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Hope, subjectivity of a painter, reading habits and navigating the world as a 6’8” are some of the topics discussed by one of the most remarkable painters of our time. In this interview, American artist Mark Bradford touches upon the concept and thought process behind his cartographic works as a point of departure for a greater social discourse.
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“Artists are violent people. I will debate that point with any artist who claims they are not violent. I think that artists are deeply violent because we try to stay so honest to ourselves. That honesty kills us”, said the Delhi-based, US-educated artist Vishal K. Dar (b. 1976) whose installation work Maruts – Storm Dieties (2016) is currently…
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古典樂出身的楊嘉輝，半隻腳在音樂廳；半隻腳在白盒子，遊刃於五線譜，但更醉心於突破框框，以自創的音樂系統自由遊走於聲音與視覺，建制內外也是他的表演場地。
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Baroda born and Mumbai based, Hema Upadhyay (*1972) uses photography and sculptural installations to explore notions of personal identity, dislocation, nostalgia and gender. Upadhyay draws on her own personal and family history of migration to express her concerns and this is expressed through the way she portrays herself in her works and the urban slums in her installations.
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Elke Krystufek’s work is highly controversial. She is entrenched in the idiosyncratic struggle between sex, art and money. Her work warns that when a portion of the triad breaks down the remnants are left to fend for themselves. In the interview, Elke Krystufek talks with us about Female Sexuality and Social Taboo.
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In late June, Chen Qiulin (b. 1975) flew to New York to prepare for her second solo show in one of the most important galleries in New York, Max Protetch Gallery. On view for the first time was a series of new photographs and videos document rituals being carried out by two couples, and more importantly, is a series of new figurative papier-mache sculptures
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Sade for Sade’s Sake (2009), a three-channel animation projection that Paul Chan (b. 1973) presented for the 53rd Biennale di Venezia this year, depicts shadow-like human bodies in physical movement. These figures talk, argue, and plea with one another, walk and crawl, beaten and whipped, and engaged in sexual activities and religious rituals. Interspersed among them…
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This is the 3rd participation of Hong Kong in the Venice Biennale as a collateral event. While the success of the tiny city as a global financial hub begins with the generation of our parents, Hong Kong’s presence in the international art scene is as fresh and abstract as vapour, passed unnoticed. In the Biennale,…
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