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category_outlined / 艺术与建筑
ArtAsiaPacificArtAsiaPacific

ArtAsiaPacific Almanac 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!

国家:
Hong Kong SAR China
语言:
English
出版商:
ArtAsiaPacific Holdings Ltd
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5 期号

本期

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contributors

SHAWON AKAND is an artist, researcher and curator based in Dhaka. He is co-founder of Crack International Art Camp in Kushtia, and his publications include Dhakai Jamdani and Tendency of Modern Art in Bangladesh.POJAI AKRANTANAKUL has a Masters degree in visual arts administration from New York University and was previously a project based publication coordinator at Independent Curators International.PEDRO DE ALMEIDA is program manger at Sydney’s 4A Centre for Contemporary Asian Art where he is curating an upcoming survey exhibition, “Dacchi Dang: An Omen Near and Far” (2017). His writings have appeared in various publications such as Art & Australia, Artist Profile and Art Monthly Australia.FRANCES ARNOLD is an independent writer, journalist and freelance art editor based in Shanghai. She writes for AAP, Artsy and SmartShanghai.MIRNA BAMIEH is an artist…

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glitched out

Blame it on the monkey. As 2016 approached, many people—particularly those who follow the Chinese lunar calendar—were apprehensive. For 2016 was the Year of the Monkey—that wily creature that is always looking to disrupt, just for the fun of it. And sure enough, the last 12 months have witnessed plenty of mischief, mayhem and malfeasance.For those who don’t follow the pseudoscience of the zodiac—instead having faith in either facts or conspiracy theories (or both)—2016 felt like one big systems glitch. Much of the news, particularly from the political realm, was mind-boggling. And it monopolized conversations off and online, and often seemed too Orwellian to be true. What is actually going on between the United States and Russia? What role does Julian Assange play in all this? Or could it be…

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sensing & sensibilities

We’re all haunted by science fiction now—by those pre-millennium visions of a gleaming 21st-century cybernetic future whose interconnected systems would make the world function efficiently, and in their most dystopic incarnations, all too efficiently. (If only.) Have you read any fake news recently? Apparently, more email accounts have been hacked in the last hour than there are indigenous people still living on the phosphate-depleted island turned immigrant-detention center of Nauru. And the data dumps from the ruling party’s server were indeed truly massive, containing the home addresses of every woman in the country. It’s 42° Celsius outside—or is it -42° Celsius? I can’t even tell because the smog is too thick at this altitude. #BREAKING! Someone just Tweibo’ed this on WeInstaKaFace: The traffic jam of luxury Humvees on the highway…

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hyper de-normalization

You can get used to almost anything. It’s a human truism that cuts both ways. In the case of Christian Lemmerz and Norbert Tadeusz’s joint exhibition at the Faurschou Foundation in Beijing in September, the cutting was perhaps a bit too extreme for censors at the Chinese Culture Bureau who banned Tadeusz’s gruesome paintings of slaughtered carcasses and rope-splayed naked humans. Instead, harmoniously all-white canvases in wooden frames replaced them, pairing so remarkably well with Lemmerz’s white-marble sculptures of mutilated-looking body parts that visitors might have mistaken the show’s bleached interior as an intended effect (at least, until they read the press release about Tadeusz’s “colorful, powerful works”). Instead of canceling the show, the Foundation chose to bear this evidence of censorship in its front rooms—a butchering of a different…

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sign of the times

The light installation Countdown Machine (2016) by JASON LAM and SAMPSON WONG, which played on the International Commerce Centre in Hong Kong and was the focus of a censorship controversy. (Photo by Jason Lam.)Confrontations between artists and governments remained in the global headlines. Early in the year, two artists were granted slight reprieves from draconian sentences. In February, an appeals court in Saudi Arabia commuted the death sentence given to Palestinian poet, artist and curator Ashraf Fayadh in November 2015 for “apostasy.” Amid international campaigns, an appeals court upheld Fayadh’s conviction but lessened his punishment to 800 lashes and eight years in prison. In another multiyear saga, an appeals court in Iran reduced Atena Farghadani’s sentence from 12 years and nine months to 18 months. She was released from Tehran’s…

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hopscotching the world

Political shifts prompted reshufflings at major institutions around the Asia-Pacific region. In Hong Kong, the direction of M+ hangs in the city’s fraught political balance. Suhanya Raffel, deputy director of Sydney’s Art Gallery of New South Wales (AGNSW), was named executive director of M+ in July, after Lars Nittve departed in January. While M+ regained stability at the top, associate curator Yung Ma left for Paris’s Centre Pompiodou for a three-year curatorial role funded by the Hong Kong-based K11 Art Foundation. There have been fewer sightings of Yana Peel in Hong Kong after her appointment as CEO of London’s Serpentine Galleries in April.As Australia’s culture industry suffers budget cuts, arts professionals are changing positions, while others are trying their luck abroad. In April, Melbourne’s Australian Centre for Contemporary Art appointed…

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