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category_outlined / Art & Architecture
ArtAsiaPacificArtAsiaPacific

ArtAsiaPacific

112 (Mar/Apr 2019)

For over 20 years, ArtAsiaPacific has been at the forefront of the powerful creative forces that shape contemporary art from Asia, the Pacific and the Middle East. Covering the latest in contemporary visual culture, ArtAsiaPacific is published in Hong Kong, with over 30 editorial desks worldwide. Our annual issue, the Almanac, is an alphabetical tour d'horizon of the 67-odd countries covered in ArtAsiaPacific, spanning Afghanistan to Vietnam. The Almanac also invites influential art world figures to comment on the major cutural events that have shaped the past 12 months. Now also available on the iPhone!

Country:
Hong Kong SAR China
Language:
English
Publisher:
ArtAsiaPacific Holdings Ltd
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5 Issues

IN THIS ISSUE

access_time4 min.
digital terrestrials

“Artists suffer aftereffects of the feebleminded media and the computerized media … Artists are shifting their task to communication, using Third Materials produced by all sorts of industries.” This 1969 quote by Japanese artist Yoshida Minoru (1935–2010) eerily foreshadows the eruption of digital technology since the 1990s. It also reflects our increasing reliance on machines to assist, replace and help us understand ourselves. Given that artists—and those whom Yoshida describes as agents of alternative, anti-capitalist energy—are often at the forefront of change, he suggests that the critique of and obsession with human interaction, especially in relation to computers and forms of artificial intelligence, lie at the root of contemporary art practices.In our Essay section, artist, scholar and curator Nina Horisaki-Christens draws parallels between Yoshida’s works from the late 20th century…

access_time2 min.
contributors

WILFRED CHANWilfred Chan is a writer and photographer based in New York. He is a co-founding editor of Hong Kong art and culture magazine Still / Loud, and a former writer at Splinter and CNN. (See BOOK REVIEW)NINA HORISAKI-CHRISTENSNina Horisaki-Christens is an independent curator and art historian based in Tokyo and New York. She is currently a PhD candidate at Columbia University and a visiting researcher at Tokyo’s Sophia University, researching Japanese video art of the 1970s. She has contributed to publications produced by Art Tower Mito, Mori Art Museum, Whitney Museum of American Art, Independent Curators International and Hyperallergic. (See ESSAYS)MEREDITH KIRKMeredith Kirk is the assistant vice president and director of the New York-based art advisory firm Art Agency, Partners. Since joining the firm in 2017, her primary focus…

access_time4 min.
ellen pau on danny yung

Installation view of DANNY YUNG's Video Circle 2000, 2000, 32 television sets and video players showing loops of video works from 108 artists of the Asia-Pacific region, dimensions variable, at “No References: A Revisit of Hong Kong Video and Media Art from 1985,” Cattle Depot Artist Village, Hong Kong, 2016. (Courtesy Videotage, Hong Kong.)I made my first super-8 movie The Glove, a surrealist tale of desire, in 1984, while studying radiology in Hong Kong. Besides filmmaking, I was working in theater as a sound operator, assistant backstage manager and in costume management. I even played a few acting roles with speaking parts and directed a short play. Yet my curiosity for the arts was not fully satisfied.At the time, I frequently visited the clubhouse of experimental theater company Zuni Icosahedron…

access_time4 min.
new york

Photograph of Wing on Wo & Co. storefront in New York.Race, representation and power—issues that multiculturalism and “identity politics” brought to the fore in the 1990s—have re-emerged with a sense of urgency in New York’s art and cultural realms. This renewed awareness reflects a very real shift in demographics. An estimated 66 percent of New York City’s population identifies as “non-white,” or as people of color (POC). Acknowledging this rising number, New York’s mayor Bill de Blasio announced in July 2017 that the 33 institutions belonging to the city’s Cultural Institutions Group—including the Metropolitan Museum of Art, the Brooklyn Museum, the American Museum of Natural History, and the Queens Museum—must submit plans for diversity, equity and inclusion in order to avoid funding cuts of up to ten percent. Viewing diversity…

access_time7 min.
art stage singapore cancelled days before scheduled opening

Installation view of Art Stage Singapore, Marina Bay Sands Expo and Convention Centre, 2015. (Courtesy Art Stage Singapore.)On January 16, less than ten days before Art Stage Singapore was set to open, the art fair announced its cancellation. The ninth edition of the fair was slated to take place from January 25 to 27 at Marina Bay Sands Expo and Convention Centre. Supporting governmental bodies—the National Arts Council, the Singapore Tourism Board and the Singapore Economic Development Board—remarked in a joint statement that it was a “commercial decision.”Founder and president of the fair Lorenzo Rudolf cited a “difficult market situation” and “unequal competition” in an email sent to the 45 exhibitors. In the same statement, he apportioned blame on an unnamed fair held concurrently at Gillman Barracks—a reference to the…

access_time4 min.
advising for longevity

Over the next five issues, writers commissioned for The Point will explore new models for operating in the art market. Here, Art Agency, Partners director Meredith Kirk explains how art-advisory services are enlarging their scope of activities to include legacy-planning for artists and industry publications.The landscape for artists and art—current support structures and their future perpetuation—is rapidly and constantly changing. Aiming to tackle this is Art Agency, Partners (AAP), an art advisory firm that looks beyond the traditional advisory-services model. Co-founded in 2014 by Allan Schwartzman, who has advised some of the world’s most important art collectors for more than 20 years, and Amy Cappellazzo, who drove the expansion of business at Christie’s as co-head of Post-War & Contemporary Art and international chairman of Post-War & Contemporary Development from 2001…

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