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Caroline Ha Thuc is a French Hong Kong based art writer and curator. Specialized in Asian contemporary art, Ha Thuc contributes regularly to different magazines such as ArtPress in France and Artomity in Hong Kong. She holds a Ph.D. from the School of Creative Media, City University HK.
Prior to moving to Hong Kong, Ha Thuc spent two years in Tokyo and published ๐๐ฐ๐ถ๐ท๐ฆ๐ญ ๐๐ณ๐ต ๐๐ฐ๐ฏ๐ต๐ฆ๐ฎ๐ฑ๐ฐ๐ณ๐ข๐ช๐ฏ ๐๐ข๐ฑ๐ฐ๐ฏ๐ข๐ช๐ด (Nouvelles Editions Scala, 2012) about the post-Murakami Japanese art scene. Her book ๐๐ฐ๐ฏ๐ต๐ฆ๐ฎ๐ฑ๐ฐ๐ณ๐ข๐ณ๐บ ๐๐ณ๐ต ๐ช๐ฏ ๐๐ฐ๐ฏ๐จ ๐๐ฐ๐ฏ๐จ (Asia One, 2013), which was first published in France (Nouvelles Editions Scala, 2013), provides essential keys to apprehend the cityโs vibrant contemporary landscape and exposes the countless links between art, history, culture and identity. She then published ๐๐ง๐ต๐ฆ๐ณ 2000: ๐๐ฐ๐ฏ๐ต๐ฆ๐ฎ๐ฑ๐ฐ๐ณ๐ข๐ณ๐บ ๐๐ณ๐ต ๐ช๐ฏ ๐๐ฉ๐ช๐ฏ๐ข (in French and English, 2015), a book about Chinese contemporary art analysing the interactions between the art scene and Chinaโs rapidly changing society. She is now working on a book focusing on research-based art practices and the emergence of alternative modes of knowledge production in Southeast Asia.
As a curator, she focuses on promoting dialogue between artists from different cultures, while reflecting on social and political contemporary issues. Her main exhibitions include โโ31 Women artists HKโโ (10 Chancery Lane, Hong Kong, 2022), โโBoundless Sea: the artist becoming researcherโโ (Art Museum of Guangzhou Academy of Fine Arts, 2021โ2022), โโConstructing Mythologiesโโ (Edouard Malingue Gallery, Hong Kong, 2018), โโDocumenting Myanmarโโ (Charbon Art Space, Hong Kong, 2018), โโCarnivalโโ (Amnesty International Hong Kong, 2017), โโHuman Vibrationsโโ (5thLarge-scale Urban Media Arts Festival, 2016), โโThe Human Body: Measure and Normsโโ (Blindspot Gallery, Hong Kong, 2015), โโShelters of Resistanceโโ an in-situ installation by Kacey Wong in the courtyard of the City Hall (YIA Art Fair Paris, 2015), โโHong Kong Bestiaryโโ (Platform China, Hong Kong, 2014), and โโRadianceโโ (French May, Hong Kong, 2014).