In this issue

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.

ArtAsiaPacific Magazine Description:

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.