Between Blue Rocks By Aveek Sen Dayanita Singh – Dream Villa 40 (2008), C-type print. Courtesy the artist and Frith Street Gallery, London. To approach photography through the gates of poetry is to complicate the relationship of both to whatView More >
By Shinro Ohtake Left: Vintage promotional pamphlet for the film Wu yue yu zhong hua, xia ji (Blossom in Rainy May Part 2, 1960), directed by Kim Chun, produced by Kong Ngee Motion Picture Production Company, Hong Kong. Right: VintageView More >
By Kyoichi Tsuzuki There are certain individuals who in their youth avoid any place associated with karaoke, stubbornly preferring to remain cool and aloof by refusing to sing even when taken to such establishments, but who upon reaching middle ageView More >
Stranger on the Road By Hu Fang Cinema billboard designed by Ming Wong, painted by Neo Chon Teck (2009), variable dimensions, acrylic emulsion on canvas. All images: Courtesy Ming Wong. Word Order Many of Ming Wong’s work titles invert aView More >
New developments in ‘double-line painting’ In the essay I wrote for the monograph nobuya HOKI drawings, published in 2004 (1), I indicated that there is a problem at once ancient and new at the root of Kyoto-based artist Nobuya Hoki’sView More >
By Naohiko Hino IUHunJGsBMU Set in Beijing World Park, the plot of Jia Zhangke’s 2004 film The World follows events in the lives of several fictional employees at an actual theme park in Beijing that features miniature recreations of famousView More >
Doryun Chong reviews Japan as seen in both national and international imaginaries This is the first in a series of essays by the author addressing questions related to historical periodization, cultural particularism and the avant-garde. During a visit to JapanView More >
To Whom Does Art Belong? On the forced resignation of Fram Kitagawa (Part II) In Part I of this two-part essay on the current conditions for exhibiting contemporary art in Japan, Noi Sawaragi reviewed the historical relationship between fine artView More >
Dan Cameron reflects on his recent visit to Seattle’s uniquely architectural art scene Exterior view of Western Bridge. Courtesy Western Bridge, Seattle. I was not in Seattle for the purpose of looking at art, and probably no one would haveView More >
By Hu Fang They leave the cinema, dark and dejected. This is not the movie of their dreams. This is not that perfect, all-encompassing film unspooling in every person’s mind that can never be completed. This is not the movieView More >
Who I am or what I do By Aveek Sen Installation view, 1st floor, of “Roni Horn: Well and Truly” at Kunsthaus Bregenz, 2010. Photo Stefan Altenburger, © Kunsthaus Bregenz, Roni Horn. On an “unspeakably quiet” summer afternoon in AugustView More >
A speculative essay on the relations between viewers and cinema in China today. They leave the cinema, dark and dejected. This is not the movie of their dreams. This is not that perfect, all-encompassing film unspooling in every person’s mindView More >