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Recovery, healing, transformation—collectively and individually we are undergoing these
interconnected processes in the post-pandemic era. Our cover Feature looks at Jes Fan’s
Mother of Pearl series (2020–22), which uses the oyster’s natural response to grow shiny nacre
over the site of an infection. The project reveals how “we can treat the wound as a site of
healing—and as an adaptation necessary for survival.” The second Feature marks the
beginning of a collaborative series with Asia Art Archive (AAA) to translate into English
influential texts by members of the Hong Kong art community. For this issue, AAA selected
three texts from 1991–92 produced as responses to the Hong Kong Cultural Centre’s
construction and the opening of the Hong Kong Museum of Art. For Inside Burger Collection, art
historian Rebecca Peabody reflects on Kara Walker’s cutout installations. In Up Close, we
spotlight recent projects by Ahmet Doğu İpek, Natasha Tontey, and Lo Lai Lai Natalie. Profiles
delve into the practices of Nikhil Chopra and the performance duo Club Ate. Christopher
Whitfield writes an essay about the themes of Ghost 2565, the festival of moving-image and
performances held in Bangkok. Entang Wiharso pens a moving Tribute to the late Ashley
Bickerton (1959–2022). For One on One, artist Sriwhana Spong writes about her fascination
with the 12th-century mystic Hildegard of Bingen. In The Point, Dane Mitchell explains how a
surreptitious initiative to 3D-print the Parthenon Marbles inspired his project The Museum of
Without (2022), while Rachel Lim files a Dispatch from Singapore during its month in the art
world’s spotlight. Where I Work visits the Istanbul studio of İnci Eviner. Like many artists
featured in this issue, Eviner’s practice reflects the dramatic ruptures that societies have
undergone in recent decades. At times of instability and chaos, artists are continuously seeking
out new modes of resiliency for themselves and their communities.

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.