In this issue

For the cover feature of Issue 129, Yuki Kihara spoke to assistant editor Nicole M. Nepomuceno about “Paradise Camp,” the
New Zealand Pavilion at the 59th Venice Biennale. Kihara shared her art-historical research leading up to the project, her
collaboration with the Fa‘afafine community in Samoa, and her approaches to subverting heteronormative conceptions of
paradise. The six-decade-plus practice of Ha Chong-Hyun—whose experimental work is also being celebrated in a solo
exhibition in Venice this year—is the focus of our second feature, written by Seoul desk-editor Andy St. Louis. For our third
feature, contributor Portia Placino takes readers to Sagay City, on the Philippine island of Negros, where Nunelucio Alvarado is
based. Since the 1970s, Alvarado has been invested in the communities of Negros, particularly its migrant workers, or sacadas.
In Up Close, the editors examine new works by Chu Chun-Teng, Tap Chan, and Jennifer Tee. Inside Burger Collection features
an interview with the artist duo Elmgreen & Dragset. Profiles spotlight Hong Kong’s representative artist at the 59th Venice
Biennale, Angela Su, and the Mumbai-born Amol K. Patil, who is participating in documenta fifteen. Deputy editor and deputy
publisher HG Masters’ essay reflects on the discussions held at Sharjah Art Foundation’s March Meeting 2022, titled “The
Afterlives of the Postcolonial.” Desk editor Hutch Wilco files a dispatch from Shanghai, where a zero-Covid policy has severely
damaged the city’s art scene. In The Point, artist Ahmet Öğüt shares lessons and values from artists he considers his mentors.
Rushdi Anwar reflects on the influence of 17th-century Persian-Iranian philosopher Mulla Sadra Shirazi on his own multimedia
works, in One on One. Lastly, for Where I Work, Los Angeles desk editor Jennifer S. Li visited the studio of painter and sculptor
Hanna Hur, whose relationship with the recurring motifs and inspirations behind her practice is continually deepening.

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.