ArtAsiaPacific – Issue 147 MarchApril 2026 – ArtAsiaPacific (1)

First shown at “Tarnanthi” at the Art Gallery of South Australia in 2017, Kulata Tjuta (2017) focuses on Britain’s atomic testing program at Emu Field and Maralinga between 1953 and 1963. Pitjantjatjara and Yankunytjatjara people suffered death, radiation poisoning, separation from sacred sites, and desecration of their land. In the installation, these grievous events appear as a mushroom cloud of 550 spears that hovers ominously around a light source, spraying barbed shadows outward.

The petrified specter looms above a gathering of piti (wooden bowls), carved by women, which form concentric circles on the ground. As vessels used to hold babies or food, the piti are haunting memorials to lost lives and livelihoods, yet as objects forged through communal care they also carry a fragile sense of hope.

In recent years the collective has exhibited major works nationally and internationally, but this growing prominence was shadowed by a challenging leadership period for Young. In April 2023, national newspaper The Australian launched a series of incendiary articles alleging undue interference by white staff in paintings made at Tjala Arts, particularly those of Yaritji. The coverage sparked a storm of scrutiny over ethical practices across the APYACC network, until review bodies found the claims to be unsubstantiated.

By then, artists had lost sales, standing, and exhibition opportunities. Yaritji herself rejected the accusations, which unfolded alongside debates around the (ultimately unsuccessful) Indigenous Voice to Parliament referendum in October 2023. The Biennale of Sydney, “Rememory,” opening this March, offers a platform for vindication: Young and Yaritji will each present new paintings, with Young also leading the making of a Kulata Tjuta installation inspired by childhood memories of watching Anangu battles at Pukatja (Ernabella), where throngs of flying spears overlapped as “a big, dark cloud.”

Looking to the future, Young honors the past, moving through art and life with the agility and innovation his ancestors have sustained for more than 65,000 years. His works intricately weave contemporary social, cultural, and economic life, nurturing modes of creative possibility that keep their flame alight. # ¼çé¼èÞÖËÖØÞěØ #ÈÖ疼åç “ËÚäåáڏÄÙÚÖè ËçäěáÚ ÄãèéÖááÖéÞäãëÞÚìäÛGEUMHYUNG JEONGąèćÐãÙÚç¾äãèéçêØéÞäãĈÖééÝÚÄãèéÞéêéÚäÛ¾äãéÚâåäçÖçî¼çéèÇäãÙäã ËÝäéä×îÍä×ÃÖççÞè¾äêçéÚèîéÝÚÖçéÞèé ÂÚêâÝîêãÜÅÚäãÜ Ching Ho Cheng # ÃÞéäÎéÚîÚçá ÏÞèÝÖãÃèê ÎÝÖä¾Ýêã #” ÉÞØàÈÖêèè ¼çé¼èÞÖËÖØÞěØ #ÈÖ疼åç ” ÄãèéÖááÖéÞäãëÞÚìäÛGEUMHYUNG JEONGąèć¾äãÙÞéÞäã¾ÝÚØà  ¾äãÙÞéÞäãÍÚåäçéÎ˼½À¼ÐÏÔĈÖééÝÚ ÖçéÞèéąèèéêÙÞäÞã½êØÝÚäã ËÝäéä ×îÆÖãÜÝîêàÇÚÚ¾äêçéÚèîéÝÚÖçéÞèé Under ¾äãèéçêØéÞäã From stage to gallery, Korean choreographer-artist Geumhyung Jeong has forged one of the most idiosyncratic paths in contemporary art.

Professionally trained in acting, dance, and film animation, she moves fluidly across registers: intimate performances with medical dummies and mannequin limbs, precarious encounters with excavators and heavy machinery, sculptural displays of disassembled prosthetics, and, most recently, DIY robots that sputter and stall, as moody and mercurial as living companions. This range is not mere eclecticism but reflects an utterly unique discipline that merges stage architectonics with a visual artist’s compositional precision, yielding work that is both choreographic and sculptural.

Jorge Tacla, Anatomía de la Dislexia (Anatomy of Dyslexia) 04, Mina Loy, 2017. From ‘Anatomía de la Dislexia’, 2017–2021. Image courtesy of the artist Ahaad Alamoudi, WHAT IS THIS?! (still), 2026. Supported by Sharjah Art Foundation. Image courtesy of the artist. @sharjahart Chen Wei, Lemon by the window, 2019, Archival inkjet print, 22 × 27.5 cm SHANGHAI | SINGAPORE | TOKYO ART BASEL HONG KONG March 27 – 29, 2026 Booth: 1C07 Jiang Cheng ART BASEL Hong Kong Booth 1D37 僰絿 Asia Art Archive Your key to arts+culture Performance by Lee Wen as the Yellow Man in Chengdu, 2001 (Estimated).

Lee Wen Archive, Asia Art Archive Collections. Courtesy of Lee Wen Estate and Asia Art Archive. FEATURES CHING HO CHENG, Untitled, Torso series %$$ØäååÚçÖãÙÞçäãäíÞÙÚäãçÖÜåÖåÚç ƒ%%#Øâ ¾äåîçÞÜÝééÝÚ¾ÝÞãÜÃä¾ÝÚãÜÀèéÖéÚ¾äêçéÚèî½ÖãàÂÖááÚçîÎÝÖãÜÝÖÞ 50 ÂÚêâÝîêãÜÅÚäãÜ BY JIWON YU 60 Ching Ho Cheng BY CHRISTINA SHEN # UP CLOSE ÃÞéäÎéÚîÚçá ÏÞèÝÖãÃèê ÎÝÖä¾Ýêã BY ANNETTE MEIER, MICHELE CHAN, LOUIS LU #” ÄÉÎÄ¿À½ÐÍÂÀ;ÊÇÇÀ¾ÏÄÊÉ ÉÞØàÈÖêèè BY LAUR A MCLEAN-FERRIS ¼çé¼èÞÖËÖØÞěØ #ÈÖ疼åç ” 11 ¿À˼ÍÏÈÀÉÏÎ Editor’s Letter 14 ¾äãéçÞ×êéäçè # Reports One on One 19 ÒäãÜËÞãÜäãÎÝǧßÞÏÚçÖîÖâÖ Dispatch 20 Doha ÉÚìèÍäêãÙêå 22 ¾ÖçÚÚçÈäëÚè ÄãÛçÖèéçêØéêçÚ ¾äãéçäëÚçèÞÚè Ëê×áÞØ¿äâÖÞã ÈÖÞãÉÚìè 23 ÄçÖã è¿ÚÖÙáî¾çÖØàÙäìã The Point 24 ½ÚéìÚÚãÏìäÎîèéÚâè ÒÝÞèåÚçÞãÜÂÖááÚçî 26 ÏÝÚÁÞçÚÃäçèÚÀØäãäâî Art Fair Report 28 ÊåéÞâÞèâÊÛÎäçéè ËçÚëÞÚìè 30 People & Ideas ÉÚì¾êççÚãéè 34 ÇÚìÞèÇÚÚ ÀÉÏÀÍ ÈÖßÞÙ¼á‘ÍÚâÖÞÝÞ Essay 38 ÏÝÚÂêáÛąè¼ãéޑÄãèéÞéêéÞäã ¼çéè¾Öâåêè ËçäěáÚ 40 ½ÚáÞãÙÖÏÖãäéä ËçäěáÚ 44 ÁçÖãàÔäêãÜ ÒÝÚçÚÄÒäçà 100 ¼×ÙêááÖݼáÎÖÖÙÞ ÏÝÚÎàÚéØÝ 104 ÂÖáÖËäççÖè‘ÆÞâ Art Directory 82 Itinerary 86 Reviews Taipei 88 Taipei Biennial Whispers on the Horizon ÆÖãÖïÖìÖ 90 SIDE CORE Living road, Living space Taipei 91 ÎÖâèäãÔäêãÜ Pavilion Shanghai 92 ¾ÝçÞèÃêÚãÎÞã‘ÆÖã Silent Echoes of Becoming ÈÖãÞáÖ 93 Confabulations: A Fantasy of the Real ÃäãÜÆäãÜ 94 Ann Leda Shapiro Body is Landscape Èêâ×ÖÞ 95 ÍÖâÚèÝÈÖçÞäÉÞéÝÞîÚãÙçÖã Of Dreaming and Remembering ¿ê×ÖÞ 96 The Only Way Out Is Through: The Twentieth Line ÅÚÙÙÖÝ %# Permanent Exhibition and Gate of Gates ÉÚìÔäçà 98 ½ÚçãÖçÙäËÖØæêÞãÜ Causal Loops ÄãèéÖááÖéÞäãëÞÚìäÛRAMESH MARIO NITHIYENDRANąèćÊÛ¿çÚÖâÞãÜÖãÙÍÚâÚâ×ÚçÞãÜĈ ÖéÅÝÖëÚçÞ¾äãéÚâåäçÖçîÈêâ×ÖÞ !¾äêçéÚèîÅÝÖëÚçÞ¾äãéÚâåäçÖçî ¼çé¼èÞÖËÖØÞěØ #ÈÖ疼åç ” ½ÚÞãÜèÞãÏçÖãèÞéÞäã Three months into 2026, and everything feels especially sharp with geopolitical flashpoints flaring, old sovereignties being tested, and futures recalibrating.

In this unsettled atmosphere, ArtAsiaPacific turns to artists and institutions engaging directly with transformation—the mutable conditions of bodies, memories, ecologies, and geographies. We begin with the late Ching Ho Cheng whose work is featured on our cover. The Havana-born Chinese American artist came of age in 1960s New York, creating gouache paintings and paper works that vibrate with raw tension: early psychedelic swarms of cosmic orbs, flames, and pulsating anatomies; interior spaces rendering plants, matchsticks, and lightbulbs with hyper-real precision.

His later abstractions— oxidized, ripped, and reassembled—along with his meditative tableaux of light filtering through windows and entryways, treat destruction and endings as generative.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

Book Information

• Unique ID: ed5b543ed13e69ef
• File Extension: .pdf
• File Size: 48,503,371 bytes (46.256 MB)
• Title: –
• Author: Unknown
• ISBN: 9179304028
• Pages: 109
• Language: English (en)

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