Two months after moving into our new headquarters in Hong Kong, infrastructures have been an ongoing topic of conversation among the editors. Not only how to set up our formerly New York-based editorial office in Asia, but also how our peers in the field might approach building their own arts organizations in the many burgeoning but institutionally starved scenes throughout the region.
The modern image of Seoul belies a complex history of colonialism, war, reconstruction, military government and rapid industrialization. Successive renewals of Seoul’s urban fabric since the 1960s have meant significant tracts of the city have quickly disappeared, becoming the stuff of memory.
The Gulflabor Coalition campaign for human rights and fair labor practices at the Guggenheim’s Saadiyat Island construction site in Abu Dhabi may be the first moderately successful action organized by visual artists in decades.
The founders of Yerevan’s leading incubator of artistic experimentation discuss the challenges and triumphs of running the center.
There are innumerable walls, lines and divisions through the landscape between the Jordan River and the Mediterranean Sea. Some are concrete, many are demographic, many more are imagined and almost all of them are contested. Four individuals living in Israel and the occupied Palestinian territories share their reflections on what it means to live, work and produce exhibitions or projects in the region.
Within Singapore’s arts-forward environment, censorship remains, and there is a lingering sense of something like a quota on free expression. The latest case of censorship, at the 2011 Singapore Biennale, calls to mind controversial moments over the last two decades.
Around the corner from the luxury department store Beymen in the fashionable Nişantaşı neighborhood, Cevdet Erek’s building is besieged by noise: pneumatic drills, honking taxis, the clicking of high-heels on the stone sidewalks. Inside, however, is a hushed bourgeois oasis.