{"id":252446,"date":"2026-07-13T02:05:24","date_gmt":"2026-07-12T23:05:24","guid":{"rendered":"https:\/\/1kitap1.com\/en\/artasiapacific-issue-147-marchapril-2026-artasiapacific-1\/"},"modified":"2026-07-13T02:05:24","modified_gmt":"2026-07-12T23:05:24","slug":"artasiapacific-issue-147-marchapril-2026-artasiapacific-1","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/artasiapacific-issue-147-marchapril-2026-artasiapacific-1\/","title":{"rendered":"ArtAsiaPacific – Issue 147 MarchApril 2026 – ArtAsiaPacific (1)"},"content":{"rendered":"
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First shown at \u201cTarnanthi\u201d at the Art Gallery of South Australia in 2017, Kulata Tjuta (2017) focuses on Britain\u2019s 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.<\/p>\n

The petri\ufb01ed 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.<\/p>\n

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.<\/p>\n

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, \u201cRememory,\u201d 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 \ufb02ying spears overlapped as \u201ca big, dark cloud.\u201d<\/p>\n

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 \ufb02ame alight. # \u00bc\u00e7\u00e9\u00bc\u00e8\u00de\u00d6\u00cb\u00d6\u00d8\u00de\u011b\u00d8\u0003 #\u0013\u00c8\u00d6\u00e7\u0096\u00bc\u00e5\u00e7\u0003 “\u0013\u00cb\u00da\u00e4\u00e5\u00e1\u00da\u0003\u008f\u0003\u00c4\u00d9\u00da\u00d6\u00e8 \u00cb\u00e7\u00e4\u011b\u00e1\u00da \u0003\u00c4\u00e3\u00e8\u00e9\u00d6\u00e1\u00e1\u00d6\u00e9\u00de\u00e4\u00e3\u0003\u00eb\u00de\u00da\u00ec\u0003\u00e4\u00db\u0003GEUMHYUNG JEONG\u0105\u00e8\u0003\u0107\u00d0\u00e3\u00d9\u00da\u00e7\u0003\u00be\u00e4\u00e3\u00e8\u00e9\u00e7\u00ea\u00d8\u00e9\u00de\u00e4\u00e3\u0108\u0003\u00d6\u00e9\u0003\u00e9\u00dd\u00da\u0003\u00c4\u00e3\u00e8\u00e9\u00de\u00e9\u00ea\u00e9\u00da\u0003\u00e4\u00db\u0003\u00be\u00e4\u00e3\u00e9\u00da\u00e2\u00e5\u00e4\u00e7\u00d6\u00e7\u00ee\u0003\u00bc\u00e7\u00e9\u00e8\u0006\u0003\u00c7\u00e4\u00e3\u00d9\u00e4\u00e3\u0006\u0003 \u0004\u0003\u00cb\u00dd\u00e4\u00e9\u00e4\u0003\u00d7\u00ee\u0003\u00cd\u00e4\u00d7\u0003\u00c3\u00d6\u00e7\u00e7\u00de\u00e8\u0004\u0003\u00be\u00e4\u00ea\u00e7\u00e9\u00da\u00e8\u00ee\u0003\u00e9\u00dd\u00da\u0003\u00d6\u00e7\u00e9\u00de\u00e8\u00e9\u0004 \u00c2\u00da\u00ea\u00e2\u00dd\u00ee\u00ea\u00e3\u00dc\u0003\u00c5\u00da\u00e4\u00e3\u00dc Ching Ho Cheng # \u00c3\u00de\u00e9\u00e4\u0003\u00ce\u00e9\u00da\u00ee\u00da\u00e7\u00e1\u0006 \u00cf\u00de\u00e8\u00dd\u00d6\u00e3\u0003\u00c3\u00e8\u00ea\u0006 \u00ce\u00dd\u00d6\u00e4\u0003\u00be\u00dd\u00ea\u00e3 #” \u00c9\u00de\u00d8\u00e0\u0003\u00c8\u00d6\u00ea\u00e8\u00e8 \u00bc\u00e7\u00e9\u00bc\u00e8\u00de\u00d6\u00cb\u00d6\u00d8\u00de\u011b\u00d8\u0003 #\u0013\u00c8\u00d6\u00e7\u0096\u00bc\u00e5\u00e7\u0003 ” \u00c4\u00e3\u00e8\u00e9\u00d6\u00e1\u00e1\u00d6\u00e9\u00de\u00e4\u00e3\u0003\u00eb\u00de\u00da\u00ec\u0003\u00e4\u00db\u0003GEUMHYUNG JEONG\u0105\u00e8\u0003\u0107\u00be\u00e4\u00e3\u00d9\u00de\u00e9\u00de\u00e4\u00e3\u0003\u00be\u00dd\u00da\u00d8\u00e0\u0003 \u0006\u0003 \u00be\u00e4\u00e3\u00d9\u00de\u00e9\u00de\u00e4\u00e3\u0003\u00cd\u00da\u00e5\u00e4\u00e7\u00e9\u0005\u0003\u00ce\u00cb\u00bc\u0003\u008f\u0003\u00bd\u00c0\u00bc\u00d0\u00cf\u00d4\u0108\u0003\u00d6\u00e9\u0003\u00e9\u00dd\u00da\u0003 \u00d6\u00e7\u00e9\u00de\u00e8\u00e9\u0105\u00e8\u0003\u00e8\u00e9\u00ea\u00d9\u00de\u00e4\u0003\u00de\u00e3\u0003\u00bd\u00ea\u00d8\u00dd\u00da\u00e4\u00e3\u0006\u0003 \u0004\u0003\u00cb\u00dd\u00e4\u00e9\u00e4\u0003 \u00d7\u00ee\u0003\u00c6\u00d6\u00e3\u00dc\u00dd\u00ee\u00ea\u00e0\u0003\u00c7\u00da\u00da\u0004\u0003\u00be\u00e4\u00ea\u00e7\u00e9\u00da\u00e8\u00ee\u0003\u00e9\u00dd\u00da\u0003\u00d6\u00e7\u00e9\u00de\u00e8\u00e9\u0004 Under \u00be\u00e4\u00e3\u00e8\u00e9\u00e7\u00ea\u00d8\u00e9\u00de\u00e4\u00e3 From stage to gallery, Korean choreographer-artist Geumhyung Jeong has forged one of the most idiosyncratic paths in contemporary art.<\/p>\n

Professionally trained in acting, dance, and \ufb01lm animation, she moves \ufb02uidly 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 re\ufb02ects an utterly unique discipline that merges stage architectonics with a visual artist\u2019s compositional precision, yielding work that is both choreographic and sculptural.<\/p>\n

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Jorge Tacla, Anatom\u00eda de la Dislexia (Anatomy of Dyslexia) 04, Mina Loy, 2017. From \u2018Anatom\u00eda de la Dislexia\u2019, 2017\u20132021. 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 \u00d7 27.5 cm SHANGHAI | SINGAPORE | TOKYO ART BASEL HONG KONG March 27 \u2013 29, 2026 Booth: 1C07 Jiang Cheng ART BASEL Hong Kong Booth 1D37 \u50f0\u7d7f Asia Art Archive Your key to arts+culture Performance by Lee Wen as the Yellow Man in Chengdu, 2001 (Estimated).<\/p>\n

Lee Wen Archive, Asia Art Archive Collections. Courtesy of Lee Wen Estate and Asia Art Archive. FEATURES CHING HO CHENG, Untitled, Torso series\u0006\u0003 %$$\u0006\u0003\u00d8\u00e4\u00e5\u00e5\u00da\u00e7\u0003\u00d6\u00e3\u00d9\u0003\u00de\u00e7\u00e4\u00e3\u0003\u00e4\u00ed\u00de\u00d9\u00da\u0003\u00e4\u00e3\u0003\u00e7\u00d6\u00dc\u0003\u00e5\u00d6\u00e5\u00da\u00e7\u0006\u0003 \u0019\u0083\u0019%%\u0004#\u0019\u00d8\u00e2\u0004\u0003 \u00be\u00e4\u00e5\u00ee\u00e7\u00de\u00dc\u00dd\u00e9\u0003\u00e9\u00dd\u00da\u0003\u00be\u00dd\u00de\u00e3\u00dc\u0003\u00c3\u00e4\u0003\u00be\u00dd\u00da\u00e3\u00dc\u0003\u00c0\u00e8\u00e9\u00d6\u00e9\u00da\u0004\u0003\u00be\u00e4\u00ea\u00e7\u00e9\u00da\u00e8\u00ee\u0003\u00bd\u00d6\u00e3\u00e0\u0003\u00c2\u00d6\u00e1\u00e1\u00da\u00e7\u00ee\u0006\u0003\u00ce\u00dd\u00d6\u00e3\u00dc\u00dd\u00d6\u00de\u0004 50 \u00c2\u00da\u00ea\u00e2\u00dd\u00ee\u00ea\u00e3\u00dc\u0003\u00c5\u00da\u00e4\u00e3\u00dc BY JIWON YU 60 Ching Ho Cheng BY CHRISTINA SHEN # UP CLOSE \u00c3\u00de\u00e9\u00e4\u0003\u00ce\u00e9\u00da\u00ee\u00da\u00e7\u00e1\u0006 \u00cf\u00de\u00e8\u00dd\u00d6\u00e3\u0003\u00c3\u00e8\u00ea\u0006 \u00ce\u00dd\u00d6\u00e4\u0003\u00be\u00dd\u00ea\u00e3 BY ANNETTE MEIER, MICHELE CHAN, LOUIS LU #” \u00c4\u00c9\u00ce\u00c4\u00bf\u00c0\u0003\u00bd\u00d0\u00cd\u00c2\u00c0\u00cd\u0003\u00be\u00ca\u00c7\u00c7\u00c0\u00be\u00cf\u00c4\u00ca\u00c9 \u00c9\u00de\u00d8\u00e0\u0003\u00c8\u00d6\u00ea\u00e8\u00e8 BY LAUR A MCLEAN-FERRIS \u00bc\u00e7\u00e9\u00bc\u00e8\u00de\u00d6\u00cb\u00d6\u00d8\u00de\u011b\u00d8\u0003 #\u0013\u00c8\u00d6\u00e7\u0096\u00bc\u00e5\u00e7\u0003 ” 11 \u00bf\u00c0\u00cb\u00bc\u00cd\u00cf\u00c8\u00c0\u00c9\u00cf\u00ce Editor\u2019s Letter 14 \u00be\u00e4\u00e3\u00e9\u00e7\u00de\u00d7\u00ea\u00e9\u00e4\u00e7\u00e8\u0003 # Reports One on One 19 \u00d2\u00e4\u00e3\u00dc\u0003\u00cb\u00de\u00e3\u00dc\u0003\u00e4\u00e3\u0003\u00ce\u00dd\u01e7\u00df\u00de\u0003\u00cf\u00da\u00e7\u00d6\u00ee\u00d6\u00e2\u00d6 Dispatch 20 Doha \u00c9\u00da\u00ec\u00e8\u0003\u00cd\u00e4\u00ea\u00e3\u00d9\u00ea\u00e5\u0003 22 \u00be\u00d6\u00e7\u00da\u00da\u00e7\u0003\u00c8\u00e4\u00eb\u00da\u00e8\u0007 \u00c4\u00e3\u00db\u00e7\u00d6\u00e8\u00e9\u00e7\u00ea\u00d8\u00e9\u00ea\u00e7\u00da\u0007 \u00be\u00e4\u00e3\u00e9\u00e7\u00e4\u00eb\u00da\u00e7\u00e8\u00de\u00da\u00e8\u0007 \u00cb\u00ea\u00d7\u00e1\u00de\u00d8\u0003\u00bf\u00e4\u00e2\u00d6\u00de\u00e3 \u00c8\u00d6\u00de\u00e3\u0003\u00c9\u00da\u00ec\u00e8\u0003 23 \u00c4\u00e7\u00d6\u00e3 \u00e8\u0003\u00bf\u00da\u00d6\u00d9\u00e1\u00ee\u0003\u00be\u00e7\u00d6\u00d8\u00e0\u00d9\u00e4\u00ec\u00e3 The Point 24 \u00bd\u00da\u00e9\u00ec\u00da\u00da\u00e3\u0003\u00cf\u00ec\u00e4\u0003\u00ce\u00ee\u00e8\u00e9\u00da\u00e2\u00e8\u0003 \u00d2\u00dd\u00de\u00e8\u00e5\u00da\u00e7\u00de\u00e3\u00dc\u0003\u00c2\u00d6\u00e1\u00e1\u00da\u00e7\u00ee\u0003 26 \u00cf\u00dd\u00da\u0003\u00c1\u00de\u00e7\u00da\u0003\u00c3\u00e4\u00e7\u00e8\u00da\u0003\u00c0\u00d8\u00e4\u00e3\u00e4\u00e2\u00ee Art Fair Report 28 \u00ca\u00e5\u00e9\u00de\u00e2\u00de\u00e8\u00e2\u0006\u0003\u00ca\u00db\u0003\u00ce\u00e4\u00e7\u00e9\u00e8 \u00cb\u00e7\u00da\u00eb\u00de\u00da\u00ec\u00e8\u0003 30 People & Ideas \u00c9\u00da\u00ec\u0003\u00be\u00ea\u00e7\u00e7\u00da\u00e3\u00e9\u00e8\u0003 34 \u00c7\u00da\u00ec\u00de\u00e8\u0003\u00c7\u00da\u00da\u0007\u0003 \u00c0\u00c9\u00cf\u00c0\u00cd\u0007\u0003 \u00c8\u00d6\u00df\u00de\u00d9\u0003\u00bc\u00e1\u0091\u00cd\u00da\u00e2\u00d6\u00de\u00dd\u00de Essay 38 \u00cf\u00dd\u00da\u0003\u00c2\u00ea\u00e1\u00db\u0105\u00e8\u0003\u00bc\u00e3\u00e9\u00de\u0091\u00c4\u00e3\u00e8\u00e9\u00de\u00e9\u00ea\u00e9\u00de\u00e4\u00e3\u0005\u0003 \u0003\u00bc\u00e7\u00e9\u00e8\u0003\u00be\u00d6\u00e2\u00e5\u00ea\u00e8\u0003 \u00cb\u00e7\u00e4\u011b\u00e1\u00da\u0003 40 \u00bd\u00da\u00e1\u00de\u00e3\u00d9\u00d6\u0003\u00cf\u00d6\u00e3\u00e4\u00e9\u00e4 \u00cb\u00e7\u00e4\u011b\u00e1\u00da\u0003 44 \u00c1\u00e7\u00d6\u00e3\u00e0\u0003\u00d4\u00e4\u00ea\u00e3\u00dc \u00d2\u00dd\u00da\u00e7\u00da\u0003\u00c4\u0003\u00d2\u00e4\u00e7\u00e0\u0003 100 \u00bc\u00d7\u00d9\u00ea\u00e1\u00e1\u00d6\u00dd\u0003\u00bc\u00e1\u0003\u00ce\u00d6\u00d6\u00d9\u00de \u00cf\u00dd\u00da\u0003\u00ce\u00e0\u00da\u00e9\u00d8\u00dd\u0003 104 \u00c2\u00d6\u00e1\u00d6\u0003\u00cb\u00e4\u00e7\u00e7\u00d6\u00e8\u0091\u00c6\u00de\u00e2 Art Directory 82 Itinerary 86 Reviews Taipei 88 Taipei Biennial Whispers on the Horizon \u00c6\u00d6\u00e3\u00d6\u00ef\u00d6\u00ec\u00d6\u0003 90 SIDE CORE Living road, Living space Taipei 91 \u00ce\u00d6\u00e2\u00e8\u00e4\u00e3\u0003\u00d4\u00e4\u00ea\u00e3\u00dc Pavilion Shanghai 92 \u00be\u00dd\u00e7\u00de\u00e8\u0003\u00c3\u00ea\u00da\u00e3\u0003\u00ce\u00de\u00e3\u0091\u00c6\u00d6\u00e3 Silent Echoes of Becoming \u00c8\u00d6\u00e3\u00de\u00e1\u00d6\u0003 93 Confabulations: A Fantasy of the Real \u00c3\u00e4\u00e3\u00dc\u0003\u00c6\u00e4\u00e3\u00dc\u0003 94 Ann Leda Shapiro Body is Landscape \u00c8\u00ea\u00e2\u00d7\u00d6\u00de\u0003 95 \u00cd\u00d6\u00e2\u00da\u00e8\u00dd\u0003\u00c8\u00d6\u00e7\u00de\u00e4\u0003\u00c9\u00de\u00e9\u00dd\u00de\u00ee\u00da\u00e3\u00d9\u00e7\u00d6\u00e3 Of Dreaming and Remembering \u00bf\u00ea\u00d7\u00d6\u00de\u0003 96 The Only Way Out Is Through: The Twentieth Line \u00c5\u00da\u00d9\u00d9\u00d6\u00dd\u0003 %# Permanent Exhibition and Gate of Gates \u00c9\u00da\u00ec\u0003\u00d4\u00e4\u00e7\u00e0\u0003 98 \u00bd\u00da\u00e7\u00e3\u00d6\u00e7\u00d9\u00e4\u0003\u00cb\u00d6\u00d8\u00e6\u00ea\u00de\u00e3\u00dc Causal Loops \u00c4\u00e3\u00e8\u00e9\u00d6\u00e1\u00e1\u00d6\u00e9\u00de\u00e4\u00e3\u0003\u00eb\u00de\u00da\u00ec\u0003\u00e4\u00db\u0003RAMESH MARIO NITHIYENDRAN\u0105\u00e8\u0003\u0107\u00ca\u00db\u0003\u00bf\u00e7\u00da\u00d6\u00e2\u00de\u00e3\u00dc\u0003\u00d6\u00e3\u00d9\u0003\u00cd\u00da\u00e2\u00da\u00e2\u00d7\u00da\u00e7\u00de\u00e3\u00dc\u0108\u0003 \u00d6\u00e9\u0003\u00c5\u00dd\u00d6\u00eb\u00da\u00e7\u00de\u0003\u00be\u00e4\u00e3\u00e9\u00da\u00e2\u00e5\u00e4\u00e7\u00d6\u00e7\u00ee\u0006\u0003\u00c8\u00ea\u00e2\u00d7\u00d6\u00de\u0006\u0003 !\u0004\u0003\u00be\u00e4\u00ea\u00e7\u00e9\u00da\u00e8\u00ee\u0003\u00c5\u00dd\u00d6\u00eb\u00da\u00e7\u00de\u0003\u00be\u00e4\u00e3\u00e9\u00da\u00e2\u00e5\u00e4\u00e7\u00d6\u00e7\u00ee\u0004 \u00bc\u00e7\u00e9\u00bc\u00e8\u00de\u00d6\u00cb\u00d6\u00d8\u00de\u011b\u00d8\u0003 #\u0013\u00c8\u00d6\u00e7\u0096\u00bc\u00e5\u00e7\u0003 ” \u00bd\u00da\u00de\u00e3\u00dc\u00e8\u0003\u00de\u00e3\u0003\u00cf\u00e7\u00d6\u00e3\u00e8\u00de\u00e9\u00de\u00e4\u00e3 Three months into 2026, and everything feels especially sharp with geopolitical \ufb02ashpoints \ufb02aring, old sovereignties being tested, and futures recalibrating.<\/p>\n

In this unsettled atmosphere, ArtAsiaPaci\ufb01c turns to artists and institutions engaging directly with transformation\u2014the 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, \ufb02ames, and pulsating anatomies; interior spaces rendering plants, matchsticks, and lightbulbs with hyper-real precision.<\/p>\n

His later abstractions\u2014 oxidized, ripped, and reassembled\u2014along with his meditative tableaux of light \ufb01ltering through windows and entryways, treat destruction and endings as generative.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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