王欢(b.1991)是一位现居中国北京的写作者、艺评人和策展人，写作与出版厂牌《普遍》（手册）的联合发起人兼主编。他于2018年获第五届国际艺术评论奖（IAAC）一等奖，2019年获选上海当代艺术博物馆PSA“青策计划”首奖，2019年入围OCAT研究中心“研究型展览计划”终选名单，入选2020台北国际艺术村驻村计划，2024年获得第二届德英基金会策展学者项目的支持。他分别于2016年和2019年担任“集美·阿尔勒国际摄影季”策展人之一。主编的出版物包括《小径：赤贫得只剩语言》《假杂志：巫术修辞》《郭凤怡：宇宙经络》《山河跳：中国动物成语占卜卡》《普遍手册Vol.1：同代刺点》，他曾担任“PSA青策计划”特邀评委参与青年策展人的选拔。近期他正进行一项关于“秘密社会与创造自驱力”的跨文化研究项目。
艺术批评及研究散见于众多刊物及媒体，包括：香港中文大学·中国文化研究所《二十一世纪》双月刊、ARTFORUM 艺术论坛、ArtReview、艺术界 LEAP、Ocula艺术之眼、Art-Ba-Ba、假杂志、《黑齿》杂志、CLABO实验波（台湾当代文化实验场）、《画刊》杂志、STUDIO VOICE、UNLIRICE、卷宗 Wallpaper、艺术世界ArtWorld、瑞象视点、新世纪当代艺术基金会等等。
策划过的展览包括：“民间自有序”（2024, 北京, MACA美凯龙艺术中心）、” “郭凤怡：宇宙经络”（2023, 北京, 长征空间）、 “意图谬误”（2022,上海, 上海当代艺术博物馆PSA）、“不辨其貌”（2021, 上海, Special edition Project）、“末路斜阳——声名狼藉者及其不可解的存在方式”（2019，上海，上海当代艺术博物馆PSA）、“寻异志——人迹、城际与世变”（2019，北京，OCAT研究中心研究型展览计划方案展）、“刘玗：停泊在车站的愚人船”&“张文心：映射之地”（2019，厦门，集美·阿尔勒摄影季发现奖提名展）、“林中空地——重访假杂志的实践”（2019，北京，中间美术馆）、“被介入的物件”(2016，厦门，2016集美阿尔勒摄影季)、“2016新锐摄影奖入围展”（2017,上海，新时线媒体(CAC)艺术中心）、“港口与影像：行动中的中国港城影像计划”(2017，中国港口博物馆)等。
Wang Huan (b.1991) is a writer, art critic, and curator based in Beijing. He is the co-founder and editor-in-chief of 《GENERAL》(manual). In 2018, he received First Prize in the 5th International Awards for Art Criticism (IAAC). In 2019, he won the PSA Emerging Curators Project (Power Station of Art, Shanghai), and his proposal The Story of Finding Differences was shortlisted for the OCAT Institute’s Research-based Curatorial Project. He was selected for the Taipei Artist-in-Residence program in 2020, and in 2024, he received support from the De Ying Curatorial Fellowship. He was nominated for the Jimei × Arles Discovery Award in both 2016 and 2019. As editor-in-chief, Wang has overseen the publication of several books, including NOTHING LEFT BUT WORDS, Myth Rhetorical (Jiazazhi Magazine Vol.1), GUO Fengyi: COSMIC MERIDIANS, Mountain River Jump: Cards of Chinese Animal Idioms, and GENERAL Manual Vol.1: Contemporary Punctum. In 2021, he served as a special jury member for the PSA Emerging Curators Project. He is currently conducting a cross-cultural research project on “secret societies and the drive for self-initiated creativity”.
His art criticism and essays have appeared in numerous publications and platforms, including Twenty-First Century (21C) , ARTFORUM, ArtReview, LEAP Magazine, Ocula, Art-Ba-Ba, Jiazazhi Magazine, Heichi Magazine, CLABO (Taiwan Contemporary Culture Lab), Art Monthly, STUDIO VOIVE, UNLIRICE, IDEAT, Wallpaper, Art World Magazine, as well as Ray Art Center’s Reviews, New Century Art Foundation, among others.
Wang has curated a number of exhibitions, including: Folk in Order (2024, Beijing, MACA Art Center; GUO Fengyi: COSMIC MERIDIANS (2023, Beijing, Long March Space); The Intentional Fallacy (2022, Shanghai, Power Station of Art); Being an Eccentric (2021, Shanghai, Special Edition Project); Sunset on a Dead End: The Notorious and Their Inexplicable Modes of Existence (2019, Shanghai, Power Station of Art); The Story of Finding Differences: Human Trace, Intercity, and Transformation of the World (2019, Beijing, OCAT Institute); Liu Yu: The Ship of Fools Mooring at the Train Station & Zhang Wenxin: The Map of the Mapping (2019, Xiamen, Jimei × Arles Discovery Award); We Will Come and Go, in the Forest (2019, Beijing, Inside-Out Art Museum); Objects That Have Been Intruded (2016, Xiamen, Jimei × Arles Photography Festival); Finalist Exhibition of the 2016 New Talents Award (2017, Shanghai, Chronus Art Center); The Port and the Image: Documenting China’s Harbor Cities (2017, China Port Museum).
王欢 WANG Huan 