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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 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.