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Published Sep/Oct 2018 issue of ArtAsiaPacific. To read the full article, visit the magazine's Digital Library.
“Rather than focusing on the itinerancy of city life, as in Hou Hanru and Hans Ulrich Obrist’s three-year traveling exhibition “Cities on the Move” (1997–99), where similar topics were broached, ETAT’s founder Fram Kitagawa instead wrests with the static, socio-topographic features of rural Japan and the drying up of its economic wellsprings due to severe depopulation.”
Published Sep/Oct 2018 issue of ArtAsiaPacific. To read the full article, visit the magazine's Digital Library.
“In 2009, three graduate students rented a musty, water-damaged basement in Seoul and invited guests to the space. As visitors descended the steps in galoshes provided by the trio, they first saw that the room was entirely flooded. Appearing like a black, inky sheet of silk, the water perpetuated an overwhelming sense of abandonment emanating from the hidden space, which was marked with brown stains due to leakages from the restaurant upstairs.”
Published Sep/Oct 2018 issue of ArtAsiaPacific. To read the full article, visit the magazine's Digital Library.
“Geomancer indicates our—and all sentient beings’—fidelity to certain belief structures and ways of living, even in a postapocalyptic world. Lek offered his analysis on this: “Science fiction tends to involve dystopian power, environmental and biological scenarios. But day-to-day life does not actually change that much. Conscious beings’ experience of reality revolves around a limited number of existential things: how we move through space, how we go from one place to another, what we hope for, what we are fearful of. There’s a line in The Adventures of Augie March by Saul Bellow that has always stuck with me, something like: ‘The days don’t change, but the times do.”
Published July/Aug 2018 issue of ArtAsiaPacific. To read the full article, visit the magazine's Digital Library.
“As an activist and curator, Abichandani has been an architect of discussions around intersectional rights and visibility for over two decades. Along with running SAWCC, from 2003 to 2006 she was founding director of public events and projects at the Queens Museum. There, she co-curated the 2005 group exhibition “Fatal Love: South Asian American Art Now,” the first to represent the plurality of South Asian voices in America, in order to, as she wrote in the catalog, ‘[reconnect] aesthetics and artistic traditions that were historically entangled until the violent rupture of the Partition, instead of isolating and losing them once again’.”
Published July/Aug 2018 issue of ArtAsiaPacific. To read the full article, visit the magazine's Digital Library.
“The ongoing, multi-episode film Ex Nilalang (2015– ), produced with dancer Bhenji Ra under the name Club Ate for Asia Pacific Triennial 8, explores queer identities in the Filipino diaspora, proposing a reclamation of origin stories—once the basis of colonial-era slurs and racial abuse— as a way to initiate an identity rebirth.”
