ArtReview Asia - Autumn 2021

Bu konuda

The Autumn issue of ArtReview Asia considers what happens when cultural heritage comes under threat. Bangkok-based writer Max Crosbie-Jones’s investigates the long history of the looting and restitution of cultural artefacts in Southeast Asia, and Indian filmmaker Anand Patwardhan considers the future of the medium in the wake of ever tighter government censorship in India and the rise in proscriptive identity politics in academia. Elsewhere in the issue, Korean director Park Chan-wook (Old Boy, 2003 and The Handmaiden, 2016) departs from the world of filmmaking, offering a sneak-peek into his latest series of photography. Columns include examinations of the way in which even India’s weather cycles have been co-opted into its politics; recently rediscovered comic-strip archives in Thailand reveal an alternative history of politics there; the shift of blue-chip international galleries from Hong Kong to Seoul; and the farcical runup to the Tokyo Olympics. Plus the regular mix of book and exhibition review from around the world.

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.