In this issue

In the May/June issue of ArtAsiaPacific, we begin with the cover feature on Samson Young. AAP managing editor Ysabelle Cheung examines the classically trained composer’s 13-year career, during which he has investigated the cultural and historical associations of specific sounds. Young discusses his ambitious new work, which will debut at the Hong Kong Pavilion in Venice in May. Independent curator Eva McGovern-Basa sits down with Bali-born, Brisbane-based artist Tintin Wulia to discuss the “next frontier” in her project for the Indonesia Pavilion, “1001 Martian Homes.” AAP contributor Dominic Zinampan revisits the work of Manuel Ocampo, who along with Lani Maestro will present work in the Philippines Pavilion at Venice. Ocampo is known for taking aim at religion, corruption and neoliberal attitudes. Lee Wan will represent South Korea in Venice, along with Cody Choi. Guest contributor Yujin Min walks us through the artist’s unusual sculptures and his recent “Made In” video series that looks at the political implications of capitalism and urbanization. For our special column Inside Burger Collection, curators Nicolas de Oliveira and Nicola Oxley focus on Belgian artist Hans Op de Beeck, whose work has appeared in previous editions of the Venice Biennale. In Profiles, AAP looks at three artists pushing age-old media in new directions: Syrian-German “sound scientist” Rashad Becker, filmmaker and artist Tuan Andrew Nguyen, and ink artist Li Jin. In Essays, Thomas Mouna escorts readers through the historic hutong lanes of Beijing, where creative clusters are mounting art projects. From Kazakhstan, regular contributor Lesley Ann Gray considers sustainable art initiatives for post-oil economies. For the Point, Manu Park, director of Seoul’s Platform-L Contemporary Art Center, reflects on the blur between nonprofit and commercial art ventures. In Where I Work, UAE desk editor Kevin Jones travels to Sahand Hesamiyan’s studio in Tehran.

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.