category_outlined / Kunst og arkitektur


113 (May/Jun 2019)

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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renewed contact

In his 1954 book The Nature of Prejudice, psychologist Gordon Allport proposed that individuals’ inherent bias against people of different genders, races or classes could be overcome through increased contact under positive conditions. He was particularly concerned about the aftereffects of World War II, and how contact theory might help overcome racial and ethnic prejudices. As the world today continues to divide along these and other lines—national, political, religious—how can we embrace differences and establish new forms of communication? In the May/June issue of ArtAsiaPacific, we highlight artists who have imaginatively forged new links between themselves and others.Critic, curator and artist Banyi Huang studies the practice of net-art, bio-art and new-media pioneer Shu Lea Cheang, whose new work appears on the cover. Cheang, who is exhibiting at the 58th Venice…

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EDITOR & PUBLISHER Elaine W. NgDEPUTY EDITOR & DEPUTY PUBLISHER HG MastersMANAGING EDITOR Ysabelle CheungSENIOR EDITOR Don J. CohnASSOCIATE EDITOR Chloe ChuCOPY EDITOR Michael LacoyREVIEWS EDITOR Ophelia LaiASSISTANT EDITOR Pamela Wong EDITORIAL INTERN Xuan Wei YapCHINESE TRANSLATOR Esther ChanART DIRECTOR Heesun SeoDESIGNER Tiffany TamPHOTO EDITOR Esther ChanEDITORIAL DESKSAustralia Tim Riley WalshCambodia Erin GleesonChina (Beijing) Tom MounaChina (Guangzhou) Brady NgChina (Shanghai) Arthur SolwayHong Kong Karen CheungIndia (Mumbai) Ranjit HoskoteIndia (New Delhi) Deeksha NathIndonesia Hendro WiyantoJapan Kenichi KondoKorea Jayoon ChoiLebanon Nadia al-IssaMalaysia Lena NgNew Zealand Vera MeyPakistan Durriya KaziPhilippines Marlyne SahakianSingapore Ho Rui An Taiwan David FrazierUAE (Dubai) Kevin JonesVietnam (Ho Chi Minh City) Ruben LuongWest & Central Asia Sara RazaUSA (New York) Paul Laster, Christopher Y. Lew, Mimi WongUSA (Los Angeles) Jennifer S. LiUSA (San Francisco) Hanae Ko, Jessica KraftCanada Joobin Bekhrad Latin America…

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ANIDA YOEU ALIAnida Yoeu Ali is an artist whose works span performance, installation, video and photography. After residing for over three decades outside of Cambodia, she returned to Phnom Penh in 2011 as part of her Fulbright Fellowship. She is a founding collaborative partner of Studio Revolt and is currently the artist-in-residence at the University of Washington Bothell where she teaches courses in Global Studies and Interdisciplinary Arts.(See ONE ON ONE)MATTHIAS ARNDTMatthias Arndt is the founder and managing director of A3, Arndt Art Agency. The agency provides artist management and art advisory services and stages exhibitions in the commercial and public sector in institutions worldwide. Arndt was awarded Knight of the Order of the Arts and Letters by the French state in 2002 and is a member of the Asia-Pacific…

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we dare to dream: on lee wen

LEE WENStrange Fruit2003C-print photograph, 42 × 59.4 cm.Courtesy Singapore Art Museum.“Anida, nice bugs don’t bite but dream.” Lee Wen scribbled these words inside my copy of his monograph Lucid Dreams in the Reverie of the Real when I first met him in 2015. By that time, he already knew me as the “bug lady” because of my “The Buddhist Bug” series. I was simultaneously humbled and star-struck. Lee Wen showed an uncompromising commitment to performance as a language that unlocks possibilities for hybrid forms bridging life and art, and his works resonate for their poetic extensions of the body that unapologetically pushed against marginalization.By the late 1990s, Lee Wen was already a pioneering figure, a member of the Artists Village collective and Black Market International. At a time when performance…

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New networks of alterity and resistancePhoto documentation of Rebirth Garments’s performance at “Werq: Embodying Queer Spirit,” Gallery 400, Chicago, on October 24, 2015. Photo by Kiam Marcelo Junio. Courtesy Sky Cubacub.Chicago’s art scene reflects its reputation as a “City of Neighborhoods.” Artists from China, Hong Kong, India, South Korea and Taiwan, drawn to the School of the Art Institute of Chicago, consistently bring new international perspectives. Rapid gentrification is currently pushing out many working-class people of color from their neighborhoods and into areas where they are crossing racial lines. Beyond the major institutions in the downtown area—the Art Institute of Chicago, the Museum of Contemporary Art Chicago (MCA) and the Chicago Cultural Center—lies a network of nonprofit and experimental spaces that support artists of color, including Asian and Asian American…

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guggenheim and sfmoma deaccession major artworks

New York’s Solomon R. Guggenheim Museum has deaccessioned ZAO WOU-KI’s oil-on-canvas Untitled (1958), raising questions about the ethical boundaries of institutions’ roles as cultural custodians. Courtesy Sotheby’s Hong Kong.Two American museums, the Solomon R. Guggenheim Museum in New York and the San Francisco Museum of Modern Art (SFMOMA), are facing criticism for selling important postwar paintings at auction in the first half of 2019. Deaccessioning, the process of removing an artwork or object from a museum collection—usually by selling it—is controversial, especially for cultural institutions that receive public funding, as artworks often return to private collections. Both the Guggenheim and SFMOMA plan to use the proceeds from the sales for further acquisitions.On March 31, Zao Wou-ki’s oil painting Untitled (1958)—which had been in the Guggenheim’s collection since 1964—sold for USD…