ArtAsiaPacific: Recent pages Recent or recently updated pages on the ArtAsiaPacific website &copy; 2021 ArtAsiaPacific en-us Economy Capital Thaw Beijing Dissidents On Film <p><font color="#7f7f7f">Blog/CapitalThawBeijingDissidentsOnFilm</font></p> <p><a href=""><img border="0" src="/image_columns/0058/5972/0_stars_artists_group_portrait__1980____helmut_opletal_400.jpg" /></a></p> Brady Ng Wed, 03 Mar 2021 09:42:10 +0000 Museum Of Contemporary Art Australia Director To Step Down <p><font color="#7f7f7f">News/MuseumOfContemporaryArtAustraliaDirectorToStepDown</font></p> <p><a href=""><img border="0" src="/image_columns/0058/6230/saved_for_web__1__400.jpg" /></a></p> <div><p>On March 3, Sydney&rsquo;s Museum of Contemporary Art Australia (<span class="caps">MCA</span>) announced that its director of 22 years, Elizabeth Ann Macgregor, will leave her role this October.</p> <p>Speaking of her departure, Macgregor explained in a&nbsp;<a href="" target="_blank">press release</a>&nbsp;that, &ldquo;succession has been very much on my mind since my 20th anniversary as Director in 2019,&rdquo; and&nbsp; the decision to leave this year, on the museum&rsquo;s 30th anniversary, &ldquo;seemed like the right moment to hand the reins over,&rdquo; allowing for a new director to lead and evolve the <span class="caps">MCA</span> in its post-pandemic transition. Macgregor further added that while the decision was a difficult one, &ldquo;It has also been hard to be cut off from family in the Northern Hemisphere during Covid-19, so I&rsquo;m planning to return to the United Kingdom in October to spend time with family initially.&rdquo;&nbsp;</p> <p><span class="caps">MCA</span> chairperson Lorraine Tarabay commented that Macgregor &ldquo;is a visionary who has expertly steered the Museum from the brink of insolvency when she arrived to [a] vibrant, thriving organisation&rdquo; and that &ldquo;While we are deeply disappointed to see Liz Ann go, we understand and respect her decision.&rdquo;</p> <p>Born in Dundee, Scotland, Macgregor took up <span class="caps">MCA</span>&rsquo;s directorship in 1999 after serving as director of Birmingham&rsquo;s Ikon Gallery beginning in 1989. Among her many contributions to the relatively new insititution, she negotiated a sponsorship deal with Australian telecommunications corporation Telstra in 2000 to enable free admission for the museum&rsquo;s permanent exhibitions, which doubled <span class="caps">MCA</span>&rsquo;s foot traffic within the first year alone and has since increased its audience&nbsp; more than tenfold. She also spearheaded the <span class="caps">AUD</span> 53 million (<span class="caps">USD</span> 47.7 million) renovation of <span class="caps">MCA</span>&rsquo;s neoclassical building in 2010&ndash;12, doubling its space with the addition of 4,500-square meters, including a new five-story wing. She established the National Centre for Creative Learning to create public programs for children in collaboration with artists, educators, and researchers.</p> <p>Macgregor has received several accolades for her contribution to the arts in Australia, including the Centenary Medal in 2003, the Veuve Clicquot Business Woman Award in 2008, and in 2011, an Order of the British Empire (<span class="caps">OBE</span>) and the Australia Council Visual Arts Medal. From 2016 to 2019, she served as president of the International Council of Museums of Modern and Contemporary Art.&nbsp;</p> <p>The search for a new <span class="caps">MCA</span> director is currently underway.</p></div> Lauren Long Wed, 03 Mar 2021 07:39:54 +0000 Home <p><a href=""><img border="0" src="/image_columns/0058/0834/emptygallery_aap_headlinebanner_jan_27_400.jpg" /></a></p> Lauren Long Wed, 03 Mar 2021 03:39:37 +0000 The Substation Decides Its Closure Will Be Permanent <p><font color="#7f7f7f">News/TheSubstationDecidesItsClosureWillBePermanent</font></p> <p><a href=""><img border="0" src="/image_columns/0058/5937/saved_for_web_400.jpg" /></a></p> <div><p>On March 2, The Substation, Singapore&rsquo;s first independent contemporary art space, announced its upcoming permanent closure after rounds of discussions with Singapore&rsquo;s National Arts Council (<span class="caps">NAC</span>) regarding its future. The organization will continue to run its scheduled program at 45 Armenian Street until the end of July.</p> <p>The Substation had previously been planning to temporarily vacate its current premises to accommodate the <span class="caps">NAC</span>&rsquo;s two-year renovation plan for the historic 90-year-old building that was deemed necessary in 2017. Meanwhile, the <span class="caps">NAC</span> had been considering the transformation of the space into a multi-tenanted art center, which would require The Substation to share the building with other organizations upon its eventual return.</p> <p>According to its latest announcement, The Substation Board concluded that The Substation would not be able to continue if it is unable to return in its current full form to its original location, due to its &ldquo;loss of identity and heritage,&rdquo; and its inability to &ldquo;control the building facilities integral to its operations such as the theatre and gallery.&rdquo; While the organization considered alternative forms of operation, the board ultimately concluded that this shift would result in &ldquo;the loss of autonomy over the spaces and facilities crucial for its mission, and the loss of income from venue hiring.&rdquo; The board also mentioned other crucial factors for its decision, including the difficulties in securing long-term private donations to support its operations, efforts made even more difficult by Covid-19.&nbsp;</p> <p>Chew Kheng Chuan, chairperson of The Substation, added in its statement: &ldquo;With our closure, we hope that other arts organisations in Singapore will continue to carry the torch to give budding artists a safe space in which to experiment and develop their art. We also hope that the <span class="caps">NAC</span> will take a chance on young, unproven, passionate artists, and support the work of independent arts incubator spaces that have been vital to these artists, as it did for The Substation through the prior 30 years.&rdquo;</p> <p>While both parties had been in discussions, <i>ArtAsiaPacific </i>reported that The Substation only learned of <span class="caps">NAC</span>&rsquo;s confirmed plans to transform the space into a multi-tenanted model on&nbsp;<a href="/News/SingaporeSTheSubstationLosesSpaceAfter30Years" target="_blank">February 8</a>. On February 25,&nbsp;<i><span class="caps">AAP</span></i>&nbsp;was sent a statement penned by <span class="caps">NAC</span> deputy chief executor of planning and corporate development, Paul Tan, in response to recent media coverage concerning <span class="caps">NAC</span>&rsquo;s decision. In the letter, Tan acknowledged the space&rsquo;s decades-long contribution to the city-state&rsquo;s experimental art scene and its vital support for the young artists. He also emphasized the importance of &ldquo;enabling a diversity of artforms and voices in the sector,&rdquo; explaining that &ldquo;spaces, especially in the city centre, are hard to come by and <span class="caps">NAC</span>, which leases the sites from Government, needs to make sure they are properly utilised and managed. There is certainly no intention to displace groups which are contributing to the community and larger society.&rdquo; In Tan&rsquo;s explanation, &ldquo;There is no reason why The Substation&rsquo;s vision needs to be tied to a brick-and-mortar building,&rdquo; and &ldquo;no reason why an organisation with the right chutzpah and clarity of purpose cannot co-exist with other arts tenants and succeed.&rdquo;</p> <p>Founded by playwright and art activist Kuo Pao Kun, The Substation opened in 1990 under the <span class="caps">NAC</span>&rsquo;s rental subsidizing Art Housing Scheme. The policy was changed to the Framework for Arts Spaces in 2011, which encourages a multi-tenant model in an attempt to address the lack of physical spaces for Singapore&rsquo;s growing arts scene. The Substation has confirmed that all of its records will be kept by an as-yet unspecified organization and made available to the public after a hired vendor properly completes the archiving process.</p></div> Chloe Chu Tue, 02 Mar 2021 09:55:11 +0000 Traveling Through Time <p><font color="#7f7f7f">Magazine/122/TravelingThroughTime</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4374/editor_s_letter_cropped_400.jpg" /></a></p> <div><p>It feels like it was both a century ago and just yesterday when news of a mysterious coronavirus first started to spread across the globe. In warping our experiences of time, the pandemic has drawn attention to the unstable nature of how we relate past with present.</p> <p>In <i>ArtAsiaPacific</i>&rsquo;s March/April 2021 issue, we spotlight two artists whose conceptions of time reveal the messy entanglements between historic and contemporary realms. For our cover Feature, associate editor Ophelia Lai examines the practice of Beijing-based Wang Tuo, whose films often present parallel realities. In <i>Symptomatic Silence of Complicit Forgetting </i>(2019), for example, a Red Guard narrates a ghost story about a scholar who commits suicide because his mother had died before he could repay his filial debt. Meanwhile, on screen, the life of a writer in contemporary China unfolds, revealing uncanny resonances between him and the scholar. More recently, Wang has become interested in shamanism as a model for accessing multidimensional views of time and place. This has inspired his latest two projects, focused on the 1948 Siege of Changchun. &ldquo;The real object of my practice is history. I take the form of the shaman when I look at those moments in history. I fly up and see a great span of time and space down below,&rdquo; he tells Lai.</p> <p>Istanbul-based Hera B&uuml;y&uuml;ktaş&ccedil;ıyan, the subject of our second Feature, by deputy editor HG Masters, adopts a similarly expansive perspective of historical time. Looking closely at the architectural structures of cities that have experienced seismic changes in populations, B&uuml;y&uuml;ktaş&ccedil;ıyan traces nearly forgotten tales through her sculptures, installations, videos, and drawings. The flowing, serpentine trajectories of fabrics, lines, and marble tiles across her diverse works allude to the artist&rsquo;s notion of &ldquo;aquamorphology,&rdquo; which, as she explains, is &ldquo;about the &lsquo;fluid, aquatic nature of memory&rsquo; that &lsquo;can simultaneously purify, divide, connect, heal, and destroy.&rsquo;&rdquo;</p> <p>For Up Close, <i><span class="caps">AAP</span></i>&rsquo;s editors highlight recent productions, including Lu Yang&rsquo;s video-performance staged at <span class="caps">ACMI</span> Melbourne, <i>Delusional World </i>(2020), featuring a dancer whose movements controlled virtual characters navigating animated hellscapes. We also examine Cian Dayrit&rsquo;s design for a sail advocating for the rights of fisherfolk in the Manila Bay, and Yang Fudong&rsquo;s meditative, multimedia series<i> Endless Peaks </i>(2020), displayed at his 2020&ndash;21 solo exhibition at ShanghArt Gallery in Shanghai. Rounding out the Features, Inside Burger Collection delineates the work of photographer Paul Hutchinson through an essay and artist interview, by curators June Drevet and Sylvia Metz, respectively.</p> <p>In Essays, writer and curator Godfre Leung brings into conversation two exhibitions that were recently presented in Vancouver: &ldquo;Third Realm,&rdquo; which highlighted decolonization and heterogeneity as two important features of postwar Asia; and &ldquo;Soundings: An Exhibition in Five Parts,&rdquo; an inquiry into how musical scores can be used for decolonization. Leung asks whether &ldquo;a productive dialogue can be held between Asian art in its worldstage moment and Indigenous artists, who, while in a moment of unprecedented visibility, are still living under active colonization.&rdquo;</p> <p>The Profiles section features Iraqi-Kurdish artist Hiwa K, who tells contributor Frances Arnold about his move back to Kurdistan after two decades of living in Germany, and his new, ecologically focused projects rooted in his homeland. Seoul desk editor Andy St. Louis discusses multimedia artist Min Oh&rsquo;s deconstructions of performance tropes, and managing editor Chloe Chu traces Taipei-based Au Sow Yee&rsquo;s film series, which locate the imprints of Cold War ideologies on visual culture.</p> <p>Elsewhere in the issue, the Seoul-based collective Listen to the City pen an article for The Point about the impact of Covid-19 on people with disabilities and how we might reconceive urban communities to create more resilient post-pandemic cities. In Dispatch, we hear from Ana Vukadin in Rome about how the local arts community is devising strategies not only to survive but to thrive, despite an infrastructure that was crumbling long before the pandemic hit. For One on One, artist Wong Kit Yi pays tribute to dealer and writer Michael Findlay, whose time-hopping art historical accounts have inspired Wong&rsquo;s projects, the most recent of which includes a &ldquo;a jet-lag-inducing patch.&rdquo;</p> <p>Lastly, for Where I Work, New York desk editor Mimi Wong visited the Brooklyn studio of Chitra Ganesh, whose paintings, drawings, and videos collide age-old mythologies with futurist motifs such as faraway planets and nebulae. As the works of Ganesh, Wang, and B&uuml;y&uuml;ktaş&ccedil;ıyan show, the past inevitably influences the present, but in each moment of encounter, there is also the potential to break from established histories and imagine the world anew.</p></div> Chloe Chu Tue, 02 Mar 2021 09:54:11 +0000 Artists Wonder Maybe We Read Too Much Into Things <p><font color="#7f7f7f">Magazine/WebExclusives/ArtistsWonderMaybeWeReadTooMuchIntoThings</font></p> <p><a href=""><img border="0" src="/image_columns/0058/5615/0_20210129_maybewereadtoomuchintothings_139_400.jpg" /></a></p> <div><p>In 72-13, a former rice warehouse turned multidisciplinary art space, six emerging Singapore artists presented the exhibition, &ldquo;Maybe we read too much into things,&rdquo; curated by artist Berny Tan. The &ldquo;things&rdquo; refer to everyday stuff, recontextualized via an eclectic, sometimes confounding array of assemblage, installation, and video.</p> <p>In the gallery center was Ryan Benjamin Lee&rsquo;s <i>Break</i> (all<i> </i>works 2021), a frenetic 4-minute animation of deceptively inconsequential imagery plucked from Singapore&rsquo;s hawker-stalls. Lee&rsquo;s allusive portrait of food-centers (no food is depicted) reflects his approach of &ldquo;movement equals personality,&rdquo; revealing a deliciously chaotic mise-en-sc&egrave;ne of local food culture: strobing images of beer mugs, thick-veined banana leaves that food is served on, ubiquitous mynahs preying on scraps&mdash;seasoned with ashy piles of cigarette butts and stained tile floors. Hanging fabric panels, printed with visual references from the animation process, elucidated the hectic viewing experience.</p></div> Lauren Long Tue, 02 Mar 2021 08:59:53 +0000 Favorites From Booked2021 <p><font color="#7f7f7f">Blog/FavoritesFromBooked2021</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4835/0_img_7610_400.jpg" /></a></p> <div><p>Thanks to the scheduling chaos precipitated by Covid-19, <a href="" target="_blank">Booked: Art Book Fair</a>&rsquo;s usual venue, Tai Kwun Contemporary, was unavailable&mdash;the art center is still hosting Francis Al&yuml;s&rsquo;s and Mika Rottenberg&rsquo;s solo exhibitions, which had opened in October 2020 and were later extended through March. The third edition of Booked was thus reconfigured into more than 80 pop-ups clustered in Blocks 1, 3, and 9 in the heritage complex. To get around travel restrictions, Booked also operated a &ldquo;twin&rdquo; system, enabling international participants to share booths with local ones. Here are some of the editors&rsquo; highlights from the fair.</p></div> Pamela Wong Mon, 01 Mar 2021 05:19:23 +0000 Zh <p><font color="#7f7f7f">Magazine/122/TravelingThroughTime/Zh</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4714/editor_s_letter_cropped_400.jpg" /></a></p> <div><p>關於一種神秘新冠病毒的傳聞於世界各地的散發,彷彿近如昨日又遠於上個世紀。這場疫情扭曲了我們對於時間的感官,並凸顯了我們對於過去和未來認知聯繫的不穩定性。</p> <p>在《亞太藝術》2021年三月至四月刊中,我們重點關注的兩位藝術家在他們的時間觀念裏揭露了歷史與當代之間錯綜複雜的關係。這次「封面專題」由副編輯Ophelia Lai探索駐北京藝術家王拓的作品以及他影片中常展現的多重平行世界。例如,在作品《共謀失憶症》(2019年)中,一名紅衛兵講述了關於一位書生因未能給早逝的母親盡孝而自殺的鬼故事。與此同時,屏幕上展現了當代中國一位作家的一生,揭開了作者與故事中書生之間讓人毛孔悚然的各種共同之處。近期,王拓對於薩滿教產生了濃厚的興趣,並把它作為模擬多維度時間和空間的端口。這激發了他最近圍繞1948年長春圍困戰展開的兩個項目。他表示「我的作品真正探索的是歷史。當我凝望那些歷史中的瞬間時,我也變成了一位薩滿。我飛到高處就可看到底下宏偉的時空。」</p> <p>本期由副總編輯HG Masters撰寫的第二個「專題故事」的主角,駐伊斯坦堡藝術家Hera B&uuml;y&uuml;ktaş&ccedil;ıyan,採取了同樣廣闊的歷史時空視角。藝術家仔細觀察經歷過巨大人口變動的城市建築結構,同時運用雕塑、裝置、影片和繪畫來捕捉近乎遺忘的故事。在她多樣的作品裏,那些布料、線條和大理石地磚塊流動的蛇行軌跡中影射著藝術家所稱為「aquamorphology」的概念。她解釋道,「記憶那如液體般流動的性質使其可以同時淨化、分割、連結、癒合和摧毀。」</p> <p>於「近距離」欄目中,我們探索了幾件近期創作,包括陸楊在墨爾本ACMI展出的錄像表演《Delusional World》(2020年)。其中,舞者的動作可以控制虛擬人物在動畫地獄中的穿梭。我們也剖析Cian Dayrit為了保護馬尼拉灣漁民權益所設計的船帆,和楊福東在上海香格納畫廊2020至2021年個展中展現的多媒體冥想系列《無限的山峰》(2020年)。專題部分的最後,在「Inside Burger Collection」一欄中,藝術策展人June Drevet勾勒了攝影師Paul Hutchinson的作品,而策展人Sylvia Metz與他進行了訪談。</p> <p>在「論文」中,作家和策展人Godfre Leung探討了溫哥華近期的兩個展覽:「Third Realm」注重戰後亞洲所體現的去殖化和多相性這兩大重要特徵,「Soundings:An Exhibition in Five Parts」則觀察如何利用樂譜,調查去殖化的過程。Leung提出疑問:是否能在「土著藝術家們,即使正在經歷前所未有的關注、仍然生活於殖民主義的陰影下的同時,有效的討論亞洲藝術的全球高光時刻。」</p> <p>「人物專訪」中,Frances Arnold刻畫了伊拉克庫爾德藝術家Hiwa K在德國生活二十年後搬回庫爾德斯坦的旅程,以及藝術家最近根基於故鄉、以生態為主題的項目。首爾分部編輯Andy St. Louis探討多媒體藝術家Min Oh對於表演團的拆析。責任編輯Chloe Chu討論駐台北藝術家區秀詒針對視覺文化中所殘存冷戰意識型而創作的影像系列。</p> <p>本期還包括駐首爾團體Listen to the City撰寫的「論點」,闡述了新冠肺炎對殘疾人群所帶來的影響,以及疫後如何重新審視都市社區,來建造更堅韌的城市。在「調遣」中,我們收到於羅馬的Ana Vukadin的稿件。當地的藝術群體,即使是面對疫情前就開始崩塌的基礎設施,仍然設法採取不僅是為了生存,更為了茁壯成長的策略。藝術家黃潔宜在「一對一」裏向經紀人和作家Michael Findlay致敬。其跳躍時間框架的藝術歷史敘述為黃潔宜近期的作品帶來了靈感,包括「一個引發飛行時差綜合症的貼片」。</p> <p>最後,「我的工作室」中,紐約分部編輯Mimi Wong拜訪了Chitra Ganesh於布魯克林的工作室。其油畫、繪畫和影像將古老的神話和未來主義,比方說遙遠的行星和星雲,產生碰撞。就如Ganesh、王拓和B&uuml;y&uuml;ktaş&ccedil;ıyan的作品所展現,過去必然影響著當下,但在每次邂逅的瞬間中,也存在脫離現有的歷史和設想一個全新世界的可能。</p></div> Pamela Wong Mon, 01 Mar 2021 04:21:38 +0000 122 <p><font color="#7f7f7f">Magazine/122</font></p> <div><p><b><a href="/Shop/Subscribe" target="_blank"><span class="caps">SUBSCRIBE</span>&nbsp;<span class="caps">NOW</span>&nbsp;</a>to receive&nbsp;<i>ArtAsiaPacific</i>&rsquo;s print editions, including the current issue with this article, for only&nbsp;<span class="caps">USD</span>&nbsp;100&nbsp;a year or&nbsp;<span class="caps">USD</span>&nbsp;185 for two years. &nbsp;</b></p> <p><b><a href="/Shop/BackIssues" target="_blank"><span class="caps">ORDER</span></a>&nbsp;the print edition of the March/April 2021 issue, in which this article is printed, for&nbsp;<span class="caps">USD</span>&nbsp;21. </b></p></div> Chloe Chu Mon, 01 Mar 2021 03:05:42 +0000 Back Issues <p><font color="#7f7f7f">Shop/BackIssues</font></p> <div><p>Some back issues (from 1993-2004, <span class="caps">AAP</span> 43, 48, 58 and Almanac 2005/2006) are no longer available for purchase, but&nbsp;<span class="caps">PDF</span> files from these issues are <span class="caps">USD</span> 5.00 per article and can also be accessed online by visiting:&nbsp;<a href="" target="_blank"></a>.&nbsp;</p> <p>Back-issue shipping information: Cost for shipping within the United States is <span class="caps">USD</span> 7.00 per issue. Cost for shipping to international locations is <span class="caps">USD</span> 15.00 per issue. Shipping for orders of more than three issues may vary&mdash;contact&nbsp;<a href=""></a>&nbsp;for more information.</p> <p>Payment can be made using a major credit card (Visa, MasterCard, American Express, Discover) check or bank draft. We do not accept wire transfer payments for back issue orders. We cannot accept any international debit cards at this time.</p> <p>For information on how to purchase back issues and .<span class="caps">PDF</span> files of past articles&nbsp;other than through this website, please click <a href="/Shop/BackIssues/Info">here.</a></p></div> Chloe Chu Mon, 01 Mar 2021 02:58:12 +0000 Minds Eye Wang Tuo <p><font color="#7f7f7f">Magazine/122/MindsEyeWangTuo</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4431/feature_wang_tuo_1_400.jpg" /></a></p> <div><p>&ldquo;Madness fascinates because it is knowledge,&rdquo; observes Michel Foucault in <i>Madness and Civilization: A History of Insanity in the Age of Reason</i> (1961). In his taxonomy of European sociocultural, juridical, and medical attitudes to lunacy, Foucault posits that the madman in late-15th- and 16th-century art and literature is an ambiguous figure, encompassing &ldquo;menace and mockery, the dizzying unreason of the world, and the feeble ridicule of men.&rdquo; It was after the Enlightenment that an unequivocal demarcation of Reason and Unreason took root, along with the mass institutionalization of the mad and other undesirables. The objective reality of the sane needed protection from the disruptions of the insane.</p></div> Chloe Chu Mon, 01 Mar 2021 02:52:59 +0000 The Remains Of A Journey Gu Xiong <p><font color="#7f7f7f">Magazine/122/TheRemainsOfAJourneyGuXiong</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4454/reviews_vancouver_400.jpg" /></a></p> <div><p>At Centre A, Vancouver-based artist Gu Xiong&rsquo;s exhibition, &ldquo;The Remains of a Journey,&rdquo; told a history of Chinese migrants, predominantly from Guangdong, who traveled to the west coast of Canada over a century ago to prosper from &ldquo;Golden Mountain.&rdquo; Working as miners, railroad builders, and bricklayers, these indentured laborers helped to fulfill the aspirations of Canada&rsquo;s nationhood, playing a critical role in the extraction of resources and the unification of the country by building the Canadian Pacific Railway. Gu&rsquo;s show posed questions about how one comes to understand the history of Chinese migration to Canada, but for an exhibition centered on the theme of land, it seemed absent of the complicating fact that the land was never ceded by Indigenous peoples in the first place.</p></div> Brady Ng Mon, 01 Mar 2021 02:48:28 +0000 Taipei Biennial2020 You And I Don T Live On The Same Planet <p><font color="#7f7f7f">Magazine/122/TaipeiBiennial2020YouAndIDonTLiveOnTheSamePlanet</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4441/reviews_main_1_400.jpg" /></a></p> <div><p>In December 1972, the crew of Apollo 17 snapped a picture of home as they rocketed toward the moon. The Blue Marble has since become the most reproduced image of Earth, the view of our small and distant planet forever etched into our self-imagination. Preoccupied with different ways of seeing the world, and the ideologies and upheavals they reveal, the 2020 Taipei Biennial, conceived by Bruno Latour, Martin Guinard, and Eva Lin under the title &ldquo;You and I Don&rsquo;t Live on the Same Planet,&rdquo; proposed a new vantage point for interpreting our place in the universe.</p></div> Brady Ng Mon, 01 Mar 2021 02:48:17 +0000 Living In The Edge Hiwak <p><font color="#7f7f7f">Magazine/122/LivingInTheEdgeHIWAK</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4420/profile_hiwa_k_1_266.jpg" /></a></p> <div><p>After almost two decades of living in Germany, the Iraqi-Kurdish artist Hiwa K moved back to his birthplace in Kurdistan in early 2020. When we connected over Skype, he had just returned to the mountainous territory from Dubai, where his exhibition &ldquo;Do You Remember What You are Burning?&rdquo; had opened at the Jameel Arts Centre on December 16, 2020. &ldquo;I don&rsquo;t complain that it came too late, but it could have been earlier,&rdquo; he said of his first solo show in West Asia. &ldquo;It&rsquo;s nice that people now start to understand what I want to share with them. There has been a lot of art from the region that points directly to issues with the index finger. The works that I do mostly point with the pinkie; they leave space for the audience to produce their own readings.&rdquo;</p></div> Brady Ng Mon, 01 Mar 2021 02:47:54 +0000 Wong Kit Yi On Michael Findlay <p><font color="#7f7f7f">Magazine/122/WongKitYiOnMichaelFindlay</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4406/one_on_one_400.jpg" /></a></p> <div><p>March 1, 2021</p> <p>Dear ______________,</p> <p>Let&rsquo;s get something straight: Michael Findlay is a dealer. Not a gallerist. He loathes that term. No, he&rsquo;s a dealer. He makes deals on masterpieces, he&rsquo;s been doing so for decades, and he feels there&rsquo;s no need to bring in other fancy terms to dress up what he does.</p></div> Brady Ng Mon, 01 Mar 2021 02:29:24 +0000 Post Covid19 Art And Urbanism <p><font color="#7f7f7f">Magazine/122/PostCovid19ArtAndUrbanism</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4394/the_point_400.jpg" /></a></p> <div><p><i>In 2021, the Point asks writers about the deep-seated issues that Covid-19 has brought into view, and how they might tackle these problems to create better post-pandemic futures. Below, Eunseon Park, director of the collective Listen to the City, outlines the importance of resilient urban networks.</i></p></div> Brady Ng Mon, 01 Mar 2021 02:29:13 +0000 World Press Photo Exhibition Canceled In Hong Kong <p><font color="#7f7f7f">News/WorldPressPhotoExhibitionCanceledInHongKong</font></p> <p><a href=""><img border="0" src="/image_columns/0058/5350/146951168_3684967298206048_3830154226033742660_o_400.jpg" /></a></p> <div><p>Hong Kong Baptist University (<span class="caps">HKBU</span>) has canceled a display of the touring World Press Photo Exhibition three days before its scheduled opening date on March 1 at the university&rsquo;s&nbsp;Koo Ming Kown Exhibition Gallery. In their announcement, organizers did not give an explicit reason for the school&rsquo;s decision, however they noted the exhibition was meant to be a &ldquo;showcase of some of the world&rsquo;s best visual journalism, as a testament to the importance of visual storytelling and press freedom.&rdquo;</p> <p>According to video trailers posted online ahead of the opening, the exhibition was slated to feature photographs and videos of Hong Kong&rsquo;s anti-government protests in 2019.&nbsp;Acts such as displaying flags and banners and chanting slogans related to the 2019 protests could be deemed as subversion or succession under the vaguely worded provisions of the National Security Law (<span class="caps">NSL</span>), enacted on June 30, 2020.</p> <p>In a short statement sent to <i>ArtAsiaPacific</i>, Baptist University&rsquo;s Communication and Public Relations Office said that the reason for the cancellation was due to the &ldquo;need to maintain pandemic control&rdquo; and that the decision was made after &ldquo;due consideration to campus safety and security.&rdquo; The statement said that it was &ldquo;not an appropriate time to hold the World Press Photo Exhibition 2020 on [the <span class="caps">HKBU</span>] campus&rdquo; and that the displays are &ldquo;are accessible online for public viewing.&rdquo;</p> <p>The World Press Photo Foundation announced the last-minute reversal by the university on its Facebook <a href="" target="_blank">page</a> on Friday, February 26. The exhibition was to feature short documentaries and photo stories in eight categories, from Contemporary Issues, to Environment, Nature, Portraits, and Sports, selected from almost&nbsp;74,000 photographs entered by 4,283 photographers from 125 countries. Public events were also slated to be held at art venues around Hong Kong, including Blue Lotus Gallery, Alliance Fran&ccedil;aise de Hong Kong, La Galerie &ndash;&nbsp;Paris 1839, and the Journalism and Media Studies Centre, University of Hong Kong.</p> <p>The exhibition is supported by the Netherlands Consulate General in Hong Kong and Macao <span class="caps">SAR</span> and Hong Kong Baptist University Institute of Journalism and Society. Based in Amsterdam, the World Press Photo Foundation has run international exhibitions of photo-journalism for more than 60 years.</p></div> Lauren Long Fri, 26 Feb 2021 10:10:43 +0000 Turkish Government Launches New Campaign Against Osman Kavala <p><font color="#7f7f7f">News/TurkishGovernmentLaunchesNewCampaignAgainstOsmanKavala</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4564/ok4_400.jpg" /></a></p> <div><p>As cultural philanthropist Osman Kavala passed another dark milestone this month&mdash;1,200 days in prison, without a conviction for any crime&mdash;the Turkish government has escalated its lawfare campaign against him by targeting Anadolu K&uuml;lt&uuml;r, the cultural foundation he established, while also engaging with new legal maneuvers designed to prolong his detention.</p> <p>On February 16, Turkey&rsquo;s Ministry of Commerce requested the &ldquo;annulment&rdquo; of <a href="" target="_blank">Anadolu K&uuml;lt&uuml;r</a>. The lawsuit alleges that although the foundation was founded in 2002 as a joint stock company, it &ldquo;carries out its activities without profit, similar to associations and foundations,&rdquo; which the ministry alleges is in violation against &ldquo;public order or the field of operation of the business&rdquo; according to article 210 of the Turkish commercial code.</p> <p>Anadolu K&uuml;lt&uuml;r issued a statement in response, saying the organization has &ldquo;carried out all its operations legally and transparently,&rdquo; noting that no irregularities were uncovered during a previous investigation conducted by the government&rsquo;s financial crimes investigation unit, the <span class="caps">MASAK</span>. The foundation sponsors numerous cultural initiatives focused on supporting minority ethnic groups within Turkey, and operates the <a href="" target="_blank">Depo</a> art space in Istanbul, the <a href="" target="_blank">Diyarbakır Art Center</a>, and the <a href="" target="_blank">Spaces of Culture</a> initiative.</p> <p>The government has also renewed its judicial campaign against Kavala. On February 5, the Istanbul 36th Heavy Penal Court joined the current case against him&mdash;for allegedly sharing state secrets and co-organizing the failed military coup on July 15, 2016&mdash;to the initial case against him and 15 others for attempting to overthrow the constitutional order with the 2013 Gezi Park protests. On January 22, an Istanbul appeals court overturned the February 2020 acquittal of nine defendants in that trial, including Kavala, citing additional evidence that was not considered in the initial verdict; their case was sent back to a lower court.</p> <p>Through a statement released by Utku &Ccedil;akır&ouml;zer, a deputy in the main opposition Republican People&rsquo;s Party, Kavala remarked on the proceedings against him that, &ldquo;Unlawfulness has turned into a theater of injustice.&rdquo; The European Court of Human Rights (<span class="caps">ECHR</span>) issued a ruling calling for his release in December 2019, which Turkish courts have not recognized. The United States, the European Union, the Council of Europe, the International Commission of Jurists, Human Rights Watch, Amnesty International, and a network of European cultural <a href="" target="_blank">foundations</a> have called for Kavala&rsquo;s release. The next hearing for his case is set for May 21.</p> <p>Kavala was first detained on October 18, 2017, and has been imprisoned under a series of grave charges despite the government&rsquo;s inability to produce substantive evidence or witnesses. President Recep Tayyip Erdoğan has demonized Kavala in public speeches, commanding the courts to find Kavala guilty for organizing threats to his authoritarian grasp on Turkey&rsquo;s political system. Erdoğan recently targeted Kavala&rsquo;s wife, Ayşe Buğra, an economist at Boğazi&ccedil;i University, <a href="" target="_blank">calling</a> her a &ldquo;provocateur,&rdquo; after students and faculty began protesting Erdoğan&rsquo;s appointment of a party loyalist as president of the country&rsquo;s top public university.</p> <p>As part of an anti-Semitic conspiracy theory, Erdoğan alleges that Kavala was trying to overthrow his government at the orders of the Open Society Foundation&rsquo;s founder George Soros&mdash;whom the Turkish president has <a href="" target="_blank">called</a> &ldquo;the famous Hungarian Jew Soros&rdquo; who &ldquo;assigns people to divide nations and shatter them.&rdquo; Kavala was a founding member of the Open Society Foundation in Turkey, which worked on projects such as Kurdish women&rsquo;s rights, support for Syrian refugees, and educational and cultural initiatives for Roma communities, until its <a href="" target="_blank">closure</a> in November 2018.</p></div> Lauren Long Fri, 26 Feb 2021 08:35:16 +0000 Opportunities <p><font color="#7f7f7f">Blog/Opportunities</font></p> <p><a href=""><img border="0" src="/image_columns/0043/8572/480_400.gif" /></a></p> <div><p><i>Have an opportunity to offer? Email us the details:</i></p></div> Lauren Long Fri, 26 Feb 2021 07:41:20 +0000 New Partnerships Friday News Roundup <p><font color="#7f7f7f">News/NewPartnershipsFridayNewsRoundup</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4739/05_wajukuu_art_project_photo_shabu_mwangi__400.jpg" /></a></p> <div><p>Numerous organizations have announced new collaborations last week, while others are being chastised for controversial leadership decisions. Here is a look at these updates as well as other news.</p></div> Lauren Long Fri, 26 Feb 2021 06:18:30 +0000 Encounter72 <p><font color="#7f7f7f">Blog/Encounter72</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4328/_72_2_400.gif" /></a></p> <div><p>&ldquo;Encounter&rdquo; is a biweekly project by&nbsp;<i>ArtAsiaPacific</i>&rsquo;s&nbsp;designer, Tiffany&nbsp;Tam, in which she visually reinterprets the people and objects that she unexpectedly comes into contact with.</p> <p><i>To read more of&nbsp;</i>ArtAsiaPacific<i>&rsquo;s articles, visit our<a href="" target="_blank">&nbsp;</a></i><i><a href="" target="_blank">Digital Library</a></i><i>.</i></p></div> Lauren Long Thu, 25 Feb 2021 02:25:10 +0000 Hong Kong Collector Makes Third Donation Of Artworks To M Plus <p><font color="#7f7f7f">News/HongKongCollectorMakesThirdDonationOfArtworksToMPlus</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4466/saved_for_web_400.jpg" /></a></p> <div><p>On February 24, Hong Kong&rsquo;s museum of contemporary art and visual culture M+ announced that it has received 17 artworks from Hong Kong collector and lawyer Hallam Chow. This marks Chow&rsquo;s third donation to the museum.</p> <p>The collection of artworks, created between the 1990s and 2010s by 13 artists and collectives in Asia, has a particular focus on Japanese art. Among the donated artworks are Aida Makoto&rsquo;s large-scale oil painting <i>Space Shit </i>(1998), featuring a large, floating piece of stool against a dotted, black background that resembles outer space, and his room-sized installation <i>Art and Philosophy #1 &lsquo;Critique of Critique of Judgement&rsquo; </i>(2008), comprising 500 drawings made on printed pages of philosopher Immanuel Kant&rsquo;s <i>The Critique of Judgement </i>(1790). Also included is Konoike Tomoko&rsquo;s video installation <i>Mimio-Odyssey</i> (2005), which explores myth-making via hand-drawn images of a fictional character traversing through an ancient forest. Works by other Japanese artists include an interactive work from the collective Chim&uarr;Pom, sculptures by Odani Motohiko, a painting by Shioyasu Tomoko, and installations by Takamine Tadasu and Teruya Yuken.&nbsp;</p> <p>Beyond artists from Japan, Chow donated Liu Wei&rsquo;s totem-like installation<i> Untitled </i>(2012), comprising objects found at demolition sites such as steel drums, bowls, and funnels, which examines effects of China&rsquo;s rapid urbanization. Meanwhile, Lee Bul&rsquo;s multimedia sculpture <i>Untitled (Infinity Partition)</i> (2008) from her futuristic <i>Infinity </i>series (2008&ndash; ), containing mirrors, <span class="caps">LED</span> lights, and fabricated panels, challenges viewers&rsquo; sense of reality. Additional works to enter M+&#8217;s collection include a painting by Thai contemporary artist Montien Boonma, and installations by Liang Yuanwei and Adrian Wong.</p> <p>Chairman of the M+ International Council for Visual Art, Chow donated five artworks by South and Southeast Asian artists to M+&nbsp;in 2016. In 2019, he donated two artworks.</p> <p>Chow&rsquo;s personal collection focuses on contemporary works by artists in Asia and overseas Asian artists. Grandson of the late Edward T. Chow (1910&ndash;1980)&mdash;a prominent Chinese antiques collector and dealer&mdash;Hallam Chow developed an interest in collecting art at age 10. A law graduate from Georgetown University in Washington, DC, he returned to Hong Kong in 2006. He has been based in Beijing since 2016 as partner of the law firm Mayer Brown <span class="caps">LLP</span>.</p></div> Lauren Long Wed, 24 Feb 2021 08:24:32 +0000 Artists In Myanmar Unite For Democracy <p><font color="#7f7f7f">News/ArtistsInMyanmarUniteForDemocracy</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4052/b912e9f5-736a-4182-b90a-6f4402a2a46f_400.jpg" /></a></p> <div><p>Since the coup d&rsquo;&eacute;tat in Myanmar in early February, the country&rsquo;s artists and art workers have been collaborating online and on the streets to support the Civil Disobedience Movement (<span class="caps">CDM</span>), which calls for the reinstatement of the democratically elected leaders who were forcibly detained.</p> <p>On February 10, the Association of Myanmar Contemporary Art organized &ldquo;Artists Street For Civil Disobedience Movement&rdquo; at Pansodan Street in downtown Yangon, allowing artists to sell works to raise funds for <span class="caps">CDM</span>. Meanwhile, located next to the hotbed of protests near City Hall in Yangon, Kalasa Art Space is providing a sanctuary for the movement. Run by Su Htwe and&nbsp;Htoo Aung Kyaw, the couple told<i>&nbsp;ArtAsiaPacific</i>&nbsp;that &ldquo;We are so worried to open our Kalasa art space because our son is only three months old and our art space is in the danger zone . . . But we cannot bear this situation,&rdquo; and so they have made the decision to &ldquo;give a space for all of our friends, artists, journalists, politicians who are participating in [the] protest and [offer] food and drinks for them.&rdquo; The design team at Kalasa has also has created artworks for protestors to use as signboards and flyers.</p> <p>Other artists have similarly created designs to be shared online for usage during protests, such as for posters, stickers, or t-shirts, despite internet blackouts brought about by the military to retain control. Muralist Bart Was Not Here created&nbsp;<i>God and Prophets on Strike&nbsp;</i>(2021),<i>&nbsp;</i>depicting caricatures of four religious leaders condemning the coup, which were made&nbsp;<a href="" target="_blank">publicly available</a>&nbsp;on February 17.</p> <p>Many others have joined in, responding to the movement via their artworks. On the frontline is photographer Hkun Lat, who has been documenting the protest for Getty Images and his&nbsp;<a href="" target="_blank">Instagram</a>&nbsp;account since February 5. Likewise, artists Soe Yu Nwe and Richie Htet, represented by Myanm/art Gallery, have shared new works on their respective Instagram accounts. Nwe posted a&nbsp;<a href="" target="_blank">drawing</a>&nbsp;on February 5, depicting a peacock in captivity as a symbol of the current state of Myanmar&rsquo;s democracy, capturing a hopeful yet &ldquo;destabilized reality.&rdquo; Htet&rsquo;s work posted on February 17,&nbsp;<a href="" target="_blank">captioned</a>&nbsp;&ldquo;Bitch Better Have My Democracy,&rdquo; shows a woman adorned in historical armor defeating the man-eating humanoid Belu, dressed in the Tatmadaw military uniform. Additionally, the graffiti collective Writers Bench Myanmar posted a collaborative&nbsp;<a href="" target="_blank">work</a>&nbsp;on Facebook on February 13 titled&nbsp;<i>The Nation is Ours</i>, created in partnership with 58 graffiti artists to express their &ldquo;individuality, solidarity, and disdain for inequality.&rdquo; The work resonates with the surge of protest graffiti art in the early 2000s, during the military regime of Than Shwe.</p> <p>One motif in particular has gained traction. Originally from the Hollywood&nbsp;<i>Hunger Games</i>&nbsp;(2012&ndash;15) film franchise, the three-finger salute, used throughout the movies as a gesture of defiance against authoritarian regimes, and later adopted during the 2020&ndash;21 anti-government protests in Thailand, has also been endorsed by Burmese protesters since the early days of the coup. The salute has been incorporated into numerous designs, including a collaborative&nbsp;<a href="" target="_blank">artwork</a>&nbsp;shared on Facebook by independent creative agency, Bridge, comprised of illustrations of the gesture by 51 Burmese artists. Also on Facebook, illustration account&nbsp;The&egrave;&nbsp;Oo&rsquo;s Artvenue&nbsp;<a href="" target="_blank">features</a> the salute amid pot-banging and phones, referencing protesting strategies.</p> <p>Some Burmese artists and arts organizations have released statements in support of <span class="caps">CDM</span>. Artist Wah Nu&nbsp;<a href="" target="_blank">posted</a>&nbsp;a note of gratitude to protestors on February 15, saying that they are &ldquo;All . . . worthy of respect,&rdquo; while the all-female photography group&nbsp;<a href="" target="_blank">Thuma Collective</a>&nbsp;exclaimed that &ldquo;Military Dictatorship must perish!&rdquo; on February 2.</p></div> Tiffany Tam Wed, 24 Feb 2021 07:36:57 +0000 Australian Art Institutions Banned By Facebook <p><font color="#7f7f7f">News/AustralianArtInstitutionsBannedByFacebook</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4186/saved_for_web_400.jpg" /></a></p> <div><p>Facebook&rsquo;s overnight ban on Australian news outlets as a retaliation against the country&rsquo;s passing of the News Media and Digital Platforms Bargaining Code disabled more than 500 Australian art-related Facebook sites on February 18. While the platform tried to restore the pages of galleries and museums wrongfully identified as news outlets within one day, some organizations are still banned as of today.&nbsp;</p> <p>Under the ban, users in Australia are only able to view the institution&rsquo;s basic information on its Facebook page, and no posts or photos. Pages of major institutions have mostly been restored, including Melbourne&rsquo;s Buxton Contemporary, Perth Institute of Contemporary Arts, and the 4A Centre for Contemporary Asian Art in Sydney. The national galleries such as Melbourne&rsquo;s National Gallery of Victoria and the National Gallery of Australia in Canberra were not affected.&nbsp;</p> <p>Others, however, are still trying to retore their main media channel. ArtsHub, a major resource platform for the Australian cultural sector and one of the first to raise awareness of the ban, along with its associated film publication ScreenHub, remains restricted. The group&nbsp;<a href="" target="_blank">tweeted</a>&nbsp;on February 18, redirecting followers to &ldquo;Twitter, Instagram, Reddit and even MySpace.&rdquo; Writer and film critic Luke Buckmaster&nbsp;<a href="" target="_blank">tweeted&nbsp;</a>in sympathy on the same day, saying that &ldquo;it&rsquo;s hard enough running an entirely arts &amp; culture-dedicated Australian publication, without Facebook&rsquo;s jiggery-pokery.&rdquo;</p> <p>The ban has severely impacted normal operations for some. The Stanthorpe Regional Art Gallery in Queensland had to issue an announcement hours before its 2021 awards ceremony on February 19,&nbsp;<a href="" target="_blank">stating</a>&nbsp;that &ldquo;we intended to livestream [the event] on our Facebook page, but we have been blocked by Facebook.&rdquo; Likewise, board member of Melbourne&rsquo;s LGBTQIA+ Midsumma Festival, Michael Parry, who wanted to use the platform to promote its April 19 event,&nbsp;<a href="" target="_blank">tweeted</a>&nbsp;his disbelief last Thursday upon discovering Facebook&rsquo;s ban of the Festival&rsquo;s page. The page was resumed shortly after his post. On the same day,&nbsp;Tasmanian initiative Big hART, which caters to the disadvantaged,&nbsp;<a href="" target="_blank">tweeted</a>&nbsp;its frustration at being disconnected from &ldquo;high needs disadvantaged communities&rdquo; before having its page restored on February 19.&nbsp;</p> <p>The News Media and Digital Platforms Bargaining Code was passed by Australia&rsquo;s House of Representatives on February 17, requiring tech companies such as Facebook to obtain permission for publishing original content by Australian media outlets. In response, Facebook released a&nbsp;<a href="" target="_blank">statement</a>&nbsp;criticizing the action, deeming that the government &ldquo;fundamentally misunderstands the relationship between our platform and publishers,&rdquo; and imposed a ban of all Australian news content.&nbsp;</p> <p>Facebook and Australian lawmakers in the Senate reached a last-minute compromise on February 23, giving Facebook a two-month window to make commercial arrangements that show a &#8220;significant contribution&#8221; to local journalism. Facebook has pledged to restore any pages that are still blocked within the coming days.</p></div> Tiffany Tam Wed, 24 Feb 2021 07:36:38 +0000 Artstrology Pisces2021 Prism <p><font color="#7f7f7f">Blog/ArtstrologyPisces2021Prism</font></p> <p><a href=""><img border="0" src="/image_columns/0058/4168/feb_400.jpg" /></a></p> <div><p>When I think of Pisces, I imagine a bucket of clear water: when you add in different pigments, the water changes color. Typically Pisces are sensitive to the point that they are very easily influenced by those around them. One could also see them as sponge-like, absorbing all the energies around them without noticing, which explains their empathy and fluctuating moods. As a result, sleeping and dreaming are necessary for them to recharge and reset.</p> <p>Because of their adaptability, Pisces is the best of all the signs when it comes to being Zen and going with the flow. The flipside is they tend to escape from reality, especially when they feel overwhelmed by their surroundings. For Pisces artists, then, art is an escape to other, possibly spiritual, realms.</p> <p>For example, Japanese photographer Hiroshi Sugimoto, who is drawn to Dadaism and Surrealism, believes that photography can record intangible, elemental forces. For his <i>Theaters </i>(1978&ndash; ) series, he visited different cinemas and kept his camera shutter open for the entire duration of the movie in an attempt to capture a whole movie in a single frame. The resulting images portray shining screens in empty cinemas, eliciting a futuristic, almost ghostly impression of the spaces. For his recent Polaroid series, <i>Opticks </i>(2018&ndash; ), Sugimoto projects light through a prism onto a mirror in his studio and photographs the vivid colors produced. His thoughts on the creative process interestingly resonate with my analogy of Pisces being a bucket of colored water: &ldquo;I am engulfed in color. Particularly when the colors fade and fuse into darkness, the gradation seems to melt away into pure mystery.&rdquo;</p> <p>This fascination with colors and the relationship between our consciousness and physical reality can also be observed in Anish Kapoor&rsquo;s sculptures and multimedia installations. <i>Descent into Limbo</i> (1992) comprises an eight-foot-deep hole painted with a black pigment. While the dizzying void is real, Kapoor&rsquo;s choice of pigment also creates the optical illusion of a flat, dark circle on the ground when viewed from a distance. Equally mesmerizing, his large-scale, stainless-steel public sculpture <i>Sky Mirror</i> (2006), in Nottingham, captures a piece of the sky on the ground, challenging viewers&rsquo; perception of the physical surroundings. Kapoor invites viewers to experience his works freely, without imposing his own interpretations of the work, believing that there is more to be explored outside of the artist&rsquo;s own consciousness.</p> <p>Pisces season in 2021 could be unusually spiritual and creative with a number of stars in Aquarius, combining the power of innovation with the imaginative flow of Pisces. Being mindful of our emotions will allow us to tap into our emotional intelligence and survive the mood swings this month.</p></div> Lauren Long Wed, 24 Feb 2021 03:12:10 +0000 男人的天堂在线视频_起碰免费公开97在线视频_茄子在线看片免费人成视频