Studio Will Kwan
- Jones, Ronald. "Will Kwan." Artforum, May 2012.
- Peckham, Robin. "Digital Politics." ArtSlant, 30 Jan 2012.
- Chappa, Kirsten. "Fire with Fire." In Common Love: Aesthetics of Becoming in Contemporary Art. Exhibition catalogue. Kaira Cabañas (ed). New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2011, 51-63.
- Kanamitsu, Tomoko. "Letting Go of Nature." In Common Love: Aesthetics of Becoming in Contemporary Art. Exhibition catalogue. Kaira Cabañas (ed). New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2011, 28-49.
- Roundtable discussion, "Art, Politics, and Love." In Common Love: Aesthetics of Becoming in Contemporary Art. Exhibition catalogue. Kaira Cabañas (ed). New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2011, 94-101.
- Cho, Seon Ryeong. "Will Kwan: Displacement (With Chinese Characteristics)." In A Monumental Tour. Exhibition catalogue. Seon Ryeong Cho. Seoul: Space*C, Coreana Museum of Art, 2010, 33-34.
- Davis, Laura. “Will Kwan creates wall of burning flags at Scandinavian Hotel for Liverpool Biennial.” Liverpool Daily Post, 1 September 2010.
- Killackey, Fiona. “Will Kwan and a World of Infinite Identity.” Flux Magazine, Autumn 2010.
- Kwan, Will. “Research in Motion: An Interview with Will Kwan.” By Alissa Firth-Eagland and Johan Lundh. Yishu Journal of Contemporary Chinese Art, Volume 9, Issue 2, 2010.
- Legge, Laura. “Mining the Archive: Connecting concept and narrative in the work of Will Kwan.” Hart Beat Magazine, Volume 11, Issue 2, 2010.
- Loeffler, Frances. "Will Kwan: Flame Test, 2010." In 2010 Liverpool Biennial: Exhibition Guide. Liverpool Biennial of Contemporary Art, 2010, 68-69.
- Lowry, Glen. “Three Takes on the Dissolution of Empire: Stories from Places and Times Distantly Close.” FUSE Magazine, Volume 33, Number 2, 2010
- Pickles, Helen. “Liverpool Biennial festival - North West England.” The Telegraph, 24 Sep 2010.
- Ward, Ossian. “Liverpool Biennial 2010.” Time Out London, September 2010.
- Jager, David. “Burning Issues: Will Kwan probes recession fallout.” NOW Magazine, Volume 26, Number 16, 2009.
- Lee, Minna. “Art with a global currency.” Canadian Art online, December 2009.
- Milroy, Sara. “An artist’s alternative map of the world.” The Globe and Mail, 02 December 2009.
- Sung, Doris and Rhee, June. “Transpulsation: New Asian Imaginings.” Published in conjunction with the exhibition Transpulsation, Gales Gallery, Toronto, CA.
- Whyte, Murray. “Kwan and the culture of cash.” The Toronto Star, 15 November 2009.
- Baerwaldt, Wayne. "Remuer Ciel et Terre – Crack the Sky." In Remuer Ciel Et Terre – Crack the Sky: La Biennale De Montréal 2007. Exhibition catalogue. Montréal: Centre International d'art Contemporain de Montréal, 2007, 35, 43, 102-103.
2012
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Will Kwan: Art with a Global Currency
Minna Lee | Canadian Art online | November 2009
If the recession of the past few years has taught us anything, it’s that the great matrix of capitalist modernity is indeed global. From Sarnia to Shanghai, Dubai to Delft, none was spared—and capitalism’s endgame continues on. In his first major solo exhibition “Multi-lateral,” curated by Barbara Fischer at the Justina M. Barnicke Gallery, Toronto artist Will Kwan attempts to probe these complex underpinnings of the modern world. In Clocks That Do Not Tell the Time, Kwan diverts our gaze from the financial hubs of New York, London, Tokyo and Paris to map out lesser-known sites of significance to the global economy. Endless Prosperity, Eternal Accumulation consists of 80 photographs of hongbao (red envelopes used for gifting money in the Chinese tradition) encrusted with corporate insignia, evoking the multinational banking system. Canaries (The Bank and the Treasury) brings together Taoist notions of the afterlife and the colonial legacies of HSBC bank. The rest of the exhibition features works in photography, earth art, performance and video, with a couple of Kwan's featured pieces also opening this week in an exhibition with international media collective Cinema Suitcase at Western Front in Vancouver. Whatever his media or location, Kwan’s mapping of the contemporary world promises to be both disquieting and compelling.