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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 the March/April issue of ArtAsiaPacific, we begin with the cover Feature on the late Emirati artist Hassan Sharif (1951–2016). AAP UAE desk editor Kevin Jones looks back at how Sharif challenged societal convention. In Lahore, AAP contributing editor Jyoti Dhar reflects on Lala Rukh’s career of 40-plus years, beginning with her role in the Women’s Action Forum. Dhar explains how Rukh’s activist pursuits inform hauntingly elegant, minimal works. In Hong Kong, reviews editor Brady Ng sits down with multimedia artist Kingsley Ng to discuss his project Twenty-five Minutes Older (2016–17), which involves a moving tram and will be restaged to mark Art Basel Hong Kong’s fifth edition in March. In our special column, Inside Burger Collection, art scholar Giusi Daniele examines the work of conceptual artist Ho Siu Kee, who explores the perception of self. To mark the many art fairs that launch in March, our Profiles focus on six patrons active in the region: Manila’s former chairman of the National Commission for Culture and the Arts, Jaime C. Laya; Jenny Wang, president of Shanghai’s Fosun Foundation; Sydney’s Clinton Ng; Istanbul’s Agah Uğur, CEO of Borusan Holding; and Evan Chow and Jin-Goon Kim in Hong Kong. For the Essays section, contributing editor Ingrid Dudek considers the murky world of art forgeries and authentication. In Fine Print, Singaporean art lawyer Ryan Su pushes for protective measures for art “connectors.” In The Point, Adrian Cheng—the brains behind Hong Kong’s K11 Art Foundation—explains arts patronage in the 21st century. For One on One, Lantian Xie ruminates on Abu Dhabi-based writer Deepak Unnikrishnan’s debut novel Temporary People. In Reviews, Dominic Zinampan dives into the book No Chaos No Party: 28 Artists in Metro Manila. For Where I Work, AAP visited the Ilsan studio of Dansaekhwa artist Ha Chong-Hyun, whose works from the 1970s—one of South Korea’s darkest political eras—testify to the various forms of nonviolent resistance.