History has a devious way of repeating itself. Today we see waves of progress and turmoil, criticism and censorship, smacking up against each other in the public sphere.
I began to call Jason Lim “the last samurai” after an impressive rendition of his performance piece Last Drop (2005) at “Vital 07: The Essence of Performance,” a live art festival held in Manchester in 2007. His cool, focused concentration was something I’d never seen in him before and it was quite extraordinary.
The French have a curious epithet for the Louvre Abu Dhabi. They call it le Louvre des sables. Translated as “the Louvre in the sands,” this oddly exoticized sobriquet for the fledgling museum, due to open in December 2015
Just six minutes into our breakfast conversation mid-May in Hong Kong, Gu Wenda described himself as a “troublemaker,” who “didn’t follow school requirements—even as a teacher.” I’d expected as much from an artist who made his name outside of China
It’s good to know there’s an artist like Chow Chun Fai in Hong Kong, who invariably deals with the city’s ever-changing identity head on. It is as if you know someone who’s always got your back—a friend you can always count on.
As our historical memory falters, over and over again, we skew both present and past into convenient, stylish fictions. Yet, without a grasp of historical authenticity, how do we come to terms with a past that has failed us in some way?
Slavs and Tatars have a way with words and letters. For their first solo show in the Middle East, the research-driven collective directed their language-focused lens on the slippery workings of alphabet politics.
Wandering through a bulky group show in Hong Kong last May, I happened across three painted plywood panels. Each had been drilled through from behind multiple times in a roughly even pattern, covering the entire surface with smallish holes.
Art provenance is the history of a particular artwork from its creation to the present. When buying a newly created artwork on the primary market—that is, when purchasing an artwork directly from the artist or from the artist’s gallery as part of the first exhibition of such work—the history of the piece is clear.
What’s at stake in the past decade of documentary-based, conceptual practices in the occupied Palestinian territories.