MAY/JUN 2015

Issue 93
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Editor's Letter

The World According to Venice

Also available in:  Chinese  Arabic

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. 

Reports: The Point

(Art)space Exploration

Also available in:  Chinese  Arabic

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. 

Saudi Arabia

Singing Without Music

Also available in:  Chinese  Arabic

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. 

United Arab Emirates

Beyond Safe

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. 

Philippines Mongolia Italy

Salvage Operation
Patrick D. Flores

Also available in:  Chinese  Arabic

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

Singapore Italy

Navigating the Unseen
An Interview with Charles Lim and Shabbir Hussain Mustafa

Also available in:  Chinese  Arabic

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

China Singapore

Ivory Black
Ding Yi

Also available in:  Chinese  Arabic

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.

New Zealand USA

Drawings from Many Worlds
Susan Te Kahurangi King

Also available in:  Chinese  Arabic

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 

Hong Kong
Where I Work

Frog King Kwok Mang-ho

Also available in:  Chinese  Arabic

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

Print Content
Koki Tanaka on Félix González-Torres
Chiang Mai
Trading Places
New Sensation
…And We’re Off!
The Past, the Future, the Dialectical
Modern Citizens
Sheikha Hoor bint Sultan al-Qasimi: Local Treasure
Robert Leonard: Meticulous Enabler
Sook-Kyung Lee: A Meeting of Minds
Sunil Hirani: On the Move
Polit-Sheer-Form: Hard Day’s Night
Nevin Aladağ: Scene from the Street
Japanese-Brazilian Modernists: Nipo-Tropicália
Encounters with Khoj
Transfigurations: The Sculpture of Mrinalini Mukherjee
Hito Steyerl: Too Much World
Kishio Suga: Situated Latency
Haegue Yang: Shooting the Elephant 象 thinking the Elephant
Chen Shun-Chu: Coral Stone Mountain
Mark Bradford: Tears of a Tree
Kacey Wong: Art of Protest: Resisting against Absurdity
Winner Jumalon: Juramento
Sharjah Biennial 12: The Past, the Present, the Possible
Semiha Berksoy: Wall of Hallucination
Mounira al-Solh: Now Eat my Script
Danh Vo: Homosapiens
Siah Armajani: The Tomb Series
The Way Things Go
Disruptor with a Smile
Tomoo Gokita

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