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Pick of the Week
Pick of the Week

In issue 109, contributing writer Marcus Yee profiles artist Hsu Chia-Wei, who utilizes diverse filmmaking techniques as a means to probe Taiwan’s history. Yee writes: “In his current practice, Hsu traces the complex, intertwined pasts of animals, machines, humans and gods, all the while rejecting academicism: ‘Artists are springboards for dialogue, not teachers or professors.’ With this anti-didactic approach and sensitivity toward storytelling, Hsu orients us toward multiple modes of being and counter-narratives.” Read the full article now.

ISSUE 109

JUL/AUG 2018

Issue 109
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Editor's Letter

Being Within the Change

Also available in:  Chinese
Being Within the Change

A saffron-painted merry cow, and the mass-market dairy products it produces—including cheese glowing with golden, technicolor vibrancy—is the centerpiece of Yellow Cow (2006–10), a multi-part installation by the Saudi Arabian artist Ahmed Mater. 

One On One

Kacey Wong on Chen Shun-Chu

Kacey Wong on Chen Shun-Chu

At the time of writing this article, I was in Taiwan and fond memories of my artist friend, Chen Shun-Chu, had resurfaced. 

The Point

A Friend

A Friend

To be honest, I am always reluctant to read any article with the word “identity” in its title, let alone a magazine featuring the theme.

Profiles

Makeshift Histories
Hsu Chia-Wei

Also available in:  Chinese
Makeshift Histories

In my multiple conversations with Hsu Chia-Wei about his film-based practice, the artist elaborated at length on the political histories of Asia. 

FEATURES: Then And Now

A look back through our archives, from 1993 to 2017

A look back through our archives, from 1993 to 2017

At the time when global art was first taking root, Nalini Malani was fast gaining visibility among curators both at home and throughout Asia.

Reviews

The Painting That Is Painted With Poetry Is Profoundly Beautiful
Tang Chang

The Painting That Is Painted With Poetry Is Profoundly Beautiful

Chills ran down my spine as I peered into the vitrine positioned toward the end of the late Tang Chang’s solo exhibition at the Smart Museum of Art, so beautifully and adeptly curated by Orianna Cacchione.

Want to read more about the 53 countries covered by ArtAsiaPacific? 

Purchase Almanac XIII, a compendium of the most significant art events of 2017 and a look ahead at what’s next in 2018.

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