In this issue

ArtAsiaPacific’s March/April issue looks at how artists have reconciled fundamental beliefs with the material world. Our cover Feature chronicles the life of 70-year-old Kwok Mang-Ho, also known as Frog King. He was active in the heady New York art scene of the 1980s, and later represented Hong Kong in the 54th Venice Biennale. Our second Feature examines the work of Jerusalem-based Jumana Emil Abboud, whose search of water sees her summoning djinn and ghouls from Palestinian folklore. This issue also introduces two special Features developed for AAP’s 25th anniversary. The first delves into our archives to compile images that describe the social, political and cultural climates throughout AAP’s history. The second is a portfolio of five up-and-coming artists whose practices explore the concept of modernization. Rounding out the Features, Hong Kong conceptualist Ho Siu Kee speaks to Debe Sham about her art interventions in New Haven Green public park for Inside Burger Collection. We profile collectors and art patrons: Berlin’s Désiré Feuerle, Sydney’s Penelope Seidler, Andrew Ruff and Ling Ling Zou in Shanghai, Hong Kong shutterbug Douglas So, Malaysia’s Pakhruddin Sulaiman, and Jam Acuzar in the Philippines. In Essays, read about the impact of Xu Bing’s feature-length film Dragonfly Eyes (2017), compiled from more than 10,000 hours of CCTV footage. We also visit Manila to report on the activities of artist-run organizations. In One on One, Brook Andrew views the work of Jimmie Durham as a manifesto for self-destructive tendencies. In The Point, Christine Sun Kim discusses her identities as an Asian mother, artist and a Deaf person who communicates with the world via American Sign Language and her art. Reaksmey Yean’s Dispatch, from Phnom Penh, argues for using culture to provide alternative narratives for Cambodia. In Where I Work, we visit the studio of Palestinian artist Jawad al-Malhi, who since the 1980s has depicted the residents of the Shuafat refugee camp.

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.