David Teh

• 

  print February 2019

  RETURN TO SENDER

  LAST OCTOBER, Bangkok’s art scene was reinvigorated by two of its prodigal sons: veteran impresario Apinan Poshyananda and mercurial thirtysomething Korakrit Arunanondchai. Both are alumni of Ivy League institutions who returned to Thailand as bearers of new, foreign trends. But the resemblance ends there. A consummate iconoclast, Apinan had his first solo exhibition in 1985, a pastiche of video and performance art called “How to Explain Art to a Bangkok Cock.” Held at the now-defunct Bhirasri Institute of Modern Art, it shook up a parochial art scene short on experimentation and long dominated

• 

  picks April 05, 2013

  Tang Da Wu

  As the father of Singapore’s contemporary art community, Tang Da Wu has long been the recipient of fond genuflection, though as the founder of the pioneering group The Artists Village, he has always eschewed the role of figurehead. Twenty-five years after its inception, the city-state’s art scene now buoyed by rhythmic jets of state funding, “Situationist Bon Gun” is a long-overdue institutional outing for Tang’s work, finally securing his place in a regional pantheon of late modernism.

  Tang’s latest installations critically reflect the newly instrumentalized status of contemporary art in Singapore.

• 

  picks October 05, 2012

  Ade Darmawan

  With its population nearing 250 million and a burgeoning middle class, Indonesia sets the pace for Southeast Asia’s economic globalization, and its emerging art market. Sustained growth begets a world of seemingly inevitable improvement. The first solo exhibition in eight years by Ade Darmawan—founding director of ruangrupa, the vanguard twelve-year-old Jakarta collective—comes as a measured shot across the bow of an excitable market. A montage of his country’s earlier glimpses of economic blue sky, “Human Resource Development” is a history of optimism, seen secondhand through its material

• 

  previews October 2012

  7th Asia Pacific Triennial of Contemporary Art

  Since its first bold steps in 1993, Australia’s Asia Pacific Triennial has become a leading institutional showcase for the art and culture of the region.

  Since its first bold steps in 1993, Australia’s Asia Pacific Triennial has become a leading institutional showcase for the art and culture of the region—a designation that will only be reinforced by this seventh iteration, which will feature works by seventy-seven artists and groups from twenty-seven countries across a wide, and ever widening, “Asia Pacific.” Poised to reverse the triennial’s recent tendency toward curatorial centralization, the QAGOMA team will host a variety of special projects, including commissions from Papua New Guinea, Indonesia, and Vietnam, along with work by West