On 2 June, 2024, the Tenth Edition of the International Awards for Art Criticism was formally launched at the CAFA Art Museum in Beijing. The Awards are open to all entries in English and Chinese, worldwide. The organisations participating in the IAAC 10 include the School of Philosophy at Fudan University and Shanghai Jiushi Art Museum Community, Royal College of Art, Edinburgh College of Art and the International Association of Art Critics.
At the launch event, Board members Lewis Biggs and Ling Ming addressed their thanks to the participating organisations, on behalf of the IAAC’s Organising Committee. They stated that: ‘IAAC aims to provide a common platform for outstanding critical writing in Chinese or English from all over the world. Our high visibility affords access for as many people as possible to a wide range of excellent critical writing via international social media and an annual bilingual publication of outstanding entries to the competition.’
We focus on the latest developments in artistic practice and theory. Each year, the IAAC’s Committee appoints a fresh international jury of five highly qualified experts to adjudicate the final round of the competition in Shangahi. It also guarantees the strict anonymity of competitors throughout the entire process of adjudicating the entries. All exhibitions reviewed must have taken place within the previous twelve months. In this and other ways we encourage and develop the cultural environment through better quality criticism of contemporary art exhibitions.’
Professor Sun Xiangchen, from the School of Philosophy at Fudan University and co-chair of the IAAC’s Organising Committee said: ‘IAAC provides a platform for these vastly different perspectives to converge on the same stage. Reading so many art reviews is a magical experience and helps us traverse the gaps in time and catch a glimpse of the other side of the world. In the recent past we keenly felt the harshness that can envelope the world, yet we still experienced the warmth of life. Through a series of global upheavals such as the pandemic there have been changes, but also constants. Contemporary art always maintains a critical attitude towards the world, but sustaining this criticism also requires enduring friendships and individual perseverance. IAAC represents a kind of perseverance, and we hope this event will continue to persist. When people look back, it will become a unique way for us to understand and record this era.’
As one of the main organisers of IAAC 10, Hou Zhe, Deputy Managing Director of the Shanghai JUCE Culture and Media Co. Ltd. said: ‘The global art world is experiencing unprecedented changes nowadays, it brings new ways of creating art and showing it. In addition, it proposes new conditions and challenges to art criticism. At Shanghai Jiushi Art Museum, the collection and display of distinguished artworks has enabled us to build a strong educational foundation for promoting public awareness and appreciation of art through a variety of academic activities and public education programmes. While critics rethink about the form and circulation of art, they also look for enlightened perspectives and new methodologies for interpreting the artworks. This is exactly why it is so important for the Tenth International Awards of Art Criticism to maintain their independence and worldwide influence.’
The Tenth Edition of the International Awards for Art Criticism (IAAC 10) 2024, is open to candidates from anywhere in the world writing in Chinese or English about any contemporary art exhibition held anywhere in world or on-line between 1 September 2023 and 31 August 2024. Candidates are invited to write a fresh, previously unpublished review of 1,500 words or 2,500 Chinese characters on any exhibition of contemporary art within a strict limit of plus or minus ten per cent.
The First Prize will consist of a cash award of 10,000 Euros (pre-tax) or the RMB equivalent of this amount (currently, around 80,000 RMB). Each of the three Second Prizes will be awarded a cash prize of 3,500 Euros (pre-tax) or the RMB equivalent of this amount (currently, around 30,000 RMB). Around 20 entries (10 in English, 10 in Chinese) will be selected by first-round juries in Shanghai and London and translated for the bilingual publication, Exhibition Reviews Annual 10, in 2025.
The objectivity of the selection process is underpinned, both by the recognised professionalism of the Chinese and English-speaking jury members and by the strict anonymity of the judging process. The members of the final, international jury for 2024 will comprise: Cristiana Collu, Italian museum director, independent curator, art historian and lecturer；DU Keke, Editor of Artforum China, writer and translator；Gerardo Mosquera, Independent curator, critic and writer based in Havana and Madrid；Małgorzata Kaźmierczak, International President of AICA, Ph.D. in History, art critic, independent curator and academic based in Kraków, Poland; YOU Mi, Professor of Art and Economies at the University of Kassel / documenta Institut.
The awards are open to all. There is no age limit and we welcome entries from individuals representing a wide range of backgrounds from anywhere in the world, writing in Chinese or English. All candidates are invited to log in to the official IAAC website, www.iaac-m21.com, enter the relevant details and upload their review and any accompanying images, up to a limit of three. They may then return to the site to add or alter information at any time up to the deadline for submissions.
Closing date for entries：15 September 2024
Contact
Chinese-language: School of Philosophy, Fudan University
Address: 220 Handan Road, Shanghai (Room 2308, West Main Building, Guanghua Building)
Tel: +86 21 6564 2732
Email: philo.fudan@gmail.com
English-language: Edinburgh College of Art, the University of Edinburgh
Address: Lauriston Place, Edinburgh EH3 9DF
Tel: +44 (0)20 7590 4423
Email: IAAC@ed.ac.uk
Introduction to the International Jury Members for The IAAC 10 (2024)
Cristiana Collu
Cristiana Collu is an Italian museum director, independent curator, art historian and lecturer. She directed the National Gallery of Modern and Contemporary Art in Rome from 2015 to 2023, the Galleria Borghese in 2020, the MART of Trento and Rovereto from 2012 to 2015, and the MAN of Nuoro from 1997 to 2012. She earned her degree in Art History from the University of Cagliari and a Ph.D in Museology and Contemporary Art History from the Complutense University of Madrid, in 2021. She has taught Museology and Art History at La Sapienza University of Rome, the University of Sassari, the University of Cagliari, the University of Trento, and LUISS Business School. She participates as a member in important committees, juries, and scientific committees such as the International Jury of the Venice Biennale, 58th edition, the Farnesina Commission, the Bacchelli Commission, the Tuwaiq International Sculpture Symposium, the Riyadh Art | Expert Panel, the Rome Quadrennial, the TERNA Prize, and others.
She dedicates her exhibition programmes and research to fostering museum strategies and sustainability, gender equality, inclusion, diversity and cultural diplomacy
DU Keke
DU Keke is the editor of Artforum's Chinese-language website (Artforum.com.cn), and a writer and translator based in Tokyo. She has been working at Artforum since 2008, progressing from associate to chief editor of artforum.com.cn. Her translations into the Chinese-language include Boris Groys' Art Power and Giorgio Agamben’s The Man Without Content.
Gerardo Mosquera
Gerardo Mosquera is a freelance curator, critic, art historian, and writer based in Havana and Madrid and member of the advisory council of several international magazines and journals. He was co-founder of the Havana Biennial (1984-1989), Adjunct Curator at the New Museum of Contemporary Art, New York (1995-2009), and Artistic Director of PhotoEspaña, Madrid (2011-2013), inter alia. He has curated many international ‘perennials’ – most recently : Guangzhou Image Triennial 2021; 21st Paiz Biennial 2018, Guatemala; 3rd Today's Documents 2016, Beijing; 4thPoly/Graphic San Juan Triennial 2015. Among his most recent exhibitions are: Hot Spot, Galleria Nazionale, d’Arte Moderna e Contemporanea, Rome, 2022-2023; Useless. Machines for Thinking, Dreaming, and Seeing, The Bronx Museum of the Arts, New York, 2019, and Adiós Utopia. Dreams and Deceptions in Cuban Art Since 1950, The Museum of Fine Arts of Houston, 2017, and The Walker Art Center, Minneapolis, 2017. Author and editor of numerous texts and books on contemporary art and art theory. His most recent books are: Beyond the Fantastic. Crítica de arte contemporánea en América Latina, Universidad de Granada, 2022, and Arte desde América Latina (y otros pulsos globales) , Ediciones Cátedra, Madrid, 2021. He has lectured in five continents and has organized several international conferences. He received the Guggenheim Fellowship, New York, in 1990.
Małgorzata Kaźmierczak
Małgorzata Kaźmierczak has been an independent curator since 2004. She holds a Ph.D in History. Her projects across Poland and the USA focus on performance art. She is also a researcher and has written many essays and reviews. Her previous positions include: Editor and translator of http:⫽livinggallery.info, 2011-2014; President of the Kesche Foundation for the Promotion of Performance Art in Kraków, Poland, 2006–2012; Managing Editor of the Art and Documentation journal, 2012–2014; Director of the City Art Gallery of Kalisz, Poland, 2014–2016; Editor-in-chief of the Publishing House and Assistant Professor at the Faculty of Painting and New Media of the Art Academy of Szczecin, Poland, 2016–2017; Vice-President of AICA Poland, 2020-2024; and Vice-President of AICA International, 2021-2023. She is currently an Assistant Professor at the University of the National Education Commission of Krakow and has been International President of the International Association of Art Critics (Paris) since 2024.
YOU Mi
YOU Mi is a professor of Art and Economies at the University of Kassel / documenta Institut. Her academic interests are in the social value of art, new and historical materialism, and the history, political economics and philosophy of Eurasia. Under the rubric of Eurasia, she has curated exhibitions at the Asian Culture Center in Gwangju, Ulaanbaatar International Media Art Festival (2016), Zarya CCA Vladivostok (2018), CHAT Hong Kong (2023) and the research platform ‘Unmapping Eurasia’, with Binna Choi. Her recent exhibitions focus on socialising technologies and ‘actionable speculations’, such as ‘Sci-(no)-Fi’ at the Academy of the Arts of the World, Cologne (2019) and ‘Lonely Vectors’ at Singapore Art Museum (2022). She was one of the curators of the 13th Shanghai Biennale (2020-2021). On the social front, she serves as chair of the Committee for Media Arts and Technology for the transnational NGO Common Action Forum. She was a Berggruen Institute Europe Fellow in 2023.
Introduction to the Participating Organisations
School of Philosophy, Fudan University
The School of Philosophy at Fudan University, located in Shanghai, was founded in 2006. Its predecessor was the Philosophy Department of Fudan University, established in 1956, which was one of the earliest philosophy departments established in the New China. At present, the School of Philosophy is composed of the Department of Philosophy, the Department of Religious Studies, the Department of Philosophy of Science and Logic, the Department of Philosophy of Art, and a number of academic research platforms such as the Research Center for Philosophy of Art, the Research Center for Science, Technological Ethics and Social Governance and Shanghai Confucian Academy.
The School of Philosophy at Fudan University is one of the most dynamic philosophy faculties in China. Together with the Department of Philosophy at Peking University, it has been rated as two A+ in the disciplines of philosophy in China. It is also ranked 31st in the QS global disciplines and therefore enjoys a high academic reputation both at home and abroad. Founded in 2020, the Department of Philosophy of Art offers theoretical study in the history of philosophy, contemporary philosophy, aesthetics, and the history and theory of art, through cooperation with art institutions in Shanghai, an art philosophy summer school, workshops and lecture series. It is committed to establishing a long-term dialogue between art and philosophy.. The School of Philosophy at Fudan University aims to cultivate future-oriented all-round talents and promotes academic research as well as academic exchanges, especially international cooperation projects. It has established a number of international double-degree programmes, international student and scholar exchange programmes, and international cooperative academic research platforms.
Shanghai Jiushi Art Museum Community
The Shanghai Jiushi Art Museum Community (‘the Community’) was established in September 2018 and is funded by the Shanghai Jiushi Group, a large state-owned enterprise in Shanghai. The Community consists of three pavilions, the Jiushi Art Museum, the Jiushi Art Gallery, and the Jiushi Art Salon, all of which are located in the historic buildings on the Bund managed by the Shanghai Jiushi Group.
The Community focuses on actively researching, exhibiting and promoting Shanghai-style art, showcasing outstanding works of famous Chinese and international artists, and exploring new modes of visual art heritage and expression. Meanwhile, it gives new vitality to the historic buildings on the Bund through an organic combination of art exhibitions and historic architecture.
Royal College of Art
The Royal College of Art started life in 1837 as the Government School of Design, located in Somerset House in the Strand. Following the Great Exhibition of 1851, this relatively small-scale operation was radically transformed to accommodate art as well as design, leading the institution to be rechristened the National Art Training School at its new home in South Kensington. In 1896 it became the Royal College of Art. It is the world's oldest art and design university in continuous operation.
In 1967 the College was granted a Royal Charter, endowing it with university status and the power to grant its own degrees. To this day, the RCA remains the world's most influential wholly postgraduate university institution of art and design, offering MA, MPhil and PhD degrees in fine art, applied art, design, communication and humanities. It is the most concentrated community of young artists, designers and communicators to be found anywhere.
Proud of its extraordinary roster of former students and its past successes, the RCA is however very much focused on the future: advancing knowledge and exploring new fields of practice in art, design, architecture, fashion, communication, the humanities and the applied arts.
Edinburgh College of Art
Edinburgh College of Art (ECA) is one of eleven Schools in the College of Arts, Humanities and Social Sciences at the University of Edinburgh. Tracing its history back to 1760, it provides higher education in art and design, architecture, history of art, and music disciplines for over two thousand students, and is at the forefront of research and research-led teaching in the creative arts, humanities, and creative technologies. ECA comprises five subject areas: School of Art, Reid School of Music, School of Design, School of History of Art, and Edinburgh School of Architecture & Landscape Architecture (ESALA). ECA is mainly located in the Old Town of Edinburgh, overlooking the Grassmarket; the Lauriston Place campus is located in the University of Edinburgh's Central Area Campus, not far from George Square.
The college was founded in 1760, and gained its present name and site in 1907. Formerly associated with Heriot-Watt University, its degrees have been issued by the University of Edinburgh since 2004. The College formally merged with the University on 1 August 2011, combining with the School of Arts, Culture and Environment and continues to exist with the name Edinburgh College of Art as an enlarged school in the College of Arts, Humanities and Social Sciences.
International Association of Art Critics (AICA)
The International Association of Art Critics (or AICA, as it is universally called after its French acronym) was founded in 1949–50, and is an official non-governmental partner of UNESCO. Its objective is to support art criticism in all its forms worldwide, and to keep pace with its changing disciplines. Its principal objective is to serve contemporary creativity.
AICA’s head office, located in Paris, represents and promotes the activities of the Association’s approximately 5,000 members from some 85 countries, grouped into 63 different national or regional Sections, in addition to a small international ‘Open Section’. The Association’s overheads are entirely financed by the subscriptions of its members and patrons. The Association organises an Annual Congress, each time in a different part of the world, and sponsors publications, prizes and related activities.
Introduction to the Board and Executive Committee
The International Awards for Art Criticism (IAAC) were devised by Awards for Art Criticism Ltd., an international company limited by guarantee and registered in the UK with the aim of supervising the annual ‘International Awards for Art Criticism’. The Organising Committee is co-chaired by Henry Meyric Hughes and Sun Xiangchen, with the participation of: Juan Cruz (IAAC board member and Principal of Edinburgh College of Arts); Lewis Biggs (IAAC board member); Ken Neil (Dean of the School of Arts and Humanities at the Royal College of Art, London); Ling Min (IAAC board member); Shen Yubing (Department of Philosophy of Art, School of Philosophy at Fudan University); Hu Zhe (Deputy Managing Director, Shanghai JUCE Culture and Media Co., Ltd); The Board operates in full independence from national or supranational organisations and is free from commercial and other constraints.
Henry Meyric Hughes
Henry Meyric Hughes, who chairs the jury, as a non-voting member, is an independent curator, writer and editor. He is Honorary President of the International Association of Art Critics (AICA), Paris and was, until recently, the General Co-ordinator of Council of Europe exhibitions. He was a co-founder of the European Biennial of Contemporary Art (2003), Manifesta and President of the Manifesta Foundation, Amsterdam, from 1996-2007.
From 1968-92 he worked for the British Council in Germany, Peru, France and Italy, ending up as Director of Visiting Arts (1994-96) and Director of Visual Arts (1986-92). He was the British Commissioner for the Venice Biennale and the São Paulo Biennial, 1986-92 (Richard Hamilton, Tony Cragg, Anish Kapoor …). He was then Director of the Hayward Gallery, including National Touring Exhibitions and the Arts Council Collection from 1992-96, (exhibitions incl. ‘Art and Power: Europe under the Dictators 1930-1945',‘The Spirit of Romanticism in German Art, 1790-1990’and ‘The‘British Art Show 4’).
His recent projects include curating a survey exhibition, 'Blast to Freeze: British Art in the Twentieth Century' for Wolfsburg and Toulouse (2002-2003); the Cypriot Pavilion (Nikos Charalambidis) at the 2003 Venice Biennale; a touring exhibition of contemporary art in Norway for Oslo (2005-2006); and 'No Borders, Just N.E.W.S.', a touring exhibition of young European artists, 2008. He co-curated the XXX Council of Europe exhibition, 'The Desire for Freedom: Art in Europe since 1945' for Berlin, Krakow, Tallinn and Milan, with extensions to Sarajevo, Prague, Thessaloniki and Brussels (2012-2015). Recent co-publications include AICA in the Age of Globalisation (AICA Press, 2010) and African Contemporary Art: Critical Concerns / Art Contemporain Africain: Regards Critiques (AICA Press, 2011, co-ed.). He is now general editor of the AICA series of puilications. ‘Art Critics of the World’. He also belongs to the editorial committee of the review, ‘Critique d’art’, in Rennes, France. His contributions to recent publications include essays in various languages on Pierre Restany, Herbert Read, Dansaekhwa, curating exhibitions,‘The Reception of British Sculpture Abroad’ (Yale) and pan-European aspects of contemporary art. He has taught and written about curating contemporary art and been an external examiner at the Ecole Nationale Supérieure des Beaux-Arts (ENSBA), Paris and RCA, London.
He has acted as an adviser to UNESCO and as a consultant and general co-ordinator for Council of Europe exhibitions. He was appointed Officier des Arts et des Lettres by the French Government and awarded the Cross of Merit (Bundesverdienstkreuz) by the President of the Federal Republic of Germany.
Sun Xiangchen
Sun Xiangchen is a professor at the School of Philosophy at Fudan University, and also serves as the director of the General Education Center of Fudan University. He is the Vice-President of the Chinese Society for the History of Foreign Philosophy, a member of the Steering Committee of the International Federation of Philosophical Societies (Fisp), a council member of the World Congress of Sinology, the Vice-Chairman of the Shanghai Philosophy Society, and Vice-Chairman of the Shanghai Association for Comparative Studies of Chinese and Western Philosophy and Culture, etc. He is also the co-editor of academic journals Modern Foreign Philosophy, General Education Review, Shan Shui（山水）. He has been a visiting scholar and visiting professor in many academic institutions such as Yale University, University of Chicago, Ecole Normale Supérieure, the Free University of Berlin, and the University of Birmingham.
His publications include: On Family: Individuals and Kinship (2019), Facing the Other: A Study of Levinas' Philosophical Thought (2008), Political Philosophy and Chinese Theology (co-authored, 2007), Metaphysics in the Seventeenth Century (co-authored, 2006), etc.
In recent years, he has devoted himself to the construction of art disciplines at Fudan University. He has successively established the Center for Philosophy of Art, and the Department of Philosophy of Art at Fudan University. And now, he is preparing to establish the Fudan Art Institute.
Juan Cruz
Professor Juan Cruz is the Principal of Edinburgh College of Art and a former Dean of the Schools of Fine Art and Design at the Royal College of Art (RCA). He is an artist whose work employs a broad range of approaches to exhibition-making, including video, performance, text and site-specificity.
Prior to joining the RCA, Cruz was Director of Liverpool School of Art and Design at Liverpool John Moores University, where he introduced an innovative model of research and knowledge transfer with leading arts organisations, including Tate Liverpool, Liverpool Biennial and the Foundation for Art and Creative Technology (FACT).
Also in Liverpool, Cruz facilitated the foundation of the Exhibition Research Centre, which saw the school research and develop a series of leading exhibitions and keynote lectures around the theme of exhibition studies, attracting international audiences, funding and media.
Cruz is a member of the Tate Liverpool Council, a trustee of the John Moores Liverpool Exhibition Trust and a board member of the Liverpool Biennial. He has played a leading role in Arts Council groups tasked with reaching new understandings about the relationship between Higher Educational Institutions (HEIs) and the cultural sector in the UK, leading to funding for 'Artist's City', a project designed to enhance opportunities for artists in Liverpool through better integration of institutions. He was also a trustee of the A Foundation between 2009 and 2011.
Under Cruz's leadership, Liverpool School of Art and Design became a partner in 'The Uses of Art', a €2.5-million European project delivered in collaboration with 'L'Internationale', a key European museum confederation including MACBA in Barcelona, the Reina Sofia in Madrid, MuKHA in Antwerp, Salt in Istanbul, Van abbemuseum in Eindhoven and Moderna Galerija in Slovenia, as well as other collaborating Institutions including Grizedale Arts, University of Hildesheim and KASK in Ghent.
Cruz is a member of the Research Excellence Framework (REF) sub-panel 34 and between 2011 and 2014 was a co-opted member of the executive of the Council for Higher Education in Art and Design (CHEAD). Earlier in his career, between 1999 and 2002, Cruz was also a member of the Arts Council National Touring Programme selection panel, as well as a Member of the London Arts Visual Arts Advisory Group.
Lewis Biggs
Lewis Biggs is a freelance Curator, Writer and Cultural Consultant. He was Director of Liverpool Biennial 2000-2011, having been a founding trustee of the charitable company in 1998. The 2002 Liverpool Biennial Festival 'broke the rules' by focusing on newly commissioned art, much of it for the public realm, researched collaboratively and realised by a team of locally based curators. This approach – and its success - established Liverpool Biennial as an original and significant contributor to the international spectrum of biennales, and the organisational model it established has become influential around the world, as competition between biennales forces them to differentiate their offer.
The success of the 2002 Biennial contributed to Liverpool winning its (2003) bid to be nominated European Capital of Culture 2008. Lewis played an active role in the formation and leadership of Liverpool Art and Regeneration Consortium, which delivered the majority of the City's arts programmes in 2008, and of Culture Campus, which created links between the arts sector and three Liverpool universities.
Lewis was Director of Tate Liverpool from 1990 to 2000 – a decade in which it was the only dedicated Museum of Modern Art in the UK, and at a time when the Tate 'brand' was associated overwhelmingly with the work of Turner and Constable. The programme he initiated in Liverpool introduced contemporary British and International art to new audiences nationally and especially in the North of England. It included groundbreaking art exhibitions from Japan, Korea, North Africa and Sub-Saharan Africa. The programme's structure, and accompanying education programme, were influential on London's Tate Modern when it opened in 2000.
Biggs was twice the Curator of the Folkestone Triennial (2017, 2020), has been General Editor of Tate Modern Artists (books on contemporary artists) since 2002, is International Advisor, School of Fine Arts, Shanghai University and Chair of the Organising Committee for the International Award for Excellence in Public Art (Shanghai). He was Co-curator, Aichi Triennale 2013, and undertook a consultancy in 2011-2013 with Osage Art Foundation, Hong Kong.
Lewis is a member of the Board of International Advisors to the Rockbund Art Museum, Shanghai, a Visiting Professor of Contemporary Art at Liverpool School of Art and Design (he was awarded an Honorary Fellowship at Liverpool John Moores University in 1998) and made an Honorary Professor at Glasgow University (School of Art). He is active as a trustee of several boards including the John Moores Liverpool Exhibition Trust (Painting Competition), Chinese Arts Centre, Manchester, Foundation for Art and Creative Technology (FACT), Liverpool and Situations, Bristol
Ken Neil
Ken Neil is Dean of the School of Arts and Humanities at the Royal College of Art, London. Before that, he occupied senior teaching positions at Glasgow School of Art from 1906 to 2019. He studied painting and the history and philosophy of art at Edinburgh College of Art, completing a PhD in art history in 2003. Ken has written extensively on contemporary art and theory and is currently on the editorial board of the Journal of Visual Arts Practice. His research and writing relate to three fields: contemporary art and art theory; issues for creative education; and the visual culture of the everyday.
Ling Min
Ling Min is a tutor of Master’s Degree students in modern and contemporary art history at Shanghai Academy of Fine Arts. She was a Vice-President of the International Assoiciation of Art Critics (AICA, 2016-2019) and is currently a board member of the International Awards for Art Criticism (IAAC ) and a trustee of the John Moores Painting Trust. She is also a chief coordinator of FutureLab, Shanghai.
Shen Yubing
Shen Yubing is Distinguished Professor of History and Philosophy of Art at the School of Philosophy, Chair of the Department of Philosophy of Art, Fudan University. His first degree and academic employment were in the fields of politics and law, and he only switched to the humanities on transferring to Zhejiang University (1997-2016), where he obtained a PhD in art theory.
Shen’s books include his prize-winning Art Criticism in the 20th Century (Hangzhou, 2003, subsequently reprinted 5 times) and Image and Meaning: The Historiography of Modern Anglo-American History of Art (Beijing, 2017). His translations (independently or collaboratively) include Roger Fry, Cézanne; Clement Greenberg, Art and Culture; Leo Steinberg, Other Criteria; Michael Fried,Art and Objecthood; T.J. Clark, The Painting of Modern Life; Thierry de Duve, Kant after Duchamp; Meyer Schapiro,Modern Art: 19th and 20th Centuries; Meyer Schapiro, Theory and Philosophy of Art; Jonathan Crary, Suspensions of Perception.
Shen has received many awards and grants for his translations, including two Awards for outstanding achievement in Humanities and Social Sciences from the China Ministry of Education. He has been visiting scholar at the Faculty of Philosophy, Cambridge University (2001-2002) and visiting professor at Villa I Tatti, Harvard Center for the Italian Renaissance Studies (2013).
Hu Zhe
Hu Zhe is the Deputy Managing Director of Shanghai JUCE Culture and Media Co., Ltd, He graduated from East China University of Political Science and Law in 2001 and obtained a master degree in Public Administration at Fudan University in 2011. Hu previously worked at the Committee of Communist Youth League in Shanghai, Shanghai Jiushi Tourism (Group) Co., Ltd.. He also served as a Secretary-General of the Shanghai Youth Federation, an executive director of the China Young Entrepreneurs Association, and as a vice-chairman of the Shanghai Young Entrepreneurs Association.