ArtAsiaPacific Magazine - March - April 2019

In this issue

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.”