For months, a stream of unsettling events has flooded the world as the deleterious effects of rapid globalization and the nationalist backlash it has prompted shake the foundations of nation states.
Whether in politics or culture, Malaysia has never really gained the kind of international prominence that her immediate neighbors in Southeast Asia (such as Indonesia, Thailand or Singapore) have over the past decade.
How does a person—for example, Kafka—sincerely believe that he must throw away his fate (and to him, to throw away his fate is to stay close to the truth), that he must become a writer?
On May 22, the Hong Kong Arts Development Council (HKADC) announced that it would stop the display of Our 60-Second Friendship Begins Now (2016),
It was a coincidence that Aditya Pande was in the gallery when I visited his solo exhibition at New York’s Aicon Gallery in May.
Writer, essayist and artist, Etel Adnan (born 1925) is a keen observer of geopolitical unrest and, in particular, of imperialism, colonialism and neocolonialism.
Soil and stones, as geologic materials, are the essential building blocks that compose the vast areas of the earth fragmented by the abstract and arbitrary demarcations of geography.
A large cube, lined inside with hundreds of magnets, was covered with millions of black iron filings forming intestinal undulations that appeared as though fat worms lurked beneath the structure’s surface.
His works look like artifacts from alien civilizations, emanating a signature red glow that suggests they may even possess their own sentience. How a legendary sculptor gives life to monumental installations while taking himself out of the creative process.