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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.
Issue 115 reveals new approaches to power and resistance. Our cover feature delves into the interdisciplinary practice of Lawrence Abu Hamdan, who investigates the intersection of sound and freedom. Our tribute to the late curator Okwui Enwezor includes reflections by Alfredo Jaar and curators Ute Meta Bauer, Hyunjin Kim, and Hou Hanru. Minh Nguyen interviews filmmaker Nguyen Trinh Thi, tracing the literary and documentary roots of her practice. In Depth spotlights recent works by Joyce Ho, Christine Sun Kim, Naomi Blacklock, and Dylan Mira. Inside Burger Collection tracks the rise of self-taught graffiti artist Timothy Curtis. In Essays, Harry C. H. Choi's winning entry in our 2019 Young Writers Contest analyzes artistic expression in South Korea, while critic and curator David Xu Borgonjon’s piece considers the “ancestral turn” in the practice of Asian-American artists such as Wu Tsang, Taehee Whang, and Yen-Chao Lin. The issue also includes Profiles on İnci Furni, who in her sketches of people at leisure explores the idea of hobby as political inaction; Sydney Shen, whose layered obsessions expressed in sculptures and installations parallel that of meme culture; and arts patron Patrizia Sandretto Re Rebaudengo. Elsewhere, artist Htein Lin recalls his encounters with Antony Gormley’s works, critic Alessandra Alliata Nobili files a Dispatch from Milan, and Heather Hubbs, executive director of the New Art Dealers Alliance, explains why the organization canceled its New York art fair, and is instead supporting galleries through programs that bring audiences to their exhibition spaces. For Where I Work, AAP visits South Ho Siu Nam’s Hong Kong studio to look at the artist’s socially engaged projects. In Fine Print, lawyer Ryan Su explains how institutions must do due diligence to avoid public furor over the business interests of their patrons and board members.