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ArtAsiaPacific’s November/December issue looks at artists who make visible the hidden and overlooked. Independent curator Eva McGovern-Basa pens a cover Feature on Melati Suryodarmo, who is redefining performance art in Southeast Asia. In November, Suryodarmo will unveil the 17th Jakarta Biennale, which she oversees as its first female artistic director. AAP editor at large HG Masters looks at how Korean sculptor Chung Seoyoung is stretching the medium via what she calls the “third form”—an unknown territory derived from collisions among objects and everyday encounters, infused with social criticism. AAP London desk editor Ned Carter Miles lays out an analysis of Rashid Rana’s studies in distortions of spatial recognition. In our Special Feature, Inside Burger Collection, art historian Karin Zitzewitz considers the work of Mumbai’s Jitish Kallat after visiting his midcareer survey at the National Gallery of Modern Art, curated by Catherine David. In Profiles, we look at Hong Kong-based artist João Vasco Paiva’s excavated experiences in his adopted city; Sri Lanka-born, Sydney-based Ramesh Mario Nithiyendran’s raw, visually discordant totem sculptures; and John Chia and Cheryl Loh, whose collection includes pieces by artists who express a “Singapore-ness in art.” Mimi Wong’s essay examines a new generation of mainland Chinese diaspora artists and curators in New York who trace the footsteps of their forebears, tackling the cultural limitations of institutional support. In One on One, Indonesian conceptual artist FX Harsono explains his admiration for Timoteus Anggawan Kusno and his fictional historical narratives. For Where I Work, we travel to Yangon to visit the studio of husband-and-wife duo Tun Win Aung and Wah Nu, who delve into archival material to address the country’s past injustices. In the Point, Dame Jenny Gibbs, respected for her early efforts in spearheading private giving to the arts in New Zealand, lists the many motivations behind arts patronage.

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