Ken Lum

Geboren 1956 in Vancouver. 1992 – 2000 Gastprofessor an der Akademie der bildenden Künste, München, der Ecole Nationale Supérieure des Beaux-Arts, Paris und der China Art Academy, Hangzhou; Seit 2000 Professor am Department of Fine Arts, University of British Columbia, Vancouver. Seit 2001 Chefredakteur, Yishu: Journal of Contemporary Chinese Art, Taipeh und Vancouver. Lebt in Vancouver.

Born in 1956 in Vancouver. 1992 – 2000 Guest Professor at Akademie der bildenden Künste, München, at Ecole Nationale Supérieure des Beaux-Arts, Paris and at China Art Academy, Hangzhou; 2000–present Professor at Department of Fine Arts, University of British Columbia, Vancouver. 2001–present Chief Editor, Yishu: Journal of Contemporary Chinese Art, Taipei and Vancouver. Lives in Vancouver.


Einzelausstellungen / Solo Exhibitions 2002 Galerie Art & Public, Genève; Canadian Museum of Contemporary Photography, Ottawa; 2001 Galerie Grita Insam, Wien; Galeria Espacio Electico, Buenos Aires; Andrea Rosen Gallery, New York; Centre for Contemporary Art, Kitakyushu, Japan; 2000 There is no place like home, museum in progress, Wien; The Gate Foundation, Amsterdam; 1998 XXIV São Paulo Bienal, São Paulo; 1997 FRAC de Haute-Normandie, Galerie Duchamp, Yvetot; 1995 Camden Arts Centre, London; 1993 Galerie Daniel Buchholz, Köln; Städtische Galerie im Lenbachhaus, München; Badischer Kunstverein, Karlsruhe; Neue Galerie am Landesmuseum Joanneum, Graz; 1991 Kunstmuseum Luzern; 1990 Witte de With Center for Contemporary Art, Rotterdam; Winnipeg Art Gallery; 1988 Musée d'Art Contemporain, Montréal;

Ausstellungsbeteiligungen / Group Exhibitions 2003 Micropolitics: Everyday Life and Art, Espace d’Art Contemporain de Castelló; 2002 Sans commune mesure, Centre National de la Photographie, Paris; documenta 11, Kassel; Unpacking Europe, Museum Boymans-van Beuningen, Rotterdam, Haus der Kulturen der Welt, Berlin; 2001 Kommunikative Röhren, OK Centrum für Gegenwartskunst, Linz, Casino-Forum d’Art Contemporain, Luxembourg; Le pouvoir de la réflection, Galerie Liane et Danny Taran, Centre des Arts Saidye Bronfman, Montréal; Lofoten Island Summer Festival of the Arts, Lofoten Island, Norge; Neue Welt, Frankfurter Kunstverein; 2000 Contemporary Photography II: Anti-Memory, Yokohama Museum of Art, Japan; Bienal de La Habana, Habana; Shanghai Spirit: Shanghai Biennial 2000, Shanghai Art Museum; 1999 Babel, Ikon Gallery, Birmingham; Life Cycles, Galerie für Zeitgenössische Kunst, Leipzig; Laboratorium, Antwerpen Open, Provinciaal Museum voor Fotografie; Cities On The Move, Hayward Gallery, Royal Festival Hall, London; 1998 Photography as Concept, 4. Internationale Fototriennale Esslingen; Between Earth and Sky, University of Hong Kong Art Gallery; 1997 2nd Johannesburg Biennial, Johannesburg; inSITE 97, various public sites in San Diego/Tijuana; One Minute Scenario, Printemps de Cahors; 1995 On Board, Riva San Biagio, La Biennale di Venezia; 1994 Die Orte der Kunst: Der Kunstbetrieb als Kunstwerk, Sprengel Museum, Hannover; 1993 Space of Time, Americas Society, New York, Museo del Oeste, Caracas, Centro Cultural Recoleta, Buenos Aires, Center for the Fine Arts, Miami; 1992 Sydney Biennial, Art Gallery of New South Wales, Sydney; 1991 The Wealth of Nations, Centrum Sztuki Wspólczesnej / Centre for Contemporary Art, Zamek Ujazdowski, Warszawa;

Preise, Stipendien und Kommissionen / Awards, Grants and Commissions 2002 Public Art Commission, Region of La Plaive, Suisse; 2000 On Location, Art for the New Millenium, Public Art Commission, Vancouver Art Gallery; Killam Award for Outstanding Research, University of British Columbia, Vancouver; 1999 Public Art Commission, State of Siena; The Garden of Eden, Public Art Commission, National Museum of Ethnology, Leiden, Nederlanden; 1998 John Simon Guggenheim Memorial Fellowship, New York City; Outstanding Alumni Award, Simon Fraser University, Burnaby;

Bibliografie / Bibliography Ken Lum Works with Photography (K/c), National Gallery of Canada, curated by Kitty Scott, texts by Kitty Scott and Jeff Derksen, Ottawa 2002; Sans commune mesure (K/c), Centre Nationale de la Photographie, curated and text by Régis Durand, Paris 2002; documenta 11 (K/c), curated and text by Okwui Enwezor, Kassel 2002; Ken Lum (K/c), Centre Culturel Canadien, curated and text by Catherine Bedard, Paris 2002; Unpacking Europe (K/c), Museum Boymans-van Beuningen, curated and text by Salah Hassan, Rotterdam 2001; Kommunikative Röhren (K/c), OK Centrum für Gegenwartskunst, Linz, Casino-Forum d’Art Contemporain, Luxembourg, curated and text by Moritz Kung, 2001; Ken Lum (K/c), Contemporary Art Gallery, curated by Keith Wallace with text by Michael Turner, Vancouver 2001; Shanghai Biennial, curated and text by Hou Hanru, Shanghai 2000; Anti-Memory II (K/c), curated and text by Taro Amano, Yokohama 2000; Babel (K/c), curated and text by Claire Doherty, Birmingham 1999; XXIV São Paulo Biennial (K/c), curated by Jon Tupper, Chief Curator Paulo Herkenhoff, text by Ken Lum and Lisa Mark, São Paulo 1998; Between the Earth and Sky (K/c), Art Beatus Gallery and the University of Hong Kong Art Gallery, curated and text by Hou Hanru, Hong Kong 1998; 2nd Johannesburg Biennial (K/c), various sites, organized by Okwui Enwezor, Hou Hanru, etc., Johannesburg 1997; InSITE 97 (K/c), various sites, curated and organized by Michael Krichman, Olivier Debroise, Sally Yard, Ivo Mesquito, Jessica Bradley, San Diego/Tijuana 1997; One Minute Scenario (K/c), Printemps de Cahors, curated and organized by Jérome Sans, Cahors 1997; Ken Lum (K/c), FRAC de Haute-Normandie, curated and organized by Alexandra Midal, text by Luk Lambrecht and Ken Lum, Rouen 1997; In Visible Light, Photography & Classification in Art, Science and The Everyday (K/c), Museum of Modern Art, curated by Russell Roberts, essays by Russell Roberts, Kobena Mercer, Elizabeth Edwards, Abigail Solomon-Godeau and David Elliott, Oxford 1997; Ken Lum (K/c), Recent Works, Camden Arts Centre, curated and organized by Jenni Lomax, text by Robert Linsley, London 1995; Collection Modern Art (K/c), Boymans-van Beuningen Museum, organized and text by Karel Schampers and Jacqueline Rapmund, Rotterdam 1994; Die Sprache der Kunst (K/c), Kunsthalle Wien, curated by Toni Stooss and Eleonora Louis, Wien 1993; Ken Lum (K/c), Städtische Galerie im Lenbachhaus, curated and text by Helmut Friedel, additional texts by Jean-François Chevrier and Bernd Schulz, München 1993; Biennial of Sydney (K/c), Art Gallery of New South Wales, curated by Anthony Bond, Sydney 1992; Cameres Indiscretes (K/c), Centre d’Art Santa Monica, curated and text by José Lebrero Stals, additional texts by Dan Graham, Robert Linsley, Jeff Wall and Ian Wallace, Barcelona 1992; Lieux communs – figures singulières (K/c), Museé d’Art Moderne de la Ville de Paris, curated and text by Jean-François Chevrier, Paris 1991; The Wealth of Nations (K/c), Centre for Contemporary Art (Ujazdowski Castle), curated and text by Cornelia Lauf, Warszawa 1991; Carnegie International (K/c), Carnegie Museum of Art, curated and texts by Lynne Cooke and Mark Francis, Pittsburgh 1991; Ken Lum (K/c), Kunstmuseum Luzern, organized by Martin Schwander, Luzern 1991, German addendum-see Ken Lum 1990; Ken Lum (K/c), Witte de With Center for Contemporary Art, Rotterdam, Winnipeg Art Gallery, Winnipeg, organized by Jon Tupper and Chris Dercon, texts by Linda S. Boersma, Ken Lum and Jeff Wall, 1990;

Künstlerprojekte und -schriften / Artist's Projects and Writings Art and Ethnology, A Relationship in Ironies, Last Call, Vancouver, Vol. 1, Issue 3, Spring, 2002; Editorial Comment, Yishu Journal of Contemporary Chinese Art, Vol. 1, No. 1, May, 2002; There Is No Place Like Home, Le Mois de La Photo, Montréal, published by Vox: Centre de Diffusion de la Photographie, September, 2001; In Search of Wabi-Sabi, Center For Contemporary Art, Kitakyushu, Japan (Artist’s book project), 84 pages, 2001; An Interview with Ken Lum, by Cathy Busby, National Gallery of Canada Review, Vol. 2, 2001; Special Project Consultant, The Short Century: Post Colonial African Art, Museum Villa Stuck, München 2001; Of Chinese Contemporary Art and Continued International Engagement, Art & Collection, Taiwan, 2001; Hommage à Chen Zhen, Point d'ironie, Agnes B Boutiques, Paris 2001; Contradiction and Future Synthesis in the Model of the Shanghai Biennial, Art & Collection, Taiwan, 12, No. 99, 2000; The Artist as Travelling Minstrel, Art & Collection, 9, No. 96, 2000; Canadian Cultural Policy: A Problem of Metaphysics, Inside Out: Reassessing International Cultural Influence Conference, BWA Gallery, Wroclaw, Poland 1999; Considerations of Race, Sex and Multiple Identities aboard the Raft of the Medusa, Nka: Journal of Contemporary African Art, Spring/Summer 1999, No. 10; Shanghai Biennial, Art & Text, No. 65, May-July, 1999; Dak’Art 98, Nka: Journal of Contemporary African Art, Fall/Winter 1998, No. 9, 1999; Blame it on Conceptual Art, La Pala: A non-objectual art virtual magazine, Mexico 1999; Dak’Art 98, Art & Text, No. 63, November-January, 1998; Windows into Germany’s Soul: The Ambivalent Gaze of Photographer Thomas Ruff, National Post, (Canada) Friday, November 20, Arts & Life, 1998; Review of 6 New Vancouver Modern, Canadian Art, Vol. 15, No. 2, Summer/June, 1998; Beauty, Textuality, and Allusion in Photo-Media Art: Strategies of Canadian Artists as Producers, Universities Art Association of Canada Conference, Emily Carr Institute of Art and Design and the University of British Columbia, panel discussion moderated by James L. Gillespie, Vancouver, November 8, 1997; Opening Remarks and Plenary Speaker: The Parable of the Young Artist, Universities Art Association of Canada Conference, Emily Carr Institute of Art and Design, Vancouver, November 6, 1997; William Low and Ken Lum, Dialogue with Contemporary Asian Artists, (video discussion), Asia Pacific Arts Festival, Asian Centre, University of British Columbia, October 23, 1997; Lyse Lemieux and Ken Lum, Dialogue on the exhibition of the Gordon Smith Exhibition at the Vancouver Art Gallery, Le monde à l'envers, French Radio-Canada, Vancouver, Sunday, October 27, 1997; Photography/Text pages for catalogue Parisien(ne)s, an exhibition sponsored by the Institute of International Visual Arts held at Camden Arts Centre, London, February 7 - March 23, 1997; Christine Frisinghelli (ed.), Ken Lum, in: Camera Austria, No. 51/52, 1995; Olivier Zalm and Elein Fleiss (eds.), Liquid Science Fiction: Interview with William Gibson by Bernard Joisten and Ken Lum, Purple Prose, No. 9, Summer, Paris 1995; Frank Perrin (ed.), Bloc Notes, No. 8, Winter, Paris 1995; Ten Widely Played Stories on Local Television and Newspaper, in: One August Week in Vancouver, Canada 1994, catalogue essay for exhibiton by Alexander Timtschenko at Galerie Wittenbrink, München 1995; Sharon Brooks, Carolyn White (eds.), Pull-out poster project, Work, edition 1, Summer: centerfold, Toronto 1994; Marie-Ange Brayer (ed.), Byron Nelson Chang, Exposé, No. 1, Spring, Orléans 1994; John Nixon (ed.), Kerb Your Dog, No. 13, Sydney 1993; Uitgevers Imschoo (ed.), Speculations, Ken Lum, coordinated by Cornelia Lauf, IL Series of books, Gent 1992; Susan Snodgrass (ed.), Carnegie Library Project, Whitewalls, No. 29, Chicago 1991; Public Access, Untitled Language Paintings, 1987, Public, Vol. 1, Winter, Toronto 1988; Advertisements by Artists: Alan Belcher, Ken Lum, Jana Sterbak, C Magazine, Canadian Art, File Magazine, Parachute, Parallelogramme, Parkette, Vanguard, Winter - Spring issues, 1987; Barbara Ess, Glenn Branca (eds.), Thought Objects, Just Another Asshole, No. 7, New York 1987; General Idea (ed.), File Megazine, No. 26, December, Toronto 1986; Thomas Lawson (ed.), Real Life Magazine, No.12, New York 1984; Peter Legris (ed.), Rubicon, No. 3, Montréal 1984; Thomas Lawson (ed.), Real Life Magazine, No. 8, New York 1982; RT4: City Art Institute Student News, Cover, Sydney 1982; Performance Art, 2. June, Los Angeles 1980;

*Die biografischen Daten beruhen auf Angaben der KünstlerInnen.

*The biographies are based on information of the artists.

*Abkürzungen / abbreviations: K/c: Katalog / catalogue ed.: editor eds.: editors

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