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category_outlined / 艺术与建筑
ArtAsiaPacificArtAsiaPacific

ArtAsiaPacific Sep/Oct 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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购买期刊
HK$117.42
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HK$665.38
5 期号

本期

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the first 100

The editors have anticipated ArtAsiaPacific’s 100th issue for more than a year. In preparing for this milestone we went back to the inaugural issue, published in March 1993 in Sydney, to look for insight into the ideas and motivations behind the magazine, which Leon Paroissien, senior editorial advisor and director of the Museum of Contemporary Art Australia, Sydney, outlined in “Art and AsiaPacific: An Australian Introduction.” He framed it from Australia’s multicultural perspective—discussing the influx of immigrants, particularly from Europe and Asia in the second half of the 20th century, and the pragmatic economic policies of the 1990s, which linked Australia to her geographical neighbors to the north. Paroissien elaborated on a desire to articulate “a sense that countries in Asia have evolving and dynamic contemporary visual cultures.” Although this…

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contributors

STEPHEN JONES Stephen Jones is a Sydney-based video artist, electronic engineer and video-art historian. His book Synthetics: Aspects of Art and Technology in Australia, 1956–1975 (2011), published by MIT Press, set a benchmark for defining and writing on new media and video-art history by examining the early years of the Australian art scene in relation to the present day. (See FEATURES) PETER R. KALB Peter R. Kalb is Cynthia L. and Theodore S. Berenson associate professor of contemporary art at Brandeis University in Massachusetts. His 2013 book Art Since 1980: Charting the Contemporary is a study of political, theoretical and aesthetic currents in today’s art world. His essays have appeared in periodicals such as Drawing in the 21st Century, Andrea Bowers and Art in America. (See REVIEWS) ANNIE JAEL KWAN Annie Jael Kwan is a…

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firenze lai on francis bacon

FRANCIS BACON Landscape near Malabata, Tangier 1963 Oil on sand and canvas, 198 x 145 cm. Photo by Prudence Cuming Associates Ltd. Image taken from Francis Bacon: Catalogue Raisonné, published in July 2016 by The Estate of Francis Bacon and distributed internationally by Thames & Hudson Ltd. Copyright and courtesy The Estate of Francis Bacon. All rights reserved, DACS 2016. Roughly more than a decade has passed since I first encountered the work of British painter Francis Bacon (1909–1992). It happened at the Hong Kong Book Fair, where I discovered a monograph on the artist on a shelf full of art books. I wouldn’t call it “love at first sight,” but I couldn’t stop looking through the pages. I had so many questions about his works and many feelings I couldn’t describe. In…

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busan

View of Busan from the 118-meter-high Busan Tower at Yongdusan Park. Courtesy Tom Page. Busan, the second-largest metropolis in South Korea, was one of three open ports of the Joseon Dynasty (1392–1897), making the coastal city an important economic and logistical center since the 19th century. During the Korean War (1950–53), the city swelled through the inflow of refugees from an occupied Seoul, even acting as a “provisional capital” at the time. As a result, in the context of Busan’s history, “open port” and “war” are very specific keywords that heavily shape people’s lives today. Western art was first introduced to the people of Busan in the early 1900s through Japanese settlements, a result of Japan’s colonization of the Korean peninsula in the first half of the 20th century. Subsequently, in the…

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authenticity crisis

To the surprise of local police, Korean artist LEE UFAN authenticated 13 allegedly counterfeit paintings in late June. Lee pictured above with his sculptural installation, Relatum – Expansion Place (2008) at PaceWildenstein, New York, 2008. Photo by Curtis Hamilton for ArtAsiaPacific. The controversy began at a K-Auction sale in December 2015 when the Galleries Association of Korea questioned the authenticity of one of the lots, Lee’s painting From Point No. 780217 (1978). Upon investigation, the Seoul Metropolitan Police Agency confirmed the artwork’s certificate was fake, and had the same registration number as a landscape painting by artist Kim Ki-chang. In January, the police launched a full investigation. Rumors of fraud have circulated around paintings from Lee’s iconic series “From Point” (1972–84) and “From Line” (1972–84) since 2012. On June 2, police identified…

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promises and perils of connectivity

Twenty years ago, during the mid-1990s, I was committed to building an artistic career. I desperately wanted to explore the global art scene and experiment with methods, ideas and media not yet available or discussed in the Bangladeshi art scene—but it was not easy. I was lucky enough to have next to me my partner Mahbubur Rahman, also an artist, who encountered the same obstacles and experienced the same frustrations. He became my mentor during the course of my journey as an artist and cultural organizer. I remember working on the application for our first artists’ residency program at the Irish Museum of Modern Art in Dublin in the beginning of 2000. We used to wait for the mail, which took days to arrive in Dhaka or reach Dublin. If I…

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