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category_outlined / 艺术与建筑
ArtAsiaPacificArtAsiaPacific

ArtAsiaPacific Nov/Dec 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!

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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vivid conditions

For months, a stream of unsettling events has flooded the world as the deleterious effects of rapid globalization and the nationalist backlash it has prompted shake the foundations of nation states. How is it possible to remain optimistic in what seems to be a downward spiral of grim tragedies and barbaric politics? In the November/December issue of ArtAsiaPacific, we look at artists who in spite of, or because of, all the dire news, have reimagined different possibilities for art’s relationship to the world. We begin with Etel Adnan, the Lebanese-American writer, essayist, filmmaker, poet and artist whose family sought refuge in Beirut following the collapse of the Ottoman Empire roughly a century ago; she then left her home city at the outset of the country’s sectarian civil war. Independent curator Daniel…

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contributors

DAVID ELLIOTT David Elliott is a visiting professor in curatorship at Hong Kong’s Chinese University. He is chairman of the board of Triangle Network/Gasworks in London, and an adviser for the Redtory Cultural District in Guangzhou. Elliott and ArtAsiaPacific will be collaborating on a book, “Art and Trousers: Tradition and Modernity in Contemporary Asian Art,” to be published in 2017. (See REVIEWS) DANIEL KURJAKOVIĆ Daniel Kurjaković is a curator, researcher and faculty member of the Zürich University of the Arts based between Paris and Zürich. His upcoming projects include an in-depth dossier on the work of English writer John Berger for Les Cahiers du Musée National d’art Moderne, Paris. Kurjaković founded the journal Torrent – Magazine for Source Material by Artists. (See FEATURES) MAN CHING-YING PHOEBE Man Ching-Ying Phoebe is a conceptual artist, independent curator…

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one on one praneet soi on jean-pierre gorin

Jean-Pierre Gorin walked into my studio at the University of California at San Diego late one night and said to me: “The only interest in traveling is to lose one’s luggage.” We became friends. JP is a complex figure. A filmmaker. A teacher. A storyteller. And together with Jean-Luc Godard, a co-founder of the Dziga Vertov Group. Seduction is imbued within his mercurial temperament. Gorin’s love for the essay privileges nuanced storytelling over the grand gesture. In his construction of an essay-film, I find parallels with the construction of space in historical miniature painting. Gorin’s extrapolations on the blurring between documentary and fiction continuously opens up a space within which the narratives behind my paintings grow. The politics of representation is a subject the French filmmaker returns to very often. The Dziga…

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dispatch kuala lumpur

Whether in politics or culture, Malaysia has never really gained the kind of international prominence that her immediate neighbors in Southeast Asia (such as Indonesia, Thailand or Singapore) have over the past decade. Recently rated as the second-most corrupt country on a list of emerging economies in Time magazine, Malaysia is, in the eyes of critics, practiced in mediocrity. Even in the art of corruption, it remains merely second best. On the other hand, Malaysia’s relative obscurity on the international stage might be the result of its racially plural makeup. One could say the very idea of Malaysia is resistant to convenient profiling. It is therefore commonly said that the Malaysian art scene is a fragmented one. This has resulted in a small but growing body of literature about Malaysian art…

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news ai weiwei crosses redline (again)

On August 24, Ai Weiwei announced on Twitter that his artwork Redline had been removed from the inaugural Yinchuan Biennale in Northwest China, just two weeks before the opening. The first edition of Yinchuan Biennale, entitled “For an Image, Faster than Light,” is curated by Kochi-Muziris Biennale co-founder Bose Krishnamachari, and features 73 artists from 33 countries, including Song Dong, Dana Awartini, and Joana Hadjithomas and Khalil Joreige. However, on September 9, the Biennale opened at the privately developed Museum of Contemporary Art Yinchuan (MOCA Yinchuan) without Ai Weiwei or his artwork. “China is trying to develop into a modern society without freedom of speech,” Ai said in a statement released on Instagram on August 24. While Biennale organizers attributed Ai’s exclusion to his “political sensitivity,” it was arguably the artist’s proposed…

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the point art-making in a troubled world

How does a person—for example, Kafka— sincerely believe that he must throw away his fate (and to him, to throw away his fate is to stay close to the truth), that he must become a writer? Perhaps this is an impenetrable mystery. And if there really is an answer to the question, then it can only be said that this mystery comes from some sort of artistic license (an ability to indiscriminately influence every moment or every outcome—positive or negative). —Maurice Blanchot, “De Kafka à Kafka” (1981) Last night, I was watching the news on television before bed. Reports on the boy rescued from war-torn Syria, the ailing dog in Taipei that was abandoned, agitated mainland Chinese women and pro-establishment politicians in Hong Kong were all muddled together in my head as…

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