Academic Staff

Monographs：

• Image, Imagination and Imaginarium: Remapping World War II Monuments in Greater China. Singapore: Palgrave Macmillan. 2020. https://www.palgrave.com/gp/book/9789811596735
• In–Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai. Bern: Peter Lang, Eurosinica Vol.15, 2016.
• Aestheticizing Public Space: Street Visual Politics in East Asian Cities. Bristol/Chicago:Intellect/U Chicago Press, 2015.

Edited Volumes:

• The (Im)possibility of Art Archive: Theories and Experience in/from Asia. Shanghai and Hong Kong: KCL Publishing and Phantom Archives, 2023.
• 𝙏𝙝𝙚 70'𝙨 𝘽𝙞𝙬𝙚𝙚𝙠𝙡𝙮: 𝙎𝙤𝙘𝙞𝙖𝙡 𝘼𝙘𝙩𝙞𝙫𝙞𝙨𝙢 𝙖𝙣𝙙 𝘼𝙡𝙩𝙚𝙧𝙣𝙖𝙩𝙞𝙫𝙚 𝘾𝙪𝙡𝙩𝙪𝙧𝙖𝙡 𝙋𝙧𝙤𝙙𝙪𝙘𝙩𝙞𝙤𝙣 𝙞𝙣 1970𝙨 𝙃𝙤𝙣𝙜 𝙆𝙤𝙣𝙜. Hong Kong: Hong Kong University Press. 2023. 
  https://hkupress.hku.hk/The_70's_Biweekly?fbclid=IwAR3M-jGJd9E5Q-5X18hgbJUkppFMj036VgPZdjbA4OlxixLQ61Bv3-cuQ4Y
• Politics and Aesthetics of Creativity: City, Culture and Space in East Asia, co–edited with Dixon HWWong and Karin Ling–Fung Chau, Los Angeles and Hong Kong, 2015.

• Ed. with Bo Wang, "The Obsolete and The Resurrected: Archaeological Cinema in Asia", Non-Fiction 05, Feb. 2023, E-Journal of Open City Documentary Festival, London:https://opencitylondon.com/non-fiction/

• "New Left without Old Left: The 70’s Biweekly and Youth Activism in 1970s Hong Kong." Modern China 48:5 (2022), 1080-1112. DOI: https://doi.org/10.1177/00977004221091924
• Solomon, John and Lu Pan "Bordering Hong Kong: Towards a heterotopic ‘elsewhere’", Journal of Contemporary Chinese Art, Special Issue "Bordering Hong Kong: Aesthetics and Politics", Volume (8): Issue (1), July, 2021: 3-12
• “Between Iconic Image and (Artificial) Ruins: Shanghai Sihang Warehouse and World War II Memory in China.” Visual Communication (2021). https://doi.org/10.1177/1470357220964819.
• "(Forgotten) Landscape of Imperial War Memories in a Colonial City: Hong Kong's Cenotaph and Beyond (1920s – 1960s)", The Chinese Historical Review, 27:2 (2020), 93-118, DOI: 10.1080/1547402X.2020.1831174
• "Imagining Asia through a Tour of the Orient: Cathay Pacific’s Contemporary Art in Asia Exhibition of 1965". Twentieth-Century China, 45, no. 3 (2020): 308-330. muse.jhu.edu/article/765148.
• “The Making of Gòng / Kyō – Visual Archive and the Common in Contemporary East Asia.” Inter–Asia Cultural Studies, Vol. 19, No. 3 (2018): 431–48.
• “Socially Engaged Archive: Art, Media and Public Memory in East Asia.” Media Theory [Online], 2.1 (29 Jul. 2018): 222–244. Available at: http://journalcontent.mediatheoryjournal.org/index.php/mt/article/view/44.
• “Translating visual archives: on the Making of the New through Three Cases of Hong Kong,” in Journal of Visual Art Practice, Vol. 16, No. 3 (2017), pp. 1–18.
• “Archival Flows: Fragment, Material, and Memory in/through the Fukuoka Asian Art Museum,” in Yishu: Journal of Contemporary Chinese Art, Vol. 16, No. 4 (2017), pp 14–24.
• “Abandoned Negatives, Themeless Parks: Images of Contemporary China in Two Photographic Projects,” in Journal for Cultural Research, Vol. 21, No. 1 (2017), pp 33–50.
• “Writing at the End of the History: Reflections on Two Cases of Graffiti Writing in Hong Kong,” in Public Art Dialogue, Vol. 4, No. 1 (2014), pp 147–166.
• “Remembering the Pain of “Others”: Reflections on the Shanghai Jewish Refugees Museum and Beyond,” in Writing the War in Asia – a Documentary History, An Online Archive founded by University of Essex, University of Hong Kong and University of Konstanz, http://www.warinasia.com/iris-pan-lu, March, 2014.
• “Who is Occupying Wall and Street: Graffiti and Urban Spatial Politics in Contemporary China,” Continuum: Journal of Media and Cultural Studies, Vol. 28, No. 1 (2014), pp 136–153.

• "Introduction" and Chapter 5 "The Making of an Aesthetic Counterpublic in 1970s Hong Kong: A Visual Exploration ofThe 70's Biweekly", L.Pan Ed.The 70's Biweekly:Social Activism and Alternative Cultural Production in 1970s Hong Kong. Hong Kong: Hong Kong University Press. 2023, pp.1-25 and pp.113-140.
• "Taipei's National Martyrs' Shrine: The Past and Present Lives of a Difficult Monument", in Huang, Shu-Mei. Hyun Kyung Lee, and Edward Vickers Ed., Frontiers of Memory in the Asia-Pacific : Difficult Heritage and the Transnational Politics of Postcolonial Nationalism. Hong Kong: Hong Kong University Press, 2022, pp.64-80.
• “The Kitschy, the Shanzhai and the Ugly: Creating Architectural Utopia in Contemporary Chinese Cities,” translated by Sasaki Gentaro, in Creative industries in East Asia: Cultural politics, Co-edited by Takeshi Tanikawa, Noriko SUDO and Dixon H.W. Wong, Tokyo: Shinwasha, 2015, pp. 47-74. (〈キッチュ、”山寨”、丑さ──现代中国の都市における建筑ユートピアの创造〉，佐々木玄太郎訳。 「东アジアのクリエイティヴ产业：文化のポリティクス」，谷川建司・须藤遥子・王向华［共編］。東京：森話社,２０１５，47–74。)

• Representations of “South of the Sea”: Renegotiating the Place of Hainan Island in Historical and Cultural Imaginations, General Research Fund, Research Grants Council, The Hong Kong SAR Government (Grant received: 01/2023).
• “From The 70s Bi–weekly to Communiqué: Autonomous Media, Social Activism and Alternative Cultural Production in Hong Kong 1970s–1990s” General Research Fund, Research Grants Council, The Hong Kong SAR Government (Grant received: 06/2018)
• “Remapping World War II Memory through Commemorative Artifacts in Contemporary Mainland China, Hong Kong and Taiwan” Early Career Scheme, Research Grants Council, The Hong Kong SAR Government (Grant received: 06/2016)
• “The New and Art Archives in Mainland China, Hong Kong and Taiwan,” University’s Start–up Fund for New Recruits, The Hong Kong Polytechnic University (Grant received: 04/2016)

Other Grants Received

• “Grant for Translations of German Books into Other Languages,” for translating Boris Groys Über das Neue, Goethe Institute China (11/2016)

• 08/2019, “The Necessity to be an Alternative: Autonomous Media and Social Activism and in Hong Kong in the 1970s,” Inter–asia Cultural Studies Conference, Silliman University, Dumaguete City, Philippines.
• 07/2019, “Imagining Imaginarium: National Revolutionary Martyrs’ Shrine in Taipei and beyond,” Asia on the Rise, AAS–in–Asia, Bangkok, Thailand.
• 06/2019, “Rethinking ways of Accumulation: Methodologies and Practices in Engaging with Art and Visual Archives/Archiving in Contemporary Asia,” International Film Festival Forum, Xiamen University, China.
• 11/2018, “After 1968, Here Comes The 70s: Autonomous Media, Social Activism and Alternative Cultural Production in Hong Kong in the 1970s,” The Global Sixties: Transnational Connectivity and Global Consciousness, Shanghai University, China.
• 04/2018, “Tour of the Orient: Cathay Pacific’s “Contemporary Art in Asia” Exhibitions (1965), 44^th Annual Conference & Bookfair, Association for Art History, Courtauld Institute of Art & King’s College London, UK.
• 07/2017, “Active Archives: Image, Temporality and the Making of the Common in Asia,” 2017 Inter–Asia Cultural Studies CONFERENCE, Songkunghoe University, Seoul, South Korea.
• 06/2017, “Socially Engaged Archive: Art, Articulation and the Making of the Public in Greater China,” Chinese Digital Media Workshop, Duke Kunshan University, Kunshan, Jiangsu Province, China.

• “Revisiting Hong Kong’s Youth Resistance in the 1970s: The 70s Bi–Weekly and Beyond,” Irregular Rhythm Asylum, Tokyo, Japan (21 Dec., 2019)
• “Forgetting The Unforgettable: Monuments and the Changing Spaces of War Memory,” Asia Society Hong Kong Center, Para Site International Conference (10–12 Oct, 2019)
• Lecture: “Forgetting the unforgettable: monument and the changing spaces of war memory in Greater China,” The Michael Fang Lecture, University of Liverpool (14 May, 2019)
• “Miasma, Plants and Export Painting: On Spatial and Power Construction in Visual History,” Guangzhou Academy of Fine Arts, Guangzhou, China (14 Dec, 2018)
• “On the New: Archival Materials, Archive and Artistic Research Methodology,” OCAT Shenzhen, China (21 Oct, 2018)

• Translated from Boris Groys, Über das Neue. Chongqing: Chongqing University Press, 2018.
• Translated from Sebastian Veg, “Democratic Modernism: Rethinking the politics of early twentieth century fiction in China and Europe,” in Studies on Modern Chinese Literature, Vol. 6 (2014), pp 1–27.

• Many Undulating Things (co–directed with Bo Wang, 2019, 125 min)
  • 2020 Int’l Competition, Arkipel – Jakarta Int’l Documentary & Experimental Film Festival, Indonesia
  • 2020 Revelation Perth International Film Festival, Perth, Australia
  • 2020 An Impulse to Turn, Inside–out Art Museum, Beijing
  • 2020 Sundays for Hong Kong, Berliner Festspiele, Gropius Bau, Berlin, Germany
  • 2020 Thessaloniki Documentary Festival, Thessaloniki, Greece
  • 2019 Hong Kong Asian Film Festival, Hong Kong
  • 2019 Asiatica Film Festival, Rome
  • 2019 fARAD Documentary Film Festival, Arad, Romania
  • 2019 Asian Competition, DMZ Int’l Documentary Film Festival, Goyang, South Korea
  • 2019 Open City Documentary Festival, London
  • 2019 Compétition Internationale Burning Lights, Visions du Réel, Nyon, Switzerland

• Miasma, Plants and Export Paintings (co–directed with Bo Wang, 2017, 28 min)
  • 2020 An Impulse to Turn, Inside–out Art Museum, Beijing
  • 2020 Garden of Six Seasons, Para Site, Hong Kong
  • 2019 DOKUARTS, German Historical Museum/Zeughauskino, Berlin, Germany
  • 2019 Ural Industrial Biennale of Contemporary Art, Yekaterinburg, Russia
  • 2019 Essay Film Festival, Institute of Contemporary Art, London, UK
  • 2019 Unidentified Landscape, Hotel Asia Project 2019, Barrak, Okinawa, Japan
  • 2018 Image Forum Festival, Japan (Winner of Award for Excellence)
  • 2017 Bi–city Biennale of Urbanism/Architecture, Shenzhen/Hong Kong

• Traces of an Invisible City: Three Notes on Hong Kong (co–directed with Bo Wang, 2016, 70 min)
  • 2019 Seoul Biennale of Architecture and Urbanism, South Korea
  • 2019 Essay Film Festival, Institute of Contemporary Art, London, UK
  • 2017 Autonomous Cinema, Hong Kong
  • 2017 Tales of Our Time, The Guggenheim Museum, New York, USA
  • 2016 Asian Competition, DMZ Int’l Documentary Film Festival, South Korea

• “Ode to Infrastructure” (Multimedia installation)
  • Infrastructural Territory (Exhibition installation), OCAT Shanghai (30 Jun, 2018 – 09 Sep, 2018)
  • “Ode to Infrastructure” (Solo, co–produced), META Gallery, Shanghai, China (22 Oct – 10 Dec, 2016)