category_outlined / 艺术与建筑

ArtAsiaPacific 104 (Jul/Aug 2017)

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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5 期号


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slow down, look closer

As the hectic art calendar decelerates north of the equator, the July/August issue of ArtAsiaPacific spotlights artists who methodically capture the more subtle aspects of time and place that constitute both personal and collective memory.We begin with a cover Feature on conceptual photographer Kunie Sugiura. AAP editor-at-large HG Masters walks us through Sugiura’s career beginning in the early 1960s when she left Japan for the United States. After studying at the Art Institute of Chicago and then moving to New York, she began photographing everyday life—primarily the streets, buildings, parks, pets and friends surrounding her—although many details are unidentifiable. She combined these images using sculptural and painterly techniques, such as printing her images on canvas covered in photo emulsion or placing monochrome painted canvases next to her photographic imagery. In…

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RASHEED ARAEENRasheed Araeen is a Londonbased artist, writer, editor and curator. Recognized as the father of minimalist sculpture in 1960s Britain, he has also participated in activist movements, and founded the critical journal Black Phoenix and Third Text. Araeen organized the seminal 1989 exhibition, “The Other Story: Afro-Asian Artists in Post-War Britain” at Hayward Gallery, London, and has exhibited his work worldwide. (See ONE ON ONE)SHIREEN ATASSIShireen Atassi is the director of Atassi Foundation for Arts and Culture. She obtained her MBA from Imperial College Business School, London, in 1998. After an 18-year corporate career, she founded the Atassi Foundation, a family nonprofit initiative that preserves and promotes Syrian art and culture by curating exhibitions, fostering intercultural exchange and supporting research and publications. (See THE POINT)ELLIE BUTTROSEEllie Buttrose is the…

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rasheed araeen on anthony caro

Installation view of ANTHONY CARO’s Lock (1962) at Barford Sculptures, London, 2017. Courtesy Barford Sculptures Ltd. and the artist. Photo by John Hammond.In early 1985, I found myself in the Museum of Modern Art (MoMA) in New York. After visiting the now-famous “‘Primitivism’ in 20th Century Art” show—a problematic but somewhat exhilarating experience—I began to wander aimlessly in the back garden of the museum. If memory serves, I recall that the garden grounds were full of small, loose pebbles. As I walked around, I almost tripped over a pair of steel structures lying low on the ground, covered in dust among these pebbles. As I soon discovered, they were not discarded pieces of a steel structure resembling box girders but the work Lock (1962), by the eminent British sculptor Anthony…

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View of Bangkok at night. Photo by Benh Lieu Song.If the creative pulse of a capital indicates—at least in part— the artistic vitality of a nation, Bangkok’s own is of late an unstable one. Between the capital and cities upriver and downstream, flows of artistic energy long presumed as springing from either “core” or “periphery” centers are being recanalized, all the better to reflect regional concerns and outlooks. No longer is it questioned whether the northern city of Chiang Mai, as well as far-southern Songkhla or Pattani, can sustain independent and even conceptually unique art scenes. This attitude continues to hold true, even as, ironically, growing “alternative” practices can thank their recent surge and growing attention on a world stage to the promotional efforts of private collectors, consulting curators and…

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On April 6, artist and filmmaker Wang Bing was announced as this year’s winner of the EYE Art and Film Prize. The award was presented at a ceremony at Amsterdam’s EYE Filmmuseum, and includes GBP 25,000.Do Ho Suh was announced as one of the recipients of the Ho-Am Prize in late April for his contribution to the arts. Suh received a diploma, a gold medal and KWR 300 million (USD 266,000).Japanese-born Hiroshi Senju was selected as a recipient of this year’s Isamu Noguchi Award, alongside acclaimed London-based architectural designer, John Pawson. The artist, known for his nihonga paintings which uses traditional techniques and materials, received the award on May 16 at the annual benefit of New York’s Noguchi Museum.Palestine- and Jordan-based Reem Fadda, who from 2010 to 2016 was the…

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nitsch leaves tasmanian activists raw

122.Action by HERMANN NITSCH, performed at Burgtheater, Vienna, in 2005. Photo by Georg Soulek. Courtesy the artist and Dark Mofo, Hobart.As part of the promotion for the 14-day festival Dark Mofo, 78-year-old Austrian artist Hermann Nitsch disclosed plans to use a bull’s carcass for a live show on June 17 in Hobart, Tasmania. A group of actors, as directed by the artist, would be employed to stage a three-hour “bloody, sacrificial ritual” utilizing the animal’s remains and 500 liters of its blood, before the artist consumed the bull’s flesh. As its title 150. Action suggests, the performance was the artist’s 150th iteration of the ceremony.After catching wind of Nitsch’s plans in mid- April, Animal Liberation Tasmania launched an online petition to garner support for the Hobart city government to block…