category_outlined / 艺术与建筑

ArtAsiaPacific Nov/Dec 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!

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close encounters

Our cover Feature for the November/December issue of ArtAsiaPacific begins with a look at artistic life in China in the 1970s, specifically through the small landscape paintings of Li Shan. One of the youngest members of the No Name Painting Society, or Wuming Huahui, Li was widely admired by her peers for her gentle, luminous paintings of Beijing. As AAP managing editor Denise Chu explains, “Landscape painting was Wuming’s means, tactic and haven to preserve an art divorced from sociopolitics and, perhaps more importantly, to achieve a measure of spiritual freedom from the oppressive state ideology . . . To make apolitical art in Cultural Revolution-era China was, in reality, categorically political.” Together this loose band of largely self-taught artists would gather for clandestine group outings and paint exquisite, pocket-sized…


ANTONY DAPIRAN Antony Dapiran is a writer, photographer and partner of the international law firm Davis Polk & Wardwell. He is fluent in Mandarin Chinese and has lived between Hong Kong and Beijing for almost 20 years. In his legal practice, Dapiran advises on corporate and capital market transactions and consults with galleries, artists and dealers on art market issues. (See FINE PRINT) PEDRO DE ALMEIDA Pedro de Almeida is a curator, writer and arts manager based in Sydney. Since 2012 he has been the program manager at Sydney’s 4A Centre for Contemporary Asian Art, where his recent curatorial projects include “Mass Group Incident” (2015) and “Beijing Silvermine” (2014). His writings have appeared in various publications such as Art & Australia, Artist Profile, Art Monthly Australia and Contemporary Visual Art + Culture Broadsheet. (See FEATURES) RACHEL…

melati suryodarmo on boris nieslony

I first met Boris Nieslony after my performance Der Sekundentraum (“The Second Dream”) in 1999 at the Healing Theater in Cologne, Germany. He had been watching from the back of the room and, after I had finished, he approached to introduce himself. Prior to our meeting that evening, a friend of mine had told me about Boris— that he was a well-respected performance artist based in the city and the organizer of the Performance Art Nordrhein- Westfalen, an annual performance art event in Germany. A year later at the same venue, during Spot + Places, a performance art event organized by local Cologne artists, he came and watched my piece, Exergie – Butter Dance (2000). Despite these initial meetings, it was not until 2001 when we were both invited to…


Brink City The capital of Queensland, Australia’s second-largest state, Brisbane seems perennially on the cusp, always on the lookout for defining moments and keen to mint a progressive identity. Previous stereotypes— a city-sized country town, home of the “branch office” or poor cousin of southern cities—are stale. Currently promoted as Australia’s “New World City,” Brisbane is challenged by fast growth and conflicting desires to retain its discrete communities, as intimate neighborhoods and character architecture face transformation into master-planned urban villages with hubs, nodes and corridors. The city’s in-between-ness is a powerful metaphor of its potential and striving—rather than stagnation or recession—and keeps at bay any consensus on what the city has become. Often flagged as a gateway for the Asia-Pacific region, Brisbane is marketed primarily via the promotion of its major events…

paint slinging campaign

The Palace of Versailles’s latest contemporary art exhibition featured British-Indian sculptor Anish Kapoor. Five large-scale outdoor works in the gardens along with an installation inside the Jeu de Paume room respond to the political history of the 17th-century complex that housed the royal family up until the French Revolution in 1789. Among the works was the 60-meter-long, 10-meter-high Dirty Corner (2011–15), a rusted-steel funnel that sat among giant fragments of uncut marble on the main lawn, with its cavernous, flared opening facing the Palace. In an online interview with French media outlet Le Journal du Dimanche on May 31, the 61-year-old artist’s colorful description of the piece as “the vagina of the queen who took power,” alluding to the Palace’s notorious former resident, Marie Antoinette, had shocked the public—including Versailles’s…

digital museums: necessary evil or blessing in disguise?

Museums around the world are going digital. Websites offer digitized images of their collections, enhanced viewing technology and online services including tours, educational programs and even curating opportunities. Yet while some institutions are proactively embracing new platforms and devices, others remain skeptical. Seeing technology encroach into every aspect of life, it is hard to believe that any museum can avoid the tide. Is the fear and controversy surrounding digitization of museum collections a sign of how technology is shaking the fundamental functions of museums? Do museums no longer define the rules of their own game? How should institutions weigh threats versus opportunities? It is widely accepted among museum professionals that digitization of a collection is good for its preservation. It offers increased opportunity for research, minimizes the physical handling of art…