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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!

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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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…

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contributors

WILFRED CHAN Wilfred 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-CHRISTENS Nina 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 KIRK Meredith 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…

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ellen pau on danny yung

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 to watch European New Wave cinema. There, I met the founder and artistic director Danny Yung. He invited me to document their workshops, rehearsals and performances. Through these exercises, I witnessed how the process of deconstruction can birth a new, avant-garde theater language. Through the camera lens, I not only documented but also…

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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 through the lenses of not only race but also gender,…

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art stage singapore cancelled days before scheduled opening

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 inaugural SEA Focus fair—saying the new event had invited galleries to exhibit for a fraction of the…

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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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