ArtAsiaPacific Magazine - Sept - Oct 2014

In this issue

In this issue, AAP editor at large HG Masters ruminates on the work of Akram Zaatari, which encompasses filmmaking, research, photography and curating; from Delhi, contributing editor Jyoti Dhar revisits the career of the late Rummana Hussain, who originally trained as a painter, but shifted to performance and installation as a response to the religious fundamentalism of the 1990s; independent curator Susan Gibb delves into the work of Seoul-based Minouk Lim, who sought alternative forms of art-making, often participatory in nature, to engage with the historical and economic realities of South Korea; managing editor John Jervis sits down with offbeat conceptualist Kwan Sheung Chi, who explains his interest in pursuing collective, community-focused endeavors, and his experience of working in an atmosphere burdened with its own particular set of socioeconomic barriers; and our special column Inside Burger Collection explores performative practices, real-time activities and script works as artistic methods through the work of seven international artists.
Our Profiles include a visit to the home of Sydney's Andrew and Cathy Cameron, known for their unwavering support of Australian artists and institutions; a survey of Hossein Valamanesh, lauded for his sparse sculptural installations; a look into the works of Qatari-American artist Sophia al-Maria, who first achieved renown for her idiosyncratic project The Gaze of Sci-Fi Wahabi; and, from Beijing, the post-happy artist Chen Zhou, who is currently embarking on a feature-length film.
In One on One, Aboriginal artist Tony Albert reminisces about the late Gordon Bennett, whose paintings addressed the cycle of racism in Australia; in Where I Work, AAP goes to the studio of Kesang Lamdark in Zürich; and guest contributor Stefan Tarnowski files a Dispatch report from Beirut. Reviews include: Mio Iwakiri on Li Yuan-chia at the Taipei Fine Arts Museum; Paul Laster on Len Lye at the Drawing Center, New York; plus much more.