When contemplating what to cover in the May/June issue ofArtAsiaPacific, we were naturally compelled to consider the upcoming Venice Biennale. We were struck by how many of the artists who will represent their native lands have already graced our Feature pages.
In 2010 when we first started Artspace, the online marketplace for contemporary art, we were surprised by how often friends and investors would ask whether people would actually buy art online. The question seemed crazy to me.
I am an advocate of the philosophy that education is not about learning facts, but about cultivating ways of thinking. In this piece, I look at the way we think about education in Saudi Arabia and how it dictates and affects society.
Ask people to describe the cultural panorama of the United Arab Emirates and they are likely to conjure up images of Abu Dhabi’s pharaonic franchises of Western museums emerging amid seas of imported laborers.
It’s a drizzly March afternoon in Hong Kong’s Kwun Tong industrial district, located on the eastern side of the Kowloon Peninsula. Patrick D. Flores, curator of the Philippines Pavilion at this year’s 56th Venice Biennale, is in town for the opening
In oceanography, the condition of a large natural body of water is called a “sea state.” According to the height, period and power of waves, the surface of the sea is categorized in ten levels, ranging from “0 (calm)” to “9 (phenomenal).” This classification system is the central motif that Charles Lim has used over the last decade in his film- and data-based projects
The cross is a universal symbol. It represents spatial orientation, real or imagined. Its intersection of vertical and horizontal axes may delineate the positive/negative, past/future, seen/unseen.
A self-taught artist from New Zealand, 63-year-old Susan Te Kahurangi King finally made her solo gallery show debut in late 2014. One of 12 children born to working-class parents, King inexplicably stopped speaking at the age of four and soon after
On a bright March day, the afternoon sun beats down on the tile roofs and red-brick facades of Hong Kong’s Cattle Depot Artist Village, a former slaughterhouse facility north of the city center. Built before World War I and renovated in 2001