4A Centre for Contemporary Asian Art will close our office and galleries from Wednesday 18 March to ensure the health and wellbeing of our staff, creatives, audience and wider community. The 4A Curators Intensive is now planned for November 2020 in line with the Diaspora Pavilion 2, Sydney exhibition’s postponement.
Anna Louise Richardson, Danielle Fusco, Emily Wakeling, Farzana Khan, Olivia Welch, Perri Sparnon, Priya Pavri, Sebastian Henry-Jones, Tian Zhang and Wilson Yeung have been selected as the participants of the 2020 4A Curators’ Intensive.
This is the fifth iteration of the Intensive program that has been offered biennially since 2012 with support from Copyright Agency’s Cultural Fund. In 2020, the program aligns with the first iteration of 4A and International Curators Forum (ICF)’s exhibition, I am a beating heart in the world: Diaspora Pavilion 2, Sydney. With a focus on diaspora, the 2020 program will expand, complicate and even destablise the term itself engaging with the complexities, challenges and continued relevance that the diasporic experience and diasporic art have today.
About the curators:
Anna Louise Richardson
Anna Louise Richardson is an independent, interdisciplinary curator and artist particularly interested in art practices concerned with place making, the archive and identity politics.
Living and working on a cattle farm in Western Australia, her drawing practice investigates rural identity and mythology through relationships with the natural world complicated by human intervention, intergenerational expectations and the role of animals in culture, commerce and ecology.
Graduating with a BFA from Curtin University in 2013, she is currently curator of The Alternative Archive, a survey of regional practice in Western Australia at John Curtin Gallery co-curated with Director Chris Malcolm; Refractive Realities: 2020 PICA Salon; and the John Stringer Prize 2020.
Richardson has curated independent projects at Lawrence Wilson Art Gallery, Fremantle Arts Centre, Galerie Pompom, Moana Project Space, Chapter House Lane for Human Rights Arts & Film Festival, co-curated exhibitions at Arts Project Australia for Next Wave 2016, a touring exhibition for ART ON THE MOVE and worked for Artsource. She also participated in the Australia Council Emerging Arts Professionals Program for the Venice Biennale in May 2019.
Danielle Fusco is an interdisciplinary artist, curator and collaborator from Whadjuk Noongar Boodjar/ Perth, Western Australia. Danielle is passionate about supporting early career artists and producing innovative, exciting and engaging cultural experiences for the community, outside of an institutional framework where possible. In 2018 Danielle graduated from the University of Melbourne with a Master of Art Curatorship. Between 2018 and 2019 Danielle was the gallery manager for Perth based artist-run initiative Paper Mountain. Her independent curatorial projects include Trace-makers (2018), What makes a Mountain (2019), and Speak softly, carry a big stick (2020). Most recently Danielle has been working on a community arts project, Forward Bound, a roving exhibition program sponsored by the City of Vincent Perth (2020). By working in two ways simultaneously, Danielle reflects on her role as a contemporary curator, striving to contribute to meaningful change and genuine impact within the arts and cultural landscape.
Emily Wakeling is Assistant Curator at Artspace Mackay and recently held the role of Assistant Curator, Asian and Pacific Art, at the Queensland Art Gallery | Gallery of Modern Art for the 9th Asia Pacific Triennial of Contemporary Art. Working across curating, art writing, and museum learning, Emily spent six years in Tokyo in multiple arts-related roles including Editor of the arts website Tokyo Art Beat. As Co-director of Brisbane art space Boxcopy, Emily curated a program of local Indigenous and non-indigenous artists as well as “All We Can Do is Pray,” a group exhibition of Japan-based artists finding parallels between Japanese survivors of World War II and the 2011 Tohoku earthquake and tsunami.
Her curatorial projects are spread across Japan and Australia, including solo exhibitions of Archie Moore and Courtney Coombs in Tokyo art spaces, and the Japanese group exhibition “Come Close: Japanese Artists within their Communities” at Bus Projects, Melbourne. Emily is also a long-serving freelance writer who has contributed to Artforum, ArtAsiaPacific, Japan Times, Tokyo Art Beat, Art Review Asia, Real Tokyo, Eyeline and Art Monthly Australia.
Olivia Welch is an arts and cultural professional working as the Gallery Programs & Touring Exhibitions Coordinator for Museums & Galleries of NSW. Her research and curatorial interests are in sharing the stories of those culturally and linguistically outside of Australia’s advertised grand narrative, and looking into practices that interrogate the colonial foundations of the museum through the permanent collection and its collection policies.
Most recently she curated Our Common Bond for MAY SPACE, Sydney. She has also worked as an exhibitions and curatorial assistant, researcher and editor at the Calouste Gulbenkian Museum’s Modern Collection in Lisbon, Portugal.
Perri Sparnon is a curator and researcher based in Melbourne. She has been a research associate at The University of Adelaide’s Centre for Asian and Middle Eastern Architecture (CAMEA) since 2015, where she facilitated the development of a series of international conferences, exhibitions and publications including the landmark ‘Ilm: Science, Religion and Art in Islam. She has also contributed curatorial research to projects at the Art Gallery of South Australia, Art Gallery of Western Australia and Islamic Museum of Australia. She is currently the managing editor of Index Journal (www.index-journal.org), Australia’s only online peer-reviewed art history journal. Perri’s research focuses upon the art and architectural histories of the Islamic world in Western and Southeast Asia. Her publications in this area include ‘Science and Art: Anatomical illustration in early Islamic optics’ (2019). In 2018, she was awarded the International Council of Museums Australia’s International Museum Day essay prize for a paper on hyperconnected museums.
Priya Pavri is an independent curator currently based in Narrm/Birraranga (Melbourne, Australia). Her work explores how art can address issues of social and political importance and present layered and complex truths, while building empathy and understanding for experiences and stories outside one’s own.
With a background in Law and Arts, Priya has lead community projects in the not-for-profit and government sector in urban and remote Australia, the Middle East and Asia Pacific. She is currently the General Manager of Next Wave Festival, an Australian arts organisation that is committed to a world where artists and audiences from all backgrounds can come together to participate in ground breaking new art and ideas; the Director of Road to Refuge, not-for-profit organisation that provides platforms for refugee voices in their words and on their terms, and a co-founder of ‘I Had One Too’ an online platform to share stories about abortion, and discuss how laws and public perceptions impact safe and accessible women’s health services in Australia.
Priya has a history of growing community projects and organisations through unique and creative endeavours, and is committed to seeking alternative models of working with community that challenge existing leadership and governance structures.
In 2019, Priya received a Carclew Fellowship for Social Justice and the Arts, to develop a curatorial and film practice. Most recently, she curated Illusion a multi-venue exhibition on Kaurna Country (Adelaide, Australia).
Sebastian Henry-Jones is an emerging curator lead by an interest in writing, DIY thinking and the potential of the exhibition format to cultivate strategies of collectivity, social responsibility and tenderness that poetically communicate across cultural and social difference. He looks to embody these ideals in his work by centring the needs, ideas and requirements of those that he works with, and so his practice is informed by striving for a personal ethics with sincerity, generosity, honest communication and learning at its core.
Seb has staged group exhibitions and independent projects in Sydney and interstate, and is a co-founder of Desire Lines and Emerson. He is a board member at Runway Journal, and has most recently worked as a curatorial assistant for The 22nd Biennale of Sydney, titled NIRIN.
Tian Zhang is a curator and producer working at the intersections of art and cultural practice. Her work often involves a recalibration of rituals and cultural phenomena within our understandings of contemporary art and life. Her curatorial work has been nominated for a MGNSW Imagine Award, and presented at Customs House Sydney, Peacock Gallery in Auburn, Judith Wright Centre of Contemporary Arts and Metro Arts, Brisbane.
Tian is a founding co-director of Pari, a new artist-run initiative for Parramatta and formerly Chair and co-director of Firstdraft (2018-9). She has experience working across disciplines, most notably as producer at Urban Theatre Projects where she created multiple award-winning socially-engaged and site-specific works for Sydney Festival (Bankstown:Live, 2015 and Home Country, 2017) and a documentary on ABC’s Compass (One Day For Peace, 2015). She is an alumni of the Australia Council for the Arts’ Future Leaders Program 2018 and the British Council’s INTERSECT Program 2019 for changemakers.
Wilson Yeung Chun Wai is an artist-curator, researcher and creative producer. He is currently a PhD candidate at the School of Architecture and Urban Design at RMIT University. Wilson is a collaborator of Independent Curators International and an alumnus of Shanghai Curator Lab at Shanghai Academy of Fine Arts, Shanghai University.
Wilson’s special interest lies in collective curatorial practices and Asian contemporary art in an Australian context. His practice-based research ‘Curating the In-Between’ focuses on exploring the role of curators and curatorial practices in order to develop collective curatorial strategies and frameworks. This research articulates curatorial practice that interrogates the role of a curator in facilitating cross-cultural collaborations as a ‘cultural collaborator’.
Wilson’s works have been presented nationally and internationally, including Jogja Biennale, Shenzhen Bi-city Biennale of Urbanism/Architecture, Ballarat International Foto Biennale, Pingyao International Photography Festival, Fine Art Asia, Hong Kong Art Centre, Ox Warehouse Macau, International Multidisciplinary Printmaking Conference and AAANZ Conference.