2009 began on a very different note than 2008, when art and culture rode a rising and then crashing wave of global economic prosperity, supercharged by the Beijing Olympics and major art festivals in capitals across the Asia-Pacific region.
On January 15, the Beirut Art Center (BAC), Lebanon’s first major nonprofit art space, opened its doors to the public with “Closer,” an international group exhibition featuring prominent conceptual and new-media artists from West Asia, including Tony Chakar, Akram Zaatari and Lina Saneh from Lebanon and Palestinian artists Mona Hatoum and Emily Jacir.
Svay Ken, widely respected as the grandfather of contemporary art in Cambodia, passed away on December 11, 2008, at the age of 76.
In early December, “Beyond Pressure,” a weeklong program of performance art in Yangon, Myanmar, was delayed by the closure of the Bangkok airport by Thai protesters and by the refusal of the Myanmar Censorship Board to allow the program to proceed as planned.
The collateral damage of the Mumbai attacks has started spilling into the cultural sphere.
South Korea reclaims Nam June Paik as the prodigy of its art scene with a center dedicated to the study of his radical career.
An upcoming auction in London of contemporary art from Turkey turns the spotlight on Istanbul’s art scene, which, so far, has skirted the dubious label of “the next big thing.”
Australia’s veteran of visceral performances has survived four decades of ravaging his body and the status quo.
From cracked glass to the void—tracing subtle shifts in the work of an artist whose steady acts of repetition evoke infinity.
When the Devi Art Foundation opened its exhibition space in the New Delhi suburb of Gurgaon on August 30, 2008, it felt as if India’s very own Super Collider had finally become operational.
Ni Haifeng’s exhibition “Para-Production” at Beijing’s Joy Art Space, was another addition to the long list of contemporary installations inspired by China’s emergence as a manufacturing center.
Korean artist Yeondoo Jung signaled a shift in direction with his 2007 solo exhibition, “Memories of You” at the National Museum of Contemporary Art in Seoul.
Pouran Jinchi’s recent solo exhibition comprised a poetic, decade-long survey of her calligraphic abstraction from 1995–2005.