Now in its 25th year, the Melbourne Art Fair (MAF) was still eager to shake off the perception that it is a somewhat dowdy old lady. Even Barry Keldoulis, CEO of Art Fairs Australia, which now manages the event, was circumspect when talking about the new performance art and emerging artists programs that was tucked upstairs on the fair’s mezzanine level. He later confessed to ArtAsiaPacific of the need to tread wearily when dealing with the current owners of the fair, the Melbourne Art Foundation. “We have adopted a collegiate approach,” he said.

There are sure to be both prurient reactions and voyeuristic interest when details of Chinese artist Yang Zhichao’s Love Story become public in 2016. Originally a collection of punch cards, it has grown over the years, and now takes the form of a diary, with individual pages embellished with drawings. 

Colorado’s Aspen Art Museum (AAM) kicked off a four-day celebration last week for it’s new USD 45 million, 33,000-square-foot Shigeru Ban-designed building, which opened to the public on August 9, with its tenth annual ArtCrush Summer Benefit.

Huang Jue Ping is the locus of a small, busy, thriving arts hub within the massive and fast-developing municipality of Chongqing, the capital of southwest China. Chongqing has a rich atmosphere that is village-like, and it roots itself along its eponymous main street that leads to an omnipresent coal plant.

The young British artist James Richards, known for his atmospheric collages of grainy analogue video, recently made headlines as one of the four shortlisted nominees for the prestigious Turner Prize, an annual award presented by the Tate gallery in London. Just a few days after the announcement, Richards was in China to attend the opening of his first exhibition in the country, “Of Disturbance,” at Magician Space in Beijing’s 798 art district. His visit to China also included a series of screenings and symposia, co-organized by Magician Space and London-based arts organization Electra, at the Ullens Center for Contemporary Art in Beijing, as well as at OCAT Xi’an, OCAT Shenzhen and the Asia Society in Hong Kong. ArtAsiaPacific caught up with Richards to chat about his work, his experiences in China and his thoughts on the 2014 Turner Prize.

Curator James Elaine has been seeking out emerging artists for over 25 years—first on behalf of the Drawing Center in New York and then for the Hammer Museum in Los Angeles, where he implemented the highly respected Hammer Projects series, focusing on emerging international and local talent.

The year 1989 is considered a pivotal moment in global history; it marked the fall of the Berlin Wall, the end of the Cold War and the birth of the World Wide Web. 

“The time is out of joint.”

Derrida opens Spectres of Marx (1993) with the above line, taken from Shakespeare’s Hamlet, wherein the troubled prince is communing with the ghost of his father. Derrida invokes the ghost of Hamlet’s father to bear the weight of history as it is deconstructed, to preface disjointedness and pluralism.

If you happen to be in Sharjah and stumble upon a card with a curious rabbit illustration at a café or ATM machine, flip it over and check for the question you get on the other side.