, Afrofuturism and Black Lives Matter in the Canadian art scene, is part of a larger examination of the convergence of Indigenous and Afro-Asian futurism in contemporary art. Prior to her appointment at Concordia, Dr Jim was Curator of the Vancouver International Centre for Contemporary Asian Art, Centre A where she curated the group exhibition and symposium Redress Express: Chinese Restaurants and the Head Tax Issue in Canadian Art about the era before and during the Chinese Exclusion Act (1923–1947) which was passed 100 years ago this year (2023). She also convened the international 2004 conference and exhibition Mutations<>Connections: Cultural (Ex)Changes in Asian Diasporas, whose 20th anniversary will be marked and revisited as part of the new CURC’s research activities to interrogate global Asian diasporic art and curatorial developments. Dr Jim is also founding co-editor-in-chief of the international journal Asian Diasporic Visual Cultures and the Americas (ADVA), published by Brill (Leiden, NL) in association with the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art (Concordia University) and the Asian/Pacific/American Institute (New York University). She is a member of the College of New Scholars of the Royal Society of Canada and recipient in 2022 of UAAC’s inaugural Award for the advancement of equity, diversity, inclusion, and accessibility. https://www.concordia.ca/finearts/art-history/faculty.html?fpid=alice-ming-wai-jim
Since 2000, Dr Jim has curated exhibitions of over sixty artists of colour and Indigenous artists and organized major scholarly events within academic settings and for the broader arts community in Canada and internationally. Co-investigator of the SSHRC and FQRSC-funded Trans-Atlantic Platform: Social Innovation project, Worlding Public Cultures (2020–2023), she organized a team of Montreal faculty and students from Concordia, UQAM and UdM to participate in international academies in Ottawa, Amsterdam, London, Heidelberg, and Montreal, convening WPC 2023, Worlding Tiohtià:ke/ Montreal: Bridging Knowledges, Practices, and Beings to critically examine the ways in which global, transnational and transcultural public narratives are being represented in universities, museums, and other spaces of art and culture.
She is also a collaborator on the SSHRC Partnership Grant project, Thinking Through the Museum: A Partnership Approach to Curating Difficult Knowledge in Public (2021–2028), in the Critical Race Museology Cluster.
In 2022, Jim co-organized the Pacific Basin Institute’s Decolonizing Art and Curatorial Practice Lecture Series and was a core member of Rutgers University’s’ Decolonizing Curatorial and Museum Studies and Public Humanities Project. A core scholar of the NYU Global Asia/Pacific Art Exchange (GAX) since 2014, she co-convened GAX 2019 Tiohtiá:ke (Montreal): Asian Indigenous Relations in Contemporary Art, which brought together sixty Asian diasporic and Indigenous researchers, artists, and students from Samoa, Hawaii, Australia, across Canada, and the US to investigate the topic of curating hospitality and care discourses in contemporary art.
In 2018, she coedited the special issue “What is Critical Curating?” for RACAR with Dr Marie Fraser. In 2019, Jim was a visiting professor for Summer Institute 2019: Future Commons at Tai Kwun Contemporary in Hong Kong and co-chair of the Artistic Committee (Exhibition) for ISEA2020 Montreal: Why Sentience? (International Symposium on Electronic Art).
Jim founded EAHR (Ethnocultural Art Histories Research Group) in 2011 and is founding member of the EAHR|Media Working Group 2019-2022, and the South South: Critiques of Global South Working Group 2022-2024, both in affiliation with the Centre for Interdisciplinary Studies in Society and Culture at Concordia. Jim is also Adjunct Professor in Graduate Studies at OCAD University, Toronto (2021-2024).
Jim is recipient of a 2022 Academic Leadership Award and was inducted into the 2020 Provost Circle of Distinction, Concordia University.
Alice (she/her) is a second-generation Anglophone Chinese Canadian racialized visible minority born and raised in Tiohtiá:ke/Montreal.
I acknowledge that Concordia Universityis located on unceded Indigenous lands.The Kanien’kehá:ka Nation isrecognized as the custodians of the lands and waters we now callMontreal. Tiohtiá:ke (Montreal)is historically known as a gatheringplace for many First Nations. Today, it is home to a diversepopulation of Indigenous and other peoples. We respect thecontinued connections with the past, present and future in ourongoing relationships with Indigenous and other peoples within theMontreal community.
Je reconnais que l’Université Concordia est située en territoireautochtone non cédé et que la nation Kanien’kehá:ka est la gardiennedes terres et des eaux formant aujourd’hui Montréal. Le nom d’origine dece territoire est Tiohtiá:ke. Celui-ci est historiquement connu commeun lieu de rassemblement pour de nombreuses Premières Nations.Aujourd’hui, la ville accueille une populationdiversifiée d’Autochtones et de gens d’autres origines. L’UniversitéConcordia respecte les liens passés, actuels et futurs desPremières Nations avec ces terres et en tient compte dans sesrelations continues avec les Autochtones et les autres membres dela communauté montréalaise.
· “Introduction,” (with co-guesteditor Marie Fraser). RACAR, 43:2 (Fall 2018): 5-9, special issue on“What is Critical Curating?” English; French translation. Issue explores discourses and practices of curating,particularly critical curating, to probe the ethical, social, and politicalissues currently driving, or continuing to impinge on, current scholarship andexhibition-making. Issue features unprecedented amount of content to journal bycontributors of colour.
· "Lee Wen: PerformingYellow." Afterall 46 (Autumn/Winter 2018): 7-13. Available online:https://www.afterall.org/journal/issue.46/lee.
· « Miseen perspective chiasmique des histoires de l’art planétaire au Canada. » Muséologies, 9:1 (2018): 97-111.
· “Diyan Achjadi and Alisi Telengut:Animate,” Asian Diasporic Visual Cultures and the Americas 4:1-2 (Spring 2018): 194-199.
· With Susan Cahill,Kristy A. Holmes, Heather Igloliorte, Erin Morton, Charmaine A. Nelson, CheliNighttraveller, AJ Ripley, Carla Taunton, and Tamara Vukov. “Killjoys, AcademicCitizenship, and the Politics of Getting Along.” Topia: Canadian Journal ofCultural Studies 38 (Fall 2017): 187–208.
"Lee Wen: Performing Yellow." Afterall 46 (Autumn/Winter 2018) available online: https://www.afterall.org/journal/issue.46/lee
Exhibition: “RoCH Redux.” Exhibition Reviews Annual 2016–2017: A Selection of the Best Entries from the Third International Awards for Art Criticism. Shanghai: International Awards for Art Criticism Ltd. (IAAC), in partnership with the Shanghai Twenty-First Century Minsheng Art Museum, Shanghai and the Royal College of Art, London, 2017. 46–50 (English and Chinese translation).
“RoCH Redux [Susan Pui San Lok’s RoCH Fansand Legends].” Yishu: Journal ofContemporary Chinese Art 15:4 (July/August 2016): 65-70.http://yishu-online.com/browse-articles/?849.
“NoLAB: Cao FEI MAP Office: A Post-KatrinaSocial Experiment.” Magazineélectronique du CIAC (Centreinternational d’art contemporain de Montréal)/CIAC’s Electronic Magazine,40 (April 2013) http://magazine.ciac.ca/en/summary.html,http://magazine.ciac.ca/en/article1.html#_ftn1.
“The Politics of Indignation: Art,Activism and Ai Weiwei/ La politique de l’indignation : Ai Weiwei, l’art etl’activisme.” esse arts opinions 77(Winter 2013) 46-54. Englishand trans. French.
"The Different Worlds of CaoFei." Yishu: Journal of ContemporaryChinese Art 11:3 (May/June 2012) 82-90. Reprinted for the exhibition"Cao Fei: Simulus" at Surrey Art Gallery as part of Yellow Signal: New Media in China,available online: http://www.surrey.ca/files/Cao_Fei_Simulus_brochure.pdf.
"Asian Pavilions: La Biennale diVenezia 2011" [review]. Ciel Variable (CV Photo) 90 (February-May 2012) 56-59, English andtrans. French.
"Asian Canadian Art Matters." Diaaalogue Perspectives column, Asia ArtArchive Newsletter (July 2010). 3,000 words.
“Conference Report: 2009 CASA Conferenceof EACand SAC.” Inaugural issue of CASA newsletter, CASA Bulletin de l’ACEA 1:1 (Spring 2010) 3-6, 14. English andtrans. French). Available at http://canadianasianstudies.concordia.ca/pdf/CASABulletin2010.pdf.
"APT5: Aesthetic Politics and BuiltForm." Broadsheet [Sydney:Contemporary Art Centre of South Australia], 36:1 (2007) 42-43.
“Container Culture: The VancouverContainer.” Leonardo Journal of theInternationalSociety for the Arts, Sciences and Technology 39:4 (2006)297-298.
"Chih-Chien Wang." CV Ciel Variable 71 (March 2006) 13-14.
"Interview with Hou Hanru on the 2005 Guangzhou Triennale." Yishu: Journal of Contemporary Chinese Art 5:1 (March 2006) 71-78. http://yishu-online.com/wp-content/uploads/mm-products_issues/uploads/yishu_16.pdf
“Mutations<>Connections: Cultural(Ex)Changes in Asian Diasporas – An Introduction,” Yishu: Journal of Contemporary Chinese Art 3:3 (September 2004)32-33. Issue publishes nine papers presented at Mutations<>ConnectionsSymposium, June 2004.
“Interview with Young Hay,” Yishu:Journal of Contemporary Chinese Art 3:2 (June 2004) 73-82.
"Tourismand Contemporary Art in Shanghai." Parachute 114(April-June 2004) 80-97.
"Synchronize:Time-based Art from China and Germany." Art Asia Pacific 35(July- September 2002) 95.
"NotesFrom Hong Kong," Flash Art International 223 (March/April2002) 90-91.
"Hill(Scape):Video Screening, Performance and Installation of Works by GaryHill." Hong Kong Cultural Centre & Hong Kong Space Museum,Parachute, Magazine of Contemporary Art 103 (July-September 2001)para-para insert, 6.
"HongKong Artists at the Venice Biennial." PS Magazine [Para/SiteArt Space, Hong Kong] 15 (Autumn 2001) 0-3. Reprint of "A Slice of Sky andCoffee too," feature article, South China Morning Post, Friday8 June 2001, 2.
"InsideOut: New Chinese Art, Asia Society & P.S. 1 Contemporary ArtCenter." Parachute, Magazine of Contemporary Art, 95(July-September 1999) 48-49.
“De Balancier and Louez-Moi: an Exhibit byCui YongJin and Mei-Kuei Feu” and “Visual Undertakings: Recent Exhibits inCentralCanada,” Rice Paper 5:1 (Winter 1999)13; 31.
"Reading East to West," Criticalcommentaryon “Jiangnan: Modern and Contemporary Art from South of the YangziRiver,” Mix, Magazine of Artist-Run Culture 24:1(Summer 1998)36-37.
“Belonging:Ellen Pau, Yau Ching,Laiwan, and Xiu Li Young at Galerie Optica, Montreal,” FUSE, A Magazineabout Issues of Art andCulture20:4 (November 1997) 39-40.
"Retaining Desire: Buseje Bailey andVita Plumeat Galerie Observatoire 4, Montreal.” Parachute87(July-September 1997) 48-50.
"FictionalLetters," Review of"She Takes His Bed," Mary Sui Yee Wong,Gallery 101, Ottawa, ETCMontréal, Revuede l'art actuel, 40 (November-December 1997) 46-47.
“‘La vie, ce n'est pas une fleurbleue...’ Homage to the BeijingSpring Movement: Lau TinYum at Galerie Observatoire 4.” CMagazine,International Contemporary Art 55 (November 1997) 47.
(Published in Japanese) “Discussion with Discussants Alice Ming Wai Jim and Anna KazumiStahl, and Speakers in Session 2: Trajectories of Asian Diasporic Scholarshipand Practice.” Global Art and Diasporic Art inJapan and Asia. Tokyo:Mori Art Museum, 2016. 116–134.
“Technologies of Self-Fashioning: VirtualEthnicities in New Media Art.” ISEA 2015:Proceedings of the 21st International Symposium on Electronic Art. No.242.Vancouver: SFU, 2015. 8 pages. http://isea2015.org/proceeding/submissions/ISEA2015_submission_242.pdf.
Master’s Theses [22 Completed; 2 In Progress]
MA Art History | Principal Supervisor
Kessie Theliar-Charles (In Progress), Concordia University
Degree Start Date: 2021/9
Thesis/Project Title: Intergenerational transfer and Haitian artists in Quebec
Ashley Raghubir (Completed), Concordia University
Degree Start Date: 2019/9
Student Degree Received Date: 2021/6
Thesis/Project Title: The Reparative Imaginary in the Contemporary Afrofuturist Art of Mohau Modisakeng and Ayana V. Jackson
Jeanne Voizard-Marceau (Completed), Concordia University
Student Degree Start Date: 2017/9
Student Degree Received Date: 2020/11
Thesis/Project Title: Digital Anxieties: Affect and Technological Governance in the Works of Cécile B. Evans and Ryan Trecartin
Eli Larin (Completed), Concordia University
Student Degree Start Date: 2016/9
Thesis/Project Title: Fourth Wave Feminism, Shadow Feminism, and the Explicit Body in the Performances of Kate Durbin, Ann Hirsch and Faith Holland
Chiara Montpetit (Completed), Concordia University
Thesis/Project Title: Connected By a Thread: Stories of Migration and Labour in Sara Angelucci’s Piece Work (2017)
Jay Bossé (Completed), Concordia University
Student Degree Received Date: 2019/11
Thesis/Project Title: Beyond the “Wrong Body” Narrative: Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’s Jizz Envy (2014) and Skyler Braeden Fox’s Hello Titty (2015)
Sarah-Eve Tousignant (Completed), Concordia University
Student Degree Received Date: 2018/6
Thesis/Project Title: Jeremy Shaw’s Liminals: Imagining Possible Futures
Tianmo Zhang (Completed), Concordia University
Student Degree Start Date: 2014/9
Student Degree Received Date: 2018/11
Thesis/Project Title: Expanding Chinese Ink Painting in the 2014 Exhibition - Unscrolled: Reframing Tradition in Chinese Contemporary Art
Anik Marchand (Completed), Concordia University
Student Degree Start Date: 2015/9
Student Degree Received Date: 2017/11
Thesis/Project Title: Acadian Art and Identity: Évangéline, Claude Roussel, and Paul Édouard Bourque
Jessica Kirsh (Completed), Concordia University
Student Degree Start Date: 2013/9
Student Degree Received Date: 2015/11
Thesis/Project Title: Breathing Life into the Virtual: Towards Intersubjective Intimacy in Mixed Reality Art
Victoria Nolte (Completed), Concordia University
Student Degree Received Date: 2015/6
Thesis/Project Title: Crawling Across Borders: Transnational Nationalisms and the Asian Canadian Body in the Video Works of Jin-me Yoon
Adrienne Johnson (Completed), Concordia University
Student Degree Start Date: 2013/1
Thesis/Project Title: Through African Canadian Eyes: Landscape Painting by Nineteenth and Early Twentieth Century African Canadians
Mikhel Proulx (Completed), Concordia University
Student Degree Start Date: 2011/9
Student Degree Received Date: 2013/6
Thesis/Project Title: The Progress of Ambiguity: Uncertain Imagery in Digital Culture
Charles Patrick Leonard (Completed), Concordia University
Student Degree Received Date: 2014/11
Thesis/Project Title: Gu Xiong: Contemporary Chinese Art at the National Gallery of Canada
Rajee Jejisher Gill (Completed), Concordia University
Thesis/Project Title: Partition and Postmemory in the Work of Kriti Arora and Sharlene Bamboat
Sarah Wilkinson (Completed), Concordia University
Student Degree Start Date: 2009/9
Student Degree Received Date: 2011/6
Thesis/Project Title: The Living Monument: A Consideration of the Politics of Indigenous Representation and Historical Public Monuments in Quebec
Jessa Alston-O'Connor (Completed), Concordia University
Student Degree Received Date: 2011/11
Thesis/Project Title: Consuming Culture: Negotiating Asian-Canadian Identities through Food Culture and Art
Wesley Colclough (Completed), Concordia University
Student Degree Received Date: 2012/6
Thesis/Project Title: At the Crossroads: Brendan Tang, M. N. Yahgulanaas and Manga
Michael Frederick Rattray (Completed), Concordia University
Student Degree Start Date: 2006/9
Student Degree Received Date: 2008/11
Thesis/Project Title: Mapping the Post-Colonial Landscape Project: A Critical Analysis
Erandy Vergera Vargas (Completed), Concordia University
Thesis/Project Title: In Site-Specific: Three Art Projects on the Tijuana-San Diego Border Zone
Dina Vescio (Completed), Concordia University
Student Degree Received Date: 2009/11
Thesis/Project Title: Surveillance and Spectacle in Webcam-based Artworks: Eyes of Laura by Janet Cardiff and Homecammers—Women by Cheryl Sourkes
MA Art History | Co-supervisor
Rosemary Marland (Completed), Carleton University
Student Degree Start Date: 2007/9
Thesis/Project Title: Unmasking the Canon: The Role of the Uli Sigg Collection in the Construction of the Contemporary Chinese Art Canon
M.A en Muséologie | Principal Superviser
Delphine Larose (Completed), Université de Montreal
Student Degree Received Date: 2016/4
Thesis/Project Title: L’ART CONTEMPORAIN CHINOIS À MONTRÉAL: Études de cas –Drapeau rouge au Musée des beaux-arts de Montréal & Coup de foudre chinois à Arsenal
MA Individualized Program | Co-supervisor
Lennart (Naveed) Salek Nejad (In Progress), Concordia University
Student Degree Start Date: 2021/9
Student Degree Expected Date: 2024/6
Thesis/Project Title: Social practice and racialized communities
Doctorate | Concordia University [4 Completed; 11 In Progress]
PhD Art History | Principal Supervisor
Ra'anaa Yaminah Brown (In Progress), Concordia University
Thesis/Project Title: The intersection of Black art and activism (artivism)
Ojo Agi (In Progress), Concordia University
Student Degree Start Date: 2020/9
Thesis/Project Title: Black feminism and Nigerian contemporary artists in the diaspora
Varda Nisar (In Progress), Concordia University
Student Degree Start Date: 2019/9
Thesis/Project Title: Complicity and Contradictions: Cultural Spaces and National Narratives in Pakistan
Julie Alary Lavallee (In Progress), Concordia University
Thesis/Project Title: Exhibition history of Indian contemporary art outside of the Subcontinent
Kanwal Syed (In Progress), Concordia University
Thesis/Project Title: (We the Sinful Women) Emerging Feminist Visuality in Contemporary Pakistani Art and Urban Feminist Discourses Post-9/11
Nima Esmailpour (In Progress)
Student Degree Start Date: 2014/1
Thesis/Project Title: Contemporary Iranian Art
Mikhel Proulx (In Progress), Concordia University
Thesis/Project Title: Social Practice Before the Web: Participatory Networks in Canadian Art
PhD Humanities | Principal Supervisor
Joanne Hui (Completed)
Thesis/Project Title: Graphic Travelogue as Post-National Expression.
PhD Humanities | Co-supervisor
Koby Rogers Hall (In Progress), Concordia University
Thesis/Project Title: Migration in Social Practice (Research-Creation)
Sanaz Sohrabi (In Progress), Concordia University
Thesis/Project Title: Petrocapitalism and Contemporary Art in Iran (Research-Creation)
Ifeoma Ugonnwa Anyaeji (In Progress), Concordia University
Thesis/Project Title: Plasto-Art: Neo-traditionalism – a decolonized journaling of indigenous Igbo (non)material culture through the eco-aesthetic practice of the Ikpa isiowu traditional (hair)craft
Jaclyn Meloche (Completed)
Student Degree Start Date: 2010/9
Thesis/Project Title: Materials Matter: The Politics of Posthumanist Performativity in Contemporary Studio Practice
Valerie Cools (Completed)
Student Degree Start Date: 2008/9
Thesis/Project Title: Motifs,Textures and Folds: Japanese Popular Visual Culture as Transcultural and Phenomenological Flow
Devora Neumark (Completed)
Student Degree Received Date: 2013/11
Thesis/Project Title: “Radical Beauty for Troubled Times: The (Un)making of Home”
PhD Individualized Program (INDI) | Co-supervisor
Olivia McGilchrist (In Progress), Concordia University
Student Degree Start Date: 2018/9
Thesis/Project Title: The Resilient Lens: Virtual Reality as Embodied Pedagogy (Research-Creation)
SSHRC funded research project: Afrofuturism & Black Lives Matter in the Canadian Art Scene
Conference Organizer / Workshops or Workgroups Organized(Principal Academic Convenor):
Conference co-convener and local host organizer. GAX 2019 Tiohtiá:ke (Montreal): Asian Indigenous Relations in Contemporary Art (working group sessions, public talks and 2-day, public conference. GAX 2019 in Tiohtiá:ke (Montreal), June 10-16, Montreal, Canada.
Organized as part of my SSHRC Connections Team Grant, 2016–2017:
· Invited: Member of the local steering committee ofHexagram(Concordia/UQAM), Media@McGill and Université de Montréal to host RE:2015– 10thAnniversary International Conferenceon the Histories of Media Art, Science andTechnology onthe theme of Re-Create - histories, theories and methodsof research-creationin media arts and sciences, in 2015.
· Invited:Encuentro2014 Work Group Co-Organizer(withBeatrice Glow, New York University and Lok Siu, UC Berkeley).“PerformingAsian/Americas: Converging Movements.” MANIFEST!ChoreographingSocial Movements in the Americas, 9th Encuentro of The Hemispheric Institute of Performanceand Politics, ConcordiaUniversity, Montreal, June 21-28, 2014.
· ContemporaryArt and the Inter-Asian Imaginary Workshop,co-directed with Henry Tsang(emily carr university of art design), Inter-AsianConnections IV:Istanbul, Koç University, Istanbul, Turkey, October 2-5,2013.Co-organized and co-sponsored by the SocialScience Research Council(SSRC), YaleUniversity, the National University of Singapore (NUS), the HongKong Institutefor the Humanities and Social Sciences (HKIHSS) at the Universityof Hong Kong,Göttingen University and Koç University
· Performance of Memory: The Workof Ed Pien andHowie Tsui, inter-universityroundtable discussion forum (study day) withpresenter Christine Conley(University of Ottawa), and discussants ThomasLamarre (East Asian Studies/ArtHistory and Communications, McGill), MatthewPenney (History, Concordia),Joanne Hui (PhD Humanities student, Concordia) andAlice Ming Wai Jim, withfaculty and graduate students in attendance.Co-sponsored by The Gail andStephen A. Jarislowsky Institute for Studies inCanadian Art and the Departmentof Art History, Concordia University, March 25,2010. http://howietsui.com/pdf/concordiaprogram.pdf.
· Can-Asian, Eh? Diaspora,Indigeneity and theTranspacific,annual international conference of the East Asian and SouthAsian Councils – CanadianAsian Studies Association (CASA), Vancouver, BC,October 8-11, 2009, with 140delegates in attendance. Also Member of Programmingand Can-Asian SteeringCommittees. 2009 ConferenceReport published in inauguralissue of CASA Bulletin de l’ACEA 1:1(Spring 2010) 3-6, 14. http://canadianasianstudies.concordia.ca/pdf/CASABulletin2010.pdf.
· Comics, Japanese Popular CultureandContemporary Art,interdisciplinary conference panel of six speakers withpresenter ChristineConley (University of Ottawa), and discussants ThomasLamarre (East AsianStudies/Art History and Communications, McGill), MatthewPenney (History,Concordia), Joanne Hui (PhD Humanities student, Concordia),Howie Tsui (artist),Concordia University, March 13, 2009.
· Rearranging Desires: AboutCulturally-SpecificWork,national symposium of 19 speakers organized in conjunctionwith Rearranging Desires: Curating the “Other”Within exhibition,Concordia University, Montreal, October 18, 2008.
· Redress Express: CurrentDirections in AsianCanadian Art,national symposium of 27 speakers organized in conjunctionwith Redress Express: Chinese Restaurants and theHead Tax Issue inContemporary Art exhibition, Vancouver International Centre forContemporary Asian Art (Centre A), Vancouver, August3, 2007.
· Mutations<>Connections:Cultural(Ex)Changes in Asian Diasporas, international symposiumof 25 speakers, in conjunction with Mutations<>Connectionsexhibition,EmilyCarr Institute of Art Design Media, for the VancouverInternational Centre forContemporary Asian Art (Centre A), Vancouver, June3-4, 2004. Nine of the paperspresented were subsequently published with my introductory essay in Yishu: Journal of Contemporary ChineseArt 3:3(September 2004) 32-80.
· “Global Asias in Contemporary Art: From RoCH Fans toBjörk-Geishas.” Public Lecture, FoLASSIS Speakers Series, Facultyof Liberal Art and Sciences and School of Interdisciplinary Studies, OCADU,Toronto, Feb 23, 2016.
· “EthnoculturalArt Histories in the Classroom and Beyond.” Panel:Pedagogy and Diversity: TheGlobal Factor, sponsored by Committee on DiversityPractices, chaired bySunanda K. Sanyal. CollegeArt Association (CAA) Annual Conference, NewYork, NY, February 11-14, 2015.
· Invitedparticipant. ISEA 2014 Educational Forum, Location:20th InternationalSymposiumon Electronic Art (ISEA), Zayed Unviersity, Dubai, UAE, November 6,2014.
· “SpeculativeIdentity: Let’s Play with Our Values. Toi, Moi et la Charte (‘You, Me, and the Charter’).” Location: 20thInternationalSymposium on Electronic Art (ISEA), Zayed University, Dubai, UAE,October30-November 8, 2014.
· Workshopco-organizer. CriticalRace Workshop. Universities Art Association ofCanada (UAAC), Concordia University, October 23-26, 2014.
· “A Hemispheric NetworkedResearch Model for Asian Canadian ArtHistory, 1960s-present.” Asian American Art: TransnationalCirculationsand Diasporic Framings.” Smithsonian American ArtMuseum, Washington,DC. Presented in collaboration with the Smithsonian Archivesof American Artand Asian Pacific American Center at the SmithsonianInstitution andthe Asian/Pacific/American Institute at New YorkUniversity as a part ofthe 2014 NYU Global Asia/Pacific Art Exchange andWorking Sessions in DC and NewYork City, May 30-June 4, 2014. Invited participant.
· Faculty and Graduate Study Day participant.Bruno Latour: An Inquiry into Modes ofExistence, Artexte, Montreal,April 30, 2014.
· “Asian/Americas: Contemporary Art and theHemisphericTransnational Diaspora.” Panel: New World Systems? Reassessing theTransnational Traffic ofArt. Association of Art Historians (AAH) AnnualConference, RoyalCollege of Art, London, UK, April 10-12, 2014.
· “Asian Diasporic VisualCultures and the Americas.” 2014 AsianCanadian Studies Conference: What Difference Does ‘Asian Canadian’Make?Power, Knowledge, and Resistance, OISE, University of Toronto, March28,2014.
· Chair for CAA Affiliate Society Diasporic Asian ArtNetwork (DAAN) Panel:Asian/Americas: Praxis and Pedagogy. College Art Association(CAA)Annual Conference, Chicago, IL, February 12-15, 2014.
· Working Session Participant. The State ofBlackness: FromProduction to Presentationinterdisciplinary conference. OCADUniversity, atHarbourfront Centre, Toronto, ON. February 22, 2014.http://thestateofblackness.com.Invited.
· Moderator. Professional Panel (Esther Bourdages,Christine Ross,Jonathan Lessard, Jean Dubois). 3rd Annual Concordia UndergraduateArt HistoryConference: Art and the Digital. Concordia UndergraduateJournal of Art History (CUJAH), ConcordiaUniversity, January 24-25, 2014.Keynote: Kent Monkman.
· Commentator. Michael Asbury, “Contesting HybridNotions withinBrazilian Contemporary Art.” Afternoonsat the Institute Series. Gailand Stephen A. Jarislowsky Institute forStudies in Canadian Art, Department ofArt History, Concordia University,November 11, 2013.
· Moderator/Faculty Advisor/Supervisor. Cultural Convergences I:Testify, one-day conference, inauguralconference for student-runEthnocultural Art Histories Research Group (EAHR), ConcordiaUniversity,September 21, 2013. Keynote: Andrea Fatona, Curator/YorkUniversity.
· Moderator(invited), Asian Canadian Wiki Tea Salon: ResearchPresentations,Simone de Beauvoir Institute, Concordia University, July 24,2013.
· “Backlashing on the Slash: Asian/Americas andAsian/Feminisms.”Roundtable:“Intersecting Edges: Gender, Culture, Resistance” (co-sponsored byAsianCanadian Studies Network). Women's andGender Studies et RecherchesFéministes (WGSRF) Annual Conference, Congress 20103 of the Humanities&Social Sciences, University of Victoria, Victoria BC, June 2, 2010 /inconjunction with Over the Edge: Forming Asian Canadian Studies: InauguralMeeting of Asian CanadianStudies Network, during Congress 2013,June1-2, 2013.
Animate:Diyan Achjadi and Alisi Telegut, Carleton University Art Gallery, Ottawa,September 11–November 12, 2017.
Yen-chaoLin: DIY Haunt, Oboro artist-run centre, Montreal, May 19–21, 2017.
Yam Lau(Toronto): A World is a Model of a World,Darling Foundry, Montreal,June 6-August 25, 2013.
Rearranging Desires: Curating the 'Other' Within, Faculty of Fine ArtsGallery, Concordia University, October 2008.
Redress Express: Chinese Restaurants and the Head Tax Issue in ContemporaryArt, Vancouver International Centre for Contemporary Asian Art (CentreA), August 2007.
Container Culture exhibition, curatorial committee member in ISEA 2006Symposium (Inter-Society for Electronic Arts), Pacific Rim New Media Summit (workinggroup member) and ZeroOne San Jose: A Global Festival of Art on the Edge, SanJose, CA, August 2006.
EmergencyBiennale in Chechnya, Evelyne Jouanno (Founding ArtisticDirector) / 7:Vancouver Stop, organized by Alice Ming Wai Jim, KristinaPodesva and BabakGolkar. July-August 2006.
ContainerCulture Vancouver: IN[ ]EX new media art project, in conjunction with UBCLiving the Global City program of the 2006 World Urban Forum, atthe Earth World Urban Festival (Official Arts and Culture Festival of WUF),June 2006, and Centre A, Vancouver, June -July 2006.
YokoOno: Wish Tree & Mending Peace, Centre A, Vancouver, June2006.
ErikaTan and Anthony Lam: Mining the Archive, Centre A,Vancouver, 2006.
Jenny Ham: TRACT: Installation and performance, Centre A,Vancouver, 2005.
Neighbourhood,video exhibition and film screening of 13 Canadian artists, CentreA, Vancouver, 2005.
VanessaKwan, Your Private Sky: Penticton, Art Gallery ofSouth Okanagan, Penticton, BC, 2005.
CharlieDon't Surf: 4 Vietnamese American Artists, co-curated with VietLe, Centre A, Vancouver, 2005.
KimHuynh Inflected Signs, Centre A, Vancouver, 2005.
Samina Mansuri: DARR: 37 Conversations, Centre A, Vancouver, 2004.
Mutations<>Connections: Cultural(Ex)Changes in Asian Diasporas,CentreA, Vancouver, 2004.
Mei-Kuei Feu: Zone flottante, Centre A, Vancouver, 2004.
Para/SiteArt Space: Open Work, co-curated with David Chan, Centre A, Vancouver, 2004.
GailanNgan: Informal Residency, Centre A, Vancouver, 2004.
Below is list of what I typically need as info in order to provide STRONG reference letters requested by students. Once you have emailed these documents, I will email you confirmation on whether or not I will provide you with a reference letter.
You may use this as a guideline for asking other professors.
A useful article online is: http://www.universityaffairs.ca/career-advice/career-advice-article/how-to-ask-for-a-reference-letter/
In general, students who would like to request that I write a letter of recommendation or act as a reference need to: 1) have received minimum an A- in a course with me; and 2) submit the following materials to me at least four weeks in advance of the deadline:
1. a copy of your cv;
2. an unofficial copy of your transcript(s), especially if I have to speakto your academic performance;
3. a list of courses (and year and session enrolled) you have taken withme, and final grades obtained; justify grade in comparison to your evaluationof the course. Justify inconsistences in academic performance, if applicable.
4. a copy of 1-2 research papers or articles that you think it a goodsample of your work, with the grade or grading rubric (preferably ones youwrote for me, but also relevant to the application in question);
5. a copy of the cover letter or statement of intent/research proposal youwill submit to the internship/job/graduate program/fellowship, and any otherrelevant information about why you deserve this position/award;
6. a list of the addresses [preferably email not snail mail if the latter can be avoided] and dates by which the letter(s) must be received and/orURLs for electronic submission – I do not pay for expedited mail/courierservices (all hard copies will be mailed through regular mail).
7. any forms that need to be filled out (make sure you complete anynecessary sections and sign if required) or provide complete personal info thatI need to fill out your online forms (i.e. student numbers, addresses, telephonenumbers, birth dates, etc.) otherwise they will be left blank.
It’s always good to follow up with a reminder the week before.
My contact info:
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