Weng-Choy Lee

  • the Singapore, Shanghai, and Gwangju biennials

    THE TITLES OF this year’s Singapore, Shanghai, and Gwangju biennials—“Belief,” “Hyper Design,” and “Fever Variations,” respectively—will to some no doubt seem typically Asian, their cumulative vocabulary evoking a millennial blend of futurism and age-old spiritualism. Regardless of whether the latter term will prove true to audiences’ experience of the shows—will we actually see ecstatic leaps of faith, for example, as opposed to the cool conceptualisms or political postures of many Western megashows?—the former quality seems assured by the jet-setting schedule of events alone. Art