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Published Sep/Oct issue of ArtAsiaPacific. To read the full article, click here.
“Ghost-faced, temples crusted with blood, Michelle Pfeiffer rips around her chintzy little flat, hungering for a new identity: she rams her soft toys into the whirring incinerator; defaces her cloyingly pink walls with black spray paint; smashes her collection of porcelain dolls and birds; and then, finally, comes across a slick, black vinyl raincoat in her closet . . .”
Published Sep/Oct issue of ArtAsiaPacific. To read the full article, click here.
“At the outset of Queering Contemporary Asian Americna Art, late scholar-curator describes Asian American artists, scholars and activists as “the termites of art history.” Though perhaps an unflattering metaphor, termites are indefatigable and collaborative insects, gathering to gnaw at and eventually erode entire structures—or, in this case, what co-editors Laura Kina and Jan Christian Bernabe call the “white hegemonic pillars of art practice, history and criticism.””
Published July/August 2019 issue of ArtAsiaPacific. To read the full article, click here.
“In early May, Patty Chang sent an email asking me to enumerate my fears. "The fears can be about anything," she wrote. "They can be personal, global, societal, mundane or profound; everything is valid." Her only stipulation was that the list be written stream-of-consciousness style. As part of a project she has been working on recently, called 'Milk Debt' (2019- ), she asked several people in Hong Kong to complete the same exercise. She explained that she was compiling these lists into one long script for a performer, who read out the text while pumping breast milk into a bottle in a live performance that took place in June at Tai Kwun in Hong Kong . . .”
Published July/August 2019 issue of ArtAsiaPacific. To read the full article, click here.
““Ghosts wander about in the kitchen and bedrooms, fueled by grudge / They roll your vegetables off a cutting board and crumple your duvet inside its sack.” These bitter, vengeful ghouls, summoned by Aki Sasamoto in a poem and video published by Triple Canopy, serve as a metaphor for our unproductive thought patterns that inhabit and disturb our domestic spaces and day-to-day habits, unmooring us from linear time . . .”
Published May/June 2019 issue of ArtAsiaPacific. To read the full article, click here.
“In 2007, siren eun young jung began to photograph the doors that obscure the impossibly narrow passageways between nightclub buildings in the small city of Dongducheon, South Korea. Pictured with partial views of their garish neighbors’ facades, these flimsy wood or metal gates represent a threshold between the city, overrun with US military complexes, and the cheaply rented homes of so-called unregistered club sisters: sex workers who are ineligible to receive government benefits or legal status . . .”
