Arte & Arquitectura
ArtAsiaPacific

ArtAsiaPacific

118 (May/Jun 2020)

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!

País:
Hong Kong SAR China
Língua:
English
Editora:
ArtAsiaPacific Holdings Ltd
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5 Edições

nesta edição

7 minutos
lu yang

Lu Yang’s professional life unfolds almost exclusively in the digital realm, where, for over a decade, he has been creating vivid animations and computer games. Populating these cyberspaces are eccentric characters influenced by Japanese anime, Hindu polytheism, and various subcultures, who flit between deadpan violence and understated humor as they engage in battles, and, at times, dance-offs. Yet, every interstitial spaceship has a dock, so to speak; in November, I met with Lu in his Shanghai studio—the beating heart of his virtual universe. Lu’s studio is also his apartment where he lives with his husband, the performance artist, dramaturge, and director Chen Tianzhou, whose own artistic activities, produced partly under the theatrical collective Asian Dope Boys, are a hybrid mashup of absurdist dramas and techno raves. Their duplex is in a…

1 minutos
mai-thu perret

Creating Utopia In Mai-Thu Perret’s fictional text The Crystal Frontier (1999–), a group of women renounce the capitalist and patriarchal conventions of Western neoliberal society and set up a commune in the desert of southwest New Mexico. Their utopic experiment, New Ponderosa Year Zero, has subsequently guided Perret’s visual art practice for over two decades. The artist’s sculptures, paintings, textiles, and ceramics can be imagined as what the women produce or as scenarios from their lives. Female-centric craft traditions, including weaving, as seen in the image above of a work in progress, are particularly important for the women as alternatives to mechanical production. More broadly, these objects draw from diverse disciplines, histories, and cultural movements, from the egalitarian designs of modernist architect Lina Bo Bardi to the Kurdish Women’s Protection Units…