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category_outlined / Kunst og arkitektur

ArtAsiaPacific 115 (Sep/Oct 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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the art of listening

In the mountains of Lebanon, villagers drape strands of shiny magnetic tape from old cassettes over fruit trees to keep the birds away. No one pays too much attention to the tape—or the audio content imprinted on it. But a few years ago, Lawrence Abu Hamdan unwrapped a coil from a clementine tree and listened to it. What the Turner Prize-nominated artist heard were the words of an Islamic scholar talking about an esoteric doctrine from the Druze minority that allows individuals to deny their faith when under duress. The tape became the basis of a series of works that continued the artist’s practice of “forensic listening,” which ArtAsiaPacific reviews editor Ophelia Lai describes in her cover feature on the artist as “methodologies of hearing, soliciting, and utilizing audio evidence.”…

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EDITOR & PUBLISHER Elaine W. Ng DEPUTY EDITOR & DEPUTY PUBLISHER HG Masters MANAGING EDITOR Ysabelle Cheung SENIOR EDITOR Don J. Cohn ASSOCIATE EDITOR Chloe Chu REVIEWS EDITOR Ophelia Lai COPY EDITOR Michael Lacoy ASSISTANT EDITOR Pamela Wong EDITORIAL INTERNS Kate Lau, Cassie Liu, Evelyn Goh, Leora Joy Jones CHINESE TRANSLATOR Esther Chan ART DIRECTOR Heesun Seo DESIGNER Tiffany Tam PHOTO EDITOR Esther Chan DESIGN INTERN Jack Wong EDITORIAL DESKS AUCKLAND Vera Mey BEIJING Tom Mouna BEIRUT Nadia al-Issa BERLIN Astrid Mania BRISBANE Tim Riley Walsh DUBAI Kevin Jones GUANGZHOU Brady Ng HO CHI MINH CITY Ruben Luong HONG KONG SAR Karen Cheung KARACHI Durriya Kazi KUALA LUMPUR Lena Ng LONDON Ned Carter Miles LOS ANGELES Jennifer S. Li MADRID Rebecca Close MANILA Marlyne Sahakian MEXICO CITY Larisa Escobedo MUMBAI Ranjit Hoskote NEW DELHI Deeksha Nath NEW YORK Paul Laster, Christopher Y. Lew, Mimi Wong PARIS Deepak Ananth PHNOM PENH Erin Gleeson SAN FRANCISCO Hanae Ko, Jessica Kraft SEOUL Jayoon Choi SHANGHAI Arthur Solway SINGAPORE Ho Rui An TAIPEI David…

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UTE META BAUER Ute Meta Bauer is an international curator and researcher on contemporary art, film, video, and sound, with a focus on transdisciplinary formats. She is the founding director of NTU Centre for Contemporary Art Singapore. She has curated or co-curated the World Biennial Forum No. 1, Gwangju (2012), 3rd Berlin Biennale for Contemporary Art (2004), and Documenta 11 (2001–02). (See FEATURES) DAVID XU BORGONJON David Xu Borgonjon is a curator and critic based in New York and Beijing. He is interested in the cultural history of Asian capital. He teaches at Rhode Island School of Design, and is part of the New Yorkbased Admin—a space for arts administrators to support one another, discuss pressing issues, and workshop new forms of cultural institutions. (See ESSAYS) HOU HANRU Hou Hanru is the artistic director of…

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htein lin on antony gormley

I was crossing London’s Waterloo Bridge on a bus to visit friends who worked for the BBC Burmese Service, which operates out of Bush House, when I caught a glimpse of a man standing on the pavement, looking as though he had just emerged from the River Thames. His body appeared to be coated with brown mud. On my return journey, I realized that the figure was a statue, and spotted another one perched on the roof of the nearby Hayward Gallery, where Antony Gormley’s solo exhibition “Blind Light” was on view. It was 2007. I had moved from Yangon to London the year before, at the age of 40, and finally had the opportunity to learn more about the international contemporary art scene. Curious, I visited the gallery, and to…

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A creative hub for fashion and design, Milan lagged behind other European capitals as an international contemporary art scene at the beginning of the new millennium. However, in the last decade, the city has experienced a significant “global turn.” The universal exposition hosted by Milan, Expo 2015, injected new creative impulses into the city’s architecture and arts. Among the urban regeneration projects were the Milanese headquarters of Fondazione Prada, and the Museum of Cultures, a publicprivate partnership created to promote dialogue between non-European communities through cultural activities. Although aspirations to allocate resources to build a contemporary art museum remain unfulfilled—due to the chronic shortage of national public funding—Milan’s network of private foundations and galleries, initiatives run by artist collectives, and festivals has no equal in Italy. The annual Milan Art Week, built…

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aichi triennale shuts down censorship show

On August 3, organizers of the 2019 Aichi Triennale shuttered “After ’Freedom of Expression?’”—a show about the history of censored works in Japan at Nagoya’s Aichi Prefecture Museum of Art—after receiving threats from members of the public. Those demanding its closure were incensed by Kim Seo-kyung and Kim Eun-sung’s Statue of Peace (2011)—a sculpture of a seated comfort woman representing the estimated 200,000 women in Korea, China, and across Asia who were forced into sexual slavery by the Japanese Imperial Army from the 1930s to the end of World War II. Aichi governor Hideaki Omura said at a press conference that the Triennale had received threatening emails, phone calls, and faxes. In one fax, the sender claimed they would bring a gasoline canister to the museum, echoing a recent deadly arson…