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123 (May/Jun 2021)
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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!

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Hong Kong SAR China
ArtAsiaPacific Holdings Ltd
5 Issues

in this issue

2 min.

SUSAN ACRET Susan Acret is a writer, editor, and art advisor who lives in Sydney. She is a board director of 4A Centre for Contemporary Art and chair of the Power Institute Foundation. She was editor of ArtAsiaPacific magazine from 1997 to 2001, before moving to Hong Kong for 12 years, where she worked with Asia Art Archive and a number of other institutions in a freelance capacity. (See PROFILES) WAH NU AND TUN WIN AUNG The Yangon-based artist duo and couple Wah Nu and Tun Win Aung work in a variety of media including painting, video, performance, and installation, often in response to local histories and environments. Their collaborative work has been featured at Singapore Art Museum and New York’s Meulensteen Project Space, as well as a number of international biennials and triennials. (See…

4 min.
radical exposure

Photography is often described as a passive media—a recording of things that happen before the lens. But for many contemporary artists and photojournalists, it is a field of active investigation and exploration. ArtAsiaPacific’s May/June issue spotlights artists who have sought to bring suppressed histories and historically marginalized groups into the light, in order to bridge societal divisions. Our cover Feature, by contributor Cleo Roberts-Komireddi, is anchored in a group exhibition held in Dubai at the Ishara Art Foundation, “Growing Like A Tree,” curated by Indian photographer Sohrab Hura, who gathered the works of South and Southeast Asian photographers, collectives, and organizations, foregrounding their affinities and mutual support. “While relations between states may be weighed down by antagonism, the common experience of heightened surveillance and censorship has bred a sense of…

4 min.

As in other parts of the world, Myanmar struggled against the pandemic in 2020. The country was also fighting on several other fronts: against poverty, resisting pressure from neighboring countries, opposing the military, and trying to solve ethnic armed conflicts. Medical workers, volunteers, and civilians united and helped us to survive during the pandemic under the leadership of the State Counsellor Daw Aung San Suu Kyi. With the help of education workers, a general election was successfully held on November 8, 2020; the National League for Democracy Party won a landslide victory with more seats than the landmark election in 2015. However, the military made ridiculous allegations of electoral fraud and, on February 1, staged a coup d’etat in order to seize power from the people. The country was immediately silenced.…

4 min.
let us vote!

In 2021, the Point asks writers to explain how they are striving for better post-pandemic futures. For this issue, we invited artist Aram Han Sifuentes to discuss how she is combating disenfranchisement in the United States. According to the United States Elections Project, in 2016, a whopping 28.6 percent of Americans, equating to 92 million people, were ineligible to vote in the presidential elections. When we look at the make-up of this disenfranchised population, they are under-18 youths, immigrants, people of color, and those with disabilities. Voting is an incredibly important right to exercise. However, we have yet to recognize that the US voting system perpetuates systemic racism and White supremacy. The 2020 statistics about the country’s disenfranchised populations are still being calculated. This is a tricky process because much of disenfranchisement…

2 min.
hong kong arts organizations accused of endangering national security

Less than a year after Hong Kong’s national security law came into force, the local art sector is facing increased political scrutiny amid accusations of promoting “anti-government” projects. The recent furor ignited after M+ executive director Suhanya Raffel stated the museum would have “no problem” displaying politically sensitive artworks. The remarks were made at the March 12 media preview of the newly completed M+ building. At a Legislative Council meeting five days later, lawmaker Eunice Yung criticized artworks in the museum’s Sigg Collection for “spreading hatred” against China, a crime under the national security law. One of the offending pieces she mentioned was a photograph of Ai Weiwei raising his middle finger at Beijing’s Tiananmen Square—part of a series titled Study of Perspective (1995–2003) showing the artist making the same gesture…

1 min.

On March 10, South Korea’s National Museum of Modern and Contemporary Art (MMCA) selected artists Moon Kyung-won and Jeon Joon-ho for its 2021 MMCA Hyundai Motor Series commission. Moon and Jeon’s installation Freedom Village (2021) will be exhibited at MMCA in September. The Taoyuan Museum of Fine Arts named Ting Chaong Wen the inaugural winner of the Taoyuan International Art Award, worth NTD 500,000 (USD 17,620), on March 13, in recognition of his video Going home (2020). Lee Seul-gi won MMCA’s 2020 Korea Artist Prize on March 25, receiving KRW 10 million (USD 8,470) in addition to the KRW 40 million (USD 33,450) granted to all finalists, for her installation Dong Dong Dari Gori (2020). On April 1, Amsterdam’s Eye Filmmuseum conferred the 7th Eye Art & Film Prize to the Karrabing Film…