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| ArtAsiaPacific | |
|---|---|
| Title | ArtAsiaPacific |
| Category | Art magazine |
| Frequency | Quarterly |
| Publisher | ArtAsiaPacific Foundation |
| Founded | 1993 |
| Firstdate | 1993 |
| Country | Hong Kong |
| Language | English |
ArtAsiaPacific
ArtAsiaPacific is a quarterly English-language magazine focused on contemporary art, visual culture, and related discourses across Asia, the Pacific, and the Middle East. The publication bridges art scenes in cities such as Hong Kong, Tokyo, Seoul, Singapore, Mumbai, Jakarta, Beijing, Shanghai, Taipei, and New Delhi with international institutions including Tate Modern, Museum of Modern Art, Centre Pompidou, Guggenheim Museum, and Solomon R. Guggenheim Museum. It serves artists, curators, gallery directors, collectors, and scholars engaged with exhibitions at venues like Art Basel, Venice Biennale, documenta, Sharjah Biennial, and Shanghai Biennale.
ArtAsiaPacific covers contemporary visual art practices and cultural production across a region spanning from Turkey and Iran to New Zealand and Fiji. Regular content includes feature articles, reviews, interviews, and market reports that engage with exhibitions at institutions such as National Gallery of Australia, Asian Art Museum (San Francisco), Queensland Art Gallery, M+ Museum, and Ulsan Museum. The magazine contextualizes events like the Venice Architecture Biennale, the Gwangju Biennale, the Istanbul Biennial, and fairs including Frieze and TEFAF through profiles of practitioners such as Yayoi Kusama, Ai Weiwei, Raqib Shaw, Bharti Kher, Lee Ufan, Cai Guo-Qiang, Anish Kapoor, Monir Shahroudy Farmanfarmaian, Chiharu Shiota, and Zarina Hashmi.
Founded in 1993 by editors and writers active in Hong Kong and New York City, the magazine emerged amid the 1990s expansion of global art networks that saw increased connectivity between institutions like The Metropolitan Museum of Art, Louvre, Hermitage Museum, British Museum, and regional galleries in Manila, Bangkok, and Kuala Lumpur. Early coverage documented artists who later exhibited at the Whitney Biennial, the São Paulo Art Biennial, and the Berlin Biennale. Over time the publication expanded from print to digital platforms, aligning with online efforts by organizations such as Asia Art Archive, Google Arts & Culture, and major auction houses including Christie's and Sotheby's.
The magazine publishes long-form criticism comparable to essays found in outlets associated with critics and historians tied to Tate Britain, Museum of Contemporary Art, Los Angeles, Hayward Gallery, and academic programs at Courtauld Institute of Art, Columbia University, University of Oxford, and School of the Art Institute of Chicago. Recurring sections include reviews of gallery exhibitions in districts like Roppongi, Myeongdong, Tsim Sha Tsui, Colaba, and Kerinchi and interviews with curators from institutions such as Serpentine Galleries, Mori Art Museum, National Gallery Singapore, Asia Society, and Kunsthalle Zurich. The magazine profiles projects by artists connected to collectives and spaces like Factory Contemporary Art Centre, Para Site, High Line, Non-Profit Art Space (various), and scholarly symposia at Harvard University, Yale University, and National University of Singapore.
Distributed in major cultural capitals including London, New York City, Paris, Berlin, Los Angeles, Sydney, Auckland, Mumbai, and Dubai, the magazine reaches subscribers among museum professionals at Smithsonian Institution, curators at Victoria and Albert Museum, university departments at National Taiwan University, and private collectors associated with foundations like Guggenheim Foundation and Asia Society. It is available at bookshops such as Taschen, museum stores at Royal Academy of Arts, and at fairs including Art Basel Hong Kong and Frieze Masters where galleries like White Cube, Gagosian, David Zwirner, and Pace Gallery participate.
Contributors have included critics, historians, and curators with affiliations to Tate Modern, Museum of Modern Art, Brooklyn Museum, Asia Art Archive, Serpentine Galleries, M+, National Gallery of Victoria, Queensland Art Gallery, Korean National Museum of Contemporary Art, and universities such as Goldsmiths, University of Melbourne, University of Tokyo, and University of Hong Kong. Guest editors and columnists often hail from biennials and festivals including Documenta, Manifesta, Sydney Biennale, and the Dhaka Art Summit, and artists represented include figures who show with galleries like Perrotin and institutions like Nationalmuseum.
The magazine and its contributors have received recognition from organizations and awards such as those granted by Independent Publisher Book Awards, cultural funding bodies like British Council, residency programs including Asia Art Archive Residency, and grants from foundations such as Robert Sterling Clark Foundation, Ford Foundation, and Andrew W. Mellon Foundation. Coverage has been cited in catalogues for retrospectives at Tate Modern, monographic exhibitions at The British Museum, and scholarly publications distributed by Routledge and MIT Press.
Critiques of the publication have emerged concerning representation and editorial choices in relation to major institutions like Art Basel, Venice Biennale, Gwangju Biennale, and national pavilions at Venice Biennale; commentators from outlets including Frieze, Artforum, The Art Newspaper, and Hyperallergic have debated its role in market dynamics involving auction houses such as Sotheby's and Christie's and commercial galleries like Gagosian and White Cube. Discussions have also addressed coverage balance between regions including Central Asia, South Asia, Southeast Asia, and the Middle East, with voices from curators and scholars at Kharkiv National University of Arts, Jawaharlal Nehru University, University of the Arts London, and independent critics raising concerns.
Category:Art magazines