Asia

Art Week Tokyo inaugurated an expanded edition in November 2022 in collaboration with Art Basel.

The subjects of this exhibition, scenes that Usui sees on the streets that somehow catch his fancy, are sometimes beautifully presented, and at other times with an air of subtle humour. 

With the help and collaboration of Cooperativa 1050º, a cooperative of potters from Oaxaca, Puebla and Chiapas, and led by Kythzia Barrera, Tiravanija worked on special designs for vases, cups and other vessels that were shown in the exhibition.

This project explores how the distinctions between sound and meaning blur in spoken language.

This expansion was necessitated by the growth of the gallery’s programme and the drive to bring a broader representation of Southeast Asian, Asian Pacific, and Diasporic artists into the wider framework of the contemporary art dialogue.

For the third edition of its PRINT SCREEN programme, STPI Gallery presents a line-up of works by Charles Lim Yi Yong at its pop-up space, ArtSpace @ HeluTrans.

This exhibition presented works by thirteen artists on the nature of Parsi identity, exploring the diverse ways in which the Parsi community has been visually represented and placing specific emphasis on contemporary images amidst shifting narratives of memory and belonging.

This show aimed to create a bridge between life before and after the pandemic.

This exhibition mimicked their actual studio; at the border between fictitious and real.

As both an artist and a practicing architect, Khosla is deeply involved with the built environment and he sees his artistic practice as an exploration of the continual regeneration of our cities. This is Khosla’s third exhibition with Nature Morte.

Through their residency programme, STPI’s Creative Workshop collaborates extensively with international artists to create works in the mediums of print and paper. PRINT SCREEN is a fresh take on works created by their artists-in-residence

View installation images of Joydeb Roaja’s solo and access the exhibition essay written by Diana Campbell

Gupta explores the nature of conflict as expression and modality, engaging with historical, geographical and socio-political narratives that yield powerfully discursive, personally resonant and at times playful calls to action, enriching post-modern queer theory through his expressionist politics. SOUTH SOUTH interviewed the artist to find out about each series on show.

Acutely erudite in music and equally conversant in literature, politics, philosophy and history, he was an artist who could lead the viewer to enter his work from different points of view.

For Volume 3 Issue 2 , Datta roots his interest through exploration of sculptural forms constructed in textiles, from the native wear of the Late Showa Period in Japan and old Indian sarees, both made between 1945 – 1989.

For STPI’s 2022 Annual Special Exhibition ‘Second Movement’ they present a spectacular showcase of 41 works by 21 artists from their past two decades of creative collaborations.

The show explores ideas of our shared future through personal narratives, lived experiences and sensorial encounters.

Taking place on the ground floor of Frieze’s space at No. 9 Cork Street, in the heart of London’s Mayfair, the exhibition will feature a curated selection of Dodiya’s celebrated painted mattresses and watercolours along with photo-collage works.

Shah’s current solo unpacks the threads woven between her thematic interests while representing a transformative period for the artist.

This exhibition of wearable art was produced in association with fashion designer Pratima Pandey and with the assistance of Tanmay Gupta. Read the exhibition concept and view the installation and performance images.

This edition embraced thoughts and existences regarding hybridity, diasporic identities, interconnectedness, embodied narratives and memory.

Vivan Sundaram’s exhibition, ‘Trash’, develops a theme that he has engaged since 1997. Based on the economy and aesthetics of second-hand goods and urban waste, ‘Trash’ recalls Sundaram’s installation, ‘Great Indian Bazaar’ (1997) and carries over parts of his large exhibition ‘living.it.out.in.delhi’ (2005).

In this new show Chati Coronel applies her passion for the timeless study of the stars to a vigorous rumination on modern existence. Marga Ortigas shares more on the artist’s latest works.

This is a new exhibition by Gary-Ross Pastrana and marks his eighth solo presentation with SILVERLENS. Cocoy Lumbao reflects on the show and the artist’s practice.

‘Concert from Bangladesh’ is a collaborative mixed reality music concert, using cutting edge technology to take audiences on a virtual audio-visual journey through Bangladesh’s past and present, encompassing mystical Baul singers from rural Kushtia, experimental electronics and hip hop from the streets of Dhaka.

‘Crafting Communities’ was an exhibition that took place at the Asia Art Archive Library in Hong Kong in 2020, and considered the history of ‘Womanifesto’; a feminist biennial programme active in Thailand from 1997 to 2008 that created space for women artists in an art scene dominated by men. ‘Crafting Communities’ forms part of the work that Asia Art Archive is doing with ‘Womanifesto’ to digitise their archive. The exhibition supplemented efforts to make the significance of ‘Womanifesto’ visible through access to materials and highlighting the impact their programming.

Considering the culture induced by the art world’s “scarcity economy” (a lack of resources and opportunities circulating within the institutional network that has bred a culture of fierce competition), Green Papaya’s generosity in terms of resource sharing has been immensely helpful especially for younger artists and cultural workers who persist outside of the mainstream circles.

The title of the 2020 Yokohama Triennale, “AFTERGLOW”, was chosen in reference to how, in our everyday lives, we unknowingly experience the residues of light sparked at the beginning of our time, as in the case of how the “white noise” on our analog televisions included fragments of cosmic microwave background radiation left over from the cosmic Big Bang.

Art and China after 1989 presented work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms.

“Hacking Conflict – Indonesia meets Nigeria” was the 3rd edition of the BJ (Biennale Jogja) Equator series, following the first edition in 2011 (India) and 2013 (five Middle East countries). Managed in a new vision and direction by Yogyakarta Biennale Foundation, the Equator series present a strategy that utilises the line the Equator draws around the globe as a concrete practice in exploring and re-reading the world, visioned and projected until the year 2022.

The 10th edition of the Gwangju Biennale in 2014, Burning Down the House, had curator Jessica Morgan as Artistic Director, who ensured her curatorial framing remained invested in the city’s political history. The title for the Biennale was taken from the American band Talking Head’s 80’s song ‘Burning Down the House’. The song explores ideas related to burning and transformation, destruction and renewal; a core thematic thread for the biennale, with this cycle being a pattern witnessed throughout history.

Cities on the Move was a seminal traveling exhibition curated by Hans Ulrich Obrist and Hou Hanru. The exhibition toured to multiple locations from 1997 to 1999, exploring the cultural influence of East Asia’s meteoric urban development in the late twentieth century through the lens of visual art, architecture, and film.