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In Issue 111, managing editor Ysabelle Cheung reviews Cao Fei’s solo exhibition, “A Hollow in a World Too Full,” at Hong Kong’s Tai Kwun Contemporary, which included a newly commissioned one-hour-long film and a series of related installations that probe issues of entrapment and freedom. Cheung writes: “Ultimately, the film and exhibition did little to reveal a progression in Cao Fei’s practice [ . . . ] The show’s final work, Coming Soon: Hong Kong (2018), featured two swinging performers attempting to beat their feet against vertically installed drum sets, signaling, perhaps, the artist’s struggle, and that there is something more substantial still to come.” Read the full article now.
Us, You, #MeToo
It has been one year since the New York Times published a report on the numerous allegations of sexual misconduct against Hollywood producer Harvey Weinstein.
Hanoi
Hanoi prides itself on its 1,000-year history and diverse mix of Chinese, French and Soviet cultural influences.
Hopping on a Broken Bandwagon
Despite evidence to the contrary, a network of fair organizers, galleries, so-called tastemakers, and even government bodies in Singapore continue to cultivate an art fair-industrial complex under the assumption that introducing more art fairs is a winning strategy for the local economy and art scene alike.
Understated Visionaries
Akiko Yamazaki and Jerry Yang
“When I first started to think about collecting, I really had no basis for judging what was good or bad,” the ever-humble Jerry Yang said when I asked him about the beginnings of his journey as a collector.
A Look Back Through Our Archives, From 1993 to 2017
In the mid-1990s, Peter Robinson caught the attention of curators and collectors alike in New Zealand.
Shoji Ueda
Spread across the Three Shadows Photography Art Centre in Beijing’s Caochangdi art district, the first exhibition in China of the Japanese photographer Shoji Ueda (1913–2000) was an understated showcase of the joy that the artist found in his photography.
A Hollow in a World Too Full
Cao Fei
In a dank, moss-covered concrete room, a Guan Yu statue sat in webs of dust in a shrine.
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.
