As most of the art world in the northern hemisphere returns from their summer holidays, a new season unfolds with a calendar brimming with 12 large-scale festival exhibitions.
A scandal recently left Taiwan’s top museum for modern and contemporary art, the Taipei Fine Arts Museum (TFAM), without a director for 12 months.
As the art infrastructure in Asia continues to grow, many art-world professionals are transitioning between the commercial and nonprofit sectors.
Since 2000, the biennial has been widely seen as undergoing a crisis of overproduction, of having become stale in form (theme A, with subthemes a, b, c and d; x number of artists, y number of works each, in z amount of space) and, as a result, in danger of being absorbed back into the traditional museum.
If the prospect of an academic conference on Korean contemporary art in London, held from June 29 to July 1, courtesy of the Suum Global Curatorial Project Office and the Courtauld Institute of Art, seemed a little unlikely (and the bland choice of title somewhat misleading), the result proved enjoyable and productive, revealing the strength and depth of current research while highlighting fresh areas for debate.
On the May morning after the debut of sound artist Tarek Atoui’s newly commissioned piece Unplified (2012) at the Museum of Modern Art in Kuwait City, Atoui, who had only a few hours of sleep the night before, was surprisingly energetic.
In the Red Hook neighborhood of Brooklyn, within walking distance of New York City’s only Ikea, there is an area of nondescript buildings near a stretch of low-income housing projects.
With the realization of Documenta 13, the practice of directing large-scale exhibitions—what is commonly called “curating,” though this word is far too modest for an event of this size and scope, five years in the making—achieved a decisively baroque apogee.
With “Imperishable Affection: The Art of Feng Zikai,” the Hong Kong Museum of Art quietly pulled off something of a coup in assembling a comprehensive selection of work by Feng Zikai (1898–1975), the artist recognized in his lifetime as the “father of Chinese cartoons.”
Earlier this year, Apple Inc. agreed to pay Proview Technology Shenzhen—a China-based subsidiary of Taiwan’s Proview Electronics—USD 60 million to avoid a protracted legal dispute over the iPad trademark in China.