category_outlined / 艺术与建筑

ArtAsiaPacific May/Jun 2016

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


record makers

At a recent dinner party, I was seated next to a gallerist who shows young artists from Hong Kong. I was struck by his quirky description of one of his artists: he called him a “human photocopier.” That description recalled the late Martin Wong, featured in this issue of ArtAsiaPacific, who referred to himself as a “human instamatic” early in his career when, as a street artist in northern California, he sketched portraits in a matter of minutes for $7.50 apiece. While art-making is often believed to be a private activity, it in fact frequently involves extensive research, periods of extraordinary focus and direct engagement with realities that many choose to ignore. The May/ June issue of AAP looks at several artistic practices that constitute varying forms of “recording”—not just by…


MICHELLE BOGRE Michelle Bogre is associate professor of photography at Parsons School of Design, a documentary photographer, copyright lawyer and author of Photography as Activism: Images for Social Change (2011) and Photography 4.0: A Teaching Guide for the 21st Century (2014). She is creator of thecopyrightcorner.org, a website designed to make copyright law accessible for photographers, students and photography faculty. (See FINE PRINT) CHEN CHIEH-JEN Working primarily with video installations, Taiwanese artist Chen Chieh-jen has participated in numerous leading art festivals around the world and was the subject of solo exhibitions at major institutions such as the Asia Society in New York (2007) and the Museo Nacional Centro de Arte Reina Sofía in Madrid (2008). In 2009, Chen represented Taiwan at the 53rd Venice Biennale. (See ONE ON ONE) HEMAN CHONG Heman Chong is an artist and…

one on one chen chieh-jen on bitai thoan

The Taiwanese Cultural Association, in operation between the years 1921 and 1931, was established during the period when Taiwan was under Japanese colonial rule (1895–1945) by members of the resistance, educator Lu Ping-ting and intellectual Chiang Wei-shui. During that time, in 1925, the association launched Bitai Thoan (美台團), a traveling team of projectionists and silent-film narrators that organized screenings across the country. Taiwan didn’t have the resources to produce its own movies yet and so these screenings were of foreign short films. These short films were not the entertaining narratives or pithy documentaries that we have come to expect in the 21st century; instead, they were elementary, neutral pieces—a news segment on agricultural development in Denmark, for example. Though Bitai Thoan was a short-lived initiative (its operations ceased by 1927),…

dispatch doha

Vying for cultural influence on a global scale is a national project in Qatar. One of the most ubiquitous slogans seen emblazoned on billboards throughout the country— “Qatar Deserves the Best”—reflects the sentiment that Qatar has the money and clout to become an international powerhouse. The past ten years have been a heady time for Doha, armed with a huge budget to buy artwork and to develop new institutions for Islamic, modern, contemporary and Orientalist art, which resulted in exhibitions and events popping up all over the city. However, after a restructuring and rebranding of Qatar Museums Authority (QMA) into Qatar Museums (QM) in 2014 as a way to further engage with the public as an institutional and cultural partner—a streamlined private institution for the public good, as opposed to…

slash & burn

In the past year governments from Australia to Israel have targeted arts funding, in efforts to assert greater political control over art institutions and as part of austerity measures. Ranking among the world’s highest in per-capita spending on the arts, Australia has seen recent governments steadily axing cultural budgets, an agenda that culminated in May 2015 when arch-conservative federal Arts Minister George Brandis cut AUD 105 million (USD 80 million) from the government-backed independent cultural-funding body, the Australia Council for the Arts, over four years. Brandis had planned to reallocate the money to a new funding organization called the National Program for Excellence in the Arts (NPEA) overseen by the arts ministry. The outraged local arts community and the group Australians for Artistic Freedom rallied under a movement called #FreeTheArts and…

the point a country, at large

The art and cultural scene in Singapore has changed a lot since I started making art in 1997. I don’t think anyone can deny the fact that Singapore’s government is one of the very few in Southeast Asia that has progressively encouraged the local growth of art, architecture, culture and design over the past 25 years. Looking back, my entire journey as an artist has been heavily assisted by cultural policies, which have produced the institutions that have served as cornerstones in the evolution of my practice. For example, since 1999, Singapore’s National Arts Council (NAC) has supplied me with grants to participate in art fairs, biennials, conferences, exhibitions and residencies abroad, enabling me to build a network that allows me access to even more of these art events and festivals.…