|[April 16, 2014]
UK's Curator Beccy Kennedy to Give Talk at NCKU
TAINAN, Taiwan --(Business Wire)--
Dr. Beccy Kennedy as the curator of Asia Triennial Manchester (ATM)
invited by Professor Ming Turner from the Institute of Creative
Industries Design (ICID) at National Cheng Kung University (NCKU),
southern Taiwan, will talk about issues related to European museums and
global art market.
Taking place at Institute of Creative Industries Design (ICID) Open
Space, NCKU on Thursday, April 17, at 9 am, the talk, "The Pacifying to
the Participatory Gallery," is free of charge and open to the public.
Dr. Kennedy will reveal why art museums were established in 19th century
Britain and Europe and consider some of the changes to the gallery space
which have occurred in the 20th and 21st
centuries. How have these changes impacted upon the allery visitor?
Also, the concept of "the alternative" in relation to countercultures in
late 20th and 21st century fashion, art and design
will be examined.
Dr. Kennedy will share her experience of co-curating an exhibition in a
digital laboratory as part of ATM 2011.
ATM is a festival of visual culture that not only celebrates
Manchester's diverse communities but also explores cultural, artistic
and political debates of the 21st century, according to Dr.
Kennedy whose research interests include Biennialisation, global art,
and postcolonial art.
Dr. Kennedy is lecturer in Art History and Curating and route leader for
the MA Contemporary Visual Culture at Manchester Metropolitan University
in the UK.
Her MA was in Art History and Archaeology of Korea and Japan from the
School of Oriental and African Studies, London and her PhD, from
Manchester Metropolitan University, examined Korean diasporic art in
She is also a member of the editorial board for the Journal of
Contemporary Chinese Art and has written scholarly articles for Third
Text and Open Arts Journal.
She is co-editor of the forthcoming book: Triennial City: Localising
Asian Art, publish in May 2014.
She is currently doing curatorial and other research on Korean diasporic
art, North Korean refugee art, the DMZ border and the divided Korea and
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