ArtReview Asia - Summer 2023

I denne utgaven

In the Summer issue of ArtReview Asia, Max Crosbie-Jones profiles Thai artist Som Supaparinya, whose films focus on the minutiae of precarious terrain in order to draw attention to hydropolitics, power generation, the political inertia of the Thai nation-state and the rights (and souls) of mountains, rivers and their peoples. Japanese artist Horikawa Michio’s half-century (and counting) conceptual project Mail Art by Sending Stones explores stones, rivers and outer space through the collection and posting of rocks, a practice recounted here by Tyler Coburn. Coming at stones from a different angle is the artist Lee Ufan, who speaks with French artist Claude Viallat, in a conversation moderated by Mark Rappolt, about the convergence of two strikingly parallel views of artmaking born at the same time on opposite sides of the world and in perfect isolation. Also in this issue, previews of shows from across Asia and beyond, including centenary celebrations in Washington, DC, of the Smithsonian’s National Museum of Asia Art (and a few pointed questions about what constitutes Asian Art); commentary on the physical design of museums and on a new film set in London’s British Pakistani community; and exhibition and book reviews from Mumbai, Melbourne, Beijing, Hong Kong, Taipei, Dubai, Singapore, Bangkok, Kyoto.

ArtReview Asia Magazine Description:

Launched in May 2013 and published quarterly, ArtReview Asia brings the values
of ArtReview to the artistic production of the world’s largest and most diverse
continent.

With its headquarters in Shanghai, and associate editors and contributors
spread across the continent, ArtReview Asia covers art from both the West and
the East, and a few places in between, and targets readerships based in Asia and
those with an interest in Asia’s art scenes worldwide. ArtReview Asia’s writers
include some of the leading critics and fiction writers in the region, among
them awardwinning Thai writer Prabda Yoon and leading Tamil writer Charu
Nivedita. Reviews have an emphasis on shows in Asia or by artists from Asia,
and the majority of ARA’s writers and critics are based in the territories they
cover. As Asia’s art scenes evolve and develop to include some of the most
commercially successful and internationally exhibited artists on the planet,
ArtReview Asia aims to provide a central and independent platform upon which
those contributions can be evaluated and discussed, without restraint or
restriction, and in full consciousness of the ideas and contexts in which they
have evolved. ArtReview Asia is uniquely placed to analyse art produced in Asia
in the context of both local specificities and the global art discourse.

In keeping with ArtReview’s core goals, ArtReview Asia is also dedicated to
exploring the ways in which ideas developed by artists are absorbed by other
cultural genres, from fashion and film to architecture and design. Artists,
however, are at its heart: previous editions have featured collaborations with
both the continent’s leading figures and its hottest new talents – from Rirkrit
Tiravanija to Yuko Mohri, from Lee Bul to Haegue Yang and Apichatpong
Weerasethakul, from Heman Chong to Birdhead, Waqas Khan, Chim Pom,
Yang Fudong and Koki Tanaka.