As we watch the first decade of the 21st century draw to a close, ArtAsiaPacific’s November/December issue reflects on rapid shifts in the cultural landscape since the magazine’s debut in 1993.
On the evening of September 21, four art galleries in Tophane, an Istanbul neighborhood that lies between the busy pedestrian avenue of İstiklal in the cultural Beyoğlu district and the port area of Karaköy, organized simultaneous openings to welcome the autumn art season.
On September 12, the China Academy of Art (CAA) opened the School of Intermedia Art (SIMA) in Hangzhou. The new school integrates the departments of new media, experimental art and curatorial studies into a single program. It is the first initiative on the mainland for contemporary interdisciplinary arts study.
Modeled after Japan’s big-budget comics and science-fiction industries, Takashi Murakami’s Kaikai Kiki company openly makes business of fine art, creating everything from auction-record-breaking works to souvenir bibelots.
The single biggest shift in the art world over the past 20 years has been the proliferation of event-driven activities.
What’s white, blue and more valuable every time it’s broken?
Sara Rahbar reflects on her childhood exile from Iran and its influence on her work.
Persevering through seemingly endless cycles of repression and reform between the 1960s and 1980s, a writer-turned-curator strives to support the emerging Chinese avant-garde.
From sculptural renditions of the Kama Sutra’s lovemaking couples to photographs of Istanbul cityscapes with their minarets erased, a young artist meditates on the paradoxes of love, war, cultural identity and finding home away from home.
A poetic title for a serious subject, Reuben Paterson’s third solo exhibition at Gow Langsford Gallery was a personal response to the “provocation” or “gay panic” legal debate in New Zealand.
Haegue Yang’s first solo show in her native Korea was a compact survey of a dozen sculptures, videos and conceptual works as well as a large installation.
Based in Shanghai, the international artist collective Liu Dao (also known as Island6) is comprised of members from China, Taiwan, France, Latvia and the United States.
For those loyal to the notion that art is a practice that tames the beast in humankind, bringing out the best in our species, the three books under review might seem about as exciting as caged hamsters.