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MOCA Curators in Conversation
Brian Kuan Wood
May 27, 2021, 5:00 pm – 6:00 pm
Brian Kuan Wood (left) and Andrew Rebatta (right)
Join us virtually on Thursday, May 27 at 5:00 PM EDT as writer and editor Brian Kuan Wood talks about his life and work with Andrew Rebatta, MOCA’s Associate Curator. This conversation is part of the series Curators in Conversation, where we learn about how curators, artists, and cultural producers in the Chinese and Asian American community approach their work. Brian will discuss growing up Seattle and becoming interested in music, moving to Egypt and then to New York in the early 2000s, the genesis of the online platform e-flux journal, and more recent attractions to Hong Kong, Taiwan, and Mainland China in relation to being a mixed-race cultural producer in the art world.
Brian Kuan Wood is a writer and editor in New York. He is a founding editor of e-flux journal and Director of Research at SVA’s MA in Curatorial Practice. His recent writings include the essay “Insurgency of Life” on immunity in the work of Goldin+Senneby and mechanical and organic circularity in the work of philosopher Yuk Hui, and the short story “The Story of Peter Green Peter Chang,” about a Chinese-American architect eager to profit from the place of his own family’s origins. He recently edited Relearning Bearing Witness, a book of Natascha Sadr Haghighian’s writing, and, with Anselm Franke, edited the Taipei Biennial 2012 catalogue, Modern Monsters: Death and Life of Fiction (2014). He has edited readers such as What’s Love (or Care, Intimacy, Warmth, Affection) Got to Do with It, The Internet Does Not Exist, and Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art (with Julieta Aranda, Kaye Cain-Nielsen, and Anton Vidokle, Sternberg Press, 2015, 2015, and 2011, respectively). He was a visiting professor at the Home Workspace study program (Ashkal Alwan, Beirut) in 2013-14.
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This program is brought to you by MOCA friends and partners, including Bloomberg Philanthropies. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
