ArtAsiaPacific - ArtAsiaPacific Issue 142, Mar/Apr 2025

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For our March/April 2025 cover article, associate editor Louis Lu explores the photographic self-portraits of Yasumasa Morimura, whose appropriated historical figures and pop icons, exhibited at M+ in Hong Kong, challenge conventional notions of identity. Meanwhile, Para Site’s deputy director Junni Chen interviews Maria Taniguchi about the artist’s midcareer retrospective at the Museum of Contemporary Art and Design in Manila.
In Up Close, we look at Mark Bradford’s latest paintings, shown at Hauser & Wirth in Hong Kong, as well as new museum commissions by Angelica Mesiti at Sydney’s Art Gallery of New South Wales and Adrián Villar Rojas at the 21st Century Museum of Contemporary Art, Kanazawa. Inside Burger Collection quizzes Jon Kessler, whose installations critique surveillance and technological waste.
In Profiles, Richard Vine details the trailblazing efforts of Park Myung-ja, founder of Gallery Hyundai in Seoul, now celebrating its 55th anniversary. Limned too is collector Alan Lo, who with his wife, Yenn Wong, helps shape the art landscape in Hong Kong and Singapore.
In Essays, Asia Art Archive translates the late critic Cheung King Hung’s esoteric take on two shows at Para Site in 1997.
We also highlight three young artists slated for the Discoveries sector at Art Basel Hong Kong: Wang Yuyu, Dan Zhu, and Leehaiminsun. In Dispatch, Andy St. Louis examines South Korea’s art scene amid recent political turmoil. For The Point, curator Mitha Budhyarto assesses the 2024 Jakarta Biennale’s collective lumbung dynamic. Tokyo video artist Maiko Jinushi pens a moving One on One, recalling her first encounter with the Japanese artist group Dumb Type.
Reviews range from Julie Mehretu’s midcareer survey at the Museum of Contemporary Art Australia in Sydney to major exhibitions in Busan, Bangkok, and Doha.
Finally, staffer Annette Meier visits the Hong Kong studio of Wing Po So, who weaves together elements of traditional Chinese medicine with current art practices.