韋一空

韋一空

韋一空，香港中文大學藝術系教授、藝術文學碩士課程總監、研究院藝術學部主任。

韋一空教授於巴黎VII大學獲哲學博士學位，主修中國藝術史，再於巴黎IV索邦大學獲哲學博士學位，主修比較文學，並於澳洲墨爾本皇家科技大學獲取藝術博士學位。2004年起於香港中文大學藝術系任教，主要教授西方藝術史、現代及後現代主義理論、中西比較美學理論等專題。

基本介紹

  • 中文名：韋一空
  • 畢業院校：澳洲墨爾本皇家科技大學
  • 外文名：Frank VIGNERON
  • 職稱：教授
人物簡介,主要著作,

人物簡介

韋一空研究範圍集中於十八世紀以來中國繪畫史及全球景況下中國當代藝術。自2010年起，他是香港藝術學院學術委員會主席、香港藝術學院督導委員會成員和國際藝評人協會香港分會成員。韋教授亦從事藝術創作，曾在香港舉辦個人畫展，並參與本土及海外國際展覽。
韋一空
韋一空教授

主要著作

專書：
  1. I Like Hong Kong… Art and Deterritorialization. Hong Kong: The Chinese University Press, 2010.
  2. Académiciens et Lettrés. Analyse comparative de la théorie picturale du 18esiècle en Chine et en Europe. Paris: Editions You Feng, 2010.
  3. Pour et Contre l’Académie. Les traités de pratique picturale en Europeaux 17eet 18esiècle.Saarbrücken: Editions Universitaires Européennes, 2010.
  4. 《之間–中西藝術賞析比較》（王人德譯），香港：香港中文大學，2007。
  5. Shen Zongqian : Jiezhou Xuehua bian, un traité de peinture chinoise du dix-huitième siècle.France: Presses Universitaires du Septentrion, Publication of the Ph.D. thesis, 1999.
論文：
  1. “King of Kowloon.” In Esther Lorenz and Li Shiqiao eds.Kowloon Cultural District – An Investigation into Spatial Capabilities in Hong Kong(Hong Kong: MCCM Creations, 2014), pp. 294-308.
  2. “Introductory article”, “The ever-changing hybridity between global art practices.”, “Cute and cuddly (about Eastman Cheung).”, “Bizarre rhymes (about Joey Leung).”, “Labor of collage (about Tang Kwok-hin).” In Cordelia and Christoph Noe ed.Hong Kong Artists/20 Portraits(Nüremberg: Verlag für Moderne Kunst, 2012). pp. 10-17, 54-57, 122-125, 158-163.
  3. “Teaching Chinese Painting – A Problem of Words.” In Professor Sheng Kuan Chung ed.Teaching Asian Art: Content, Context, and Pedagogy(Reston: Department of Curriculum and Instruction, University of Houston, National Art Education Association, 2012), pp. 40-44.
  4. “Doxa and Episteme of the Image.” In James Elkins and Maja Naef ed.What is an Image?Volume 2 of the Stone Theory Seminars (University Park: Pennsylvania State University Press, 2012), pp. 119-121.
  5. “‘Parisianisme’ and Local Cultures. Supra-national, national and infra-national cultures.” In Alice Arnold, Ann Kuo, Elizabeth Delacruz, and Michael Parsons ed.Globalization, Art and Education(Reston: National Art Education Association, 2009), pp. 35-40.
  6. “Curators and translators as ‘passeurs’.” In Victor Lai Ming-hoi ed.OASIS. Artists’ Studio in Hong Kong II(Hong Kong: Asia One Product & Publishing Limited, 2008), pp. 323-324.
  7. “Damned if you do; damned if you don’t.” In James Elkins ed.Is Art History Global?(London and New York: Routledge, 2006), pp. 322-341.
  8. “Period style as ‘life cycle’ in Euro-American and Chinese painting history.” In Paul Hockings ed.Visual Anthropology. London and New York: Routledge, 2012.
  9. “‘Conservative nativist’ Chinese art in Hong Kong and Chinese mainland.” In Paul Gladston ed.Journal of Contemporary Chinese Art. Volume 1, Issue 1. (Bristol UK & Willington US: Intellect Ltd., 2014), pp. 25-43.
  10. (co-authored) “Undoing Nationalism, Fabricating Transnationalism. A Hong Kong Roundtable Discussion with Oscar Ho, Frank Vigneron, Lam Tung-pang and Samson Young. Moderated and Edited by Dean Chan.” In Special issue ofThird Text: The Transnational Turn: East Asian Mobility, Vol.28, no.1, January 2014, pp. 95-107
  11. ‘‘No outside’ for socially-engaged art practices? – The reception of the aesthetic regime of art and its frequent malfunctions.” InYishu: Journal of Contemporary Chinese Art, July/August 2013, Vol.12, no.4, pp. 16-32
  12. “Two competing habitus among Hong Kong art practitioners.” InVisual Anthropology, Volume 26, Issue 2, Jan-March 2011, pp. 132-146.
  13. “’Nice painting’ et al. – different kinds of painting and related practices in Hong Kong” inYishu: Journal of Contemporary Chinese Art, Vol.11, no.6, November/December 2012, pp. 15-33. (Republished in translation (translated by Zheng Jingjing) )in the Chinese version of Yishu. Journal of Contemporary Chinese Art, Vol.12, no.1, March 2013.
  14. “Mining or undermining ‘Tradition.’ Shifts in the work of Tony Ng Kwun Lun.” InYishu: Journal of Contemporary Chinese Art, Vol.10, no.4, July/August 2011,. pp. 6-20.
  15. “Le Songe Creux– betweenliteratitheory, Minimalism and Maximalism.” In George Lau, Daniel Rycroft and Veronica Sekules ed.World Art, VoL.1, no.1, January 2011, pp. 101-124.

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