{"id":1144,"date":"2020-01-21T09:23:05","date_gmt":"2020-01-21T09:23:05","guid":{"rendered":"https:\/\/finearts.hku.hk\/dev-finearts3\/?page_id=1144"},"modified":"2025-10-28T04:19:10","modified_gmt":"2025-10-28T04:19:10","slug":"vivian-k-sheng","status":"publish","type":"page","link":"https:\/\/arthistory.hku.hk\/index.php\/people\/vivian-k-sheng\/","title":{"rendered":"Vivian K. SHENG"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\"><\/style><div class=\"fusion-title title fusion-title-1 fusion-sep-none fusion-title-text fusion-title-size-one\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h1 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:40;line-height:1.6;\"><h1 style=\"font-family: Helvetica;\">Vivian K. SHENG \u76db\u51b5<\/h1><\/h1><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:11px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_6 1_6 fusion-one-sixth fusion-column-first\" style=\"width:16.666666666667%;width:calc(16.666666666667% - ( ( 4% ) * 0.16666666666667 ) );margin-right: 4%;margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><span class=\" fusion-imageframe imageframe-dropshadow imageframe-1 hover-type-none\" style=\"border-radius:50%;-webkit-box-shadow: 3px 3px 7px rgba(0,0,0,0.3);box-shadow: 3px 3px 7px rgba(0,0,0,0.3);\"><img decoding=\"async\" width=\"174\" height=\"174\" title=\"testing\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2020\/01\/testing-e1578887506606.png\" class=\"img-responsive wp-image-610\"\/><\/span><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_2_3 2_3 fusion-two-third fusion-column-last\" style=\"width:66.666666666667%;width:calc(66.666666666667% - ( ( 4% ) * 0.66666666666667 ) );margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 8px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-1\"><h5 class=\"fusion-responsive-typography-calculated\" data-fontsize=\"20\" data-lineheight=\"30px\">Lecturer \u8b1b\u5e2b<br \/>\nUG Coordinator<\/h5>\n<p>Tel: 3917-2613<br \/>\nEmail: <a href=\"mailto:vksheng@hku.hk\">vksheng@hku.hk<\/a><br \/>\nOffice: Room 10.20, Run Run Shaw Tower, Centennial Campus<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_2_3 2_3 fusion-two-third fusion-column-first\" style=\"width:66.666666666667%;width:calc(66.666666666667% - ( ( 4% ) * 0.66666666666667 ) );margin-right: 4%;margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 10% 0px 0px;\"><div class=\"fusion-text fusion-text-2\"><p data-fontsize=\"16\" data-lineheight=\"24\"><strong>BA <em>Hunan University<\/em>; MA <em>Loughborough University<\/em>; MA, PhD <em>University of York<\/em><\/strong><\/p>\n<\/div><div class=\"fusion-text fusion-text-3\"><p>Vivian K. Sheng is an art historian working on contemporary Chinese and East Asian art in transnational contexts. Her forthcoming book\u2014<i>Contemporary Art and Transnational\u00a0East Asia: women, migration\u00a0and homemaking<\/i>\u00a0(Manchester University Press, Rethinking Art\u2019s Histories) provides insights into women\u2019s engagements with both mundane domesticity and art practices in contexts of intensified cross-border movements and exchanges that unsettle\u00a0the territorial fixity of nation-states. Her research resonates with the recent call to decolonise the Anglo-American dominated scholarships in art history, posing challenges to the persistent hegemony of the Global North in the production of knowledge and discourses about nation, gender, history\u00a0and otherness.<\/p>\n<\/div><div class=\"fusion-tabs fusion-tabs-1 clean vertical-tabs icon-position-left\"><style type=\"text\/css\">#wrapper .fusion-tabs.fusion-tabs-1.clean .nav-tabs li a.tab-link{border-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav-tabs li a.tab-link{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:focus{background-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav-tabs li a:hover{background-color:rgba(181,159,135,0.25);border-top-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .tab-pane{background-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav,.fusion-tabs.fusion-tabs-1 .nav-tabs,.fusion-tabs.fusion-tabs-1 .tab-content .tab-pane{border-color:rgba(181,159,135,0.25);}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-77e5b734398811f230e\" aria-selected=\"true\" id=\"fusion-tab-areasofexpertise\" href=\"#tab-77e5b734398811f230e\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-star fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Areas of Expertise<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8ffea772fe9cdf74afa\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-currentresearchinterest\" href=\"#tab-8ffea772fe9cdf74afa\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-keyboard fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Current Research Interest<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-77e5b734398811f230e\" aria-selected=\"true\" id=\"mobile-fusion-tab-areasofexpertise\" href=\"#tab-77e5b734398811f230e\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-star fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Areas of Expertise<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-areasofexpertise\" id=\"tab-77e5b734398811f230e\">\n<p><strong>Contemporary Chinese and East Asian art<\/strong><\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8ffea772fe9cdf74afa\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-currentresearchinterest\" href=\"#tab-8ffea772fe9cdf74afa\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-keyboard fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Current Research Interest<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-currentresearchinterest\" id=\"tab-8ffea772fe9cdf74afa\">\n<p><strong>Feminist and queer theories relating to affect, intimacy and (dis)identification; new materialisms; migration, diaspora, exile and \u2018homemaking\u2019 in modern and contemporary art.<\/strong><\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h3>Selected Publications<\/h3>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\" data-olk-copy-source=\"MessageBody\">\u2018Shen Yuan: Angling for \u201cHome\u201d in Displacement\u2019,\u00a0<i>PARSE Journal<\/i>, Issue 20, Spring 2025 on <\/span><span lang=\"EN-GB\">\u2018Feminist Art: Practices of Co-Existences\u2019,\u00a0<a title=\"https:\/\/doi.org\/10.70733\/wehmnbb4j5i3\" href=\"https:\/\/doi.org\/10.70733\/wehmnbb4j5i3\" data-auth=\"NotApplicable\" data-linkindex=\"0\">https:\/\/doi.org\/10.70733\/wehmnbb4j5i3<\/a>.<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018One Morning of the World: The Notion of Trans-Asia\u2019, in Alpesh K. Patel and Jane Chin Davidson (eds.) \u2018Conceptualizing TRANS-ASIA\u2019,\u00a0<i>ASAP\/Journal<\/i>, Issue 9.3, 2024, pp. 427-431. <\/span><span lang=\"EN-GB\"><a title=\"https:\/\/doi.org\/10.1353\/asa.2024.a957246\" href=\"https:\/\/doi.org\/10.1353\/asa.2024.a957246\" data-auth=\"NotApplicable\" data-linkindex=\"1\">https:\/\/doi.org\/10.1353\/asa.2024.a957246<\/a>\u00a0.<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018DRC No. 12: A \u201cMigratory\u201d Site of Glocal Specificity\u2019,\u00a0<i>Art Journal<\/i>, 83:3, 2024, pp. 14-33. <\/span><span lang=\"EN-GB\"><a title=\"https:\/\/doi.org\/10.1080\/00043249.2024.2403928\" href=\"https:\/\/doi.org\/10.1080\/00043249.2024.2403928\" data-auth=\"NotApplicable\" data-linkindex=\"2\">https:\/\/doi.org\/10.1080\/00043249.2024.2403928<\/a>.<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018Yin Xiuzhen\u2019s Portable Cities: \u201cHomemaking\u201d via Domestic Preservation\u2019,\u00a0<i>Third Text<\/i>, 173, <\/span><span lang=\"EN-GB\">volume 35, issue 6, 2021, pp. 733-50.<a title=\"https:\/\/doi.org\/10.1080\/09528822.2021.2017197\" href=\"https:\/\/doi.org\/10.1080\/09528822.2021.2017197\" data-auth=\"NotApplicable\" data-linkindex=\"3\">\u00a0 https:\/\/doi.org\/10.1080\/09528822.2021.2017197<\/a>\u00a0.<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018Multiple Selves: Nikki S. Lee\u2019s Projects\u2019,\u00a0<i>INDEX JOURNAL<\/i>, Issue No. 1 Identity, 2020.<\/span><span lang=\"EN-GB\"><a title=\"http:\/\/dx.doi.org\/10.38030\/index-journal.2020.1.6\" href=\"http:\/\/dx.doi.org\/10.38030\/index-journal.2020.1.6\" data-auth=\"NotApplicable\" data-linkindex=\"4\">http:\/\/dx.doi.org\/10.38030\/index-journal.2020.1.6<\/a>.<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018Yin Xiuzhen\u2019s Fluid Sites of Participation: A Communal Space of Communication and <\/span><span lang=\"EN-GB\">Antagonism\u2019,\u00a0<i>Yishu: Journal of Contemporary Chinese Art<\/i>, 82, vol.16, no. 5, 2017, pp. 65-77.<\/span><span lang=\"EN-GB\">\u00a0<\/span><\/p>\n<p class=\"x_MsoNormal\"><span lang=\"EN-GB\">\u2018Yin Xiuzhen\u2019s Fabric Cavities: Fabricating \u201cStrange Encounters\u201d\u2019,\u00a0<i>Sculpture Journal<\/i>, 2014, Issue 23.3, pp. 393-402.\u00a0<a title=\"https:\/\/doi.org\/10.3828\/sj.2015.10\" href=\"https:\/\/doi.org\/10.3828\/sj.2015.10\" data-auth=\"NotApplicable\" data-linkindex=\"5\">https:\/\/doi.org\/10.3828\/sj.2015.10<\/a>.<\/span><\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-5\"><h3>Exhibition Catalogue Essay<\/h3>\n<p>\u2018Kim Woo-Young\u2019s Urban Odyssey: Inhabiting the Uninhabited City\u2019, <em>Urban Odyssey<\/em>, 2019, Soluna Fine Art, Hong Kong. <a href=\"https:\/\/www.solunafineart.com\/_files\/ugd\/7eab8e_dad402ffc90d4ba9a2d3eeba0bb1b583.pdf\">KWY-Urban-Odyssey-print-pdf_compressed.pdf (solunafineart.com)<\/a><u>.<\/u><\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-6\"><h3>Fellowships and Activities<\/h3>\n<p>2025: Panel Convenor: <em>From Local to Global: Feminist Activism and Documentary<\/em> <em>Photography, <\/em>Association for Art History\u00a0Annual Conference, 9-11 April\u00a02025. University of York, UK.<\/p>\n<p>2024: Visiting Fellowship, Social Archive of Chinese Photography, China Academy of Art, PRC.<\/p>\n<p>2022: University of St Andrews Global Fellowship, UK.<\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-7\"><h3>Selected Conference Papers<\/h3>\n<p>Angling<em> for Habitats: Homemaking in Displacement<\/em>, Understanding Displacement in Visual Art and Cultural History: 1945 to Now, University of Manchester, UK.<\/p>\n<p>One Morning of the World: <em>Transnational Dwelling via Conflictual Connections<\/em>, Conceptualising\u00a0Trans-Asia (Panel), Association for the Study of the Arts of the Present (ASAP) Annual Conference, Arts of Fugitivity,\u00a0University of Washington, US.<\/p>\n<p><em>Caring and Transnational Homemaking: Yin Xiuzhen\u2019s Art of Domestic Preservation<\/em> (invited), Cooking, Cleaning, Caring: Care Work as a Global Issue in Contemporary Art, Ruhr Universit\u00e4t Bochum, Germany.<\/p>\n<p><em>Fiona Tan\u2019s <\/em>Provenance (2008)<em>: Inhabiting the World as a \u2018Professional Foreigner\u2019<\/em>, Exiled and Female: Visualising Identity in the Work of Women Artists (Panel), Association for Art History (AAH) Annual Conference, Birmingham, UK.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_3 1_3 fusion-one-third fusion-column-last\" style=\"width:33.333333333333%;width:calc(33.333333333333% - ( ( 4% ) * 0.33333333333333 ) );margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-8\"><h3>Current Courses<\/h3>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2061\/\">ARTH2061<\/a>\u00a0<\/strong>Contemporary Chinese art: 1980 to the present<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2101\/\">ARTH2101<\/a><\/strong> Installation and Participation<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth3039\/\">ARTH3039<\/a><\/strong> <span data-olk-copy-source=\"MessageBody\">Exile, Diaspora and Migration in Contemporary Art (to be approved)<\/span><\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth4009\/\">ARTH4009<\/a><\/strong> Perspective in contemporary art<\/p>\n<h3>Past Courses<\/h3>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/find2100\/\"><strong>ARTH2100<\/strong>\u00a0<\/a>Body, Gender, and Sexuality in Contemporary Art<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth3020\/\">ARTH3020<\/a><\/strong>\u00a0Women making art after 1960<\/p>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2096\/\"><strong>ARTH2096<\/strong><\/a> Contemporary art: 1960s to the present<\/p>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/master-of-arts-in-art-history\/ma-courses\/arth7008\/\"><strong>ARTH7008<\/strong><\/a> Seminar in contemporary art<\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-9\"><h5>PROFILE @ HKU Library<\/h5>\n<p><a href=\"http:\/\/hub.hku.hk\/cris\/rp\/rp02282\" target=\"_blank\" rel=\"noopener noreferrer\">HKU Scholars Hub research page<\/a><\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-10\"><h5>Reaching beyond HKU<\/h5>\n<h6>Vivian K. Sheng at Asia Society Hong Kong Center &#8211;\u00a0<a href=\"https:\/\/asiasociety.org\/hong-kong\/exhibitions\/hong-kong-jockey-club-presents-song-spring-pan-yu-lin-paris\" target=\"_blank\" rel=\"noopener noreferrer\">Song of Spring: Pan Yu-Lin in Paris<\/a><\/h6>\n<\/div><div class=\"fusion-text fusion-text-11\"><h6>Interdisciplinary KE Project &#8211;\u00a0<a href=\"https:\/\/www.ke.hku.hk\/assets\/doc\/Interdisciplinary_KE_Project_2019-21_Summary_online_eng.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Enhancing Community Empathy for and Wellbeing of Sexual Minority Youth through Arts<\/a><\/h6>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":113,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1144","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/comments?post=1144"}],"version-history":[{"count":48,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1144\/revisions"}],"predecessor-version":[{"id":13064,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1144\/revisions\/13064"}],"up":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/113"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media?parent=1144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}