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Victor Wang (王宗孚)

@victorwang._

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Executive Director @artspacesydney Gadigal/Sydney
Adjunct Curator @moriartmuseum Tokyo
Cultural Council @pittriversmuseum Oxford

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Sydney, thanks for your patience. It feels good to begin sharing a new phase of programming at @artspacesydney

Following the successful relaunch of Artspace’s International Curators Program (ICP) through a recent visit by Naomi Beckwith, (Guggenheim Museum, and Artistic Director of @documenta_official 16), I’m pleased to announce the second iteration of the 2026 ICP in partnership with Mori Art Museum’s Global Art Development (GAD) Project.

Through this partnership we will jointly host a visiting delegation of 10 Japan-based emerging and mid-career curators and 4 curatorial mentors for a series of studio visits, professional exchanges, and public conversations engaging with artists, institutions, and contemporary practice across Sydney.

-The program culminates in the public discussion “Points of Contact: Museums & Biennales Between Worlds”, featuring Adriano Pedrosa (Artistic Director, Museu de Arte de São Paulo Assis Chateaubriand), Mami Kataoka (Director, Mori Art Museum), Eungie Joo (Curator, Writer, Educator), and Carol Yinghua Lu (Director of Beijing Inside-Out Art Museum), moderated by Victor Wang (Executive Director, Artspace).

Drawing from experiences across the Venice Biennale, Yokohama Triennale, Sharjah Biennial, the Biennale of Sydney and beyond, the conversation reflects on the evolving role of biennales, museums, and curatorial practice within shifting global conditions.

-The program will also welcome 10 emerging and mid-career curators to sydney! (Listing all names in the comments below)

📆Wed 27 May 2026 6–7:30pm Artspace, Sydney -Free entry, bookings essential.
-Full details online.

Looking forward to welcoming everyone back into the room.

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The International Curators Program is developed and presented by Artspace in partnership with Mori Art Museum and the Japan Creator Support Fund (Japan Arts Council).
@moriartmuseum @jf_visualarts @embassyofjapaninaustralia @creatensw @creative.australia @jgnswmlc @artspacesydney @mami_kataoka_2018 @adrianopedrosa @carolyinghualu @eungiej00 taken in Artspace Sydney by @victorwang._

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4 months ago

It’s been a pleasure to work with Victor (@victorwang._ ) and the team at the Mori Art Museum (@moriartmuseum) to exhibit the Devotional Wallpaper in Japan for the first time ever! The exhibition runs from 3rd November 2025 until 29th March 2026. Sx

Slide 1 -
Photo: Tayama Tatsuyuki
Photo Courtesy: Mori Art Museum, Tokyo

Slide 2 & 3 -
Sonia Boyce
Devotional Wallpaper and Placards
2008-2022
100 placards and wallpaper installation
Dimensions variable
Courtesy: Manchester Art Gallery
Installation view: MAM Project 034: Sonia Boyce, Mori Art Museum, Tokyo, 2025-2026
Photo: Kato Ken
© Sonia Boyce. All rights reserved, DACS & JASPAR
2025 G4025
Photo courtesy: Mori Art Museum, Tokyo

ソニア・ボイス
<ディボーショナル・ウォールペーパー・アンド・
プラカード＞
2008-2022年プラカード 100本、壁紙サイズ可変
Courtesy: Manchester Art Gallery
展示風景：「MAMプロジェクト 034：ソニア・ボイス」森美術館（東京） 2025-2026年
撮影：加藤健
© Sonia Boyce. All rights reserved, DACS & JASPAR
2025 G4025
画像提供：森美術館 taken in Mori Art Museum by @victorwang._

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10 months ago

A selection of photos from the monumental exhibition ‘SOUND AND TIME,’ Ryuichi Sakamoto’s most expansive retrospective to date. It was my profound privilege to co-curate this exhibition alongside Sachiko Namba - and to work again with Ryuichi Sakamoto, Shiro Takatani and his team. This is a special exhibition - it is both a continuation and evolution of Sakamoto’s very first showcase in China, titled "Ryuichi Sakamoto: seeing sound hearing time," that I curated with Sachiko and Zhang Youdai, previously hosted at M WOODS (Hutong), Beijing, in 2021, which was the most comprehensive survey of his artistic oeuvre up to that date.

For more than fifty years, Sakamoto continuously challenged and transcended traditional boundaries between art and sound, blurring the lines that previously separated these disciplines and through his ‘sound installations’ redefining the very essence of sound as a malleable material.

The exhibition brings together eight large-scale installations, such as LIFE – fluid, invisible, inaudible… (2007), Is Your Time (2017/2023), and works from Sakamoto’s celebrated async series. Further, the exhibition is highlighted by the premiere unveiling of TIME-déluge (2023), a new site-specific installation by Ryuichi Sakamoto specially created for this occasion.

🤍Deep gratitude to my M Woods Museum colleagues for their unwavering dedication and to our esteemed Japanese collaborators whose expertise and teamwork brought ‘SOUND AND TIME’ to life. Thank you all.

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Ryuichi Sakamoto | SOUND AND TIME
30 July, 2023 - 5 January, 2024
M WOODS (People’s Park), Chengdu

With collaborative works by Shiro Takatani | Daito Manabe | Zakkubalan | Apichatpong Weerasethakul

Curated by Sachiko Namba, Victor Wang
Exhibition Director: Deng Yingying
#ryuichisakamoto #sakamoto #time #soundandtime #mwoods #shirotakatani #environment #nature #music
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📸 image: installation views of Ryuichi Sakamoto | SOUND AND TIME, M WOODS Chengdu, courtesy M WOODS museum, 2023. @skmtgram taken in Ryuichi Sakamoto 坂本龍一 by @victorwang._

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3 years ago

Happy to share this new tertiary placement partnership between @artspacesydney and the University of Sydney (@sydney_uni ), creating new pathways for emerging curators to gain hands-on experience through research, archives and curatorial experience at Artspace.

As part of Artspace’s new organisational strategy to strengthen support for emerging curators, our inaugural 2026 placement welcomes Master of Art Curating students Erin Frances and Kate Francis, who will work with the Artspace team to revisit ‘Koori Art ’84’, a landmark exhibition of First Nations art presented at Artspace in 1984 and an important moment in the history of Indigenous contemporary art in Australia.

Looking forward to seeing what new research and perspectives emerge from the archive, and to grow this partnership in the years ahead.

For more information, visit the Artspace website or follow Artspace on social media.
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📸 Images: 1: Artspace x University of Sydney tertiary placement partnership, 2026. image 2: Installation view, Koori Art ’84, Artspace, 1984. Photo: Tim Johnson; Image 3: Archive Capsule 2, ‘Art + Technology’, 2025, Artspace, Sydney. Photo: Hamish McIntosh. #sydneyuni #artspace #curator #archive by @victorwang._

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6 days ago

Pioneering Thai artist Pinaree Sanpitak arrives in Sydney next week, marking the first ‘movement’ in a three-year artistic and curatorial collaboration that will travel between Sydney and Singapore before returning to @artspacesydney in 2028.

A program built slowly. Through conversations, places, ideas, exhibitions, and new work.

It begins with a conversation at Artspace on Saturday 26 September (Movement I). The first of many. Excited for the journey ahead, and for more of our 2027 program @artspacesydney to begin revealing itself.

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📸 Image captions: Pinaree Sanpitak portrait. Photo: Lee Wei Swee, courtesy of Ames Yavuz; Pinaree Sanpitak, ‘Confess and Conceal’, 2026; Pinaree Sanpitak, ‘The Bodies and Two Eggs’, 2026.
@pinareesanpitak #pinareesanpitak #thailand #artspace @amesyavuz @art.sg @sweeriouslee by @victorwang._

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17 days ago

Supporting artist Angela Goh through @artspacesydney’s Studio 11 program, providing dedicated space and resources as she develops major new commissions for the 16th Gwangju Biennale @gwangjubiennale and the 18th Lyon Biennale @biennaledelyon .

Welcome to Studio 11, Angela!

Exciting to see Artspace become one of the places where these new commissions are taking shape.

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@ange_goh @catherinenichols567 @isabelle.bertolotti #artspace #studio #gwangjubiennale #biennaledelyon by @victorwang._

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20 days ago

This October at @artspacesydney, we bring together artists Hayley Millar Baker (@hayleymillarbaker), CAO Yu 曹雨 (@_caoyu_ ) and Dana Claxton (@madetobeready ) for three new exhibitions and commissions.

Three distinct practices, spanning Indigenous and Chinese perspectives, that examine the systems that shape how we see, and how inherited ways of seeing are challenged and reimagined.

-We’re also launching a new annual fundraising initiative for Artspace, beginning with limited-edition works by Daniel Boyd (@d_a_n_b_o_y_d ) - something I’ve been especially excited to bring into the world. More on this very soon!

Come celebrate with us.

22 October, 6–9pm
Artspace, Sydney
Free entry - RSVP essential

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📸Captions: Hayley Millar Baker, ‘No Spectacular Soul’, (still), 2026; CAO Yu, ‘Piss-Take a Look at Yourself’, 2023, detail. Courtesy the artist and Galerie Urs Meile. Photo: Yang Hao; Dana Claxton, ‘AIM’, 2010, courtesy the artist. #hayleymillarbaker #caoyu #danaclaxton #artpsace #sydney by @victorwang._

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a month ago

Excited for this —🛸Mariko Mori: All That Shines / 森万里子：燦燦, opening at Mori Art Museum, Tokyo, from 31 October 2026 to 28 March 2027. 🛸 @marikomori

Curated by Kataoka Mami (Director, Mori Art Museum) and Alexandra Munroe (Senior Curator at Large, Global Arts, Solomon R. Guggenheim Museum and Foundation). @mami_kataoka_2018 @alexandramunroe

Congrats to all my colleagues 👏🏽✨see you there!
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Organizer Mori Art Museum @moriartmuseum
In collaboration with The Solomon R. Guggenheim Foundation @guggenheim #marikomori #tokyo #exhibition #moriartmuseum #guggenheim taken in Mori Art Museum by @victorwang._

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a month ago

Spent the afternoon with Dana Claxton, Hunkpapa Lakota artist and member of Wood Mountain Lakota First Nation whose work across photography, film, video, installation and performance has spent decades dismantling the ways Indigenous people have been pictured, classified and consumed.

Very proud that Dana will be the next artist in @artspacesydney’s Banner Series, bringing two works into public space in Sydney!

We decided on two very different works. One comes from Dana’s AIM series (photo 1), where she turns to declassified FBI surveillance files on the American Indian Movement to examine another kind of looking - the state watching, recording and defining Indigenous lives. Black bars. Bureaucratic language. Information gathered, classified, withheld. A form of control, and looking becomes an exercise of power. (Image 6).

Soon these images will leave the studio here and cross the Pacific, enlarged onto the exterior of Artspace in Sydney. On Gadigal Country/Woolloomooloo, they enter another place, another history, another conversation, one about sovereignty, land, surveillance and who gets to control the image.

As Dana puts it: “Having these artworks seen on the exterior of the building stimulates the possibility of dialogue in the public sphere for those who are not gallery goers.”

@madetobeready @dana.claxton #photographer #vancouver #firstnations #sydney #danaclaxton taken in Coast Salish Territory by @victorwang._

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a month ago

Standing with Lawrence Paul Yuxweluptun in front of his monumental new painting ‘Global Warming: Wildfire Storms’, it feels frighteningly present. The forests are burning. The sky has gone black. His figures are still there. Watching us. Warning us.

A decade ago, I worked with Lawrence Paul Yuxweluptun, of Cowichan (Hul’q’umi’num, Coast Salish) and Okanagan (Syilx) descent, on the exhibition Time Immemorial (You’re Just Mad Because We Got Here First) at the Canada Gallery in London. It was Lawrence’s first institutional solo exhibition in Europe, and the first solo exhibition by a First Nations artist at the Canadian High Commission’s gallery. Nearly ten years later, the paintings haven’t softened.

Good to be back with Uncle Lawrence, still kicking up dust.

#lawrencepaulyuxweluptun #firstnations #globalwarming #painting #vancouver @emilycarru taken in Coast Salish Territory by @victorwang._

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a month ago

Back in the studio with the great Jeff Wall.

Continuing what has somehow become a studio tradition over the years when in Vancouver. Nobody works harder to make a photograph look like it might have simply happened. Hours can be spent in the studio with Jeff, looking at a single photograph. Following the shadows. Dissecting where the light falls, where it disappears, which figure might belong to an earlier moment and which arrived later, trying to work out what happened first, or what happened last. Wall goes to extraordinary lengths for an image. Constructing entire worlds, waiting, returning, adjusting. Every detail considered with almost unreasonable precision to create a picture that keeps opening the longer you look at it.

Always good to see Jeff and Jeanette 🙏🏽

#jeffwall #photographer #studio #artist #vancouver @gagosian @whitecube by @victorwang._

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a month ago

@lacma’s new David Geffen Galleries!🔥and many thanks to @cyangnelson for the tour and conversation🙏🏽

Designed by @peterzumthorarchitecture and opened this year after a two-decade transformation. The galleries exist on a single plane. Floating. Some 30 feet above Wilshire Blvd. Deliberately, without a prescribed traditional route or hierarchy. And rather than organising the collection into the familiar containers of geography and chronology, LACMA’s team has begun with oceans: the Pacific, Indian and Atlantic, alongside the Mediterranean.

And the architecture participates in this. The building allows California light and shadow to move through the galleries. Glass repeatedly returns you to Los Angeles outside. Several nice moments occur when an object in the gallery would sit against the LA landscape beyond the glass. Collapsing the distance between museum and city.

I particularly enjoyed @marianacastillodeball’s Feathered Changes that stretches across the plaza floor itself: patterned like shifting earth the desert concrete has traces of footprints on it, perhaps of coyotes? bears? Animals that have crossed Southern California long before LACMA arrived.
Around the corner, @_pedro_reyes_ fragmented face assembled from volcanic stone quarried near Popocatépetl, Tlali (2026).

Even the colour of the walls carries a specific vibration. The dusky reds, indigo blues and deep basalt blacks, translucent mineral glazes developed through LACMA’s research with Indigenous Zapotec American artist Porfirio Gutiérrez into Indigenous pigment traditions, the colours root the walls in the Americas. It was a great wander. Excited about the beginning of this new chapter. Congratulations to Michael Govan and the entire LACMA team!👏🏽

#lacma #museum #architecture #la taken in LACMA Los Angeles County Museum of Art by @victorwang._

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a month ago