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ArtAsiaPacific November/December 2013

ArtAsiaPacific

November/December 2013

Out now

www.artasiapacific.com

Now that the fall season is in full swing, theВ November/December issue of ArtAsiaPacific focuses on much that is new. In Features we spotlight two pioneering figures who are increasingly coming to the attention of the wider world. Arturo Luz, who has been a key figure in the Filipino art scene for almost six decades, speaks with Manila desk editor Marlyne Sahakian about his time as a gallerist and founding director of both the Metropolitan Museum of Manila and the former Museum of Philippine Art at a pivotal period for the emergence of modernism in the country. Similarly, Shooshie Sulaiman has long been at the cutting edge of conceptual art in Malaysia. Singapore-based curator Melanie Pocock investigates an unexplored aspect of Shooshie’s diverse practices—her invention of alternative locations for association, engagement and transaction, which critique current notions of the public sphere and of the art space in the process.В 

Tiffany Wai-Ying Beres—an independent Beijing-based curator who practices Chinese ink painting—concludes her two-part exploration of the renewed interest in this traditional medium in China today, which is taking minimalist, sculptural and digital forms. 

In 20/20, AAP‘s yearlong project to mark the magazine’s 20th anniversary, contributors look back at projects that mark significant moments in the practice of individual artists. We hear from Russell Storer, Queensland Art Gallery’s head of Asian and Pacific art, about Simryn Gill’s photographic series “A Small Town at the Turn of the Century” (1999–2000), which depicts residents of her hometown in Malaysia. Curator Alexandra MacGilp revisitsВ Lida Abdul‘s performative videos made in 2005–06 following her return to her native Afghanistan. Speaking with editor-at-large HG Masters, Hale Tenger recounts the creation of her installation Where the Winds Rest (2007), a haunting meditation on Turkey’s long-suppressed history of political violence. And finally, longtime AAP contributor Maymanah Farhat reflects on the groundswell of interest in poet and painterВ Etel Adnan, which arose following a 2010 exhibition of her landscape-abstractions in Beirut.В 

In Profiles, Chinese photography duoВ Birdhead celebrate their nomination for the Hugo Boss Asia Art Award, as they chat with AAP contributing editor Michael Young. Susan Acret, who was editor of AAP from 1997 to 2001, catches up with the Sydney-based, Pakistan-born miniaturist Khadim Ali, who employs Persian mythology to explore both his own past and that of the Hazara people. In the studio of young Hong Kong artist Kong Chun Hei, assistant editor Sylvia Tsai enjoys his meticulously crafted drawings, while Catherine Milner meets with Tansa Mermerci EkЕџioДџlu, the co-founder of SPOT Contemporary Art Projects and one of Turkey’s leading collectors.

In Essays, contributing editor Chin-Chin Yap outlines the legal, ethical and artistic implications of DNA analysis raised in the work of information artist Heather Dewey-Hagborg. Writing from New Zealand, Andrew Clifford wonders whether the recent trilogy of exhibitions in Wellington derived from the Moving on Asia video archive tells New Zealand more about Asia, or vice-versa, while Dubai-based critic Kevin Jones takes a close look at the implications of Possible and Imaginary Lives (2012), the prize-winning exhibition-cum-photobook by artists Yasmine Eid-Sabbagh and Rozenn QuГ©rГ©.

ForВ Where I Work, Singapore desk editor Ho Rui An visits the London studio of Korean sculptor Do-Ho Suh, while ourВ Dispatch takes us to Yangon, where the vibrant art scene is expanding rapidly despite political challenges. In One on One, Cambodian artist Sopheap Pich reveals a longstanding admiration for Nhek Dim, the country’s leading painter in the 1960s and 1970s; and forВ The Point, curator David Elliott defends the vital importance of the public institution today in the valuing, rather than merely pricing, of art.В 

Rounding out the issue, New York attorney Enrique Liberman explores the susceptibility of the art market to money laundering in Fine Print, and we finish with an exuberant sketch from the notebook of the Yogyakarta-based sculptor Entang Wiharso. In both geographical scope and range of subject matter, in this issue of AAP we hope that even the most ardent seekers of new territories will find their cravings satisfied.

Select articles now online in Arabic and Chinese:В artasiapacific.com


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