In the Spring issue of ArtReview Asia, a series of articles explore how the past informs the present and how traditions transform to fit changing times.
Indonesian performance artist Melati Suryodarmo talks about the adaptation of traditional dance forms in her work, and how her solo and choreographed group performances are as much about the shared experience between audience and performer as they are an expression of cultural, social and political identity.
In a new series of paintings, Tears of Paradise, Gordon Cheung draws on disparate landscape traditions, as well as the relationship between financial and digital infrastructures to present new world orders.
In two close readings of videoworks, Mark Rappolt looks at the evolution of new senses of self in the work of New York-based artist WangShui, who explores traditions of fluid identities through the myth of Hong Kong’s dragon gates. Meanwhile Anna Witt’s most recent videowork Unboxing the Future is a documentation of changing working practices at Japan’s Toyota city, where employees share their current working experiences and speculate on the ways in which increased automation and the introduction of artificial intelligence will affect their work-life balance.
In light of the COVID-19 pandemic, Jes Fan’s specially commissioned artist project for ArtReview Asia, which graces the cover of this season’s issue, examines the ways in which facemasks might provide an opportunity to reconsider what defines the self.
Also in this issue
Director of Yangon’s Myanm/art Nathalie Johnston considers the ways in which Myanmar artists are rebuilding the artscene of nation emerging from nearly five decades of dictatorship; Clarissa Oon comments on the evolution of Singapore and Malaysia’s relationship through the medium of film and theatre; Deepa Bhasthiserves up an analysis of the many ways dinner can also be a coded language – ‘You are how you eat’; and as social-distancing measures have swept the world and exhibitions have temporarily closed or been postponed, Nirmala Devi rounds up all the exhibitions she would have liked to be seeing.
Reviews from around the world including the Sharjah Architecture Triennial; Biennale Jogja XV; Park Chan-kyong at MMCA, Seoul; Martha Atienza at Silverlens, Manila; The Posthuman City at NTU CCA, Singapore; Dumbtype at MOT, Tokyo; Phantom Plane, Cyberpunk in the Year of the Future at Tai Kwun, Hong Kong; Wansolwara: One Salt Water at 4A Centre for Contemporary Asian Art, Sydney; Lu Lei at Shanghart, Shanghai; Spectrosynthesis II at Bangkok Art and Culture Centre; and more.
And book reviews of Hong Kong artist Pak Sheung Chuen’s diary Nightmare Wallpaper 140928 – 19070; Winter in Sokcho, by Élisa Shua Dusapin; An Ecotopian Lexicon, edited by Matthew Schneider-Mayerson and Brent Ryan Bellamy; and Jun Yang’s illustrated book The Emperor of China’s Ice.