In this issue

ArtAsiaPacific’s September/October issue looks at artists who examine their environs. For our cover Feature, AAP reviews editor Brady Ng delves into the high-tech wizardry of Japan’s around-400-member collective teamLab, who dazzles audiences with immersive installations that utilize cutting-edge technology and are inspired by nature and premodern Japanese art. Daniel Kurjaković, curator of programs at Kunstmuseum Basel, spoke to Mumbai-based artist Nalini Malani, who captivates viewers using experimental artworks, including video-shadow plays, that explore the cultural legacies of partitioned India. AAP editor at large HG Masters leads us through the artistic explorations of Lebanese artist Lamia Joreige, including a video project initiated in 2000, Objects of War. AAP contributing editor Jyoti Dhar introduces the work of Sri Lanka’s Jagath Weerasinghe, who actively responds to the country’s civil conflict through expressive figure paintings, performances and installations. In our special Feature, Inside Burger Collection, Bharti Lalwani discusses ideas of home and inclusion within South-Asian-American communities. In Profiles, we hear about the virtual adventures of MIT Media Lab artist Sputniko!; New York-based Iranian abstract painter Ali Banisadr; London-based Faiza Butt, who questions gender and sexuality; and Australian artist Robert Andrew, who explores his Indigenous heritage. Elsewhere, regular contributor Joe Zhu files a Dispatch from Shenzhen, where artistic camaraderie and new exhibition spaces developed seemingly overnight. In One on One, Cambodian artist Khvay Samnang explains his admiration for Zhang Huan’s use of his body to narrate social politics. In The Point, Stephen Cheng of Hong Kong’s Empty Gallery, an unconventional space that embraces experimental art, asks future art patrons to “support what only you can, what only you will, what only you see, and don’t be afraid to let the beauty and the chaos in. Art should by nature make a mess.”

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.