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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.
ArtAsiaPacific’s March/April issue explores topics of technology and communication. Our cover Feature is a retrospective take on the work and life of Keiichi Tanaami, whose macabre paintings, installations and avant-garde animations conflating Japanese Edo-era aesthetics with Americana signaled the rise of the pop art movement in Japan in the late 20th century. In the second Feature, AAP reviews editor Ophelia Lai explores Timur Si-Qin’s complex multimedia installations, which, in Lai’s words, “aim to upend the artificial dualisms that alienate humans from nature.” Our special Inside Burger Collection Feature is a sparse recollection of Gianni Jetzer’s multi-artist exhibition “How to See [What Isn’t There],” held at the Langen Foundation in Neuss, Germany. Rounding out the Features is a new section called In Depth, in which AAP editors dissect recently produced artworks in close detail. In Profiles, we spotlight art patrons from the Asia-Pacific region who stand out from the pack: Christoph Bendick, Sue Cato, Frank F. Yang, Patrick Sun and Edmund Cheng. Eugenie Tsai files a Dispatch from New York. For Where I Work, AAP visits Suki Seokyeong Kang in her studio at the foot of Inwangsan Mountain in Seoul. In One on One, Ellen Pau, long considered a pioneering figure in Hong Kong’s video and new-media art scene, discusses multidisciplinary artist and theater director Danny Yung’s revolutionary Video Circle piece. In her Essay, Nina Horisaki-Christens discusses Yoshida Minoru’s works from the late 20th century. She writes: “Communication is never straightforward or easy, yet the struggle to connect across linguistic divides generates new meanings that enrich our understanding of ourselves and our worlds.”