JUL/AUG 2014

Issue 89
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Editor's Letter

Gray Papers

Also available in:  Chinese  Arabic

With July and August upon us, the editors at ArtAsiaPacific are moving in tandem with these wonderfully languid months. Making the most of this unhurried pace, this issue looks back at some of the important artistic figures and movements from Asia after World War II

Reports: Dispatch

Ho Chi Minh City

Also available in:  Chinese  Arabic

This year’s Reunification Day in Vietnam, on April 30, marked 39 years since the capture of Saigon by North Vietnamese forces in 1975. This event led the following year to the merger of North and South Vietnam and to the city’s new name, Ho Chi Minh City. 


Pacific Peripheries
Ei Arakawa

Also available in:  Chinese  Arabic

It would be easy to mislabel Ei Arakawa as a “Japanese artist.” His work See Weeds (2011), for example, features performers who take iconic Gutai paintings mounted on wheeled frames and move them around in unison with music, making them “dance.” 


Dearest Montien: A Tribute to Montien Boonma

Also available in:  Chinese  Arabic

The late Montien Boonma (1953–2000) is one of Thailand’s best-known artists. Working through sculpture and installation to portray the country’s shift from its previous agrarian economy and culture toward industrialization, his practice brought a fresh perspective to modern Thai art. 


You Imagine What You Desire
19th Biennale of Sydney

Also available in:  Chinese  Arabic

Desire can be an impish, whimsical affair. The 19th Biennale of Sydney, curated by Juliana Engberg, artistic director of Melbourne’s Australian Centre for Contemporary Art, was themed “You Imagine What You Desire,” 

Palestine USA

How Green Was My Valley

Also available in:  Chinese  Arabic

“How Green Was My Valley” was a poetic meditation on the backbreaking labor, bittersweet sacrifice and precious pleasures entailed in the Palestinian people’s love for their homeland and struggle for its liberation. 

United Arab Emirates Iran
Where I Work

Ramin Haerizadeh, Rokni Haerizadeh & Hesam Rahmanian

Also available in:  Chinese  Arabic

Located on a sleepy, residential street in the al-Barsha neighborhood in Dubai, the tan-colored villa that houses the living and working spaces of Hesam Rahmanian and brothers Ramin and Rokni Haerizadeh—long-time friends since their childhood in Iran—appears unassuming. 

China USA
Fine Print

Damage Inc.

This past February, a man walked into the Pérez Art Museum Miami and, in an alleged act of protest, grabbed a sculptural work from a pedestal and smashed it to the ground. 

Print Content
Lee Kit on Johnny
Contested Memories
Educating in the Asian Art Market
Kickin’ It Up a Notch
Slow Rider
Traffic Jam
Shifting Societies
Sensory Overload
Imagining Tomorrow
Useless Work, Useful Toil
Building a Legacy
Mahmoud Obaidi: The Satirical Agent
Gene Sherman: Rebel With a Cause
Anup Mathew Thomas: Hereinafter
Rasheed Araeen: A Man of History
Beyond White: Reading Tansaekhwa Today
Lam Tung-pang
Love Me, Love Me Not: Contemporary Art from Azerbaijan and Its Neigbours
Tetsuya Ishida: The Note of Tetsuya Ishida
Wang Tiande: Kai Men
Ten Million Rooms of Yearning. Sex in Hong Kong
Sonia Khurana: Oneiric House [Round about Midnight]
Reza Aramesh: The Whistle of the Souls, a Play that never Starts
Mounira al-Solh: All Mother Tongues are Difficult
Extrastruggle: There is no God in the Sky only Birds
Tadashi Kawamata: Reinstallation of the Asia Collection
Ai Weiwei: Evidence
Apichatpong Weerasethakul: Double Visions
Tsuyoshi Maekawa
Avenues of History
Rummana Hussain

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