n.e.w.s. is a collective online platform for the analysis and development of art-related activity, drawing upon contributions from around the globe, bringing together different voices, accents and outlooks from the North, East, West and South. | Read more..
The following text derives from a talk presented at the workshop, ‘Cultural Events, Celebrity Curators and Creative Networking’, organised by the Department of Cultural and Religious Studies, Chinese University Hong Kong, in association with the Asia Art Archive and Para/Site Art Space.
Chiba Shigeo, Claude Gintz, Gao Minglu, Kosuth, László Beke, Le Witt, LeisureArts blog, Margarita Tupitsyn, Mari Carmen Ramírez, n.e.w.s, Okwui Enwezor, Paul O’Neill, Peter Wollen, Reiko Tomii, Sung Wan-Kyung, Terry Smith
Art from Asia is on the rise — or so it must seem. From Sydney to Shanghai, Busan to Berlin, Asian artists are all over the place. The year 2008 was a banner year for biennales in this part of the world. September alone saw several biennales and triennials opening, including Gwangju, Busan, Shanghai, Guangzhou, Singapore, Taipei and Yokohoma. However, research and analysis of contemporary art from the region have not kept pace with the spectacle of exhibition. And it’s arguable that this underdeveloped state of discourse is an urgent concern. What we need, perhaps, is less chatter, and more reflection.
It’s been a few weeks since the launch of n.e.w.s. in Singapore at the end of last July, and I’ve been meaning to write a short report to n.e.w.s. contributors and readers about some of the discussions those of us in Singapore had following the launch. But, as it often happens, after the one thing, there are the next several things, and you get very busy, and before you know it, weeks have passed by, and you’re still trying to follow-up ...
One project that I’m currently working on is called “Comparative Contemporaries”. It’s a website anthology, a collaboration between the Asia Art Archive, the International Association of Art Critics, Singapore, and The Substation. Five editors — Sue Acret, Patrick Flores, Ho Tzu Nyen, Ly Daravuth and Keiko Sei — each select what they believe are ten significant texts about contemporary visual art from Southeast Asia (I serve as the project manager). These selections, along with the editors’ introductory essays, will be published on the AAA’s website.
* AICA * anthology * artwriting * Asia Art Archive * Contemporary Art * discourse * moderator * Southeast Asia * The Substation, Comparative Contemporaries, Ho Tzu Nyen, International Association of Art Critics, Keiko Sei, Ly Daravuth, Patrick Flores, Sue Acret
We got good feedback about the website platform during ISEA — both in small discussions with the contributors in Singapore (Ingrid, Mustafa, Rich, Renée and myself), as well as during the launch itself, and in small groups again, after the event. It’s important to acknowledge the achievement of putting the website together — of all the contributions and discussions: for many of us, the issue of cultural diversity was recurring topic; Inti, Rich and Yuliya talked about their specific regions or specific projects; Mia and Stephen, the outside and inside of the artworld; Ade, Inti and Stephen, about traffic; Branka and Mia, about web 2.0 and immaterial labour; Ingrid, Thomas, Mustafa and Stephen, about “world art” ... and so on.
6th Kuala Lumpur Triennial, Anthony Gardner, Asian Biennales, Brisbane Asia Pacific Triennial, Carla Bianpoen, Catherine David, Charles Merewether, Dan Fox, Derrida, Dhakak, Fluid Zone, Guangzhou, Harald Szeeman, Havana Biennale, Hou Hanru, Jakarta Biennale, Jean-Hubert Martin, Jogja Biennale, John Clark, Manifesta, Marian Pastor Roces, Okwui Enwezor, Russell Storer, Singapore Biennale, Site Sante Fe, Taipei Biennial, Tate TRIENNIAL, Tehching Hsieh, The Fukuoka Asian Art Triennale