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.

ArtAsiaPacific’s Almanac 2023 observes the year of transition. We compiled the major comings and goings—from art museum expansions to unfortunate closings, new hires and recent departures, big awards, and ambitious future plans. The Cultural Currency section reflects on the rocky sophomore year for NFT marketplaces, the return to large-scale art fairs, and the sudden popularity of “ultra-contemporary” artists at major international auctions. In City Reports, we hear from 14 artists, writers, and curators who have been closely following events in the places where they live and work. AAP’s Seoul desk editor Andy St. Louis reports on Korean art’s moment in the commercial limelight. Our correspondents Beverly Yong and Rachel Ng in Kuala Lumpur assessed how the pandemic motivated art organizations to reach new audiences. From Jakarta, Chabib Duta Hapsoro reports on Indonesia’s efforts to decentralize funding away from the capital region, while Quddus Mirza reflects on the year in art amid devastating floods in Pakistan. Associate editor Pamela Wong caught up with the artist collective Dumb Type, who represented Japan at the 59th Venice Biennale, while assistant editor Nicole M. Nepomuceno conversed with Pio Abad about his exhibition in Manila amid a contested presidential election in the Philippines. In Hong Kong, associate editor Tiffany Luk sat down with Sharon Lee to hear about her photo-based projects reflecting on changes in the city, while deputy editor HG Masters spoke with Munem Wasif about his long-term engagement photographing and filming in Old Dhaka. The issue also celebrates six Artists of the Year whose projects and exhibitions drew attention to pertinent issues and gained traction in 2022: Ali Cherri, Lu Yang, Mire Lee, Jes Fan, proppaNOW, and Tammy Nguyen. In the back of the issue are noteworthy exhibitions and festivals that captured the zeitgeist, along with the events that we will have our eyes on in 2023.

So much of art is about appearances; and yet with these visual cues, we are drawn into other worlds. In Issue 131’s cover Feature, we delve into the practice of itinerant artist Pacita Abad. Assistant editor Nicole M. Nepomuceno argues that readings of Abad’s works often focus on their vibrant colors while overlooking the material textures that reveal the varied visual cultures that influenced the artist. Likewise going under the surface, the films of Hong Kong-based Lee Kai Chung explore the psychological effects of the Second Sino-Japanese War, as Lee details to managing editor Chloe Chu in our second Feature. Highlighting intangible forces, in Inside Burger Collection, artist Yehudit Sasportas discusses with critic and curator Gesine Borcherdt the energy surrounding a submerged WWII bunker in northwestern Germany. In Up Close, we spotlight three recent works by Mika Rottenberg and Mahyad Tousi, Chang Yoong Chia, and Riya Chandiramani.

Profiles focuses on Baghdad-born artist Ali Eyal, who “examines the places where violence might dwell, from urban and rural landscapes to the unconscious,” contributor Amin Alsaden writes. The second Profile looks at Radhika Khimji, whose multimedia works are featured in the inaugural Oman Pavilion at the 59th Venice Biennale.

In Essays, contributor Louis Ho charts the history and future of queer art in Singapore following the repeal of a colonial-era law that had criminalized intimacy between men. In Dispatch, we hear about Bangkok’s busy year-end calendar. In the Point, curator and writer Naz Cuguoğlu reflects on her participation in the Whole Life Academy. For One on One, Hong Kong artist Leung Chi Wo celebrates the installations of the late Christian Boltanski. Finally, for Where I Work, deputy editor HG Masters visited the studio of Hong Kong painter Henry Shum. Encouraging encounters with realms beyond the visible is one of the reasons Shum and many other artists in this issue pursue art-making and why we’re drawn to them.

Are there alternatives to fighting power with power? The simultaneously whimsical and
disturbing images of ArtAsiaPacific’s cover artist for Issue 130, Thao Nguyen Phan, suggest that
there are. In her interview with associate editor Pamela Wong, Phan discusses how her
multimedia projects revisit dark chapters in Vietnam’s history through folklores, oral histories,
and prosaic accounts, and thus open official narratives up to poetic interpretation. Similarly, in
her moving-image works, Nalini Malani foregrounds the effects of war, violence, and the
repression of women while eschewing what she calls a “slogan-esque” approach. The
acclaimed multimedia artist elaborates on art’s unique functions beyond didacticism and her
preparations for her solo exhibition “Vision in Motion” at M+ in the second Feature. In Up Close,
the editors delve into recent projects by Heidi Lau, Boo Sze Yang, Monique Yim, and Serene
Hui Sze Lok. Lisa Movius, for Inside Burger Collection, reflects on the works of seminal artist
Song Dong. Profiles examine the practices of socially engaged artists Kiri Dalena and Elia
Nurvista. Imaad Majeed files a Dispatch from Colombo, where mass protests, initially sparked
by rising living costs, continue to surge through the country with unprecedented support. In the
Point, former art professor Kurt Chan argues how the pandemic could be an opportunity for
Hong Kong’s universities to revamp their methods for teaching visual arts. Where I Work visits
the Geneva studio of Mai-Thu Perret, whose sculptures and paintings speak to the experiences
of womanhood through allusions and references. For One on One, artist Jakkai Siributr pays
homage to the Gee’s Bend quilters, who use the quilt form to express their identity and
experiences, in the face of the harrowing racism of the Deep American South. Besides
encouraging us to recognize the multivalent nature of our world, the artists of this issue affirm
that there is a time to reflect and also a time to act.

For the cover feature of Issue 129, Yuki Kihara spoke to assistant editor Nicole M. Nepomuceno about “Paradise Camp,” the
New Zealand Pavilion at the 59th Venice Biennale. Kihara shared her art-historical research leading up to the project, her
collaboration with the Fa‘afafine community in Samoa, and her approaches to subverting heteronormative conceptions of
paradise. The six-decade-plus practice of Ha Chong-Hyun—whose experimental work is also being celebrated in a solo
exhibition in Venice this year—is the focus of our second feature, written by Seoul desk-editor Andy St. Louis. For our third
feature, contributor Portia Placino takes readers to Sagay City, on the Philippine island of Negros, where Nunelucio Alvarado is
based. Since the 1970s, Alvarado has been invested in the communities of Negros, particularly its migrant workers, or sacadas.
In Up Close, the editors examine new works by Chu Chun-Teng, Tap Chan, and Jennifer Tee. Inside Burger Collection features
an interview with the artist duo Elmgreen & Dragset. Profiles spotlight Hong Kong’s representative artist at the 59th Venice
Biennale, Angela Su, and the Mumbai-born Amol K. Patil, who is participating in documenta fifteen. Deputy editor and deputy
publisher HG Masters’ essay reflects on the discussions held at Sharjah Art Foundation’s March Meeting 2022, titled “The
Afterlives of the Postcolonial.” Desk editor Hutch Wilco files a dispatch from Shanghai, where a zero-Covid policy has severely
damaged the city’s art scene. In The Point, artist Ahmet Öğüt shares lessons and values from artists he considers his mentors.
Rushdi Anwar reflects on the influence of 17th-century Persian-Iranian philosopher Mulla Sadra Shirazi on his own multimedia
works, in One on One. Lastly, for Where I Work, Los Angeles desk editor Jennifer S. Li visited the studio of painter and sculptor
Hanna Hur, whose relationship with the recurring motifs and inspirations behind her practice is continually deepening.

The simple activity of hanging out propelled the establishment of many of Indonesia’s collectives in the 2000s. Among the groups born of this era are Taring Padi, for whom hangouts serve as the basis for collective discussions, which can then lead to solidarity movements alongside women, Indigenous peoples, the LGBTQ community, farmers, and others fighting for their rights. In our cover Feature, contributing writer Kerstin Winking details the group’s approaches to pacifist activism as they respond to the evolving conditions of marginalized communities. In the second feature, deputy editor HG Masters talks with Jumana Manna about her new film Foragers (2022), which depicts Palestinians gathering wild herbs in defiance of Israeli laws. Reflecting on her interest in Levantine agricultural practices and ideas of resilience, Manna explores the ties with her earlier films and her sculptures. In Up Close, the editors spotlight three recent works: Yang Yongliang’s video Five Dragons (2020); Tammy Nguyen’s Freehold (2022) paintings; and Leung Mee Ping’s installation Sound of Silence (2021). For Inside Burger Collection, curator Hendrik Folkerts examines the work of the enigmatic artist Vaginal Davis. Elsewhere, associate editor Pamela Wong profiles Tsubasa Kato, whose collaborative projects are occasions for community members to rally together. Managing editor Chloe Chu spoke to Shubigi Rao about her ten-year-project Pulp: A Short Biography of the Banished Book (2014– ), on view in the Singapore Pavilion at the 59th Venice Biennale. Essays delves into Jakarta’s Gudskul and the potentials of alternative art schools in Southeast Asia. For Dispatch, we hear from curator Olga Veselova about the aftermath of Almaty’s violent protests in January. In Where I Work, writer Emily Chun visits the Brooklyn studio of Stewart Uoo. Lastly, in One on One, James Clar explains how Pierre Huyghe taught him about constructing narrative experiences that reflect humanity’s values.

For the cover Feature of AAP’s Issue 127, multimedia artist Simon Fujiwara spoke to contributor Frances Arnold about his latest works, which revolve around Who, the cartoon bear seen on this issue’s cover, who is on a quest to define themself in a world full of projected personas and images. Tracing the turns in Fujiwara’s practice, Arnold reveals his evolving approach to understanding identity-construction. For our second Feature, Portia Placino spoke to experimental filmmaker Kidlat Tahimik about his open-ended approach to making films and his recent series of large-scale installations that dramatically narrate episodes from Philippine history. In Up Close, the editors spotlight new works by Young-Hae Chang Heavy Industries, Breakwater, and Yuko Mohri. Inside Burger Collection highlights supernova artist Cao Fei. Profiles feature multimedia artists Sin Wai Kin and Barış Doğrusöz. Christopher Whitfield’s Essay reflects on Oscar Murillo’s Frequencies (2013– ) project and explores pedagogical models that encourage international solidarity among students. Liang Jianhua of Guangzhou’s HB Station explains the organization’s approaches to providing alternatives to China’s art education in The Point. For Dispatch, cultural workers Osveanne Osman and Aqilah Ali share how histories of colonialism and Brunei’s economic reliance on petrochemicals continue to impact the local arts community. In Tribute, Rayya Badran and Rhana Devenport celebrate the lives and works of late artists Etel Adnan and Hossein Valamanesh. In a new column titled Making Of, assistant editor Nicole M. Nepomuceno and editorial intern Victoria Chan reveal the processes behind Tino Sehgal’s ever-evolving performances. Finally, in One on One, artist and curator Enoch Cheng pays homage to writer and actor Michaela Coel, whose work has given him the courage to say that underneath attempts at maintaining normalcy, we are not alright.

ArtAsiaPacific’s Almanac 2022 recalls the second year of the pandemic and looks ahead toward what the post-pandemic era might be like. 

We compile 2021’s key news, from institutional disputes to solidarity campaigns, censorship issues, and the emergence of new public platforms around the globe. The Cultural Currency section details the art market’s latest developments, including the astronomical rise of NFTs, which have changed the industry. 

In City Reports, 15 artists, writers, and curators share their communities’ responses to the events of 2021 and their focuses moving into the new year. Curator Chloe Chow describes the opening of Hong Kong’s much-anticipated M+ museum amid concerns for freedom of speech. Yogyakarta-based curator Alia Swastika expounds the growing importance of collectivism, decentralization, and decolonization in Indonesia’s social movements. Nav Haq, associate director of the Museum of Contemporary Art Antwerp, similarly reflects on discussions around decolonization and the necessity of alternative models within such discourse in Europe.

In an interview with assistant editor Pamela Wong, Ryuta Ushiro from the group Chim↑Pom shares his thoughts on the controversial Tokyo 2020 Summer Olympics. For photographer Sohrab Hura, in 2021, issues in broader Indian society became closely aligned with the art world: “Even art comes from the privilege of caste, class, region, city, and language. People are questioning these elements within the very hierarchical spaces of art and there is something in flux right now.”

The issue also celebrates six Artists of the Year whose projects and exhibitions drew attention to pertinent issues and gained traction in 2021: Yu Ji, Yee I-Lann, Park Seo-Bo, Monira Al Qadiri, Bani Abidi, and Sung Tieu. In the back of the issue are noteworthy exhibitions and festivals that captured the zeitgeist, along with the events that we will have our eyes on in 2022.

ArtAsiaPacific's November/December issue looks at artists who have devoted their practices to creating space for reflection, reconnection, and healing. Our cover feature is a conversation between Tuan Andrew Nguyen and associate editor Ophelia Lai about the role of voice and song in the Ho Chi Minh City-based artist’s recent film works. For the second feature, deputy editor HG Masters spoke with pioneering modernist painter Park Seo-Bo, who looks back on his career on the eve of his 90th birthday. Closing out the Features section is Up Close, where the editors spotlight new works by Lee Kai Chung, Bani Abidi, and Yao Qingmei.
In Profiles, we trace the choreographic practice of Berlin-based Choy Ka Fai, and the  politically engaged art projects of Leslie de Chavez. 
In his essay, Hutch Wilco interviews the organizers behind some of Shanghai’s new grassroots art initiatives about their strategies and motivations. The second Essay looks at the evolution of the archival turn, with a focus on “Portals, Stories, and Other Journeys,” an exhibition rooted in the repository of materials compiled by artist Ha Bik Chuen. 
The issue also includes The Point by artist, curator, and educator Taeyoon Choi who probes how we might address the ways our virtual realms perpetuate violence and inequity. Filing a Dispatch from Beijing, Jaime Chu expounds on how social-media metrics and Chinese internet culture have affected what gets shown in China’s art-exhibition spaces. Meanwhile, in One on One, artist Monira Al Qadiri describes her fascination with the writing of novelist Yukio Mishima, who has long been sidelined in Japan for his homosexuality, extreme right-wing politics, and public suicide following a failed coup.
Finally, for Where I Work, contributor Tiffany Leung visited the riotous London studio of Chila Kumari Singh Burman, who reminds us “that imaginative joy is entwined with subversion and resistance, and prevails through darkness into light.”

How can we communicate with our ancestors, and what can we learn from the way they survived, and thrived, as communities? In our cover feature, managing editor Chloe Chu speaks to artist Zadie Xa about works that stage quasi-mythical rituals and environments populated by shamans and animals. In our second feature, Cleo Roberts-Komireddi caught up with Gala Porras-Kim to learn about the Los Angeles-based artist’s engagements with cultural artifacts and the institutions in which they are kept and displayed.
Up Close shines a spotlight on recent projects by Liu Yin, Shuruq Harb, and Pınar Öğrenci. Inside Burger Collection focuses on the legendary artist Lee Ufan.
This issue’s Essay is penned by Susan Htoo, the winner of the 2021 Young Writers Contest, and looks at the virtual exhibitions and social-media activities of artists from Myanmar.
Kang Seung Lee, Nabuqi, and experimental noise musician Xper.Xr appear in Profiles. In The Point, Yi Cao, from the Art Institute of Chicago, discusses the ways in which museums need to make themselves relevant to their communities in the wake of social-justice movements. In Dispatch, Seattle-based artist and educator Robert Rhee reflects on the Pacific northwest city’s stuttering efforts to get back to “normal.”
In Fine Print, art lawyers Yayoi Shionoiri and Ryan Su discuss the practical legal issues that NFT creators face, and offer a sample contract for artists and collectors to use. Mark Salvatus, in One on One, describes how installation artists Alfredo and Isabel Aquilizan inspired his future practice.
Finally, for Where I Work, associate editor Ophelia Lai visited the studio of Hong Kong artist Leelee Chan, who imbues found materials with biomorphic qualities. In a world that produces more and more objects every day, Chan seeks out moments of material beauty in discarded remnants. Like Xa, Porras-Kim, and others, Chan offers a model for learning to adapt to the conditions of our new world, just as our ancestors did before us.

Whether adopting pseudonyms, exaggerating personas, or inventing alter-egos, artists have been leading imagined existences throughout time in order to examine the fine lines that divide fiction and reality. Beginning in 1967, the Los Angeles-based artist Carl Cheng began branding his creations under the name John Doe Co., a wryly generic corporate moniker for his “Nature Machines,” which deputy editor HG Masters explores in this issue’s cover Feature. Hendrik Folkerts considers Evelyn Taocheng Wang’s allusions to a host of artistic and literary figures in her paintings and videos in our second Feature. Up Close highlights new works by Jes Fan; Deniz Gül, and Zhao Zhao. For Inside Burger Collection, Kimberly Bradley traces the arc of artist Bianca Kennedy’s practice, from her films on bathing to her speculative animations.

Profiled in this issue are multimedia artist Aki Inomata and photographers Pao Houa Her Miti Ruangkritya. This issue’s Essay, by Berlin desk editor Clara Tang, is focused on the project “Owned by Others,” which sought to create conversations around the colonial histories behind the artifacts held on Berlin’s Museum Island. 

In Dispatch, curator Raphael Fonseca describes the recent shifts in the arts landscape of São Paulo. For the Point, artist, curator, and incoming Asia Art Archive director Christopher K. Ho probes how transnational communities of the many Asian diasporas might find new forms of solidarity. Artist Trevor Shimizu pens the latest One on One column, paying tribute to Dan Graham.

Lastly, for Where I Work, contributor Frances Arnold visited aaajiao’s Berlin studio, where the new-media artist creates large-scale installations, websites, and interactive games reflecting on humanity’s relationship with virtual environments.


Photography is often described as a passive media—a recording of things that happen before the lens. But for many contemporary artists and photojournalists, it is a field of active investigation. In the cover Feature of AAP’s May/June issue, Cleo Roberts-Komireddi examines how a surge in majoritarian politics in South and Southeast Asia is driving photo-activism, archiving initiatives, and collaboration between collectives across the region.

Our second Feature spotlights Los Angeles-based multimedia artist Candice Lin, whose touring solo exhibition “Pigs and Poison” historicizes the Covid-19-heightened scapegoating of Asians during pandemics. Lin has long focused on “non-humans and the dehumanized, creating projects that cross past with present and future, self with other,” writes managing editor Chloe Chu.

In Up Close, the editors examine projects by Sarah Choo Jing, Mika Tajima, and Minouk Lim. For Inside Burger Collection, curator Marie Muracciole interviews Lebanese-American artist Simone Fattal. Abdullah M. I. Syed, Agung Kurniawan, and Ayoung Kim appear in Profiles.

Elsewhere, deputy editor HG Masters surveys the nearly 12-year-long run of Beijing’s alternative space Arrow Factory; Chicago artist Aram Han Sifuentes discusses US voter suppression; and Haig Aivazian pens a One on One about 19th-century French painter Eugène Delacroix. In Dispatch, we hear about the intergenerational support between citizens and artists fighting for democracy in Myanmar. For Fine Print, lawyers Juyoun Han and Patrick K. Lin dissect how Section 230 of the US Communications Decency Act allows social media platforms the freedom to decide how and what content to ban, and how it impacts artists online.

Lastly, for Where I Work, contributor Daphne Chu visited the Taipei studio of animator Zhang Xu Zhan, who utilizes folded joss paper, customarily burned as offerings to one’s ancestors, in his stop-motion videos. 

Photography is often described as a passive media—a recording of things that happen before the lens. But for many contemporary artists and photojournalists, it is a field of active investigation. In the cover Feature of AAP’s May/June issue, Cleo Roberts-Komireddi examines how a surge in majoritarian politics in South and Southeast Asia is driving photo-activism, archiving initiatives, and collaboration between collectives across the region.

Our second Feature spotlights Los Angeles-based multimedia artist Candice Lin, whose touring solo exhibition “Pigs and Poison” historicizes the Covid-19-heightened scapegoating of Asians during pandemics. Lin has long focused on “non-humans and the dehumanized, creating projects that cross past with present and future, self with other,” writes managing editor Chloe Chu.

In Up Close, the editors examine projects by Sarah Choo Jing, Mika Tajima, and Minouk Lim. For Inside Burger Collection, curator Marie Muracciole interviews Lebanese-American artist Simone Fattal. Abdullah M. I. Syed, Agung Kurniawan, and Ayoung Kim appear in Profiles.

Elsewhere, deputy editor HG Masters surveys the nearly 12-year-long run of Beijing’s alternative space Arrow Factory; Chicago artist Aram Han Sifuentes discusses US voter suppression; and Haig Aivazian pens a One on One about 19th-century French painter Eugène Delacroix. In Dispatch, we hear about the intergenerational support between citizens and artists fighting for democracy in Myanmar. For Fine Print, lawyers Juyoun Han and Patrick K. Lin dissect how Section 230 of the US Communications Decency Act allows social media platforms the freedom to decide how and what content to ban, and how it impacts artists online.

Lastly, for Where I Work, contributor Daphne Chu visited the Taipei studio of animator Zhang Xu Zhan, who utilizes folded joss paper, customarily burned as offerings to one’s ancestors, in his stop-motion videos.

It feels like it was both a century ago and just yesterday when news of a mysterious coronavirus first started to spread across the globe. In warping our experiences of time, the pandemic has drawn attention to the unstable nature of how we relate past with present. 

In ArtAsiaPacific’s March/April 2021 issue, we spotlight two artists whose conceptions of time reveal the messy entanglements between historic and contemporary realms. Our cover Feature examines the practice of Wang Tuo, whose recent films present parallel realities grounded in pivotal moments in China’s modern history. Hera Büyüktaşçıyan, the subject of our second Feature, traces the architectural transformations of cities through her sculptures, installations, videos, and drawings. Up Close highlights new works by Lu Yang, Cian Dayrit, and Yang Fudong, while Inside Burger Collection delineates the work of photographer Paul Hutchinson.

The issue includes an essay on two Vancouver exhibitions that surfaced issues of decolonization. Hiwa K, Min Oh, and Au Sow Yee are profiled. Elsewhere, the Seoul-based collective Listen to the City write about the impact of Covid-19 on people with disabilities and how we might reconceive urban communities to create resilient post-pandemic cities. Dispatch follows how Rome’s arts community is devising strategies to thrive, despite an infrastructure that was crumbling long before the pandemic hit. For One on One, artist Wong Kit Yi pays tribute to dealer and writer Michael Findlay, whose time-hopping art historical accounts have inspired Wong’s projects. Lastly, we visit the Brooklyn studio of Chitra Ganesh, whose paintings, drawings, and videos collide age-old mythologies with futurist motifs. As the works of Ganesh, Wang, and Büyüktaşçıyan show, the past inevitably influences the present, but in each moment of encounter, there is also the potential to break from established histories and imagine the world anew.

Covid-19 compelled all of us to dramatically adjust our daily lives in 2020. ArtAsiaPacific’s Almanac 2021 reflects these adaptations. For City Reports, we asked writers to reflect on the changes that have unfolded where they reside, from New Delhi and Ramallah to Beirut and Seoul. Additionally, five artists, curators, and collectives share their Perspectives on 2020, including Jakarta’s ruangrupa, who have been preparing for their edition of documenta 2022, and Olga Veselova, who curated an exhibition in one of the only physical locations still open in Almaty: the supermarket. The Almanac also compiles the most notable news about censorship issues, rights advocacy, developments in the arts infrastructure, and other milestone events. In Cultural Currency, we examine how the art market shifted gears in light of Covid-19, and how these strategies have paid off at fairs and auctions. Elsewhere, the editors select exhibitions and festivals that stood out in 2020, and events to look forward to in 2021. We also spotlight six artists who captured the zeitgeist with their projects and exhibitions: Yoshitomo Nara, Tarek Atoui, Brook Andrew, Mai-Thu Perret, Forensic Architecture, and Leelee Chan.

With these components, Almanac 2021 extends AAP’s archive of the artistic phenomena emerging from the dynamic Asia-Pacific region. We are grateful for the Almanac’s many contributors, as well as Burger Collection, CL3 Architects, Kukje Gallery, Simon Suen Foundation, Mapletree, Sunpride Foundation, and Stefan Rihs, who made this endeavor possible.

Though 2020 was a challenging year for many, we hope that our readers will see the solidarity and connections that have remained intact in the global art community, despite the shifts and uncertainties of our ever-transforming world.

ArtAsiaPacific Issue 121 surveys ecology-focused artists. Our cover Feature is a conversation with Thu Van Tran, whose series From Green to Orange (2014– ) speaks to the aftereffects of the chemical weapons deployed during the Vietnam War. Our second Feature is on Hong Kong-based duo MAP Office, who explore the sustainable growth of waterfront communities through publications, videos, and installations. Up Close covers new works by Prabhakar Pachpute, Su Yu Hsin, and Truong Cong Tung, while Inside Burger Collection traces the life of surrealist Meret Oppenheim. Also in the issue: an Essay on Yukihisa Isobe, who designed the first Earth Day poster in 1970; Profiles of artist Irene Agrivina, architectural scientist Mae-ling Lokko, and photographer Tamara Dean; a Dispatch from Madrid; and a Tribute to Siah Armajani (1939–2020). For the Point, the Forest Curriculum, led by curators Abhijan Toto and Pujita Guha, propose a model for rethinking knowledge based on the Asian forested region of Zomia. Raja’a Khalid pays homage to writer Kurt Vonnegut in One on One. Lastly, for Where I Work, Danielle Shang visits the Los Angeles studio of Kelly Akashi, whose sculptures are inspired by organic forms. Like Akashi, the many artists and creators featured in this issue are inventing strategies of survivance as we are compelled to readapt our behaviors to conditions on a rapidly changing planet.

The pandemic-plagued world is ripe with divisions. As communities look to address various crises, artists have the ability to create spaces of understanding, empathy, and awareness. Issue 120’s cover Feature centers on Hajra Waheed’s explorations of the possibilities for “radical hope” and solidarity. Our second Feature is on Hong Kong-based multimedia artist Lam Tung Pang, who personifies landscapes and elements of nature to convey the pathos of his hometown in times of upheaval. Up Close looks at new moving-image projects by Diane Severin Nguyen and Allison Chhorn, and an investigation by Forensic Architecture. Inside Burger Collection examines the career of Canadian painter Tim Gardner. In Essays, Cheng Mun Chang, the winner of our Young Writers Contest 2020, argues that the logic of colonialism undergirds post-independence Singapore’s land reclamation projects. She considers the impact of these development policies through the works of Charles Lim, Zarina Muhammad, and Debbie Ding. The Profiles section features Los Angeles-based Miljohn Ruperto, artist-anthropologist duo Zheng Mahler, and Singapore arts patron Rachel Teo. In The Point, Lucas Ihlein and Kim Williams reflect on their experience of working with the Biennale of Sydney to curb the organization’s reliance on plastic. For One on One, Palestinian artist Inas Halabi writes about how Rosalind Nashashibi’s approach to filmmaking has influenced her own explorations of “the construction of identity in relation to history and place.” Also included are a Dispatch from Vancouver, and gallerist Johnson Tsong-zung Chang’s tribute to Hong Kong artist Gaylord Chan (1925–2020). Lastly, for Where I Work, John Alexis Balaguer visited the studio-residence of Norberto “Peewee” Roldan, who co-founded Manila’s oldest nonprofit space, Green Papaya. A longtime advocate for regional artists in the Philippines, Roldan embodies the spirit of art, community, and camaraderie that runs through this issue.

Issue 119’s cover feature explores the fictional feminist utopia of Mai-Thu Perret’s project The Crystal Frontier (1999– ), which reflects on the real obstacles to the creation of a better world. Our second Feature is a tribute to the late Zarina Hashmi (1937–2020), whose prints and sculptures were influenced by her experiences of the Partition of India. Up Close spotlights recent works by Farid Rasulov, Andrew Luk, and Byron Kim. Artist JJ Chan penned an Essay on the underrepresentation of Chinese staff at Manchester’s Centre for Chinese Contemporary Art, while Sung Tieu examines the practice of feminist writer and artist Mary Kelly for One on One, and Zheng Bo advocates for a rethinking of art as a multispecies activity in the Point. Legal expert Ryan Su offers advice to cash-strapped museums on deaccessioning works in Fine Print. The issue also profiles video and performance artist Angela Tiatia; Hong Kong-based gallerist Arthur de Villepin; and Joven Cuanang, founder of the Pinto Art Museum just outside of Manila. Our Dispatch from Amsterdam focuses on postcolonial discussions happening in the city’s arts institutions. Finally, Where I Work takes a look at Lo Lai Lai Natalie’s studio and farm in Hong Kong.

Issue 118 takes stock of what we may have neglected in the past, just as Covid-19 has forced us to acknowledge overlooked aspects of the world’s social, economic, scientific, and cultural systems. Our cover Feature explores how Sawangwongse Yawnghwe’s paintings and installations preserve the cultural memories of the persecuted Shan people in Myanmar. Carlos Villa (1936–2013), the subject of our second Feature, also understood marginality, advocating for diversity in the United States as an artist, curator, and educator. Up Close includes Yhonnie Scarce and Edition Office’s architectural installation In Absence (2019); Wang Tuo’s film Symptomatic Silence of Complicit Forgetting (2019); and Sun Yuan and Peng Yu’s installation Free Biographies (2018–19). Inside Burger Collection brings together three takes on artist Brie Ruais’s process-driven ceramic sculptures, written by curators Frauke V. Josenhans and Jodi Throckmorton, and artist Martha Tuttle. For Profiles, Tim Walsh spoke with artist Ruth Buchanan, who investigates representation in cultural institutions, while David Willis visited MAIIAM Museum in Chiang Mai to find out about founder Eric Booth’s aims to “redistribute cultural capital away from the center of power.” Elsewhere, Maria Taniguchi reflects on the influence that both Felix Gonzalez-Torres and Judy Freya Sibayan had on her works. Kadist curator Shona Mei Findlay files a Dispatch from San Francisco, where the vibrant and diverse history of the city is under threat due to gentrification. For Where I Work, Michael Young visited the Shanghai studio of new-media artist Lu Yang, whose video games and animations revolve around the nature of consciousness and the limits of the human body. Finally, for The Point, Beirut desk editor Nadia Christidi looks at how the climate crisis will shift our collective understanding of knowledge production. 


With governments imposing quarantines and travel restrictions to contain the spread of Covid-19, the questions of how we might commune are all the more pertinent. For our cover feature, Beverly Yong spoke with textile artist Yee I-Lann about the social importance of tikar (mats) and her principle of mansau ansau, or “to keep journeying without knowing where you’re headed.” Embracing uncertainty as a fact of life was likewise central to the practice of Huang Yong Ping, the subject of our second Feature by curator Hou Hanrou. In Up Close, AAP editors examine recent video works by Li Ran, Ho Rui An, and Jen Liu. Curator David Ho Yeung Chan interviews Hong Kong-born artist Tsang Kin-Wah on his text-based installations and videos about humanity’s self-destructive behavior for Inside Burger Collection. The issue also includes Profiles of Chloe Suen and Haryanto Adikoesoemo, founders of Hong Kong’s Sun Museum and Jakarta’s Museum MACAN, respectively. Tuan Andrew Nguyen penned a One on One reflecting on how his mentor, the artist Daniel Joseph Martinez, changed the way he thought about collectivity and political agency. Elsewhere, Clara Tang files a Dispatch from Berlin, and artist Sean Raspet highlights the contradictions faced by an increasing number of art initiatives on the topic of climate change. Finally, for Where I Work, Lauren Long visited Zhang Peili in one of his Hangzhou studios, where the multimedia artist explained his study of the human condition through his videos, paintings, and installations. Despite his use of cultural references specific to China, Zhang’s works suggest we all share agency in our responsibilities to process the shifting conditions of our world.


Now in its 15th edition, ArtAsiaPacific’s annual Almanac tracks the diverse cultural landscape from the Asia Pacific to the Middle East. Over time and within each issue, the Almanac is an archive between two covers of the region’s creativity. The 53 Country Reports detail developments in specific art scenes. The News section covers the major headlines of 2019, from protests that disrupted art events to scandals over unethical funding, while Cultural Currency reviews the year in auctions and art fairs. The editors pick six Artists of the Year, as well as the top Festivals and Exhibitions. Clara Cheung, Li Zhenhua, Han Nefkens, Tom Tandio, and Jason Wee share their Reflections on art and society. We also Preview ten shows to look forward to in 2020. The precarious state of the world at the end of the decade is captured in elements of art director Heesun Seo’s design for the internal pages and the Almanac’s cover. Yet the reshuffling and shifting of the world has also produced many new openings and opportunities for the creative fields. We hope that readers will be as absorbed, challenged, and inspired as they discover the many worlds found in the Almanac.

The Features in ArtAsiaPacific issue 116 focus on two different artists whose practices draw from their own lives in unique ways. For our cover Feature, Danielle Shang interviewed Tehran-born Tala Madani to unpack the psychological underpinnings of her paintings, which convey the anxieties of womanhood. In our second Feature, HG Masters dives into the four-decade-long practice of conceptual artist Judy Freya Sibayan, whose performances are forms of institutional critique. The Spotlight section examines recent works by Farah Al-Qasimi, Liu Chuang, and Zico Albaiquni. Inside Burger Collection looks at Marguerite Humeau’s installations of sci-fi-esque creatures. Multimedia artist Eugenia Lim, architect and artist Nadim Karam, and illustrator David Huang appear in Profiles. Elsewhere, Stefan Tarnowski’s Essay delves into artists’ reflections on the Middle East’s history of failed leftist movements; video artist Bani Abidi pays homage to Palestinian filmmaker Elia Suleiman; Gasworks and Triangle Network director Alessio Antoniolli files a Dispatch from London; and lawyer Michael McCullough breaks down the impact of United States tariffs on Chinese-origin goods. Finally, for Where I Work, Marybeth Stock visited painter Hilmi Johandi’s Singapore studio to learn about his preparations for his canvases and painting-videos.

Issue 115 reveals new approaches to power and resistance. Our cover feature delves into the interdisciplinary practice of Lawrence Abu Hamdan, who investigates the intersection of sound and freedom. Our tribute to the late curator Okwui Enwezor includes reflections by Alfredo Jaar and curators Ute Meta Bauer, Hyunjin Kim, and Hou Hanru. Minh Nguyen interviews filmmaker Nguyen Trinh Thi, tracing the literary and documentary roots of her practice. In Depth spotlights recent works by Joyce Ho, Christine Sun Kim, Naomi Blacklock, and Dylan Mira. Inside Burger Collection tracks the rise of self-taught graffiti artist Timothy Curtis. In Essays, Harry C. H. Choi's winning entry in our 2019 Young Writers Contest analyzes artistic expression in South Korea, while critic and curator David Xu Borgonjon’s piece considers the “ancestral turn” in the practice of Asian-American artists such as Wu Tsang, Taehee Whang, and Yen-Chao Lin. The issue also includes Profiles on İnci Furni, who in her sketches of people at leisure explores the idea of hobby as political inaction; Sydney Shen, whose layered obsessions expressed in sculptures and installations parallel that of meme culture; and arts patron Patrizia Sandretto Re Rebaudengo. Elsewhere, artist Htein Lin recalls his encounters with Antony Gormley’s works, critic Alessandra Alliata Nobili files a Dispatch from Milan, and Heather Hubbs, executive director of the New Art Dealers Alliance, explains why the organization canceled its New York art fair, and is instead supporting galleries through programs that bring audiences to their exhibition spaces. For Where I Work, AAP visits South Ho Siu Nam’s Hong Kong studio to look at the artist’s socially engaged projects. In Fine Print, lawyer Ryan Su explains how institutions must do due diligence to avoid public furor over the business interests of their patrons and board members.

AAP’s Issue 114 reflects artists’ diverse interests and concerns. Our cover Feature delves into the practice of Patty Chang, who, through her work, has mourned the demise of human civilization due to anthropogenic intervention and navigated ideas of filial debt and repayment with the maternal medium of breast milk. Our second Feature is a conversation between two artists and cinephiles, Mochu and Lantian Xie, who discuss the phenomenon of amphibian or shape-shifting characters in popular cinema as a stand-in for figures who are “at home with opacity, ambiguous translucencies and other metamorphic states.” In Essays, Patricia Chen analyzes the factors that led to the controversial appointment of Eugene Tan as director of the Singapore Art Museum when he already occupies the position of director of the National Gallery Singapore. Antony Dapiran’s essay examines what Chinese contemporary art looked like in the 1990s before China exploded into the juggernaut art market of today. Our Profiles section features artist Seulgi Lee; Beijing-based artist and curator Long Xinru; and Mohammed Rashid al-Thani, founder of the Institute of Arab and Islamic Art. Elsewhere, in One on One, Pio Abad traces the career of Filipino-American minimalist Leo Valledor who was present at seminal postwar cultural moments on both coasts of the United States. In a Dispatch from Los Angeles, Danielle Shang writes of the internationalization of the Southern Californian art scene. On a recent trip to Istanbul, Chloe Chu visited the studio of Burçak Bingöl, whose ceramic works explore materiality, cultural identity and heritage. In the Point, Andrey Alekhin and Misha Libman, co-founders of Snark.art, an “art production platform and laboratory that uses blockchain as a creative medium,” point to the ways that the digital database technology can revolutionize the way we collect, view and manage artworks. 

In Issue 113, we highlight artists who have imaginatively forged links between themselves and others. Our cover artist is Shu Lea Cheang, whose practice—including her new Venice Biennale installation tackling the control of the contemporary body, 3x3x6—is examined by Banyi Huang. Julee Woo Jin Chung discusses ideas of plasticity, the molecular structures of polymers, and their connection to global patterns of migration and trade with Shirley Tse. Rachel Kent interviews Angelica Mesiti about the social and political nature of human communication. For Inside Burger Collection, curator Carlos Basualdo looks at the socially engaged art practice of Mohamed Bourouissa. For In Depth, AAP’s editors examine new works by Candice Lin, Christopher Kulendran Thomas and Annika Kuhlmann, Ho Tzu Nyen, and Tuan Andrew Nguyen. In our Essays section, Tobias Berger reminisces about Nam June Paik’s Electronic Super Highway installation at the 1993 Germany Pavilion, in which the late godfather of video art predicted today’s technology-driven hyper-connectivity. Rounding out our spotlight on the Venice Biennale, the Profiles section highlights the practices of three Venice pavilion artists—Song Ming-Ang, siren eun young jung and Mark Justiniani—representing Singapore, South Korea and the Philippines, respectively. For Where I Work, contributing editor Michael Young visits Indigenous artist Richard Bell, who will mount his provocative Embassy (2013– ) project as an unofficial installation in Venice. Laura Kina files a Dispatch from Chicago, and in The Point, Matthias Arndt of A3 – Arndt Art Agency argues for a more open-network approach to the art market. In One on One, artist Anida Yoeu Ali pens a moving tribute to the late Lee Wen (1957–2019). Ali explains how Lee, known for iconic “Yellow Man” performances that critiqued stereotypes of Asian identity, inspired generations of artists in Southeast Asia. Some journeys are just not possible alone.

ArtAsiaPacific’s March/April issue explores topics of technology and communication. Our cover Feature is a retrospective take on the work and life of Keiichi Tanaami, whose macabre paintings, installations and avant-garde animations conflating Japanese Edo-era aesthetics with Americana signaled the rise of the pop art movement in Japan in the late 20th century. In the second Feature, AAP reviews editor Ophelia Lai explores Timur Si-Qin’s complex multimedia installations, which, in Lai’s words, “aim to upend the artificial dualisms that alienate humans from nature.” Our special Inside Burger Collection Feature is a sparse recollection of Gianni Jetzer’s multi-artist exhibition “How to See [What Isn’t There],” held at the Langen Foundation in Neuss, Germany. Rounding out the Features is a new section called In Depth, in which AAP editors dissect recently produced artworks in close detail. In Profiles, we spotlight art patrons from the Asia-Pacific region who stand out from the pack: Christoph Bendick, Sue Cato, Frank F. Yang, Patrick Sun and Edmund Cheng. Eugenie Tsai files a Dispatch from New York. For Where I Work, AAP visits Suki Seokyeong Kang in her studio at the foot of Inwangsan Mountain in Seoul. In One on One, Ellen Pau, long considered a pioneering figure in Hong Kong’s video and new-media art scene, discusses multidisciplinary artist and theater director Danny Yung’s revolutionary Video Circle piece. In her Essay, Nina Horisaki-Christens discusses Yoshida Minoru’s works from the late 20th century. She writes: “Communication is never straightforward or easy, yet the struggle to connect across linguistic divides generates new meanings that enrich our understanding of ourselves and our worlds.”

ArtAsiaPacific’s 14th Almanac records the most momentous cultural events that happened across the Asia-Pacific and the Middle East in 2018. In addition to 53 individual country reports, spotlighting many dynamic but often overlooked art scenes, as well as significant projects and exhibitions, the issue includes Reflections on the past year by six influential art-world figures—Zeng Fanzhi, Antonia Carver, Bartomeu Marí, Isa Lorenzo, Boon Hui Tan and Josh Milani. For the Five Plus One section, the editors selected four artists and a group—Lin Tianmiao, Michael Rakowitz, Wu Tsang, Naeem Mohaiemen and the Karrabing Collective—who have contributed to the major conversations of the last 12 months, along with an artist poised for a transformative year to come: Sophia al-maria. We also track the key news, controversies, career moves, as well as awards of 2018; highlight the most memorable museum and gallery exhibitions; pore over artist books, monographs and anthologies to select the best 12 titles of the year; and preview the exhibitions worth looking ahead to in 2019. The Almanac is a living archive of the region's cultural activity, and reflects the maturing yet still delicate arts ecology of today’s world. While there is a never-ending outpouring of exhibitions and events, at the end of the calendar year, the editors at ArtAsiaPacific take a step back to try and take in the larger mosaic. The image we see might still be abstract and fragmented, but there’s beauty in distance and perspective. And next year, we’ll do it all over again.

The Nov/Dec issue of ArtAsiaPacific focuses on artists who highlight the challenges women face. For our cover Feature, Beijing desk editor Tom Mouna met with Ma Qiusha, whose diverse practice revolves around personal and collective memories of growing up in China in the 1980s and ’90s. In our second Feature, contributing editor Jyoti Dhar looks at the career of Anita Dube, from her involvement in the 1980s art group known as the Radicals to her critical writing. Then and Now captures the social, political and cultural mood over the past two and half decades through the materials in our archive. In Young and Emerging, we spotlight five up-and-coming artists whose practices utilize new kinds of digital media: Hayoun Kwon, Miao Ying, Jess Johnson, Refik Anadol and Foundland Collective. For Inside Burger Collection, Katharina Amman and Christina Végh met with Teresa Hubbard and Alexander Birchler to discuss their project on artist Flora Mayo, feminism and power relations. In Essays, critic Reena Devi considers whether Singapore’s frenzied push for art fairs will benefit the country’s arts ecology. Curator Danielle Shang scrutinizes China’s new generation of collector-owned museums. Joyce Wong, the winner of AAP’s inaugural Young Writers Contest, examines cross-cultural themes in the work of Shezad Dawood. In Profiles, reviews editor Ophelia Lai discusses the work of Cambodian multidisciplinary artist Khvay Samnang. Australia desk editor Tim Walsh sits down with Brisbane-based Dale Harding, and Ink Society director Olivia Wang talks with collector-couple Jerry Yang and Akiko Yamazaki.  For Where I Work, associate editor Chloe Chu visits the Hong Kong studio of Izumi Kato. Do Truong Linh files a Dispatch from Hanoi. In One on One, Dane Mitchell, explains his admiration for the late On Kawara. In The Point, Quandamooka artist Megan Cope elaborates on the importance of contributing to the collective discourse of Indigenous Australian artists active in the 1980s and ’90s. 

ArtAsiaPacific’s special 25th anniversary edition focuses on the future. The issue is part science-fiction, part historiography and part pragmatic stock-taking of current realities. 

In Future Institutions—one of three anniversary-exclusive Features—Rhana Devenport argues for transparent funding models for private, public and hybrid museums. Lee Yongwoo advocates for the institution as an ecological platform. Aric Chen, Sarah Kenderdine, and Binna Choi, examine, respectively, architectural practices, information interfaces, and the politics of the commons. For Future Cities, we invited artists Ahmed Mater, Heman Chong, Tallur LN, Liu Chuang and Zian Chen, and art critic Sumi Kang, to speculate on what cultural life might look like from various points on (and sometimes above) Planet Earth. For Future Markets, we asked 25 gallerists to send in a sketch or a few words predicting how selling and acquiring art will morph in the next few decades.   

The theme of what lies ahead extends to Essays, where curators Yung Ma and Clara Kim discuss current curatorial practices and how they can be radicalized. Indonesian collector Wiyu Wahono urges present and future collectors to challenge their perspectives on artworks in a world that is constantly relocating its centers. 

Our regular columns and articles are also concerned with hyperinflated change and transition. In Young and Emerging, we study the new narratives emerging from a post-internet generation through the works of Part-time Suite, Morehshin Allahyari, Soda_Jerk, Pannaphan Yodmanee and Özgür Kar. 

Elsewhere, in One on One, Hong Kong-based artist-duo MAP Office pay tribute to Japanese-Vietnamese artist Jun Nguyen-Hatsushiba. In The Point, Hong Kong artist Samson Young pens a semi-fictional column about depictions of gay Asian men and subversions of gaze in a futuristic, VR adult-film industry. And finally, in Where I Work, we head to the technicolored Chiang Mai studio of Mit Jai Inn.

In ArtAsiaPacific issue 109, we take a look at what can be learned from fluid adaptation and internal resistance, as opposed to outright rejection of institutionalized systems and singular narratives. We spotlight Saudi Arabian artist Ahmed Mater, who was recently appointed executive director of Misk Art Institute. AAP’s Dubai desk editor Kevin Jones asks: “Will the soft-power posturing and cultural-diplomacy of his job curtail or delimit his own artistic practice?” Also in Features, we look at the diverse works of Manila-based Patricia Perez Eustaquio, who has embraced her label as a “feminine artist” while operating outside of restrictive gender structures. In Young and Emerging, we highlight Mari Katayama, Justin Shoulder, Mary Maggic, Behnaz Farahi and Gary Zhexi Zhang, who envision new biologies. Then and Now digs up articles from our Digital Library, while Inside Burger Collection focuses on the text-based creations of Swiss artist Sylvie Fleury. Elsewhere in the magazine, we profile Melbourne-based collector Michael Buxton; artist, curator and activist Jaishri Abichandani; and video artist Hsu Chia-Wei. In Dispatch, independent researcher Fiona Cheng writes of the anti-institutional activism practiced by the artists in Taichung. In The Point, artist Yan Xing laments the overripe topic of “identity.” Multimedia artist and activist Kacey Wong, for One on One, remembers a departed friend who taught him about the emotional nuances of patriotism. In Reviews, we catch Haegue Yang’s midcareer retrospective at Cologne’s Museum Ludwig, as well as other shows around the world. For Where I Work, we visit the studio of Emre Hüner, who blurs the lines between science fiction and archaeology. In Essays, contributor Ben Valentine probes the practice of Cambodian-American choreographer and queer dancer Prumsodun Ok and the reclamation of derogative stereotypes. Together, the articles in 109 suggest that to set ourselves free, we need only rework the structures of the past.

In honor of ArtAsiaPacific’s 25th anniversary, our focus this year is on looking forward and backward, while still savoring the effervescence of the present moment. This juxtaposition is reflected in the main Features of our May/June issue. We introduce Istanbul-based artist Cevdet Erek, whose architectural installations are derived from his reflections on sound as a marker of time and social progression. In our cover Feature, we pay homage to the work of nonagenarian Hon Chi Fun, a modernist master who documented Hong Kong’s changing physical and social landscapes through introspective paintings. Young and Emerging, loosely themed around the idea of new spiritualities, spotlights the work of five up-and-coming artists. In Then and Now, we mine AAP’s archives for articles about projects that have made a lasting impact. Rounding up the Features section, our special column Inside Burger Collection chronicles the career of gallerist Maria Bernheim, who relates the tribulations of presenting contemporary art in Europe. In Essays, Hyunjee Nicole Kim examines the issue of Second World War comfort women and revisionist histories. We profile painter Niyaz Najafov, whose expressive works are informed by his checkered youth growing up in Azerbaijan, and Syrian-born, London-based photographer Hrair Sarkissian, who explores war, conflict and memory. We also meet the exuberant collector-couple Kim and Lito Camacho. Elsewhere in the magazine, North Korea expert Nicholas Bonner files a dispatch from Pyongyang; artist duo Slavs and Tatars write of their fascination with the “bad boy” of German philosophy, Johann Georg Hamann, in One on One; and in The Point, new-media artist Sputniko! argues for alternative outcomes for the development of the human race. Our Reviews section covers the Biennale of Sydney and the first Manila Biennale. Finally, in Where I Work, we explore the Manhattan studio of Rina Banerjee, which is filled with the artist’s playful sculptural mashups.

Almanac 2023

November - December  2022

September - October  2022

July - August  2022

May - June 2022

March - April 2022

January - February 2022

November - December 2021

September - October 2021

July - August 2021 

May - June 2021

March - April 2021

January - February 2021

November - December 2020

September - October 2020

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.

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ArtAsiaPacific - November - December 2017

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