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For 20 years, ArtAsiaPacific Magazine 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 6 times a year in Hong Kong, with editorial desks in 25 countries around the world. Our special annual issue, the ArtAsiaPacific Almanac, published in January, covers the major art events of the past year and forecasts the key trends of the year to come. The dominant artistic influence in the world today - and for many years to come emanates from the vast territory that lies between Turkey and the Pacific island of Tonga that we call the Asia-Pacific. This territory includes India, China, Japan, Australia, Thailand, Pakistan, New Zealand, Korea and Indonesia, whose combined populations make up an amazing half of the world's total population. Also included are Burma, Cambodia, Kiribati and Uzbekistan - places hitherto overlooked, but which like their gigantic neighbors, are producing cutting-edge art of stunning and unexpected quality. ArtAsiaPacific is authoritative, accurate, even-handed, exact and essential. Included in each issue is an up-to-date directory of the major galleries, not-for-profit organizations and museums with a focus on contemporary art from our geographical footprint. ArtAsiaPacific offers thoughtful reportage, analysis, comment and criticism to its readers made up of collectors, gallerists, curators, artists and those who want and who need to know the latest developments in the fastest-growing and most astonishing region of the contemporary art world.
In Issue 113, we highlight artists who have imaginatively forged links between themselves and others. Our cover artist is Shu Lea Cheang, whose practice—including her new Venice Biennale installation tackling the control of the contemporary body, 3x3x6—is examined by Banyi Huang. Julee Woo Jin Chung discusses ideas of plasticity, the molecular structures of polymers, and their connection to global patterns of migration and trade with Shirley Tse. Rachel Kent interviews Angelica Mesiti about the social and political nature of human communication. For Inside Burger Collection, curator Carlos Basualdo looks at the socially engaged art practice of Mohamed Bourouissa. For In Depth, AAP’s editors examine new works by Candice Lin, Christopher Kulendran Thomas and Annika Kuhlmann, Ho Tzu Nyen, and Tuan Andrew Nguyen. In our Essays section, Tobias Berger reminisces about Nam June Paik’s Electronic Super Highway installation at the 1993 Germany Pavilion, in which the late godfather of video art predicted today’s technology-driven hyper-connectivity. Rounding out our spotlight on the Venice Biennale, the Profiles section highlights the practices of three Venice pavilion artists—Song Ming-Ang, siren eun young jung and Mark Justiniani—representing Singapore, South Korea and the Philippines, respectively. For Where I Work, contributing editor Michael Young visits Indigenous artist Richard Bell, who will mount his provocative Embassy (2013– ) project as an unofficial installation in Venice. Laura Kina files a Dispatch from Chicago, and in The Point, Matthias Arndt of A3 – Arndt Art Agency argues for a more open-network approach to the art market. In One on One, artist Anida Yoeu Ali pens a moving tribute to the late Lee Wen (1957–2019). Ali explains how Lee, known for iconic “Yellow Man” performances that critiqued stereotypes of Asian identity, inspired generations of artists in Southeast Asia. Some journeys are just not possible alone.