category_outlined / 艺术与建筑

ArtAsiaPacific 105 (Sep/Oct 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!

Hong Kong SAR China
ArtAsiaPacific Holdings Ltd
5 期号


site specificities

There is plenty of anecdotal evidence that far-flung parts of the world are becoming more superficially similar as commerce and tourism have homogenized localities around the globe. Yet, when looked at closely, micro-histories of specific places remain full of fascinating details and rich stories. ArtAsiaPacific’s September/October issue looks at artists who examine, in one way or another, stories of their respective countries and their environs. Some of the artists featured touch upon how their communities respond to seismic events, while others research cultural traditions to dream up new futuristic virtual worlds. For our cover Feature, AAP reviews editor Brady Ng delves into the high-tech creative wizardry of Japan’s teamLab. The around-400-member collective—comprising artists, programmers, engineers, computer-graphics animators, mathematicians, architects, web and graphic designers—has dazzled audiences around the world who enter their…


STEPHEN CHENG Stephen Cheng was born in New York and studied Visual and Environmental Studies at Harvard University. After stints at Goldsmiths College and New York University Tisch School of the Arts, Cheng moved to Hong Kong and founded Empty Gallery in 2015. His gallery has a special focus on intermedia arts and is committed to fostering conversations across cultural, geographic and medium-specific boundaries while serving as a regional hub for the flourishing East Asian art scene. (See THE POINT) REBECCA CLOSE Rebecca Close is a writer and arts researcher. She taught new media at the University of Arts, Ecuador, between 2015 and 2016 and is ArtAsiaPacific’s Spain desk editor. She co-founded the Barcelona based collective diásporas críticas, which was awarded the 2017 Miquel Casablancas prize for visual arts. (See ESSAY) GÖKCAN DEMIRKAZIK Gökcan Demirkazik is a…

khvay samnang on zhang huan

My first encounter with Zhang Huan’s work occurred in Cambodia in 2008 thanks to independent curator Zoe Butt. I was with my artist collective, Stiev Selapak / Art Rebels, and she introduced Zhang’s and other Chinese artists’ work to us. Back then, my English language skills were not advanced enough for me to do more research on him, but I was particularly impressed by his performance piece from 1994, titled 12 Square Meters, where he sat naked and drenched in fish oil and honey, in a filthy public toilet in Beijing’s East Village artist community. He sat on the toilet, almost immobile, for an hour. Over time, his body became covered with flies. When I look at the photographic documentation of the performance, it seems like a form of sculpture to…


Shenzhen might be the most famous art-related city that no one really thinks about. It is well-known due to the suburb of Dafen village, whose artist-residents at one time produced more than half of the oil paintings existing in the world—all of which are, of course, duplicates of masterpieces. What most are not aware of is that the young city also houses several generations of important Chinese artists, including Liang Quan, Zhou Li—both of whom have recently shown work at White Cube gallery in London—and Li Liao, who was shortlisted for the Hugo Boss Asia Art prize in 2013. As Hong Kong gathers momentum due to Art Basel Hong Kong and other developments in the art industry, neighboring Shenzhen is similarly generating interest due to China’s development policies, which employ…

eviction notice

On August 11, Chinese police acted on orders to remove residents from their studios and homes inside the Iowa co-op, which is located on 6.1 acres of land within Caochangdi. Chinese dissident artists Ai Weiwei and Wu Yuren, who lived under state surveillance for years when they were still residing in China, uploaded footage recorded during the evictions. Their video clips show that the Iowa co-op was cordoned off, with access to the neighborhood restricted by uniformed officers. As state security removed artists from their homes and studios, construction workers sat beside the commune’s entrance, awaiting instructions to begin demolition work immediately after residents were forcefully expelled. Occupants were given written notice on July 31, then August 1 and 5, to vacate their living quarters and work areas, with officials citing illegal…

another side of patronage

A few nights after ArtAsiaPacific suggested that I contribute to its series on arts patronage, I found myself in Tokyo attending a memorial concert for the late Hideo Ikeezumi—a curator, organizer and shop proprietor with whom I had been developing several projects before he passed away. Ikeezumi was the owner of a tiny CD store called Modern Music and the founder of PSF, a record label whose releases changed many lives, including my own. Ikeezumi’s legacy is far from the mainstream and will probably always remain so, but he dedicated his life to supporting Japan’s culture of avant-garde music, performance and sound art at a time when few others were willing to do so, and institutional support was nonexistent. Although Ikeezumi produced or reissued recordings by figures including Keiji Haino,…