Lee Ambrozy is a writer, translator, art historian, and curator specialized in Chinese art and archaeology. She has produced dozens of catalogs and publications, taught and lectured across the US and China, and collaborated with galleries and museums across China, including in Taiwan. Former editor at Artforum International's Chinese and English language websites, she was editor of Inside the White Cube: Artforum Fifty years of Art Criticism (Sanlian Books, 2017) and editor/translator of Ai Weiwei's Blog (MIT Press, 2011). She studied Mandarin at Peking University, holds an M.A. in twentieth century art history from Beijing's Central Academy of Fine Arts, and is currently finishing her doctoral degree at New York University’s Institute of Fine Arts, researching motifs from nature and their uses in Tang-Song painting & material culture.

With a group of colleagues, AN Tairan co-founded and co-edits Tangent Essays, an independent publishing platform that periodically features writings about architecture. He is a Postgraduate Research Associate at Princeton University, where he received a PhD in Architecture in 2024.

Alec Ash is a writer and editor focused on China, where he lived from 2008–2022. He is a Senior Fellow at Asia Society in New York, where he edits China Books Review. He is the author of Wish Lanterns (Picador, 2016, a BBC Book of the Week) about the lives of young Chinese people, and The Mountains Are High (Scribe, 2024), a memoir about city escapees moving to rural China.

Ash was born in England, and studied English literature at Oxford University, before moving to Beijing. He has written for The New York Review of Books, The Atlantic and elsewhere, and was a stringer for The Economist and The Sunday Times of London. He was editor of the China Channel at Los Angeles Review of Books, contributing author to the book of reportage Chinese Characters, and co-editor of the anthology While We’re Here.

Aurelia Dochnal is a film and arts researcher working on socialist and postsocialist cinema history in China and Eastern Europe. She edited the translingual and crosscultural magazine  China Hands  at Yale University, focusing on poetry, translation, and photography. She has been awarded scholarships from Ecole Normale Superieure, Beijing University, and Yale University. She is originally from Warsaw, Poland and now lives in New York City.

DONG Yuxiang is an art, educational, and social worker. He is currently a Lecturer at the Department of Art and Art History in the University of Miami. His current practices and research are driven by the contradiction between ethnography in the Anthropocene and the speculation of object-oriented ontology.

Yuan Fuca is a writer, curator, and researcher based in Beijing and Boston. She is the Associate Program Director for China at Kadist.

Yuan Fuca’s curatorial research and practice have received support from institutions such as Hong Kong's Para Site, the Japan Foundation, the Korea Foundation, the Asia Society, the Asian Cultural Council, Berlin's Maxim Gorki Theater, the New Century Art Foundation, and the De Ying Foundation. From 2016 to 2019, she co-founded and managed Salt Projects, a non-profit art space in Beijing that served as a hub for action and exchange among young artists and practitioners. In 2019, she joined the Macalline Art Center as the founding Artistic Director, shaping the institution’s initial programs and development direction.

Yuan is also a founding editor of Heichi Magazine, a bilingual digital publishing platform. Her writing has appeared in Artforum, ARTnews, BOMB, Flash Art, Frieze, Texte zur Kunst, New York Times T Magazine, Yishu, among other art platforms.

Michael graduated from the School of the Art Institute of Chicago and the Royal College of Art, London. Currently based in New York and Beijing, he is an independent curator and co-founder/editor-in-chief of te editions. His practice focuses on the intersections of contemporary art and the humanities.

Banyi Huang (they/them, b. Beijing) is a multimedia artist and writer based in Brooklyn, New York. Their work combines digital worldbuilding, text, installation, and performance to stage queer reenactments of Chinese mythologies and folklore. With a B.A. and M.A. in art history from Williams College and Columbia University, Banyi was an artist-in-residence at BRIClab; and a member at the Art and Code Track at NEW INC.

Their work has been shown at DEMO 2024 (presented by NEW INC), Wagner Mendoça Award Exhibition, the Shisanwu LLC Warehouse, Smack Mellon, Accent Sisters, Abrons Art Center, The Soto Velez Clemente Center, Special Special, and Artist’s Space (all New York). Screenings of their work include the New Museum, the Taiwan Film and Audio Institute (Taipei), Wonderville (NY), and the Flat Earth Festival (Seydisfjordur, Iceland). Banyi has also contributed writings to The Brooklyn Rail, Hyperallergic, Frieze, Spike Art, ArtAsiaPacific, Artforum China, Performa Magazine, among others.

Cindy Ziyun Huang is a London-based writer, editor and translator. Her writings about art have been published by art magazines including ArtReview. Her creative writings can be found in literary magazines such as Sine Theta Magazine and Tiny Molecules. She was commissioned by London Short Film Festival 2024 as its Emerging Writer. She also reviewed the 2024 programme of Queer East as one of its Emerging Critics. She co-edits Qilu Criticism, an independent online forum formed in 2021 to expand spaces for critical discussions on contemporary art in Chinese.

Jiaoyang Li is a poet and interdisciplinary artist based in New York City. Her work has been showcased/performed at New York Live Arts Center, Here Art Center, New Ohio Theatre, Chashama Gallery, Mana Contemporary, the Immigration Artist Biennial, Performa Biennial, Whitman’s Birthplace Museum, Asian American Writers Workshop, New York Public Library,  Jiaoyang has received grants and support from PEN America, the New York Foundation for the Arts, the British Council, Foundation for the Contemporary Arts, among others.  Her practices explore the nuances of text and visual materials and facilitate dialogues and translations through sound, visual, and tactile materials. It often delves into the puppetry, video games, movement, and drag performances,  often lost in the wearable and the weary, the transience and uncertainty. Jiaoyang and her work have been featured by T Magazine China, Art Forum China, Hyperallergic, Life Magazine, LA Review of Books, E-flux and elsewhere.  Jiaoyang is the co-founder of  Accent Sisters.

Ricky Ruihong Li is a writer, editor, and researcher. He co-founded Workshop for Environmental Technik (WET), a group dedicated to the experimental study of architecture and environmental politics. His writings have appeared in magazines and journals, including PIN-UP, Concerning Contemporary, and November. His research has been exhibited at 80WSE Gallery, New York University. He has taught and served critic at Pratt Institute, Columbia University, and Parsons School of Design. He receives degrees from Columbia University and Pratt Institute. 

Li lives and works in Zhuhai and New York. 

Weitian Liu was born in 1995 in Suzhou, China. He is a writer, editor and critic based in London, where he undertakes his doctoral studies, funded through the Asymmetry Art Foundation PhD scholarship, in the Advanced Practices program at Goldsmiths, University of London. He is a member of the Society of the Friends of the Text. He co-edits Qilu Criticism. His writing has appeared in Qilu Criticism, ArtReview, Artforum China, among other publications.

LIU Zheng is a critic and newspaper editor based in Canton. He is the author of Travelling Books and two collections of essays and reviews (in Chinese). He selected and translated André Gide's Journals into Chinese. His reviews has appeared in the Shanghai Book Review of Books and Dushu(Reading) Monthly. He has been the recipient of  the One-way Street Bookstore Award for Criticism(2020).

Young Researcher of the School of Philosophy in Fudan University.

His recent curated exhibitions include “Frontier: Re-assessment of Post-Globalisation Politics”(2017- 2018), “Assembling” (2018), “River flowing without a Beacon, 1979” (2019) , “Corner Square Montage” (2019), and “Muses, Yu Gong and Compasses” (2020). His academic essays are published in Literature & Art Studies  and Art Research. Recent publications include Social Changes in the Painting Theory of Huang Binhong 1907-1954 (2018)  and “Poetic Justice” (2019). Lu was also the grantee of Robert H. N. Ho Family Foundation Greater China Research Grant in 2015; and the Recipient of the Yishu Award for Writing on Contemporary Chinese Art in 2016. He received fellowship grant from Asia Cultural Council (ACC) and was the recipient of 6th Chinese Contemporary Art Critic Award(CCAA) in 2017. He was the Recipient of the Award of Art(AAC) Chinese Contemporary Art Curator Award.

Mu Qian holds a doctorate in ethnomusicology (SOAS, University of London) and is an editor at Répertoire International de Littérature Musicale, a non-for-profit organization based in New York. He is also the translator of the Chinese edition of Alan Merriam's The Anthropology of Music. His research has been published in international journals such as Imago Musicae, the European Journal of Musicology, and Central Asian Survey, as well as in edited volumes like The Routledge Companion to Ethics and Research in Ethnomusicology. Mu has lectured at the University of California, Los Angeles (UCLA), Royal Holloway, University of London, and the International Institute for Asian Studies (Leiden, Netherlands). 

Besides his academic work, Mu dedicates himself to reviving traditional music by curating concerts, giving lectures, and producing CDs. Everyone listen close—Wanp-Wanp Jangl Kap, a CD he recorded and produced of the polyphonic songs of southwestern China’s Dong/Kam people, was selected by the Transglobal World Music Chart as the Best Asia & Pacific album of 2019–2020. Mu hosts serial radio shows on BBC to introduce traditional music and contributes to magazines such as Songlines and Folklife, and is the founder of the WeChat official account/video channel Shengyin Shi (History of Sound).

Dr. Nie Xiaoyi writes about contemporary art and her personal life, researches curatorial practices, edits, and curates within and beyond the art industry. Aiming to broaden the discourse and praxis of curating, she is exploring how to “mobilise”(cedong) and the role of art in this process—to which her Ph.D. thesis at the Royal College of Art has led her. She co-edits Qilu Criticism, and is one of the 2024–2025 Curatorial Fellows of De Ying Foundation. From 2022 to 2024, She was the Senior Editor of ArtReview’s Chinese edition and LEAP. In 2021, she participated in the research project “Three Contested Sites — The Worldly Fables of the Long 1990s” initiated by Times Museum (Guangzhou). In 2020 she was awarded the IAAC-UK’s Emerging Art Writer Fellowship. She has contributed to institutional programmes at OCAT Research Institute, Gasworks, and Jimei-Arles Photography Festival. She has presented at the Institute of International Visual Arts, Freie Universität Berlin, Chinese Academy of Arts, Centre for Chinese Visual Arts. Besides industry magazines and mass media outlets, she has also published on academic platforms such as Journal of Contemporary Chinese Art, Education and Annual of Contemporary Art in China.  

OU Ning is an artist, curator, and writer. His practices in different periods encompass literature, music, film, art, design, architecture, urban research, utopian study, rural reconstruction, and geographical soundscape. He is the director of two documentaries, San Yuan Li (2003) and Meishi Street (2006); the Chief Curator of the Shenzhen and Hong Kong Bi-City Biennale of Urbanism\Architecture (2009); the founding Editor-in-Chief of the literary bimonthly Chutzpah! (2010-2014); and the initiator and practitioner of the Bishan Project (2011-2016). He taught at the Graduate School of Architecture, Planning and Preservation of Columbia University in 2016-2017 and has been a researcher at the Center for Arts, Design, and Social Research (CAD+SR, Boston and Helsinki) since 2019. He moved to New York in 2022, and initiated the ISOGLOSS Collective in 2024, which will launch a multilingual online magazine for cultural and artistic criticism, ISOGLOSS Review,  in 2025.

Yanhan is a curator currently based in New York. She previously worked in the Research and Curatorial Department of Guangdong Museum of Art and has contributed to numerous projects, including the 3rd Guangzhou Triennial (2008), Guangzhou International Photography Biennial (2009), Shenzhen-Hong Kong Bi-City Biennale of Urbanism\Architecture (2011), Chengdu Biennale (2011), Jimei x Arles International Photo Festival (2016), and the GSS Project (2020 to present).

In 2014, she joined the Center for Curatorial Studies at Bard College in the United States, further exploring the intersection of contemporary art and other fields. She has also served as a translator and contributing writer for art media platforms such as LEAP and Art Trade Journal, as well as organized and edited publications for various exhibitions in China and abroad.

In 2021, her project Tracing the Elephant was nominated for the Jimei x Arles Curatorial Award for Photography and Moving Image. Starting in 2024, she serves as the Art Director of NextG Art Group in New York.

Kechun graduated from the Royal College of Art, London. She is the co-founder and editor-in-chief of te editions; the recipient of the "Emerging Curators Project 2021" award. Her articles have been published in ARTFORUM China and The Art Newspaper.  

Danielle Shang is an art historian, writer, and exhibition organizer in Los Angeles. She serves as the Overseas Artistic Director of the Shanghai-based Cc Art Foundation, where she has shaped the collection and program since 2016, focusing on the Global South and the Asian diaspora. She is also the cofounder of the AAPI Arts Network in Los Angeles and the annual symposium Voices of the Diaspora at the Hammer Museum, Los Angeles. Her research examines the impact of globalization, urban renewal, social change, and class restructuring on art-making and the narrative of art history.

Shang has organized exhibitions featuring artists such as Minerva Cuevas, Amalia Pica, Simphiwe Ndzube, Julian Abraham “Togar,” and Chen Zhou, among many others. She has been a guest lecturer and speaker at institutions including the Hammer Museum, USC, UCLA, and Sotheby’s Institute of Art, as well as at venues across Asia. Her contributions to monographs and catalogs include writings for artists such as Huma Bhabha, Minerva Cuevas, Brooklin Soumahoro, Amir Fallah, Liu Wei, and Qiu Xiaofei. Her articles and essays have been published in The Art Newspaper, Mousse, Heichi, Artforum, ArtAsiaPacific, Yishu: Journal of Contemporary Chinese Art, LEAP, and more.

Writer, primarily focusing on music reviews, interviews, and fiction. Currently dedicated to running a cultural foundation that supports Asian folk musicians and ethnomusicology scholars, publishes ethnomusicological records and related research, and works on preserving traditional Asian cultures.

b Tam has been the Curator and Director of Exhibitions at the Museum of Chinese in America (MOCA) since 2011. He organized the 2024 exhibition “Magazine Fever: Gen X Asian American Periodicals.” In 2018, he co-curated “The Moon Represents My Heart: Music, Memory and Belonging.” In 2016 Tam co-curated “Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America,” which featured a video installation and ceramics that defined Chinese food in America. He also co-curated “Waves of Identity: 35 Years of Archiving,” an exhibition that explored the construction of Chinese American identity through MOCA’s archival materials. In 2012 he curated “America through a Chinese Lens,” which surveyed photographs of America by contemporary artists and non-professional photographers of Chinese descent. 

Tam has previously served as the Associate Curator at Exit Art and the Acting Associate Curator at the Queens Museum of Art. While at Exit Art, he curated "New Mirrors: Painting in a Transparent World"; and co-curated "Summer Mixtape Volume 1," an exhibition exploring the role of pop music in the work of emerging artists. In 2007, Tam curated "A Jamaica, Queens Thing," about the intersection between hip hop and the crack cocaine epidemic. He has also curated solo exhibitions with artists Lee Mingwei, Rafael Sanchez and Regina Jose Galindo, and has worked on historical exhibitions about urban planner Robert Moses and alternative art spaces in New York. 

Tam was born in Hong Kong and raised in the San Francisco Bay Area. He studied at San Jose State University and earned a masters in fine arts from the School of Visual Arts, New York.

Matt Turner is the author of three full collections of poetry, and three chapbooks. The translator of Lu Xun’s Weeds, he is also co-translator of work by Ou Ning, Yan Jun, Wu Jinglian and others. His reviews and essays can be found in Cha, Heichi, Hyperallergic and other places. He lives in New York City.

Chris Wan Feng (b. 1982) is a Hong Kong-based writer, editor, and independent curator whose work engages with Hong Kong as both a subject and method. His research, writing, criticism, and curatorial projects explore the interplay between locality and art ecosystems, with a particular focus on the modernity and contemporary trajectories of Chinese migratory histories. As a contributor to prominent art publications such as ArtForum, ArtReview, and Ocula, Chris Wan Feng brings critical insights into contemporary art and cultural contexts. In 2020, he founded Daoju (www.daoju.art), a nonprofit art writing platform dedicated to Hong Kong contemporary art. This initiative has become a significant force in advancing art criticism in Hong Kong, fostering dialogues within the local and regional art scene.

Lin Wang is an artist primarily focused on photography and bookmaking, with additional explorations in performance art and installation. Her practice is deeply influenced by the concept of interactivity, with the process of her work often likened to assembling a tangram. Squeeze Sour comprises two main components: the first focuses on distribution, exploring innovative ways to circulate photo books worldwide and expand their reach; the second, linlin Plum, is a project dedicated to pushing the boundaries of "what can be called an artist's book" and "who has the authority to create one."

Xin Wang is a New York-based art historian and Curatorial Director at Pace Gallery. Currently finishing a PhD dissertation on Soviet Hauntology at the Institute of Fine Arts, New York University, she held curatorial and educational positions at the Metropolitan Museum of Art and The Whitney Museum of American Art, and received the Warhol Foundation’s Arts Writers Grant in 2021. 

Publications such as “Asian Futurism and the Non-Other” have been widely circulated, translated and taught in university curriculums. An appointed faculty at Yale University’s MFA program in Photography since 2021, she served as the curator of the 4th art and technology themed biennial program—titled “To Your Eternity”—at Beijing’s Today Art Museum in fall 2023. Her upcoming publications include “Machine Envy” in the book Machine Decision is Not Final: China and the History and Future of Artificial Intelligence (Urbanomic and NYU Shanghai), and “Dance as Socialist World-Building” in Afterall Journal (issue 57).

Xueli Wang writes about art and film from Asia and its diasporas. Her articles have appeared in Artforum, Aperture, and Art in America, among other publications. She is currently completing a PhD at Yale.

Xiaoyu Weng (sh-ih-ow-y-uu w-eh-ng) is a Shanghai born and New York based writer and curator. Taking an intersectional and interdisciplinary approach, her practice focuses on the impact of globalization, the convergence of art, science, and technology, and emerging ecological and environmental transformations through the lens of feminism, identity, and decolonization. In close collaborations with artists, researchers and philosophers, her work creates syncretic and hybrid contexts and platforms to foreground their practices. With extensive knowledge of the international art scene and a keen sense of new discourses in contemporary art, she has a track record of organizing groundbreaking and trend-making programs that push the boundaries of traditional artistic genre. From institutional positions to independent projects, Weng has worked with over 300 artists and practitioners, collaborated with over 50 organizations to organize exhibitions and programs across all continents, and written and published numerous essays on contemporary art, visual culture, and curatorial practice.

Kevin Wu is a slashie based in New York,  received his MA in Curatorial Studies from the School of Visual Arts and his BA in Art History and Visual Art from Columbia College. Besides his day-job in the sustainability field, he works as a translator, writer, and independent curator. He is currently invested in research topics such as science fiction, futurism, and hauntology.

Xu Kuangzhi is a Ph.D. candidate at the Central Academy of Fine Arts (CAFA). His research focuses on the history of art criticism and modern Chinese art history. He founded the online platform KONGBAI in 2013, dedicating himself to searching, collecting, translating, publishing, and circulating Western art historical texts and critiques. His essays and reviews appear in academic journals such as Art Observatory, Journal of Art Theory and Art History, Journal of  Aesthetic Education, and World Art.

yan jun, born in lanzhou. based in beijing. as a musician he works with field recording, noise, body, voice and concert. he writes poetry and essays on music.

he has participated daad artist residency in 2016-2017. as a poet he has attended international poetry festivals in rotterdam and berlin. he is the founder of a mini label called sub jam.

he was an online columnist for the wire magazine. he was an editor on board of lmj magazine. his recent books include “berlin reflections “ (daad) and “a few dreams” (shanghai wenyi). he once was a music critic till 20 years ago. 

“i wish i was a piece of field recording.”

yanjun.org

Zijing Yu, 2nd-year PhD student of Film and Media Studies, Yale University.

Lu is a New York based artist born in Xi’an, China. She creates intimate experiences that reenact memories and dream states; and attempt to visualize the transference of existing knowledge and cognitive experiences, to tell stories in the form of installations incorporating ceramics and video; she also works collaboratively that engage the public in explorations about the relativity and ambiguity of relationships. Lu’s recent film A Girl Sings Along Without Knowing the Words, a documentary film essay, was screened at Royal Queen dim sum restaurant in Flushing, Queens; and another documentary film See you At the Park, Notes On Smiley, screened at Metrograph, New York.

Lu  received her MFA in Fine Arts and MS in Art History from Pratt Institute and holds a BA degree in Economics from Xi’an JiaoTong University. Founder of Wildman Clab ( HuaiErDeMan Clab), member of P_______Lub (Painting Club), and co-founder of Chinatown Basketball Club. Lu’s Recent exhibitions include public space in Flushing, New York, Yve Yang Gallery, Art Lot Brooklyn, Pearl River Mart, Yeh Art Gallery, Underdonk, Latitude Gallery, The Clemente Soto Vélez, Present Company, Special Special, NARS Foundation, Museum of Chinese in America, A.I.R Gallery, The Elizabeth Foundation for the Arts, Korean Culture Center, Xi’an Academy of Fine Art. Lu has given artist talks, lectures and public programs nationally and internationally. 

Annie Jieping Zhang is Nieman Fellow 2024 in Harvard University. She founded Matters Lab, a decentralized social media platform; Nowhere Bookstore, a network of bookstores in overseas Chinese community. She also co-founded and was the editor-in-chief of Initium Media. She previously worked as an editor at City Magazine; columnist for the New York Times (Chinese edition); and as a reporter for Asia Week. The Society of Publishers in Asia named Zhang Journalist of the Year in 2010 and presented her with other a number of awards for her reporting and commentary. She is now working on her new book.

ZHANG Xianmin is a producer, director, curator, writer and actor, active across many areas of the film industry. As a Professor at the Beijing Film Academy, ZHANG teaches screen writing and documentary filmmaking and occasionally French cinema and absurdist theatre. ZHANG has produced and co-produced many features, including Old Dog (Pema Tseden, 2011), River Road(Li Ruijun, 2014), Kaili Blues (Bi Gan, 2016), to name a few.His acting credits include Rain Clouds Over Wushan (Zhang Ming, 1996), Summer Palace (Lou Ye, 2006), Missing and Raised from Dust (Gan Xiao’er 2007), which he also wrote. ZHANG has also been a juror at more than a dozen international film festivals and served as Jury President of One Foundation Video Festival in 2012 and 2013.  He organizes and programmes the China Independent Film Festival (CIFF) and Chinese indie cinema events around the world.

ZHAO Dayong started independent filmmaking in 2004, his first documentary Street Life, premiered at the Vienna Film Festival in 2006. In 2009, his second documentary Ghost Town premiered at the New York Film Festival, was selected for competition at the Torino Film Festival and named one of the Top 10 Best Documentaries of the Year by The New York Times in 2010. It was later screened in art-house cinemas across the United States.

In 2009, his documentary on Africans living in Guangzhou Homebound was selected for the Rotterdam Film Festival. In 2010, his first feature film, The High Life, was shortlisted in the Hong Kong Film Festival and won a Silver Award and the FIPRESCI Prize. The film also won the Werner Fassbinder Prize and the FIPRESCI Jury Prize in the Mannheim-Heidelberg Film Festival and was shortlisted in the Nantes Film Festival. 

In 2013, his feature film Shadow Days premiered as the opening film in the Berlinale Forum section and was shortlisted for the Hong Kong Film Festival and Japan’s FMX Film Festival, winning the Jury Prize and other awards. The film was theatrically released in French-speaking regions in 2014.

In 2020, ZHAO finished The Buried City with support from the French CNC Film Fund but has not yet been released. He also finished One Says No, co-produced by German and Luxembourg national film funds, which was selected for the 2020 Prague Documentary Film Festival and the 2021 FLEFF Film Festival in New York.

Zhong Gang, founder and editor in chief of ARTDBL. He began his career in media in 2005 and possesses working experience in New Express, Nanfang Metropolis Daily and Nbweekly. In July 2017, ARTDBL was founded as a media platform for contemporary art in Shenzhen. Following the principle of “rooted locally and speaking independently”, ARTDBL has become the most influential platform for art reviews in the south of China.

Na Zhong is the co-founder of Accent Accent. A fiction writer and literary translator, she has received support from the MacDowell Fellowship, the Center for Fiction Fellowship, and the Tin House Workshop. Her work has appeared in the Kenyon Review, swamp pink, Guernica, and more.