Michelle Wun Ting Wong / Pernod Ricard Fellowship 2019
- Michelle Wong’s portrait , Photo by Luke Casey
Michelle Wun Ting Wong, born in 1987, is a Researcher at Asia Art Archive based in Hong Kong, interested in the history of recent art in Asia. Her research interests are in histories of exchange and circulation through exhibitions and periodicals. Wong holds a Bachelor of Arts, majoring in Music, from Wellesley College, Massachusetts, USA and a Mellon Masters of Arts in Art History from Courtauld Institute of Art, London, UK. Her projects include the Hong Kong Art History Research Project with the Hong Kong Museum of Art, the Ha Bik Chuen Archive Project, the undergraduate course developed in collaboration with Fine Arts Department, The University of Hong Kong, and “London, Asia”, a collaborative project with Paul Mellon Centre for Studies in British Art. Wong is part of “Ambitious Alignments: New Histories of Southeast Asian Art”, a research program funded through the Getty Foundation’s Connecting Art Histories initiative. She was also Assistant Curator for the eleventh edition Gwangju Biennale, South Korea.
Michelle Wun Ting Wong works with ideas around how histories and narratives are constructed, and how stories are told and retold. She believes that the notion of exchange can challenge the dominant art historical narratives, which are often driven by national borders. For the Pernod Ricard Fellowship, Wong will be researching artists, who shared links with Asia and left traces in archives in Paris. The researcher is particularly interested by Marc Vaux’s archive and the archive of Atelier 17. Wong will be collaborating with Ming Tiampo, Professor of Art History and Director of the Institute for Comparative Studies in Literature, Art and Culture at Carleton University in Ottawa, whose work on “Global Asias” is also centred around Atelier 17. Wong also intends to put the archives of a Paris-based photographer Marc Vaux (1895-1971) and a Hong Kong-based artist Ha Bik Chuen (1925-2009) into conversation. The works of both artists are undergoing processing by public institutions (by Centre Pompidou and Asia Art Archive respectively), and Wong is curious to explore the different approaches taken by the institutions with regards to access, sharing and ownership.
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