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category_outlined / 艺术与建筑
ArtAsiaPacificArtAsiaPacific

ArtAsiaPacific Jul/Aug 2015

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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transitional practices5

In recent years, the editors at ArtAsiaPacific have noted a growing phenomenon: more and more people in the art world today are working across vastly different practices. Artists making feature films and film producers mounting curatorial projects, for instance; architects, web designers and beekeepers working as artists; and even financiers moonlighting as art critics. For the July/August issue of AAP, we look at visual artists whose practice intertwines elements of other creative disciplines—such as music, philosophy, writing, design or activism—and whose following extends beyond the confines of the art world.Our Features begin with the many shades of gray in the career of painter Tomoo Gokita, a boho-geek and hero on the zine and indie-music scenes. Last November, AAP visited Gokita’s modest Tokyo studio as his first retrospective at the Kawamura…

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contributors

STEPHANIE BAILEYStephanie Bailey is the managing editor of Ibraaz, an online platform focused on art from North Africa and the Middle East. She is contributing editor of Art Papers and LEAP, a writer for Artforum and Yishu, and was also assistant editor of You Are Here: Art After the Internet (2014), an anthology edited by Omar Kholeif.(See FEATURES)BARBARA BLOEMINKBarbara Bloemink is a museum consultant, curator and writer on modern and contemporary art. From 2002 to 2006 she was curatorial director at Cooper- Hewitt, Smithsonian Design Museum in New York. Bloemink has contributed to numerous publications including Women in Dada: Essays on Sex, Gender, and Identity (1999) and Design Is Not Art: Functional Objects from Donald Judd to Rachel Whiteread (2004).(See REVIEWS)FENG BOYIFeng Boyi is an independent curator and art critic…

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one on one: michael joo on kim beom

KIM BEOMUntitled (Intimate Suffering #13) 2014Acrylic on canvas, 491 x 348.5 cm.Installation view at Sharjah Biennial 12, 2015.A cloud of dust breaks the stillness of an African grassland, a shadowy form at its nucleus. Emerging from the cloud another form explodes, turns on a dime and doubles back on the first in a dynamic death-dance. The movements are familiar— lessons of nature, of predator and prey, as taught by educational documentaries.**My description of Spectacle (2010)Through simple and seamless manipulation of video stills in this work, these familiar movements, as well as the space that frames them, require reexamination and reassessment, as the party in pursuit of the cheetah reveals itself to be an antelope. Not to be mistaken for the exotic, this is a television nature documentary, and you are…

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dispatch: beijing

Aerial view of Beijing. (Courtesy kleberly.com.)Beijing’s art ecosystem is filled with turmoil and distortion, yet it pulses with complexity and life. If Chinese avant-garde art from previous decades attracted attention and garnered acclaim through its exposure and criticism of oppressive politics or restrictive ideologies, then the current art is challenged with breaking through the shackles of market forces and monetary gain. When the contemporary art market—auction records, art-fair sales and permanent collections of private institutions—starts dictating artists’ objectives, and when all of their efforts go toward cultivating social networks and relationships with curators and players on the museum circuit, securing freedom of artistic expression and independence of opinion becomes more urgent than ever.Today, modes of communication have been thoroughly transformed by the proliferating reach of the internet and ever-renewing technology.…

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news: gulf labor dispute heats up

Activists from Global Ultra Luxury Faction (GULF) staging a sit-in at the Solomon R. Guggenheim Museum, New York, on May 1, demanding to meet with museum board members to discuss better working conditions for migrant laborers constructing Guggenheim Abu Dhabi on Saadiyat Island. (Courtesy Gulf Labor Coalition.)From Mumbai, Ashok Sukumaran announced that his visa request was rejected three times in May, while Walid Raad was barred from entering the UAE at the Dubai airport on May 11, where he had planned to travel by car to Sharjah and Abu Dhabi. The UAE cited security issues as the reason.Both Sukumaran and Raad are members of Gulf Labor, an international artists and activists coalition founded in 2010 that spotlights the labor and living conditions of foreign workers building Abu Dhabi’s Saadiyat Island,…

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the point looking at art: is the internet producing a better product?

I have spent more than half of my 40 years in the art world without the benefit of the internet. Its advent and growth, particularly in the last decade, have catapulted art into a bigger world with more participants and greater access to information and reproductions. But to become an educated viewer, seeing art in person is paramount.Recently, I had the pleasure of seeing the much-anticipated Rembrandt van Rijn retrospective, “Late Rembrandt,” at Amsterdam’s Rijksmuseum. The exhibition was mobbed, and I braced myself for viewing it with masses of people. Despite the crowds, I was struck by the sense of humanism that the Dutch master brings to his paintings. Rembrandt captures the sense of a person through brushwork: a dab of paint rendering the glint of an eye or a…

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