In this issue

ArtReview Asia’s Autumn issue looks at art’s entanglement (both deliberate and accidental) with economic and political systems, from Singaporean artist Ho Rui An’s ‘performance-lectures’ on the pervasiveness of neoliberal logic to the evolution of collective practice in Thailand’s art scene as its very existence comes under political threat. Plus South Korean collective Rice Brewing Sisters Club’s explorations around the concept of ‘social fermentation’, and Agus Suwage’s deployment of satire and irony across a four-decade body of work grappling with the political changes in Indonesia’s modern history. Elsewhere in this issue, does the election of tribal leader Droupadi Murmu as president of India signal any real change for tribal communities in the country? And what is it about the intimate, wry and enigmatic films by Seoul-born director Hong Sang-soo that so rewards repeat viewing? Plus reviews of shows including Farah Al Qasimi’s first survey in her native Abu Dhabi, the eros-themed exhibition I Love You at Sydney’s White Rabbit Gallery, and solos by Ma Quisha, Thasnai Sethaseree and Mounira Al Solh; previews of shows opening this season across Asia and beyond; and reviews of books by Feng Li, Geetanjali Shree and Jhumpa Lahiri.

ArtReview Asia Magazine Description:

Launched in May 2013 and published quarterly, ArtReview Asia brings the values
of ArtReview to the artistic production of the world’s largest and most diverse
continent.

With its headquarters in Shanghai, and associate editors and contributors
spread across the continent, ArtReview Asia covers art from both the West and
the East, and a few places in between, and targets readerships based in Asia and
those with an interest in Asia’s art scenes worldwide. ArtReview Asia’s writers
include some of the leading critics and fiction writers in the region, among
them awardwinning Thai writer Prabda Yoon and leading Tamil writer Charu
Nivedita. Reviews have an emphasis on shows in Asia or by artists from Asia,
and the majority of ARA’s writers and critics are based in the territories they
cover. As Asia’s art scenes evolve and develop to include some of the most
commercially successful and internationally exhibited artists on the planet,
ArtReview Asia aims to provide a central and independent platform upon which
those contributions can be evaluated and discussed, without restraint or
restriction, and in full consciousness of the ideas and contexts in which they
have evolved. ArtReview Asia is uniquely placed to analyse art produced in Asia
in the context of both local specificities and the global art discourse.

In keeping with ArtReview’s core goals, ArtReview Asia is also dedicated to
exploring the ways in which ideas developed by artists are absorbed by other
cultural genres, from fashion and film to architecture and design. Artists,
however, are at its heart: previous editions have featured collaborations with
both the continent’s leading figures and its hottest new talents – from Rirkrit
Tiravanija to Yuko Mohri, from Lee Bul to Haegue Yang and Apichatpong
Weerasethakul, from Heman Chong to Birdhead, Waqas Khan, Chim Pom,
Yang Fudong and Koki Tanaka.