Teacher

Yang Yeung is a writer on art and an independent curator. Her recent publications include “caring is a quality: on being touched by Alecia Neo’s Care Index” (for Dance Nucleus, Singapore), an essay for Francis Alÿs’ solo exhibition wet feet___dry feet at Tai Kwun (HK), a review of artist Sumei Tse’s practice in the Taipei Fine Art Museum journal, and a presentation as performative intervention of London-based artist Mary Lewandowska’s film “Rehearsing the Museum” at Taikwun Contemporary (HK). She founded the non-profit soundpocket in 2008 and is currently its Artistic Director. She is co-curator of The Listening Biennial (2021-). Yeung is a member of the international research network Institute for Public Art and contributes research writings on place-making public art projects to the network’s conference and online archive. She is member of the independent art critics collective Art Appraisal Club (HK) and the International Art Critics Association (HK). She is also Councillor on the board of Make A Difference (MaD), a regional platform based in Hong Kong that encourages social innovation and creative change-making for good. She was awarded the Asian Cultural Council Fellowship in 2013-14. In 2018, she was selected to participate in the UNESCO specialists training on the 2005 Convention on the Promotion and Protection of the Diversity of Cultural Expressions. In 2019, she was invited by Korean Research Fellow to participate in a curators’ exchange. In the same year, she was writer in residence with Contemporary Art Stavanger in Norway. She currently teaches ancient and modern classics of various cultural traditions at the Chinese University of Hong Kong. Her research interests include General Education pedagogy, sound and listening in contemporary art, theories of feminism, and artistic and creative activisms. Links to publications: http://www.aicahk.org/eng/author/YangYEUNG; https://aims.cuhk.edu.hk/converis/portal/detail/Person/5705895?auxfun=&lang=en_GB

In Dialogue with Humanity (since 2009), In Dialogue with Nature (2016-18), and selected courses in the MA programme of Fine Arts, Chinese University of Hong Kong (2009-10 and 2022-23)

• “Teaching Humility in Confucius’ Analects: questioning the value of deference” in Literature and Character Education in Universities: Theory, Method, and Text Analysis. Eds. E. Brooks, Emma Cohen de Lara, Álvaro Sánchez-Ostiz, and José  M. Torralba. (2022. Oxon, New York: Routledge. 
• “What Good is This?” for After Hope, Asian Art Museum San Francisco (2021, USA, online) https://www.afterhope.com/good-in-art
• “Playing along – a letter to Francis Alÿs” in Wet feet__dry feet: borders and games: solo exhibition by Francis Alÿs. Tai Kwun Contemporary: Hong Kong. (2020. Online) https://www.taikwun.hk/assets/uploads/programme_files/uaZMt1fjhk.pdf
• “Caring for the artist’s self: detachment in/as dissent” in un MAGAZINE 14.1 (2020, Australia, online) https://unprojects.org.au/news-announcements/news/launch-un-magazine-14-1/

• “General Education Learning Experiences: Voices from Alumni” (2022-25 TDLEG-funded, as Principal Supervisor)