In this issue

Our November/December issue begins with a feature of artist Li Shan and her landscape paintings from 1970s China. One of the youngest members of the No Name Painting Society, Li’s innocent paintings of park benches, vistas through archways, plant life and snowscapes in Beijing have now become a visual record of a China long forgotten. Meanwhile, AAP guest contributor Pedro de Almeida investigates the enigmatic works of Australian artist Nicholas Mangan, which encompass installation, sculpture, collage, photography and video, and AAP editor at large HG Masters discusses visibility, the nature of perception, and belief in the paranormal world with New Zealander artist Dane Mitchell, known in his home country for his irreverent art-world antics.

In our special column Inside the Burger Collection, guest contributor Thorsten Albertz sat down with filmmaker Pierre Bismuth to discuss his forthcoming film Where Is Rocky II? And from Dhaka, art historian Melia Belli Bose introduces the work of three leading women artists from Bangladesh—Tayeba Begum Lipi, Dilara Begum Jolly and Nazia Andaleeb Preema.

For our Profiles section, AAP reviews editor Hanae Ko met Tibetan artist Tsherin Sherpa, whose work will be included in the 8th Asia Pacific Triennial of Contemporary Art in Brisbane. In Singapore, AAP associate editor Sylvia Tsai interviewed Eugene Tan, founding director of the new National Gallery Singapore. AAP contributing editor Chin-Chin Yap visited Aarnout Helb, collector and founder of the Amsterdam-based Greenbox Museum of Contemporary Art from Saudi Arabia. And AAP contributing editor Michael Young met with Sydney-based painter Del Kathryn Barton prior to her debut solo exhibition in Singapore.

Elsewhere, we file a Dispatch report from Brisbane, and in Fine Print, Hong Kong-based art lawyer Antony Dapiran reminds collectors of the importance of having a contract. And for Where I Work, we visited the London studio of British-Iranian artist Shirazeh Houshiary.

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.