[KS] Modern Art Asia Issue 14 now online and Call for Papers

[The Editors]

Modern Art Asia Issue 14 is now available.

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The Modern Art Asia Conference: calls for expressions of interest

At its foundation, Modern Art Asia was envisaged as a forum for early career researchers to exchange and test ideas. We are now exploring the idea of hosting a virtual conference this autumn. If you would be interested to participate in such a conference, please send a short abstract of 250 words, describing a presentation on any area of modern and contemporary Asian art, to editors at modernartasia.com by September 1st. Further information can be found at modernartasia.com/contribute

New appointments to the editorial boards of Modern Art Asia and Enzo Arts and Publishing

We’re currently making new appointments to the editorial board of both Enzo Arts and Publishing and Modern Art Asia.

The primary responsibility of editors is to peer-review content, and to help with disseminating calls and finding new voices to publish.
Full details can be found at modernartasia.com/contribute
Next deadlines
Reviews: August 1st
Papers: September 15th, 2013

Modern Art Asia invites graduate students and early career scholars working on the arts and material cultures of Asia from the eighteenth century to the present to submit previously unpublished papers of 4,500-10,000 words for peer-review. Modern Art Asia aims to take an interdisciplinary and innovative approach to the study of Asia, and will consider papers on media and experiments that stretch the parameters of ‘fine art’. We are also seeking students and journalists interested in becoming regular correspondents or in submitting shorter journalistic pieces.

Full details can be found at modernartasia.com/contribute


** Modern Art Asia Issue 14 is now available
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The theme of this issue is the use of subversion as an artistic strategy, and how this strategy might be inscribed on or performed through the body. Each of the artists featured addresses the limitations of normative paradigms, whether these be concerned with gender, social status, or economic development; through various acts of play, posturing, and overt challenges to authority. Their approach varies wildly, from Ai Wei Wei’s campy outrage against China’s government, to Soyoung Lee’s dignified use of meditation as an act of defiance. Some make their protest through their choice of media; others through overtly disruptive imagery; and others still through making and displaying their art on their own terms.

The issue opens with Kate Korrock’s analysis of Chang Jia’s Standing up Peeing series. Chang Jia, a South Korean photographer, documents the feelings of compromise, jubilation or rebellion women experience in the act of pissing, upright, under the camera’s gaze. Minchih Sun’s commentary on artist-led exhibition strategies in Taiwan continues this concern for challenging norms. In an art world dominated by prestige and celebrity, he examines how artists participating in the self-organised Crooked show deliberately positioned themselves and their practice against social norms, using contemporary Taiwanese production to revisit a well-established debate within art historical discourse: namely, whether art should have creative autonomy, or whether it is only ever determined by its context. Bansie Vasvani’s review of L.N.Tallur’s recent New Yorked show reveals the artist again using traditions as a foil for the exploration of contemporary economic and socio-cultural concerns,
while the playful, subversive, and upfront titles of both ‘Crooked’ and ‘New Yorked’ make the artists’ intentions manifestly clear.

A latent theme of the issue is the portrayal of gender. Rhiannon Paget offers an authoritative review of the ongoing Women in Between exhibition, a touring show of  work by Asian women artists. The wealth of diverse and accomplished exemplar on display makes an interrogation of why this doubly-marginalised group remains markedly absent from major museum collections extremely urgent. Meanwhile Ai Wei Wei gives us opportunity to reflect on a medium never before cited in these pages, the pop video, by exploring the heavy-handedness of Chinese police in an intriguing clip that concludes in him donning women’s clothing.

Soyoung Lee’s Thousand Paths to NOW portfolio completes the issue, documenting her practice of sitting in meditation at various sites of cultural or political importance around the world. The image of Lee sitting impassively, against a line of heavily-armed riot police, is particularly haunting.

View the issue at modernartasia.com/category/issue-14
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