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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.

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