Issue

DINH Q. LÊ, Erasure, 2011, Mixed-media installation: boat wood fragments, rocks, thousands of found photographs, desk and chair, table lamp, computer, scanner, internet connection,

Kolding: When Things Fall Apart – Critical Voices on the Radars

HEMA UPADHYAY, 8’ x 12’, 2009, aluminum, scrap metal from cars, enamel paint, plastic, found objects, M-Seal sealant, resin and hardware, dimensions variable. Photo by Anil Rahe. C

Boston: Megacities Asia

ZHU JINSHI, Wall of Air, 2015, canvas, frame, oil paint and metal rack, ten parts: 250.2 x 201.6 x 7.9 cm each. Eight of ten parts exhibited. Courtesy the artist and Blum & Poe, Lo

Los Angeles: Black

PROVOKE: BETWEEN PROTEST AND PERFORMANCE – PHOTOGRAPHY IN JAPAN 1960/1975, edited by Diane Dufour and Matthew Witkovsky. Published by Steidl Verlag, Göttingen, 2016. Softcover with

BOOK REVIEWS: After Protest

Zhang Enli

A pencil-on-paper sketch from the manga Tower in the catalogue of Teppei Kaneuji’s exhibition “ZONES” at the Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame, 2016,

Teppei Kaneuji

The First 100

View of Busan from the 118-meter-high Busan Tower at Yongdusan Park. Courtesy Tom Page.

DISPATCH: Busan

Illustration by Elena Hormiga.

THE POINT: Promises and Perils of Connectivity

PEOPLE

CHUANG CHE, Hazy, 2012, oil on canvas, two panels: 76 x 101 cm each. Courtesy Taipei Fine Arts Museum.

Narrative Wanted

ANDREW GILBERT, British Infantry Advance on Jerusalem, 4th of July, 1879, 2015, mixed media, dimensions variable. Installed at the exhibition “Artist and Empire: Facing Britain’s I

Empire of Whom?

Portrait of Jung-Jae Lee. Photo by ArtAsiaPacific.

Jung-Jae Lee

Portrait of Yin-Ju Chen. Photo by Matt Shapiro. Courtesy the artist and Chi-Wen Gallery, Taipei.

Yin-Ju Chen