ArtAsiaPacific Magazine - September - October 2018

In this issue

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.