Academic Staff

Monographs：

• Image, Imagination and Imaginarium: Remapping World War II Monuments in Greater China. Singapore: Palgrave Macmillan. 2020.
• 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. London: Palgrave Macmillan, 2024. 
• 藝術檔案（庫）的可能與不可能：亞洲的理論與經驗 (The [Im]possibility of Art Archive: Theories and Experience in/from Asia). Edited by Lu Pan and Kaichung Lee. 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.      
• Politics and Aesthetics of Creativity: City, Culture and Space in East Asia. Edited by Lu Pan, Dixon HWWong and Karin Ling–Fung Chau. Los Angeles and Hong Kong, 2015.

• Lu Pan and Bo Wang. “Wardian case, glass, and fountain: A reflection on the history of shopping malls in Hong Kong.” International Communication Gazette 87, no. 1 (2025): 71–86. https://doi.org/10.1177/17480485241261579.
• “Repertoire of Youth Activism in 1970s Hong Kong:The 70s Biweeklyand Experimental Cinema.”Cogent Arts & Humanities 11, no. 1 (2024): 1–15. https://doi.org/10.1080/23311983.2024.2357885.
• Lu Pan and Bo Wang. “The Obsolete and The Resurrected: Archaeological Cinema in Asia.” Non-Fiction 05 (2023).  E-Journal of Open City Documentary Festival, London. https://opencitylondon.com/non-fiction/.
• “New Left without Old Left: The 70’s Biweeklyand Youth Activism in 1970s Hong Kong.”Modern China 48, no. 5 (2022): 1080–1112. https://doi.org/10.1177/00977004221091924.
• Lu Pan and John Solomon. “Bordering Hong Kong: Towards a heterotopic ‘elsewhere.’” Journal of Contemporary Chinese Art, Special Issue “Bordering Hong Kong: Aesthetics and Politics” 8, no.1 (2021): 3–12. https://doi.org/10.1386/jcca_00034_2.
• “Between Iconic Image and (Artificial) Ruins: Shanghai Sihang Warehouse and World War II Memory in China.”Visual Communication(2021): 1–19. https://doi.org/10.1177/1470357220964819.

“The Ornament and Other Stateless 'Foreigners': A Dialogue on a Poetics of Unbordering.”Journal of Contemporary Chinese Art 8, no.1 (2021): 87–96. https://doi.org/10.1386/jcca_00039_1.

“ソーシャリー・エンゲイジド・アーカイヴ 東アジアにおけるアート・メディア・公共の記憶 [Socially Engaged Archives: Art, Media, and Public Memory in East Asia].”RELATIONS (2020): 1-21. 

“(Forgotten) Landscape of Imperial War Memories in a Colonial City: Hong Kong's Cenotaph and Beyond (1920s – 1960s).”The Chinese Historical Review 27, no. 2 (2020): 93–118. https://doi.org/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. https://doi.org/10.1353/tcc.2020.0027.

Lu Pan and Bo Wang. “Traces of an Invisible City.” Landscape Architecture Frontiers 5, no. 2 (2017): 146–153.

“Translating visual archives: on the Making of the New through Three Cases of Hong Kong.” Journal of Visual Art Practice 16, no. 3 (2017): 1–18. https://doi.org/10.1080/14702029.2017.1399627.

“The Anxiety and Urgency of History: Pan Lu in Conversation with Lee Kai Chung and Teng Chao-Ming.” Yishu: Journal of Contemporary Chinese Art 16, no. 4 (2017): 77–86.

“Archival Flows: Fragment, Material, and Memory in/through the Fukuoka Asian Art Museum.” Yishu: Journal of Contemporary Chinese Art 16, no. 4 (2017): 14–24.

“Abandoned Negatives, Themeless Parks: Images of Contemporary China in Two Photographic Projects.” Journal for Cultural Research 21, no. 1 (2017): 33–50. https://doi.org/10.1080/14797585.2017.1282222.

“Marginality as Centrality: South Korea’s Alternative Creative Cities.” Creative Industries Journal 8, no. 1 (2015): 39-57. https://doi.org/10.1080/17510694.2015.1048067.

“Writing at the End of the History: Reflections on Two Cases of Graffiti Writing in Hong Kong.” Public Art Dialogue 4, no. 1 (2014): 147–166. https://doi.org/10.1080/21502552.2014.878487.

“Remembering the Pain of ‘Others’: Reflections on the Shanghai Jewish Refugees Museum and Beyond.”  The War Memoryscapes in Asia Project. March 2014. http://www.warinasia.com/iris-pan-lu.

“Who is Occupying Wall and Street: Graffiti and Urban Spatial Politics in Contemporary China.”Continuum: Journal of Media and Cultural Studies 28, no. 1 (2014): 136–153. https://doi.org/10.1080/10304312.2013.854867.

“Nostalgia as Resistance: Memory, Space and the Competing Modernities in Berlin and Shanghai.” European Journal of East Asia Studies 12 (2013): 135–162.

“Visualizing Amnesia: Memory and Space in the Photography of Shanghai’s ‘New Village.’” Media Fields Journal 5 (2012): 1–14.

“The Invisible Turn to the Future: Commemorative Culture in Contemporary Shanghai.” Culture Unbound 4, no. 1 (2012): 121–146. https://doi.org/10.3384/cu.2000.1525.124121.

“The Remaking of Shanghai Local Spaces.” Spacesofidentity.Net 8, no. 1 (2008). https://doi.org/10.25071/1496-6778.17740.  

• “Introduction.” The (Im)possibility of Art Archives: Theories and Experience in/from Asia. Edited by Lu Pan. London: Palgrave Macmillan, 2024.
• “編者的話 (Introduction).” 藝術檔案（庫） 的可能與不可能：亞洲的理論與經驗 (The [Im]possibility of Art Archive: Theories and Experience in/from Asia). Edited by Lu Pan and Kaichung Lee. Shanghai and Hong Kong: KCL Publishing and Phantom Archives, 2023.
• Introduction and Chapter 5 “The Making of an Aesthetic Counterpublic in 1970s Hong Kong: A Visual Exploration of The 70's Biweekly.” Edited by Lu Pan. The 70's Biweekly:Social Activism and Alternative Cultural Production in 1970s Hong Kong. Hong Kong: Hong Kong University Press. 2023, 1–25 and 113–140.
• “Taipei's National Martyrs' Shrine: The Past and Present Lives of a Difficult Monument.” In Frontiers of Memory in the Asia-Pacific: Difficult Heritage and the Transnational Politics of Postcolonial Nationalism, 64–80. Edited by Shu-Mei Huang, Hyun Kyung Lee, and Edward Vickers. Hong Kong: Hong Kong University Press, 2022.
• “The Kitschy, the Shanzhai and the Ugly: Creating Architectural Utopia in Contemporary Chinese Cities.” In Creative industries in East Asia: Cultural politics, 47—74. Edited by Lu Pan, Takeshi Tanikawa, Noriko SUDO and Dixon H.W. Wong. Translated by Sasaki Gentaro. Tokyo: Shinwasha, 2015. (〈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)

• 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.