category_outlined / 艺术与建筑

ArtAsiaPacific November 2014

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!

Hong Kong SAR China
ArtAsiaPacific Holdings Ltd
5 期号


the young and the restless

History has a devious way of repeating itself. Today we see waves of progress and turmoil, criticism and censorship, smacking up against each other in the public sphere. The digital revolution has given us life-changing technologies, most notably the internet, but is slowly leading the way to the replacement of people with machines. Around the world, political unrest is again on the rise, much of it fueled by growing concern over increasing nationalism and sectarianism, as well as economic disparity and the lack of government transparency. In this issue of ArtAsiaPacific, we look at a group of post-1980s artists who are attempting to comprehend the rapid transformations taking place today—from a micro-level of specificity, such as the situation of Hong Kong, to larger worldviews of the human relationship to nature…

lee wen on jason lim

The last samurai of "Sim Jia Core" I began to call Jason Lim “the last samurai” after an impressive rendition of his performance piece Last Drop (2005) at “Vital 07: The Essence of Performance,” a live art festival held in Manchester in 2007. His cool, focused concentration was something I’d never seen in him before and it was quite extraordinary. Amazingly, it was also during a phase when he was going through an accumulation of troubled relationships, their effects rippling out into other areas of his life and pushing him close to self-destruction. In spite of the internal turmoil, and in contrast to earlier works, this new performance showed such calmness and focus, as if he were seeking a release from the chaos, and perhaps also a miraculous balance. Lim is another…

dispatch: new delhi

On the Threshold The bipolarity of a capital city such as New Delhi is often characterized romantically, from the mythic and medieval to the colonial and contemporary, or cynically, via its urbanized issues of overt materialism, enormous inequalities and inefficient bureaucracies. Somewhere in between is the real and the imagined life of the city—the place for artists to exhibit and perform. With a staggering 25 million residents, Delhi is the world’s second-most-populous metropolis, whose territory extends into the National Capital Region including neighboring areas Gurgaon and Noida. Sequential waves of migration have given Delhi’s historic narrative its accentuations and inflections. Situated between the urban and rural, adjacent to a shopping mall and a 14th-century mosque, Khoj International Artists’ Association (Khoj) encapsulates the diversity of today’s post-liberalized India. While 17-year-old Khoj has taken criticism…

fiat veritas

On September 3, news broke that Dutch collector Bert Kreuk is suing Danh Vo, the Danish-Vietnamese artist representing Denmark at the 2015 Venice Biennale, for USD 1.2 million in what is likely to be a protracted legal battle. Kreuk has filed a lawsuit in the Netherlands’s Rechtbank court against Vo for allegedly failing to deliver a USD 350,000 work, which Kreuk claims to have commissioned for “Transforming the Known,” an exhibition of his personal collection at The Hague’s Gemeentemuseum held from June to September last year. Berlin’s Isabella Bortolozzi Galerie denies any sale of an artwork by Vo was agreed to. The collector has claimed damages of USD 1.2 million, which, Kreuk said in an interview with artnet.com, is a proven value in the secondary market and has nothing to do with…

valuing personal profit

For me education is not first giving answers, but giving questions. And if a student comes to me with a question, I consider it very carefully whether I should answer him or not. When I give the answer to an execution, then I take away from him the opportunity to invent it himself and discover it himself. I say, “Boy, I know I could answer you, but I prefer for your own profit not to tell you.” – Josef Albers, 1925 Higher education faces a number of significant challenges, especially in those disciplines that find it difficult to demonstrate direct contributions to preparing students for traditional career paths or to improving university rankings and research ratings. And then there are warnings that the destruction of current models of education will be brought…

survival of the hippest

“Change or Die!” is an axiom many artists are taking to heart, hitting the road to search for inspiration. Trailblazing art group Chim↑Pom, known for their rabble-rousing, unplugged themselves from the Tokyo grid, and headed out to villages around Dhaka. There, apingTarzan and Jane, they went jungly for a reconnaissance trip. Surely something offbeat and mildly offensive will emerge from their rural time out with the lively Bengalis. Meanwhile, trekking up and down the congested, rain-slicked hills of Istanbul were some of Southeast Asia’s most provocative artists, in town for the Arter exhibition “The Roving Eye.” Among them were FX Harsono, Melati Suryodarmo, Bui Cong Khanh and Lee Wen, guitar slung over his shoulder. But it was the husband-and-wife duo Alfredo and Isabel Aquilizan who really took in the sights, sounds…