Akira Mizuta Lippit is Professor of Comparative Literature and East Asian Languages and Cultures in the USC Dornsife College. He is also Vice Dean of Faculty in the School of Cinematic Arts, and Professor in The Bryan Singer Division of Cinema and Media Studies. His interests are in world cinemas, critical theory, Japanese film and culture, experimental film and video, and visual studies. Lippit’s published work reflects these areas and includes four books, Ex-Cinema: From a Theory of Experimental Film and Video (2012); Atomic Light (Shadow Optics)(2005); Electric Animal: Toward a Rhetoric of Wildlife (2000); and his most recent book, Cinema without Reflection: Jacques Derrida’s Echopoiesis and Narcissism Adrift (2016). At present, Lippit is completing a book on contemporary Japanese cinema, which explores the physical and metaphysical dimensions of the “world,” and another on David Lynch’s baroque alphabetics.
Maki Fukuoka received her doctorate in art history from the University of Chicago and taught in the Department of Asian Languages and Cultures at University of Michigan from 2006-2012 where she was tenured. She then joined the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, to re-engage with the social history of art. Her first book, The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-century Japan was published in 2012. Her most recent publication is a chapter, “Fluidity of Representation: Early Photographs, Asakusa, and Kabuki” in Portraiture and Early Studio Photography in China and Japan (2017). She is currently working on three projects. Engendering East Asia explores contemporary art from East Asia through the lens of gender issues. The first stage of this project ran from January to May 2017 with Pauline J. Yao, lead curator of Visual Art at M+. It was funded and supported by Leverhulme Trust. “Terms and Conditions: Words that Realise Art and Its Histories” is a collaborative historical investigations of key art historical terms within the East Asian context. Finally, “Shaping Likeness” is a manuscript project on the practices related to portrait productions in early Meiji Japan, for which she received a long-term fellowship from the Japan Foundation in 2015. She also serves on a board of European Association of Asian Art and Archaeology.
Margaret Hillenbrand is Associate Professor of Modern Chinese Literature and Culture and Tutorial Fellow in Chinese at Wadham College in Oxford University. After taking a BA in Chinese and Japanese at the University of Cambridge, she worked and studied in East Asia for some years before completing a DPhil at Oxford in East Asian comparative literature. Margaret joined Wadham in 2009. Before this, she held a Chuan Lyu Fellowship in the Faculty of Asian and Middle Eastern Studies at Cambridge, and a lectureship in modern Chinese culture and language at the School of Oriental and African Studies (SOAS), University of London. Her research and publications to date have focused on literary and visual culture in twentieth-century China, Hong Kong, Taiwan, and Japan, and she has recently finished a book on the relationship between historic photographs and public secrecy in China during the post-Mao period. She is now working on a new project about the aesthetics of precarity in twenty-first-century China.
Jennifer Dorothy Lee is Assistant Professor
of Art History at the School of the Art Institute (SAIC). Trained in comparative literature and area studies, Lee brings an interdisciplinary approach to the study of modern and contemporary East Asian art in ways that foreground sociality and historicity. In her work Lee seeks to broaden the possibilities of a transnational perspective, primarily through engaging contemporary China. Much like China in the world today, scholarship on this object of knowledge remains in flux, constantly evolving. Lee’s work contributes to this dynamic body of scholarship in the modern Chinese humanities by productively transgressing the boundaries of a China specialization defined strictly by geographical and geopolitical designations. Lee’s first book project, Anxiety Aesthetics: Maoism and Beyond (1976–1982), explores the mutual constitutions of Maoism and modernism in the Chinese revolutionary aftermath of the late 1970s.
Tom Looser is Associate Professor of East Asian Studies at NYU. His areas of research include Cultural Anthropology and Japanese studies; art, architecture and urban form; new media studies and animation; and critical theory. A senior editor for the journal Mechademia, an editor for Digital Asia, and on the editorial advisory board of ADVA, he is the author of Visioning Eternity: Aesthetics, Politics, and History in the Early Modern Noh Theater, and has published articles in a variety of venues including Boundary 2, Japan Forum, Mechademia, Shingenjitsu, Journal of Pacific Asia, and Cultural Anthropology.
Hyungmin Pai is Professor of Architecture at the University of Seoul. Pai studied architecture and urban design at Seoul National University and received his Ph.D from the Architectural History, Theory, and Criticism program at MIT. Pai is a two-time Fulbright Scholar whose publications include The Portfolio and the Diagram: Architecture, Discourse, and Modernity (MIT Press, 2002), Sensuous Plan: The Architecture of Seung H-Sang (Dongnyok, 2007) and The Key Concepts of Korean Architecture (Dongnyok, 2013). For the Venice Biennale, he was awarded the Golden Lion as co-curator of the Korean Pavilion in 2014, and was a participant in the “Common Pavilion” project (2012) and curator for the 2008 Korean Pavilion. He was Head Curator for Gwangju Design Biennale 4 (2011) and guest curator for the Aedes Gallery, Berlin and the Tophane Amire Gallery, Istanbul.
Chan-kyong Park is an artist and a filmmaker based in Seoul. His subjects have extended from the Cold War to the traditional Korean religious culture. He had solo exhibitions at Ssamzie Art Space, Atelier Herms and PKM Gallery. His works have been exhibited in international venues, such as Gwangju Biennale in Korea, De Appel in Amsterdam, RedCat Gallery in Los Angeles, Kunstverein in Frankfurt and many others. For his directing, Flying was selected for the competitions to the International Short Film Festival Oberhausen 2008. Sindoan was screened in the opening night of the Experimental Film and Video Festival in Seoul 2009. Anyang, Paradise City was selected for the Bright Future section of the Rotterdam Film Festival 2011. Also in 2011, he co-directed the short Night Fishing with his brother PARK Chan-wook, which earned the duo the Golden Bear for Best Short Film at the Berlin International Film Festival. With his brother, he went on to direct A Day Trip in 2013 and Bitter, Sweet, Seoul the following year. PARK made his sophomore feature directing effort, the shaman docudrama Manshin: Ten Thousand Spirits, in 2013.
Featured Artists (TBD)
Clinard Dance brings together people from a diverse range of artistic disciplines and cultural backgrounds pioneering a unique approach to contemporary and American-style flamenco.
Their works push the limits of both a traditional flamenco quartet format and their original content driven works.
Akito Tsuda is a Japanese photographer. Tsuda has published works focused on subjects in Chicago, Osaka, and Tokyo. His work has been exhibited in Japan, Italy, and the United States. He has been recognized for his work documenting the Latino residents of the Pilsen neighborhood of Chicago in the early 1990s.
Lu Yang is a Shanghai-based multi-media artist who creates fantastical, often morbid visions of death, sexuality (or a-sexuality), mental illness, and neurological constructs of both real lifeforms and deities. Deeply immersed in the subcultures of anime, video games, and sci-fi, Lu Yang taps into the enormous influence of Japanese cultural imports on a particular generation in China (those born in the 1980s) as means for provocative imagination that never fails to fascinate, bewilder, and even enrage her audience. Lu Yang earned two degrees from the new media art department of the China Academy of Arts, and has been featured in important solo and group exhibitions at venues such as the UCCA in Beijing, Centre Pompidou, and DFB Performance Gallery (Chicago), Chronus Art Center (Shanghai), Momentum (Berlin), and Tampa Museum of Art. Some of her notable projects include Kimo Kawa Cancer Baby (2014), Uterus Man (2013), and Wrathful King Kong Core (2011), often in collaboration with performers, designers, experimental composers, and controversial figures such as Mao Sugiyama.