JUL/AUG 2015

Issue 94
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Online Content
Editor's Letter

Transitional Practices

Also available in:  Chinese  Arabic

In recent years, the editors at ArtAsiaPacific have noted a growing phenomenon: more and more people in the art world today are working across vastly different practices. Artists making feature films and film producers mounting curatorial projects, for instance; architects, web designers and beekeepers working as artists; and even financiers moonlighting as art critics.

Reports: Dispatch


Also available in:  Chinese  Arabic

Beijing’s art ecosystem is filled with turmoil and distortion, yet it pulses with complexity and life. If Chinese avant-garde art from previous decades attracted attention and garnered acclaim through its exposure and criticism of oppressive politics or restrictive ideologies, then the current art is challenged with breaking through the shackles of market forces and monetary gain.

USA The Netherlands
Reports: The Point

Looking at Art: Is The Internet Producing A Better Product

Also available in:  Chinese  Arabic

I have spent more than half of my 40 years in the art world without the benefit of the internet. Its advent and growth, particularly in the last decade, have catapulted art into a bigger world with more participants and greater access to information and reproductions. But to become an educated viewer, seeing art in person is paramount.

United Arab Emirates

Where is There?

Also available in:  Chinese  Arabic

It is eerily fitting that the final exhibition by Dubai’s The Third Line gallery in the space it has called home for the past nine years should be entitled “The Sands of Time.” French-Algerian artist Zineb Sedira’s photographic meditation on the worldwide sugar trade spoke metaphorically of uneasy impermanence, of endless shifting and resettling, and of the frail traces left behind by our transient presence. 

Japan USA

One Thousand Shades of Gray
Tomoo Gokita

Also available in:  Chinese  Arabic

Tomoo Gokita is an outsider among Tokyo art insiders. With his boyish charm, he is sociable yet reticent. He regularly declares his love for beer and professional wrestling—particularly the 1976 match between Japan’s Antonio Inoki and American champion boxer Muhammad Ali.


All the World’s Futures
56th Venice Biennale

Also available in:  Chinese  Arabic

As artistic director of Documenta 11, Okwui Enwezor wrote his own criteria for the curatorial avant-garde in a 2002 essay entitled “The Black Box.”


Sites of Solitude – Still-Life, Self-Portraiture and the Living Archive
Chatchai Puipia

Also available in:  Chinese  Arabic

In 1995, Chatchai Puipia painted a luridly hued, maniacally grimacing visage, Siamese Smile, which soon became the foremost icon of Southeast Asian contemporary art. Since then, Chatchai has become known for his mocking self-portraits, numbering among the dozen or so artists of his generation to pioneer Thailand’s cultural transition from modernist to contemporary art.

Palestine Spain

Past Disquiet

Also available in:  Chinese  Arabic

The Museu d’Art Contemporani de Barcelona (MACBA) recently held “Past Disquiet – Narratives and Ghosts from the International Art Exhibition for Palestine, 1978,” a show inspired by the exhibition referenced in its title. 

Print Content
Michael Joo on Kim Beom
Some Like it Hot
Testing Waters
A Fair Share
Invaders and Aliens
Pretty in Pink
Acting Dauntlessly
Yoshitomo Nara: A Cult Classic
Neha Choksi: The Pursuit of Nothingness
Patricia Perez Eustaquio: From Mash to Metaphor
David Chau: Money Spinner
Zhao Zhao: Unlikely Activist
Raed Yassin: How to Read
Rereading Reena Kallat
Kate Daw: Love, Work (Show Me Grace)
Great Crescent, Art and Agitation in the 1960s – Japan, South Korea, Taiwan
Korean Abstract Painting
Follow the Heart: The Art of Sean Scully
Emily Cheng: Roundsky
Sadaharu Horio
Trong Gia Nguyen: The Leavers
Simryn Gill: Hugging the Shore
Hour Seyha: The Beginning of the Journey
Shirin Neshat: The Home of My Eyes
Anish Kapoor: Descension
Liu Ding: New Man
Diana al-Hadid: Ground and Figures
Fancy Footwork
Ahmed Mater
Mithu Sen

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