In this issue, Robert Liles introduces Tansaekhwa, a controversial movement associated with a loosely connected group of South Korean painters active from the late 1960s; from London, Stephanie Bailey meets Pakistani-British artist Rasheed Araeen, a pioneering spirit who, also in the 1960s, made some of the earliest Minimalist art; and the fully reprinted letter of Thai-Indian artist Navin Rawanchaikul that he wrote as a tribute to Montien Boonma (1953–2003), describing the Thai art scene since the artist’s death more than a decade ago.

In our artist and collector profiles, we look at the careers of Australian collector and philanthropist Gene Sherman and Indian photographer Anup Mathew Thomas. Guest contributor Taro Masushio meets performative artist Ei Arakawa, and contributing editor Isabella E. Hughes speaks with Doha-based Iraqi artist Mahmoud Obaidi about his concept of home.

In One on One, Hong Kong artist Lee Kit offers some notes about his obsession with a mysterious character named Johnny, who seems to be everywhere and nowhere in the artist’s dreams; in Where I Work, AAP goes to the home-studio of Ramin Haerizadeh,Rokni Haerizadeh and Hesam Rahmanian in Dubai; and our new desk editor Ruben Luong files a Dispatch report from Ho Chi Minh City. Reviews include: Louis Ho on the 19th Biennale of Sydney; Nadia al-Issa on \"How Green Was My Valley\" at White Box Art Center, New York; plus much more.

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.

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.

Even before we had completed this year’s Almanac, it occurred to us that closure was impossible. As our 2018 Almanac reveals, the world is an unfinished symphony of shifting layers, a fantasia of patterns. For more than a decade, ArtAsiaPacific has published an annual compendium. This 13th edition of the Almanac would not be possible without the generosity of our associate sponsor, the Sharjah Art Foundation, and other supporters including Burger Collection, Mapletree, SAHA Association and the Frank F. Yang Art and Education Foundation. In Reflections, we invited six influential figures to comment on the year. Yayoi Kusama revels in 12 months of retrospectives of her work. Patrick Sun, founder of the Sunpride Foundation, pens a moving analysis on queer representation. Independent curator Natasha Ginwala meditates on her involvement in projects such as Contour Biennale 8 and Documenta 14. Australian art patron Simon Mordant weighs up the artworks he has seen in Sydney, New York, Münster, Kassel and Venice. Sultan Sooud al-Qassemi, founder of Barjeel Art Foundation in the UAE, commends the increased interest in art from West Asia. Aaron Seeto, director of the Museum of Modern and Contemporary Art in Nusantara, removes his hard hat after the opening of Jakarta’s first private art institution. In Five Plus One, AAP’s editors selected five artists and collectives who have made significant contributions in 2017, along with one set for a transformative year ahead. These include Karachi-born, London-based minimalist Rasheed Araeen; the 400-member Japanese new-media group teamLab; New Zealand’s video and film artist Lisa Reihana; Beijing conceptualist Song Dong; Indonesian endurance performance artist Melati Suryodarmo; and the Philippines’ emerging video artist Martha Atienza. We also highlight significant museum and gallery exhibitions, and review anthologies and monographs released in 2017. In our News section, we document the year’s controversies and censorship.

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 September/October issue looks at artists who examine their environs. For our cover Feature, AAP reviews editor Brady Ng delves into the high-tech wizardry of Japan’s around-400-member collective teamLab, who dazzles audiences with immersive installations that utilize cutting-edge technology and are inspired by nature and premodern Japanese art. Daniel Kurjaković, curator of programs at Kunstmuseum Basel, spoke to Mumbai-based artist Nalini Malani, who captivates viewers using experimental artworks, including video-shadow plays, that explore the cultural legacies of partitioned India. AAP editor at large HG Masters leads us through the artistic explorations of Lebanese artist Lamia Joreige, including a video project initiated in 2000, Objects of War. AAP contributing editor Jyoti Dhar introduces the work of Sri Lanka’s Jagath Weerasinghe, who actively responds to the country’s civil conflict through expressive figure paintings, performances and installations. In our special Feature, Inside Burger Collection, Bharti Lalwani discusses ideas of home and inclusion within South-Asian-American communities. In Profiles, we hear about the virtual adventures of MIT Media Lab artist Sputniko!; New York-based Iranian abstract painter Ali Banisadr; London-based Faiza Butt, who questions gender and sexuality; and Australian artist Robert Andrew, who explores his Indigenous heritage. Elsewhere, regular contributor Joe Zhu files a Dispatch from Shenzhen, where artistic camaraderie and new exhibition spaces developed seemingly overnight. In One on One, Cambodian artist Khvay Samnang explains his admiration for Zhang Huan’s use of his body to narrate social politics. In The Point, Stephen Cheng of Hong Kong’s Empty Gallery, an unconventional space that embraces experimental art, asks future art patrons to “support what only you can, what only you will, what only you see, and don’t be afraid to let the beauty and the chaos in. Art should by nature make a mess.”

The July/August issue of ArtAsiaPacific spotlights artists who methodically capture the more subtle aspects of time and place that constitute both personal and collective memory, beginning with a cover Feature on conceptual photographer Kunié Sugiura by AAP editor-at-large HG Masters. After studying at the Art Institute of Chicago and then moving to New York, she began photographing everyday life, combining these images using sculptural and painterly techniques. AAP’s London desk editor Ned Carter Miles spoke to Rana Begum about her vibrantly hued paintings, sculptures and public installations. In Guangzhou, Centre Pompidou’s curator Yung Ma sat down with video artist Zhou Tao to discuss his elusively meditative practice. In our special feature Inside Burger Collection, Isa Cossement interviews Belgian conceptual artist Kris Martin, who makes indistinct modifications to found objects, exploring universal issues of the human condition. For Essays, AAP contributing editor Antony Dapiran ponders the fate of Hong Kong as the city marks the 20th anniversary of the British-Chinese handover. This issue’s Profiles include Brisbane-based kinetic sound artist Ross Manning and rising Filipino star Cian Dayrit, who delves into fictional and historic narratives about his home country. We also introduce Ian Holliday, Hong Kong University’s vice president and pro-vice-chancellor, who is slowly amassing a major collection of Burmese contemporary art, currently over 1,000 paintings. In One on One, the minimalist artist and public intellectual Rasheed Araeen reflects on the exhilarating experience of discovering an unknown work by British modernist Anthony Caro in the sculpture garden of the Museum of Modern Art in New York in 1985. And in Where I Work, AAP managing editor Ysabelle Cheung heads to Hong Kong’s New Territories to visit the studio of painter Firenze Lai on the eve of dispatching her melancholic, dreamlike figure paintings to Venice’s Central Pavilion in the Giardini.

In the May/June issue of ArtAsiaPacific, we begin with the cover feature on Samson Young. AAP managing editor Ysabelle Cheung examines the classically trained composer’s 13-year career, during which he has investigated the cultural and historical associations of specific sounds. Young discusses his ambitious new work, which will debut at the Hong Kong Pavilion in Venice in May. Independent curator Eva McGovern-Basa sits down with Bali-born, Brisbane-based artist Tintin Wulia to discuss the “next frontier” in her project for the Indonesia Pavilion, “1001 Martian Homes.” AAP contributor Dominic Zinampan revisits the work of Manuel Ocampo, who along with Lani Maestro will present work in the Philippines Pavilion at Venice. Ocampo is known for taking aim at religion, corruption and neoliberal attitudes. Lee Wan will represent South Korea in Venice, along with Cody Choi. Guest contributor Yujin Min walks us through the artist’s unusual sculptures and his recent “Made In” video series that looks at the political implications of capitalism and urbanization. For our special column Inside Burger Collection, curators Nicolas de Oliveira and Nicola Oxley focus on Belgian artist Hans Op de Beeck, whose work has appeared in previous editions of the Venice Biennale. In Profiles, AAP looks at three artists pushing age-old media in new directions: Syrian-German “sound scientist” Rashad Becker, filmmaker and artist Tuan Andrew Nguyen, and ink artist Li Jin. In Essays, Thomas Mouna escorts readers through the historic hutong lanes of Beijing, where creative clusters are mounting art projects. From Kazakhstan, regular contributor Lesley Ann Gray considers sustainable art initiatives for post-oil economies. For the Point, Manu Park, director of Seoul’s Platform-L Contemporary Art Center, reflects on the blur between nonprofit and commercial art ventures. In Where I Work, UAE desk editor Kevin Jones travels to Sahand Hesamiyan’s studio in Tehran.

In the March/April issue of ArtAsiaPacific, we begin with the cover Feature on the late Emirati artist Hassan Sharif (1951–2016). AAP UAE desk editor Kevin Jones looks back at how Sharif challenged societal convention. In Lahore, AAP contributing editor Jyoti Dhar reflects on Lala Rukh’s career of 40-plus years, beginning with her role in the Women’s Action Forum. Dhar explains how Rukh’s activist pursuits inform hauntingly elegant, minimal works. In Hong Kong, reviews editor Brady Ng sits down with multimedia artist Kingsley Ng to discuss his project Twenty-five Minutes Older (2016–17), which involves a moving tram and will be restaged to mark Art Basel Hong Kong’s fifth edition in March. In our special column, Inside Burger Collection, art scholar Giusi Daniele examines the work of conceptual artist Ho Siu Kee, who explores the perception of self. To mark the many art fairs that launch in March, our Profiles focus on six patrons active in the region: Manila’s former chairman of the National Commission for Culture and the Arts, Jaime C. Laya; Jenny Wang, president of Shanghai’s Fosun Foundation; Sydney’s Clinton Ng; Istanbul’s Agah Uğur, CEO of Borusan Holding; and Evan Chow and Jin-Goon Kim in Hong Kong. For the Essays section, contributing editor Ingrid Dudek considers the murky world of art forgeries and authentication. In Fine Print, Singaporean art lawyer Ryan Su pushes for protective measures for art “connectors.” In The Point, Adrian Cheng—the brains behind Hong Kong’s K11 Art Foundation—explains arts patronage in the 21st century. For One on One, Lantian Xie ruminates on Abu Dhabi-based writer Deepak Unnikrishnan’s debut novel Temporary People. In Reviews, Dominic Zinampan dives into the book No Chaos No Party: 28 Artists in Metro Manila. For Where I Work, AAP visited the Ilsan studio of Dansaekhwa artist Ha Chong-Hyun, whose works from the 1970s—one of South Korea’s darkest political eras—testify to the various forms of nonviolent resistance.

For ArtAsiaPacific’s first issue of 2017, we present Almanac XII, a compendium of the most significant art events of 2016 and a look ahead at what’s next in 2017. In addition to spotlighting 53 countries that constitute our active footprint, the Almanac extends to the rest of the world—wherever artists of Asia, the Pacific and the Middle East work and are shown. Now in its 12th edition, the Almanac is a unique endeavor that systematically maps all the artistic activity occurring across the region—from countries, both big and small, with or without arts funding or an art market—to cast a light on the evolution of these creative communities in a transformative time. Since embarking on the very first Almanac, there is no denying how the artistic landscape in many countries has changed, for better or worse. Gathering facts, figures and opinions that reflect the art world across the globe—such as in Bhutan, Brunei, Jordan, Papua New Guinea, Taiwan and Uzbekistan—requires a special kind of patience, persistence and perspicacity that can only be honed by vigorous trekking through galleries and institutions and poring through print and online sources. We’ve also invited influential art world figures to reflect on the major cultural events of 2016, including Yongwoo Lee, director of the Shanghai Himalayas Museum; Ram Rahman, acclaimed photographer and founding member of Delhi’s Safdar Hashmi Memorial Trust; Bige Örer, director of the Istanbul Biennial; Gridthiya Gaweewong, artistic director of Bangkok’s Jim Thompson Art Center; and Yukie Kamiya, director of New York’s Japan Society Gallery. For the Five Plus One section, we have selected five artists who made a significant impact in 2016 and one who promises to do so in 2017, including Joana Hadjithomas and Khalil Joreige, Tiffany Chung, Nick Mangan, Shahzia Sikander, Kishio Suga and Samson Young. We have also picked the ten best gallery and museum shows of the year, and 12 of our favorite books.

The November/December issue of ArtAsiaPacific looks at the five-decade career of Lebanese-American writer, essayist, filmmaker, poet and artist Etel Adnan, and how writing, history, conflict, her love for the physical world, and notions of transcendence have informed her abstract landscape paintings; the Chilean-Australian painter Juan Davila, whose forty-year practice has focused on pointed critiques of Australia’s colonialist legacy and identity politics; and Kyoto-born sculptor Teppei Kaneuji, whose sculptural installations challenge our perceptions of social order by liberating quotidian objects from the monotony of daily life. For our special column, Inside Burger Collection, we focus on the work of Bulgarian artist Nedko Solakov, who is known for his humorous oeuvre that addresses life under a socialist dictatorship. 

In Profiles, we turn our attention to three midcareer artists: New Delhi-based multimedia practitioner Aditya Pande, Beijing’s quiet abstractionist Wang Guangle and the enthusiastic Le Brothers, a Vietnamese sibling partnership that invites artists from around the world to their hometown of Hue.

In this issue’s Where I Work, AAP visits the verdant Hong Kong studio of artist Trevor Yeung, an ardent enthusiast of botany and horticulture. For One on One, Amsterdam-based Bengali artist Praneet Soi shares his admiration of French Nouvelle Vague filmmaker Jean-Pierre Gorin, while nonprofit artspace Ilham Gallery’s creative director Valentine Willie files a Dispatch on the buzzing cultural life in Kuala Lumpur. And in The Point, Hong Kong artist Wong Wai Yin reveals her anxieties about making art in today’s troubled climate. And in Reviews we feature: “Soil and Stones, Souls and Songs” at Museum of Contemporary Art and Design, Manila; Mona Hatoum at London’s Tate Modern; plus much more.

July - August 2021 

May - June 2021

March - April 2021

January - February 2021

November - December 2020

September - October 2020

July - August 2020

May - June 2020

March - April 2020

January - February 2020

November - December 2019

September - October 2019

July - August 2019

May - June 2019

March - April 2019

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 - Jul - Aug 2014

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