ArtAsiaPacific’s Almanac 2025 compiles the major events of the art world across Asia in the year 2024 and looking ahead to 2025. We wrap up a year of headline news, survey commercial activity at the auctions and art fairs, and review major biennials, triennials, and other festivals. The editors also highlight the important exhibitions of the year and profile six artists of year for 2024. Looking ahead, we preview major exhibitions and provide a calendar of the major art-world events across Asia for 2025.

Amid the hustle and bustle of the post-pandemic economy, we find ourselves contending with the complex madness of the world today. For our cover feature this issue, we scrape back the myriad layers of political engagement and deep historical resonances in the canvases of Malaysian-born British painter and performance artist Mandy El-Sayegh. History as a mirror that reflects our present as well as our future is how Thai artist Pratchaya Phinthong views the world, as we discover in our second feature. We dive into the multidisciplinary practice of the Hong Kong-based artist Wu Jiaru, whose work looks at the digital realm to cultural shifts in the cities of the Pearl River Delta. In Up Close, we feature video works by James T. Hong, Nguyen Trinh Thi, and Heecheon Kim. In Profiles we look at Korean-American artist Anicka Yi and Hong Kong filmmaker Chan Hau Chun. Our new column Legacy examines the enduring Japanese photographer Eikoh Hosoe. For New Currents we spotlight emerging artists in the 11th Asia Pacific Triennial at the Queensland Art Gallery | Gallery of Modern Art, including Brisbane-based artist Sancintya Mohini Simpson and Mumbai-based Rithika Merchant. From Gwangju to Hong Kong, Barcelona to Paris, our Reviews this issue take in Ayoung Kim’s latest commission, Art Labor’s solo exhibition at Para Site, Wu Tsang’s new video work, and a survey of the late David Medalla, while critic Richard Vine send a barbed missive from the 15th Gwangju Biennale. And last but not least, for Where I Work, Brian Haman pays a visit to the Vienna studio of Chinese sculptor Ma Jia.

ArtAsiaPacific’s September/October issue marks the beginning of a busy season in from Seoul and Hong Kong to London and Paris. Our cover feature looks at Korean painter Jinju Lee’s strange and uncanny scenes loaded with symbolism, oneiric detail, and seemingly surreal elements. In an interview, Taiwan-based director Tsai Ming-liang, one of the most revered auteurs of his generation, speaks about his intimate collaboration with the actor Lee Kang-sheng and his own struggles with anxiety. A special feature surveys eight emerging painters who represent a new generation filled with a powerful sense of urgency—from Amanda Ba and Mikey Yates to Oscar Yi Hou and Un Cheng. Curator Qu Chang reflects on the subject of mourning that runs through the practice of Isaac Chong Wai. In Profiles we discover the multidisciplinary works Musquiqui Chihying, who combines literature, theory, technology, and pop culture, as well as the queer performative works of Dew Kim. In One on One, the Dresden-based artist Rao Fu expresses his admiration for the sublime landscapes of German Romantic painter Caspar David Friedrich. For Dispatch we hear about the artistic communities of Jeju Island in South Korea. The Previews cast an eye toward exhibitions in Seoul of Do Ho Suh and Anicka Yi as well as two upcoming showcases in London: Mire Lee’s large-scale Hyundai Commission at Tate Modern and Haegue Yang’s Hayward Gallery survey. In Reviews, we explore the esteemed South African artist William Kentridge’s major retrospective at the Taipei Fine Arts Museum, as well as solo showcases from Sydney, Tokyo, Seoul, Manila, Hong Kong, and Los Angeles. For Where I Work, we go inside the South London studio of Steph Huang as she prepared for her exhibition “See, See, Sea” at Tate Britain.

ArtAsiaPacific’s July/August cover feature examines the photographic practice of Mao Ishikawa, who since the 1970s has documented life on Okinawa, where she was born. While Ishikawa moves through the world documenting those she meets, New York-based Chinese photographer Pixy Liao is a far more inward-looking photographer. AAP spoke to Liao about her highly staged photographs that portray the vulnerability and emotional intertwining in what she calls her and partner’s “experimental relationship.” For Inside Burger Collection, curator Jeppe Ugelvig deconstructs the practice of Young-jun Tak, an artist from South Korea whose relocation to Europe has sparked reflections on the social expectations and norms created by physical environments and within cultures. Meanwhile, for Up Close, we spotlight recent work by Ala Younis, Stephen Wong Chun Hei, and Archie Moore. Continuing our look at Venice, we profile Lap-See Lam, who debuted a multimedia installation and live performance, The Altersea Opera, in the Nordic Pavilion at the Biennale. In Essays, Leung Chi Wo recounts exploring the library of the Venice Biennale with Sara Wong while they were on a residency in 2023. And from Australia, Michaela Bear recounts the history of Bundanon, a museum in the countryside of New South Wales established on the former estate of the modernist artist Arthur Boyd. The Point looks at funding questions sparked by Oman’s participation in the Venice Biennale when their domestic art scene is sorely neglected. In New Currents, our editors spotlight the emerging talents of Samo Shalaby, Starry Kong, and Keita Shirayama. Our reviews span Adriano Pedrosa’s central exhibition Foreigners Everywhere—Stranieri Ovunque at the 60th Venice Biennale to solo showcases in Shanghai and Hong Kong to New York and Houston. Finally, for Where I Work, curator Valentina Buzzi drove out of Seoul to visit the studio of Yunchul Kim.

For our cover feature, we speak with Los Angeles-based Kang Seung Lee about his practice of investigating cultural figures whose lives were neglected by the mainstream narratives of history.  In our second feature, we interview Manal AlDowayan about her long history of working with the collective memory of women in Saudi Arabia, and her participatory workshops in the run-up to her representation at the Venice Biennale. In our final feature, Philippe Parreno discusses the complex phenomenon underpinning his exhibition at the Leeum Museum of Art in Seoul, and his construction of a 13.6-meter tower that houses a virtual, bodiless character in the process of developing its own language. For Up Close, we spotlight a recent film installation by Amar Kanwar, The Peacock’s Graveyard (2023); Sandi Hilal and Alessandro Petti’s Concrete Tent (2015/23) in Sharjah; and Abiding Nowhere (2024), the latest feature film directed by Tsai Ming-liang. Our Profiles this issue look at two artists representing their countries in Venice: Gülsün Karamustafa (Türkiye Pavilion) Mark Salvatus (Philippine Pavilion), while in New Currents we explore the emerging video-based practice of two Venice Biennale participants, Charmaine Poh from Singapore, and Aziza Kadyri, whose collective, Qizlar, is representing Uzbekistan. We also discover new paintings by the Indonesian artist Roby Dwi Antono. In Essays, Hutch Wilco recounts his experiences of embarking on a preparatory visit with fellow curators to the desiccated Aral Sea for the still-pending Aral Culture Summit in Uzbekistan. Our Reviews span from the 24th Biennale of Sydney to Los Angeles, covering major exhibitions in Tokyo and London, as well as solo showcases of leading artists in Hong Kong, Singapore, Mumbai, and New York. Finally, for Where I Work, we visit the plant-filled Hong Kong studio of IV Chan, whose fabric sculptures and performance works explore themes of motherhood, interfamily relationships, and corporeality.

For this issue’s cover interview the Hong Kong-based artist Trevor Yeung discusses themes of intimacy and solitude in his large-scale works; while in our second feature Yuko Mohri, who will be representing Japan at the Venice Biennale in 2024, spoke about her plans for the pavilion before flying to Venice to search for materials and inspiration from the site and its environs. Elsewhere, AAP’s editors spotlight new works by Liu Chang, Hoda Afshar, and Natascha Sadr Haghighian; Isaac Wong Chai writes about the influence of Käthe Kollwitz on his practice; and Berlin-based theorist Ana Teixeira Pinto warns about creeping censorship in the German art scene. Finally, we review major retrospectives by photographer Hiroshi Sugimoto at the Hayward Gallery in London and video and installation artist Paul Pfeiffer at the Museum of Contemporary Art, Los Angeles, as well as new exhibitions by Candice Lin, Atul Bhalla, and Tishan Hsu.

The cover Feature of this issue is an interview with Kim Beom, an artist who imagines the consciousness or agency that objects might possess through projects dating back several decades.  Our second Feature is an interview with Lebanese artist Simone Fattal, whose long career as an artist has involved experimenting with diverse media, from painting to sculpture and photography. AAP’s editors recount their experiences with an architectural intervention by Hong Kong artist Mark Chung; a hybrid dance-performance-film work by Elysa Wendi and Lee Wai-Shing; the latest M+ Facade commission from Indonesian collective Tromarama; and Yeondoo Jung’s newly commissioned video installation about the lives and legacy of the Korean-Mexican diaspora. In Profiles, we look at Beijing-born, New York-based artist Cici Wu and veteran avant-garde artist Sung Neung Kyung. Our Reviews span a major solo exhibition in New York to exhibitions from Auckland to Tokyo, Hong Kong, Yogyakarta, and Vancouver. Finally, for Where I Work, Duong Manh Hung visited the Hanoi studio of painter Ha Manh Thang,

Whether through sight, sound, or textures, humans are always receiving, and reacting to, sensory data. Exploring the abject and extreme limitations of our bodies as physical and emotional entities is artist Mire Lee, who spoke with curator Billy Tang, director of the Hong Kong nonprofit Para Site, for our cover Feature. In our second Feature, ArtAsiaPacific caught up with sound artist Tarek Atoui after his performance at the opening of the 14th Gwangju Biennale in April and ahead of his upcoming new exhibition at the Museum of Contemporary Art, Australia, in Sydney in September. For Inside Burger Collection, curators Elisa R. Linn and Lennart Wolff reflect on the creative output of the pioneering German media artist KP Brehmer, active from the 1960s through to the 1990s. In three Up Close articles, we offer perspectives on Corinne de San Jose, Yooyun Yang, Elvis Yip Kin Bon. This issue’s two Profiles look at artists Jean Shin and Jose Tence Ruiz. In Essays, art lawyer Ryan Su examines the recent United States Supreme Court decision in favor of the photographer Lynn Goldsmith against the Andy Warhol Foundation. For One on One, painter Jin Meyerson reflects on his relationship to veteran Korean artist Park Seo-Bo. In Dispatch, curator Li Zhenhua reflects on the contemporary art world in Zurich. For The Point, we hear from pioneering Indonesian contemporary artist FX Harsono about working on sociopolitical issues in Indonesia. Our Reviews span the recent posthumous Pacita Abad exhibition in Minneapolis along with museum and gallery shows from Japan to Hong Kong and London. Finally, for Where I Work, Seoul-based curator Valentina Buzzi visited the Paris studio of leading Korean artist Lee Bae.

The world around us informs how we make art, and why. In this issue, we hear from artists of multiple generations and geographies whose environments, whether urban or rural, digital or analog, frame the urgent topics that drive their practices. For our cover Feature, associate editor Pamela Wong caught up with Hong Kong artist Wong Ping to talk about the delirious effects of dating apps on society and our personal desires for relationships. In our second Feature, writer Dương Mạnh Hùng and the artist Truong Cong Tung discuss Truong’s embrace of materials gathered from the forest as well as his use of found video footage and photographs. In our ongoing collaboration with Asia Art Archive, we look back at the year of 1990 when artists in Hong Kong were considering their experiments in video art at the intersection of gender politics. Our Up Close selections spotlight recent projects by Simryn Gill, Leung Chi Wo, and Oum Jeongsoon. The 50th edition of Inside the Burger Collection is an interview by Mitchell Anderson with fellow artist Ebecho Muslimova about the central character featured in her paintings. In Essays, Kerstin Winking casts a look back at the Sharjah Art Foundation’s March Meeting 2023, while Dondie Casanova recounts exhibitions that address the pending demise of the Philippines’s uniquely ornamented minibuses. In Profiles, Clara Tang explores the life and practice of Daniel Lie and their interest in organic transformation and collaborating with “other-than-human-beings.” Han Mengyun penned the One on One about the influence of Gayatri Chakravorty Spivak on her artistic practice. In Reviews, we take a close look at the ambitions of the 14th Gwangju Biennale, “soft and weak like water,” to see how it measures up with other recent explorations of its central motif. Finally, in Where I Work, Oliver Clasper visits multimedia artist Andrew Luk’s studio in Hong Kong as Luk prepares to embark on a new chapter in his practice.

AAP Issue 133

Whether it is resisting the currents of history or finding ways to shape the present, artists are continually engaged in a struggle against the times, and even time itself. In our cover Feature, we look at Imelda Capije Endaya, an artist whose practice re-centers the historical narrative of the Philippines around women, portraying them as leaders of social campaigns, instrumental to the economy, and as key forgotten figures in the national mythology. The second Feature in this issue is an interview with the Korean artist Shim Moon-Seup, for whom the rhythms of nature and the embodied energy found in raw materials are the core of his practice. For Inside Burger Collection, curator Tobias Ostrander interviews Paris-based Colombian artist Ivan Argote about  his research and performances around public monuments. In Up Close, we spotlight Hajra Waheed, Brook  Hsu, and Vaevae Chan. In Profiles we dive deep into the practices Citra Sasmita in Bali and Berlin-based artist Sung Tieu. In Essays, we revisit the years Korean abstract painter Yun Hyong-Keun spent in Paris after the 1980 massacre in Gwangju. For our One on One column, performance artist Kawita Vatanajyankur explains the formative lessons she took from the practice of Marina Abramovic. Artist-activist Johanna Palmeyro describes her initiatives to re-make the museum during her residency at the Singapore Art Museum in the Point. For the Dispatch column, Danielle Shang brings us up-to-date on the Asian American and Pacific Islander (AAPI) initiatives in Los Angeles. For Reviews, we examine the 30th anniversary edition of the Sharjah Biennial, plus exhibitions of artists revered and upcoming from Tokyo to Singapore, Manila to New York. Finally, in Where I Work, writing from Auckland, Hutch Wilco visits the young family of Seung Yul Oh and Jungeun Lee to see how they make their creative enterprises a central part of their household.

Recovery, healing, transformation—collectively and individually we are undergoing these
interconnected processes in the post-pandemic era. Our cover Feature looks at Jes Fan’s
Mother of Pearl series (2020–22), which uses the oyster’s natural response to grow shiny nacre
over the site of an infection. The project reveals how “we can treat the wound as a site of
healing—and as an adaptation necessary for survival.” The second Feature marks the
beginning of a collaborative series with Asia Art Archive (AAA) to translate into English
influential texts by members of the Hong Kong art community. For this issue, AAA selected
three texts from 1991–92 produced as responses to the Hong Kong Cultural Centre’s
construction and the opening of the Hong Kong Museum of Art. For Inside Burger Collection, art
historian Rebecca Peabody reflects on Kara Walker’s cutout installations. In Up Close, we
spotlight recent projects by Ahmet Doğu İpek, Natasha Tontey, and Lo Lai Lai Natalie. Profiles
delve into the practices of Nikhil Chopra and the performance duo Club Ate. Christopher
Whitfield writes an essay about the themes of Ghost 2565, the festival of moving-image and
performances held in Bangkok. Entang Wiharso pens a moving Tribute to the late Ashley
Bickerton (1959–2022). For One on One, artist Sriwhana Spong writes about her fascination
with the 12th-century mystic Hildegard of Bingen. In The Point, Dane Mitchell explains how a
surreptitious initiative to 3D-print the Parthenon Marbles inspired his project The Museum of
Without (2022), while Rachel Lim files a Dispatch from Singapore during its month in the art
world’s spotlight. Where I Work visits the Istanbul studio of İnci Eviner. Like many artists
featured in this issue, Eviner’s practice reflects the dramatic ruptures that societies have
undergone in recent decades. At times of instability and chaos, artists are continuously seeking
out new modes of resiliency for themselves and their communities.

ArtAsiaPacific’s Almanac 2023 observes the year of transition. We compiled the major comings and goings—from art museum expansions to unfortunate closings, new hires and recent departures, big awards, and ambitious future plans. The Cultural Currency section reflects on the rocky sophomore year for NFT marketplaces, the return to large-scale art fairs, and the sudden popularity of “ultra-contemporary” artists at major international auctions. In City Reports, we hear from 14 artists, writers, and curators who have been closely following events in the places where they live and work. AAP’s Seoul desk editor Andy St. Louis reports on Korean art’s moment in the commercial limelight. Our correspondents Beverly Yong and Rachel Ng in Kuala Lumpur assessed how the pandemic motivated art organizations to reach new audiences. From Jakarta, Chabib Duta Hapsoro reports on Indonesia’s efforts to decentralize funding away from the capital region, while Quddus Mirza reflects on the year in art amid devastating floods in Pakistan. Associate editor Pamela Wong caught up with the artist collective Dumb Type, who represented Japan at the 59th Venice Biennale, while assistant editor Nicole M. Nepomuceno conversed with Pio Abad about his exhibition in Manila amid a contested presidential election in the Philippines. In Hong Kong, associate editor Tiffany Luk sat down with Sharon Lee to hear about her photo-based projects reflecting on changes in the city, while deputy editor HG Masters spoke with Munem Wasif about his long-term engagement photographing and filming in Old Dhaka. The issue also celebrates six Artists of the Year whose projects and exhibitions drew attention to pertinent issues and gained traction in 2022: Ali Cherri, Lu Yang, Mire Lee, Jes Fan, proppaNOW, and Tammy Nguyen. In the back of the issue are noteworthy exhibitions and festivals that captured the zeitgeist, along with the events that we will have our eyes on in 2023.

So much of art is about appearances; and yet with these visual cues, we are drawn into other worlds. In Issue 131’s cover Feature, we delve into the practice of itinerant artist Pacita Abad. Assistant editor Nicole M. Nepomuceno argues that readings of Abad’s works often focus on their vibrant colors while overlooking the material textures that reveal the varied visual cultures that influenced the artist. Likewise going under the surface, the films of Hong Kong-based Lee Kai Chung explore the psychological effects of the Second Sino-Japanese War, as Lee details to managing editor Chloe Chu in our second Feature. Highlighting intangible forces, in Inside Burger Collection, artist Yehudit Sasportas discusses with critic and curator Gesine Borcherdt the energy surrounding a submerged WWII bunker in northwestern Germany. In Up Close, we spotlight three recent works by Mika Rottenberg and Mahyad Tousi, Chang Yoong Chia, and Riya Chandiramani.

Profiles focuses on Baghdad-born artist Ali Eyal, who “examines the places where violence might dwell, from urban and rural landscapes to the unconscious,” contributor Amin Alsaden writes. The second Profile looks at Radhika Khimji, whose multimedia works are featured in the inaugural Oman Pavilion at the 59th Venice Biennale.

In Essays, contributor Louis Ho charts the history and future of queer art in Singapore following the repeal of a colonial-era law that had criminalized intimacy between men. In Dispatch, we hear about Bangkok’s busy year-end calendar. In the Point, curator and writer Naz Cuguoğlu reflects on her participation in the Whole Life Academy. For One on One, Hong Kong artist Leung Chi Wo celebrates the installations of the late Christian Boltanski. Finally, for Where I Work, deputy editor HG Masters visited the studio of Hong Kong painter Henry Shum. Encouraging encounters with realms beyond the visible is one of the reasons Shum and many other artists in this issue pursue art-making and why we’re drawn to them.

Are there alternatives to fighting power with power? The simultaneously whimsical and
disturbing images of ArtAsiaPacific’s cover artist for Issue 130, Thao Nguyen Phan, suggest that
there are. In her interview with associate editor Pamela Wong, Phan discusses how her
multimedia projects revisit dark chapters in Vietnam’s history through folklores, oral histories,
and prosaic accounts, and thus open official narratives up to poetic interpretation. Similarly, in
her moving-image works, Nalini Malani foregrounds the effects of war, violence, and the
repression of women while eschewing what she calls a “slogan-esque” approach. The
acclaimed multimedia artist elaborates on art’s unique functions beyond didacticism and her
preparations for her solo exhibition “Vision in Motion” at M+ in the second Feature. In Up Close,
the editors delve into recent projects by Heidi Lau, Boo Sze Yang, Monique Yim, and Serene
Hui Sze Lok. Lisa Movius, for Inside Burger Collection, reflects on the works of seminal artist
Song Dong. Profiles examine the practices of socially engaged artists Kiri Dalena and Elia
Nurvista. Imaad Majeed files a Dispatch from Colombo, where mass protests, initially sparked
by rising living costs, continue to surge through the country with unprecedented support. In the
Point, former art professor Kurt Chan argues how the pandemic could be an opportunity for
Hong Kong’s universities to revamp their methods for teaching visual arts. Where I Work visits
the Geneva studio of Mai-Thu Perret, whose sculptures and paintings speak to the experiences
of womanhood through allusions and references. For One on One, artist Jakkai Siributr pays
homage to the Gee’s Bend quilters, who use the quilt form to express their identity and
experiences, in the face of the harrowing racism of the Deep American South. Besides
encouraging us to recognize the multivalent nature of our world, the artists of this issue affirm
that there is a time to reflect and also a time to act.

For the cover feature of Issue 129, Yuki Kihara spoke to assistant editor Nicole M. Nepomuceno about “Paradise Camp,” the
New Zealand Pavilion at the 59th Venice Biennale. Kihara shared her art-historical research leading up to the project, her
collaboration with the Fa‘afafine community in Samoa, and her approaches to subverting heteronormative conceptions of
paradise. The six-decade-plus practice of Ha Chong-Hyun—whose experimental work is also being celebrated in a solo
exhibition in Venice this year—is the focus of our second feature, written by Seoul desk-editor Andy St. Louis. For our third
feature, contributor Portia Placino takes readers to Sagay City, on the Philippine island of Negros, where Nunelucio Alvarado is
based. Since the 1970s, Alvarado has been invested in the communities of Negros, particularly its migrant workers, or sacadas.
In Up Close, the editors examine new works by Chu Chun-Teng, Tap Chan, and Jennifer Tee. Inside Burger Collection features
an interview with the artist duo Elmgreen & Dragset. Profiles spotlight Hong Kong’s representative artist at the 59th Venice
Biennale, Angela Su, and the Mumbai-born Amol K. Patil, who is participating in documenta fifteen. Deputy editor and deputy
publisher HG Masters’ essay reflects on the discussions held at Sharjah Art Foundation’s March Meeting 2022, titled “The
Afterlives of the Postcolonial.” Desk editor Hutch Wilco files a dispatch from Shanghai, where a zero-Covid policy has severely
damaged the city’s art scene. In The Point, artist Ahmet Öğüt shares lessons and values from artists he considers his mentors.
Rushdi Anwar reflects on the influence of 17th-century Persian-Iranian philosopher Mulla Sadra Shirazi on his own multimedia
works, in One on One. Lastly, for Where I Work, Los Angeles desk editor Jennifer S. Li visited the studio of painter and sculptor
Hanna Hur, whose relationship with the recurring motifs and inspirations behind her practice is continually deepening.

The simple activity of hanging out propelled the establishment of many of Indonesia’s collectives in the 2000s. Among the groups born of this era are Taring Padi, for whom hangouts serve as the basis for collective discussions, which can then lead to solidarity movements alongside women, Indigenous peoples, the LGBTQ community, farmers, and others fighting for their rights. In our cover Feature, contributing writer Kerstin Winking details the group’s approaches to pacifist activism as they respond to the evolving conditions of marginalized communities. In the second feature, deputy editor HG Masters talks with Jumana Manna about her new film Foragers (2022), which depicts Palestinians gathering wild herbs in defiance of Israeli laws. Reflecting on her interest in Levantine agricultural practices and ideas of resilience, Manna explores the ties with her earlier films and her sculptures. In Up Close, the editors spotlight three recent works: Yang Yongliang’s video Five Dragons (2020); Tammy Nguyen’s Freehold (2022) paintings; and Leung Mee Ping’s installation Sound of Silence (2021). For Inside Burger Collection, curator Hendrik Folkerts examines the work of the enigmatic artist Vaginal Davis. Elsewhere, associate editor Pamela Wong profiles Tsubasa Kato, whose collaborative projects are occasions for community members to rally together. Managing editor Chloe Chu spoke to Shubigi Rao about her ten-year-project Pulp: A Short Biography of the Banished Book (2014– ), on view in the Singapore Pavilion at the 59th Venice Biennale. Essays delves into Jakarta’s Gudskul and the potentials of alternative art schools in Southeast Asia. For Dispatch, we hear from curator Olga Veselova about the aftermath of Almaty’s violent protests in January. In Where I Work, writer Emily Chun visits the Brooklyn studio of Stewart Uoo. Lastly, in One on One, James Clar explains how Pierre Huyghe taught him about constructing narrative experiences that reflect humanity’s values.

For the cover Feature of AAP’s Issue 127, multimedia artist Simon Fujiwara spoke to contributor Frances Arnold about his latest works, which revolve around Who, the cartoon bear seen on this issue’s cover, who is on a quest to define themself in a world full of projected personas and images. Tracing the turns in Fujiwara’s practice, Arnold reveals his evolving approach to understanding identity-construction. For our second Feature, Portia Placino spoke to experimental filmmaker Kidlat Tahimik about his open-ended approach to making films and his recent series of large-scale installations that dramatically narrate episodes from Philippine history. In Up Close, the editors spotlight new works by Young-Hae Chang Heavy Industries, Breakwater, and Yuko Mohri. Inside Burger Collection highlights supernova artist Cao Fei. Profiles feature multimedia artists Sin Wai Kin and Barış Doğrusöz. Christopher Whitfield’s Essay reflects on Oscar Murillo’s Frequencies (2013– ) project and explores pedagogical models that encourage international solidarity among students. Liang Jianhua of Guangzhou’s HB Station explains the organization’s approaches to providing alternatives to China’s art education in The Point. For Dispatch, cultural workers Osveanne Osman and Aqilah Ali share how histories of colonialism and Brunei’s economic reliance on petrochemicals continue to impact the local arts community. In Tribute, Rayya Badran and Rhana Devenport celebrate the lives and works of late artists Etel Adnan and Hossein Valamanesh. In a new column titled Making Of, assistant editor Nicole M. Nepomuceno and editorial intern Victoria Chan reveal the processes behind Tino Sehgal’s ever-evolving performances. Finally, in One on One, artist and curator Enoch Cheng pays homage to writer and actor Michaela Coel, whose work has given him the courage to say that underneath attempts at maintaining normalcy, we are not alright.

ArtAsiaPacific’s Almanac 2022 recalls the second year of the pandemic and looks ahead toward what the post-pandemic era might be like. 

We compile 2021’s key news, from institutional disputes to solidarity campaigns, censorship issues, and the emergence of new public platforms around the globe. The Cultural Currency section details the art market’s latest developments, including the astronomical rise of NFTs, which have changed the industry. 

In City Reports, 15 artists, writers, and curators share their communities’ responses to the events of 2021 and their focuses moving into the new year. Curator Chloe Chow describes the opening of Hong Kong’s much-anticipated M+ museum amid concerns for freedom of speech. Yogyakarta-based curator Alia Swastika expounds the growing importance of collectivism, decentralization, and decolonization in Indonesia’s social movements. Nav Haq, associate director of the Museum of Contemporary Art Antwerp, similarly reflects on discussions around decolonization and the necessity of alternative models within such discourse in Europe.

In an interview with assistant editor Pamela Wong, Ryuta Ushiro from the group Chim↑Pom shares his thoughts on the controversial Tokyo 2020 Summer Olympics. For photographer Sohrab Hura, in 2021, issues in broader Indian society became closely aligned with the art world: “Even art comes from the privilege of caste, class, region, city, and language. People are questioning these elements within the very hierarchical spaces of art and there is something in flux right now.”

The issue also celebrates six Artists of the Year whose projects and exhibitions drew attention to pertinent issues and gained traction in 2021: Yu Ji, Yee I-Lann, Park Seo-Bo, Monira Al Qadiri, Bani Abidi, and Sung Tieu. In the back of the issue are noteworthy exhibitions and festivals that captured the zeitgeist, along with the events that we will have our eyes on in 2022.

ArtAsiaPacific's November/December issue looks at artists who have devoted their practices to creating space for reflection, reconnection, and healing. Our cover feature is a conversation between Tuan Andrew Nguyen and associate editor Ophelia Lai about the role of voice and song in the Ho Chi Minh City-based artist’s recent film works. For the second feature, deputy editor HG Masters spoke with pioneering modernist painter Park Seo-Bo, who looks back on his career on the eve of his 90th birthday. Closing out the Features section is Up Close, where the editors spotlight new works by Lee Kai Chung, Bani Abidi, and Yao Qingmei.
In Profiles, we trace the choreographic practice of Berlin-based Choy Ka Fai, and the  politically engaged art projects of Leslie de Chavez. 
In his essay, Hutch Wilco interviews the organizers behind some of Shanghai’s new grassroots art initiatives about their strategies and motivations. The second Essay looks at the evolution of the archival turn, with a focus on “Portals, Stories, and Other Journeys,” an exhibition rooted in the repository of materials compiled by artist Ha Bik Chuen. 
The issue also includes The Point by artist, curator, and educator Taeyoon Choi who probes how we might address the ways our virtual realms perpetuate violence and inequity. Filing a Dispatch from Beijing, Jaime Chu expounds on how social-media metrics and Chinese internet culture have affected what gets shown in China’s art-exhibition spaces. Meanwhile, in One on One, artist Monira Al Qadiri describes her fascination with the writing of novelist Yukio Mishima, who has long been sidelined in Japan for his homosexuality, extreme right-wing politics, and public suicide following a failed coup.
Finally, for Where I Work, contributor Tiffany Leung visited the riotous London studio of Chila Kumari Singh Burman, who reminds us “that imaginative joy is entwined with subversion and resistance, and prevails through darkness into light.”

How can we communicate with our ancestors, and what can we learn from the way they survived, and thrived, as communities? In our cover feature, managing editor Chloe Chu speaks to artist Zadie Xa about works that stage quasi-mythical rituals and environments populated by shamans and animals. In our second feature, Cleo Roberts-Komireddi caught up with Gala Porras-Kim to learn about the Los Angeles-based artist’s engagements with cultural artifacts and the institutions in which they are kept and displayed.
Up Close shines a spotlight on recent projects by Liu Yin, Shuruq Harb, and Pınar Öğrenci. Inside Burger Collection focuses on the legendary artist Lee Ufan.
This issue’s Essay is penned by Susan Htoo, the winner of the 2021 Young Writers Contest, and looks at the virtual exhibitions and social-media activities of artists from Myanmar.
Kang Seung Lee, Nabuqi, and experimental noise musician Xper.Xr appear in Profiles. In The Point, Yi Cao, from the Art Institute of Chicago, discusses the ways in which museums need to make themselves relevant to their communities in the wake of social-justice movements. In Dispatch, Seattle-based artist and educator Robert Rhee reflects on the Pacific northwest city’s stuttering efforts to get back to “normal.”
In Fine Print, art lawyers Yayoi Shionoiri and Ryan Su discuss the practical legal issues that NFT creators face, and offer a sample contract for artists and collectors to use. Mark Salvatus, in One on One, describes how installation artists Alfredo and Isabel Aquilizan inspired his future practice.
Finally, for Where I Work, associate editor Ophelia Lai visited the studio of Hong Kong artist Leelee Chan, who imbues found materials with biomorphic qualities. In a world that produces more and more objects every day, Chan seeks out moments of material beauty in discarded remnants. Like Xa, Porras-Kim, and others, Chan offers a model for learning to adapt to the conditions of our new world, just as our ancestors did before us.

Whether adopting pseudonyms, exaggerating personas, or inventing alter-egos, artists have been leading imagined existences throughout time in order to examine the fine lines that divide fiction and reality. Beginning in 1967, the Los Angeles-based artist Carl Cheng began branding his creations under the name John Doe Co., a wryly generic corporate moniker for his “Nature Machines,” which deputy editor HG Masters explores in this issue’s cover Feature. Hendrik Folkerts considers Evelyn Taocheng Wang’s allusions to a host of artistic and literary figures in her paintings and videos in our second Feature. Up Close highlights new works by Jes Fan; Deniz Gül, and Zhao Zhao. For Inside Burger Collection, Kimberly Bradley traces the arc of artist Bianca Kennedy’s practice, from her films on bathing to her speculative animations.

Profiled in this issue are multimedia artist Aki Inomata and photographers Pao Houa Her Miti Ruangkritya. This issue’s Essay, by Berlin desk editor Clara Tang, is focused on the project “Owned by Others,” which sought to create conversations around the colonial histories behind the artifacts held on Berlin’s Museum Island. 

In Dispatch, curator Raphael Fonseca describes the recent shifts in the arts landscape of São Paulo. For the Point, artist, curator, and incoming Asia Art Archive director Christopher K. Ho probes how transnational communities of the many Asian diasporas might find new forms of solidarity. Artist Trevor Shimizu pens the latest One on One column, paying tribute to Dan Graham.

Lastly, for Where I Work, contributor Frances Arnold visited aaajiao’s Berlin studio, where the new-media artist creates large-scale installations, websites, and interactive games reflecting on humanity’s relationship with virtual environments.


Photography is often described as a passive media—a recording of things that happen before the lens. But for many contemporary artists and photojournalists, it is a field of active investigation. In the cover Feature of AAP’s May/June issue, Cleo Roberts-Komireddi examines how a surge in majoritarian politics in South and Southeast Asia is driving photo-activism, archiving initiatives, and collaboration between collectives across the region.

Our second Feature spotlights Los Angeles-based multimedia artist Candice Lin, whose touring solo exhibition “Pigs and Poison” historicizes the Covid-19-heightened scapegoating of Asians during pandemics. Lin has long focused on “non-humans and the dehumanized, creating projects that cross past with present and future, self with other,” writes managing editor Chloe Chu.

In Up Close, the editors examine projects by Sarah Choo Jing, Mika Tajima, and Minouk Lim. For Inside Burger Collection, curator Marie Muracciole interviews Lebanese-American artist Simone Fattal. Abdullah M. I. Syed, Agung Kurniawan, and Ayoung Kim appear in Profiles.

Elsewhere, deputy editor HG Masters surveys the nearly 12-year-long run of Beijing’s alternative space Arrow Factory; Chicago artist Aram Han Sifuentes discusses US voter suppression; and Haig Aivazian pens a One on One about 19th-century French painter Eugène Delacroix. In Dispatch, we hear about the intergenerational support between citizens and artists fighting for democracy in Myanmar. For Fine Print, lawyers Juyoun Han and Patrick K. Lin dissect how Section 230 of the US Communications Decency Act allows social media platforms the freedom to decide how and what content to ban, and how it impacts artists online.

Lastly, for Where I Work, contributor Daphne Chu visited the Taipei studio of animator Zhang Xu Zhan, who utilizes folded joss paper, customarily burned as offerings to one’s ancestors, in his stop-motion videos. 

Photography is often described as a passive media—a recording of things that happen before the lens. But for many contemporary artists and photojournalists, it is a field of active investigation. In the cover Feature of AAP’s May/June issue, Cleo Roberts-Komireddi examines how a surge in majoritarian politics in South and Southeast Asia is driving photo-activism, archiving initiatives, and collaboration between collectives across the region.

Our second Feature spotlights Los Angeles-based multimedia artist Candice Lin, whose touring solo exhibition “Pigs and Poison” historicizes the Covid-19-heightened scapegoating of Asians during pandemics. Lin has long focused on “non-humans and the dehumanized, creating projects that cross past with present and future, self with other,” writes managing editor Chloe Chu.

In Up Close, the editors examine projects by Sarah Choo Jing, Mika Tajima, and Minouk Lim. For Inside Burger Collection, curator Marie Muracciole interviews Lebanese-American artist Simone Fattal. Abdullah M. I. Syed, Agung Kurniawan, and Ayoung Kim appear in Profiles.

Elsewhere, deputy editor HG Masters surveys the nearly 12-year-long run of Beijing’s alternative space Arrow Factory; Chicago artist Aram Han Sifuentes discusses US voter suppression; and Haig Aivazian pens a One on One about 19th-century French painter Eugène Delacroix. In Dispatch, we hear about the intergenerational support between citizens and artists fighting for democracy in Myanmar. For Fine Print, lawyers Juyoun Han and Patrick K. Lin dissect how Section 230 of the US Communications Decency Act allows social media platforms the freedom to decide how and what content to ban, and how it impacts artists online.

Lastly, for Where I Work, contributor Daphne Chu visited the Taipei studio of animator Zhang Xu Zhan, who utilizes folded joss paper, customarily burned as offerings to one’s ancestors, in his stop-motion videos.

It feels like it was both a century ago and just yesterday when news of a mysterious coronavirus first started to spread across the globe. In warping our experiences of time, the pandemic has drawn attention to the unstable nature of how we relate past with present. 

In ArtAsiaPacific’s March/April 2021 issue, we spotlight two artists whose conceptions of time reveal the messy entanglements between historic and contemporary realms. Our cover Feature examines the practice of Wang Tuo, whose recent films present parallel realities grounded in pivotal moments in China’s modern history. Hera Büyüktaşçıyan, the subject of our second Feature, traces the architectural transformations of cities through her sculptures, installations, videos, and drawings. Up Close highlights new works by Lu Yang, Cian Dayrit, and Yang Fudong, while Inside Burger Collection delineates the work of photographer Paul Hutchinson.

The issue includes an essay on two Vancouver exhibitions that surfaced issues of decolonization. Hiwa K, Min Oh, and Au Sow Yee are profiled. Elsewhere, the Seoul-based collective Listen to the City write about the impact of Covid-19 on people with disabilities and how we might reconceive urban communities to create resilient post-pandemic cities. Dispatch follows how Rome’s arts community is devising strategies to thrive, despite an infrastructure that was crumbling long before the pandemic hit. For One on One, artist Wong Kit Yi pays tribute to dealer and writer Michael Findlay, whose time-hopping art historical accounts have inspired Wong’s projects. Lastly, we visit the Brooklyn studio of Chitra Ganesh, whose paintings, drawings, and videos collide age-old mythologies with futurist motifs. As the works of Ganesh, Wang, and Büyüktaşçıyan show, the past inevitably influences the present, but in each moment of encounter, there is also the potential to break from established histories and imagine the world anew.

Covid-19 compelled all of us to dramatically adjust our daily lives in 2020. ArtAsiaPacific’s Almanac 2021 reflects these adaptations. For City Reports, we asked writers to reflect on the changes that have unfolded where they reside, from New Delhi and Ramallah to Beirut and Seoul. Additionally, five artists, curators, and collectives share their Perspectives on 2020, including Jakarta’s ruangrupa, who have been preparing for their edition of documenta 2022, and Olga Veselova, who curated an exhibition in one of the only physical locations still open in Almaty: the supermarket. The Almanac also compiles the most notable news about censorship issues, rights advocacy, developments in the arts infrastructure, and other milestone events. In Cultural Currency, we examine how the art market shifted gears in light of Covid-19, and how these strategies have paid off at fairs and auctions. Elsewhere, the editors select exhibitions and festivals that stood out in 2020, and events to look forward to in 2021. We also spotlight six artists who captured the zeitgeist with their projects and exhibitions: Yoshitomo Nara, Tarek Atoui, Brook Andrew, Mai-Thu Perret, Forensic Architecture, and Leelee Chan.

With these components, Almanac 2021 extends AAP’s archive of the artistic phenomena emerging from the dynamic Asia-Pacific region. We are grateful for the Almanac’s many contributors, as well as Burger Collection, CL3 Architects, Kukje Gallery, Simon Suen Foundation, Mapletree, Sunpride Foundation, and Stefan Rihs, who made this endeavor possible.

Though 2020 was a challenging year for many, we hope that our readers will see the solidarity and connections that have remained intact in the global art community, despite the shifts and uncertainties of our ever-transforming world.

ArtAsiaPacific Issue 121 surveys ecology-focused artists. Our cover Feature is a conversation with Thu Van Tran, whose series From Green to Orange (2014– ) speaks to the aftereffects of the chemical weapons deployed during the Vietnam War. Our second Feature is on Hong Kong-based duo MAP Office, who explore the sustainable growth of waterfront communities through publications, videos, and installations. Up Close covers new works by Prabhakar Pachpute, Su Yu Hsin, and Truong Cong Tung, while Inside Burger Collection traces the life of surrealist Meret Oppenheim. Also in the issue: an Essay on Yukihisa Isobe, who designed the first Earth Day poster in 1970; Profiles of artist Irene Agrivina, architectural scientist Mae-ling Lokko, and photographer Tamara Dean; a Dispatch from Madrid; and a Tribute to Siah Armajani (1939–2020). For the Point, the Forest Curriculum, led by curators Abhijan Toto and Pujita Guha, propose a model for rethinking knowledge based on the Asian forested region of Zomia. Raja’a Khalid pays homage to writer Kurt Vonnegut in One on One. Lastly, for Where I Work, Danielle Shang visits the Los Angeles studio of Kelly Akashi, whose sculptures are inspired by organic forms. Like Akashi, the many artists and creators featured in this issue are inventing strategies of survivance as we are compelled to readapt our behaviors to conditions on a rapidly changing planet.

The pandemic-plagued world is ripe with divisions. As communities look to address various crises, artists have the ability to create spaces of understanding, empathy, and awareness. Issue 120’s cover Feature centers on Hajra Waheed’s explorations of the possibilities for “radical hope” and solidarity. Our second Feature is on Hong Kong-based multimedia artist Lam Tung Pang, who personifies landscapes and elements of nature to convey the pathos of his hometown in times of upheaval. Up Close looks at new moving-image projects by Diane Severin Nguyen and Allison Chhorn, and an investigation by Forensic Architecture. Inside Burger Collection examines the career of Canadian painter Tim Gardner. In Essays, Cheng Mun Chang, the winner of our Young Writers Contest 2020, argues that the logic of colonialism undergirds post-independence Singapore’s land reclamation projects. She considers the impact of these development policies through the works of Charles Lim, Zarina Muhammad, and Debbie Ding. The Profiles section features Los Angeles-based Miljohn Ruperto, artist-anthropologist duo Zheng Mahler, and Singapore arts patron Rachel Teo. In The Point, Lucas Ihlein and Kim Williams reflect on their experience of working with the Biennale of Sydney to curb the organization’s reliance on plastic. For One on One, Palestinian artist Inas Halabi writes about how Rosalind Nashashibi’s approach to filmmaking has influenced her own explorations of “the construction of identity in relation to history and place.” Also included are a Dispatch from Vancouver, and gallerist Johnson Tsong-zung Chang’s tribute to Hong Kong artist Gaylord Chan (1925–2020). Lastly, for Where I Work, John Alexis Balaguer visited the studio-residence of Norberto “Peewee” Roldan, who co-founded Manila’s oldest nonprofit space, Green Papaya. A longtime advocate for regional artists in the Philippines, Roldan embodies the spirit of art, community, and camaraderie that runs through this issue.

Issue 119’s cover feature explores the fictional feminist utopia of Mai-Thu Perret’s project The Crystal Frontier (1999– ), which reflects on the real obstacles to the creation of a better world. Our second Feature is a tribute to the late Zarina Hashmi (1937–2020), whose prints and sculptures were influenced by her experiences of the Partition of India. Up Close spotlights recent works by Farid Rasulov, Andrew Luk, and Byron Kim. Artist JJ Chan penned an Essay on the underrepresentation of Chinese staff at Manchester’s Centre for Chinese Contemporary Art, while Sung Tieu examines the practice of feminist writer and artist Mary Kelly for One on One, and Zheng Bo advocates for a rethinking of art as a multispecies activity in the Point. Legal expert Ryan Su offers advice to cash-strapped museums on deaccessioning works in Fine Print. The issue also profiles video and performance artist Angela Tiatia; Hong Kong-based gallerist Arthur de Villepin; and Joven Cuanang, founder of the Pinto Art Museum just outside of Manila. Our Dispatch from Amsterdam focuses on postcolonial discussions happening in the city’s arts institutions. Finally, Where I Work takes a look at Lo Lai Lai Natalie’s studio and farm in Hong Kong.

Issue 118 takes stock of what we may have neglected in the past, just as Covid-19 has forced us to acknowledge overlooked aspects of the world’s social, economic, scientific, and cultural systems. Our cover Feature explores how Sawangwongse Yawnghwe’s paintings and installations preserve the cultural memories of the persecuted Shan people in Myanmar. Carlos Villa (1936–2013), the subject of our second Feature, also understood marginality, advocating for diversity in the United States as an artist, curator, and educator. Up Close includes Yhonnie Scarce and Edition Office’s architectural installation In Absence (2019); Wang Tuo’s film Symptomatic Silence of Complicit Forgetting (2019); and Sun Yuan and Peng Yu’s installation Free Biographies (2018–19). Inside Burger Collection brings together three takes on artist Brie Ruais’s process-driven ceramic sculptures, written by curators Frauke V. Josenhans and Jodi Throckmorton, and artist Martha Tuttle. For Profiles, Tim Walsh spoke with artist Ruth Buchanan, who investigates representation in cultural institutions, while David Willis visited MAIIAM Museum in Chiang Mai to find out about founder Eric Booth’s aims to “redistribute cultural capital away from the center of power.” Elsewhere, Maria Taniguchi reflects on the influence that both Felix Gonzalez-Torres and Judy Freya Sibayan had on her works. Kadist curator Shona Mei Findlay files a Dispatch from San Francisco, where the vibrant and diverse history of the city is under threat due to gentrification. For Where I Work, Michael Young visited the Shanghai studio of new-media artist Lu Yang, whose video games and animations revolve around the nature of consciousness and the limits of the human body. Finally, for The Point, Beirut desk editor Nadia Christidi looks at how the climate crisis will shift our collective understanding of knowledge production. 


With governments imposing quarantines and travel restrictions to contain the spread of Covid-19, the questions of how we might commune are all the more pertinent. For our cover feature, Beverly Yong spoke with textile artist Yee I-Lann about the social importance of tikar (mats) and her principle of mansau ansau, or “to keep journeying without knowing where you’re headed.” Embracing uncertainty as a fact of life was likewise central to the practice of Huang Yong Ping, the subject of our second Feature by curator Hou Hanrou. In Up Close, AAP editors examine recent video works by Li Ran, Ho Rui An, and Jen Liu. Curator David Ho Yeung Chan interviews Hong Kong-born artist Tsang Kin-Wah on his text-based installations and videos about humanity’s self-destructive behavior for Inside Burger Collection. The issue also includes Profiles of Chloe Suen and Haryanto Adikoesoemo, founders of Hong Kong’s Sun Museum and Jakarta’s Museum MACAN, respectively. Tuan Andrew Nguyen penned a One on One reflecting on how his mentor, the artist Daniel Joseph Martinez, changed the way he thought about collectivity and political agency. Elsewhere, Clara Tang files a Dispatch from Berlin, and artist Sean Raspet highlights the contradictions faced by an increasing number of art initiatives on the topic of climate change. Finally, for Where I Work, Lauren Long visited Zhang Peili in one of his Hangzhou studios, where the multimedia artist explained his study of the human condition through his videos, paintings, and installations. Despite his use of cultural references specific to China, Zhang’s works suggest we all share agency in our responsibilities to process the shifting conditions of our world.


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For 20 years, ArtAsiaPacific Magazine has been at the forefront of the powerful creative forces that shape contemporary art from Asia, the Pacific and the Middle East.  Covering the latest in contemporary visual culture, ArtAsiaPacific is published 6 times a year in Hong Kong, with editorial desks in 25 countries around the world.  Our special annual issue, the ArtAsiaPacific Almanac, published in January, covers the major art events of the past year and forecasts the key trends of the year to come.  
The dominant artistic influence in the world today - and for many years to come emanates from the vast territory that lies between Turkey and the Pacific island of Tonga that we call the Asia-Pacific.  This territory includes India, China, Japan, Australia, Thailand, Pakistan, New Zealand, Korea and Indonesia, whose combined populations make up an amazing half of the world's total population.  Also included are Burma, Cambodia, Kiribati and Uzbekistan - places hitherto overlooked, but which like their gigantic neighbors, are producing cutting-edge art of stunning and unexpected quality.
ArtAsiaPacific is authoritative, accurate, even-handed, exact and essential.  Included in each issue is an up-to-date directory of the major galleries, not-for-profit organizations and museums with a focus on contemporary art from our geographical footprint.  ArtAsiaPacific offers thoughtful reportage, analysis, comment and criticism to its readers made up of collectors, gallerists, curators, artists and those who want and who need to know the latest developments in the fastest-growing and most astonishing region of the contemporary art world.

Almanac 2024

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n. We will also use usage information in order to ensure users adhere to our Terms of Use. For example, a user’s usage information will help us confirm that a user only downloads a magazine or other content a permitted number of times or to a permitted number of devices.

which gives digital readers unlimited access to 9,000+ magazines and newspapers for a monthly subscription price. Magzter also has the largest number of stories in the world with its game-changing ezRead 2.0 feature for its apps, which enables smartphone and small-screen mobile users to enjoy magazine content the way it was meant to be enjoyed, with article text that is easy to read and is accompanied by stunning videos and high resolution photography.

{{magzter}} is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 88 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.

ArtAsiaPacific Magazine - ArtAsiaPacific Almanac 2025

ArtAsiaPacific Magazine - ArtAsiaPacific Almanac 2025

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