In this issue

In this issue, we look at the oeuvres of New Delhi-based Bengali artist and poet Mithu Sen; Fahrelnissa Zeid (1901–1991), whose abstract paintings were revered in her native Turkey and Jordan; New Zealand’s Billy Apple, whose work encompasses 1960s Pop art, 1970s Conceptualism, institutional critique from the 1980s, and art incorporating cutting-edge science; and Hong Kong sculptor Annie Wan Lai-Kuen, who uses clay to disrupt expectations about familiar objects. For our special column Inside the Burger Collection, we feature Julian Rosefeldt’s “I Am at War with My Time,” a film project which excerpts and samples 14 different renowned manifestos.

In Profiles, AAP meets with Lebanese-American photographer George Awde, to discuss his series on Syrian migrant workers as well as collector Haro Cümbüşyan to learn more about his Istanbul-based micro-nonprofit Collectorspace. We sit down with Vietnam’s Dinh Q. Lê, to hear about his ongoing projects that focus on communities affected by regional conflict, and also introduce Khmer-American artist Anida Yoeu Ali, whose provocative performances look at race and religion-based conflict.

The Essays section looks at the legal challenges unfolding in the field of drone art, and ruminates on a recent initiative to auction off the naming rights to a garbage landfill in Manila. Our three-part series on the UAE’s arts infrastructure concludes with an analysis of various local collectors in Dubai.

In the Point, Sedition Art founder Harry Blain explains why digital limited-edition artworks constitute the most exciting platform for today’s artists and collectors. Taiwanese artist Charwei Tsai pens a One on One in admiration of the 20th-century Pakistani modern master Ustad Allah Bakhsh (1895–1978), a Dispatch report is filed from Dhaka, and for Where I Work we visit the Beijing studio of Xu Bing. In Fine Print, Hong Kong-based attorney Antony Dapiran discusses the urgent for signed contracts in high-value art transactions.

ArtAsiaPacific Magazine Description:

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.