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In ArtAsiaPacific’s September/October issue, regular contributor Marybeth Stock reviews the first extensive suvey in Southeast Asia of Yayoi Kusama’s 65-year career, presented at the National Gallery Singapore. Among the artworks displayed was Narcissus Garden (2017), a reboot of an installation of 1,500 stainless steel balls that Kusama brazenly presented at the 33rd Venice Biennale—despite not being invited. Kusama’s spheres, true to their audacious intent, ultimately reflect the infinite and facile charm of pop aesthetics.
Site Specificities
There is plenty of anecdotal evidence that far-flung parts of the world are becoming more superficially similar as commerce and tourism have homogenized localities around the globe.
Khvay Samnang on Zhang Huan
My first encounter with Zhang Huan’s work occurred in Cambodia in 2008 thanks to independent curator Zoe Butt.
Shenzhen
Shenzhen might be the most famous art-related city that no one really thinks about.
Another Side of Patronage
A few nights after ArtAsiaPacific suggested that I contribute to its series on arts patronage, I found myself in Tokyo attending a memorial concert for the late Hideo Ikeezumi
Girl Power
Sputniko!
Hiromi Ozaki’s first boyfriend could deliver affections on demand.
Diagnosis of the Present
Lamia Joreige
The site was a palimpsest, as was all the city,
written, erased, rewritten.
—Teju Cole, Open City
Life is the Heart of a Rainbow
Yayoi Kusama
What is the difference between a circle and a dot? According to Japanese artist Yayoi Kusama, circles are flat, but the “moon, stars and people . . . are made of dots.
In this Vessel Lies the Philosopher’s Stone
Subodh Gupta
A new body of work by Indian artist Subodh Gupta was gathered in a meditative show presented by Galleria Continua in San Gimignano, entitled “In This Vessel Lies the Philosopher’s Stone.”
Want to read more about the 53 countries covered by ArtAsiaPacific?
Purchase Almanac XII, a compendium of the most significant art events of 2016 and a look ahead at what’s next in 2017.
