The first half of 2011 has been nothing less than precarious. From the protests that have swept through the Arab world with varying degrees of optimism and progress to the devastating earthquakes that hit New Zealand and Japan, in the past four months the global status quo has been turned on its head.
A court decision mows down a planted artwork and casts doubt over a long legacy of art incorporating natural elements.
A short video made when the occupation of Iraq had sunk into relentless carnage subverts the American cry for independence.
As he holds his first exhibition in the United States, Nyoman Masriadi discusses the inspiration he draws from comic books, his satirical portrayals of the Indonesian art world and the recent growth of the scene in Yogyakarta.
Ho Tzu Nyen is a careful and attentive student of neglected histories. In a rambling, expansive essay in Forum on Contemporary Art and Society from 2007, Ho traces the story of “how cats—big and small, wild and domesticated, imagined and real—have enigmatically been woven into the history of Singapore."
What comes after postcolonialism? The Guangzhou Triennial of 2008, “A Farewell to Post-Colonialism,” declared it was time to stop thinking about the movement purely in terms of military force, which underpinned the political struggle for sovereignty in the writings of its seminal thinkers, such as Edward Said and Frantz Fanon. It seems it is time to update the paradigm.
The Shadow of the Heavy Skirt” presented new painting, sculpture and video by the leading Cambodian artist Leang Seckon.
While often stylistically compared to Magritte, the renowned Indian painter Surendran Nair adamantly rejects the Surrealist label.