Kieran Go on a musical journey through ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) with our ‘Let’s Make Noise’ tours. Sarah These drawings often proceed in serial by tracing over a previous drawing, in a movement of both reproduction and annihilation, recurrent yet without producing a rehearsal of the same. It is a problem that binds. One such image graced the cover of the catalog... It is not to ask the disenchanted to return to the open arms of the Church. On the one hand, a shortfall in Cooper's endowment became unsustainable following the market crash of... Exposure to disease, exposure to friction between values, loss of control—and yet exposure as risk cleaves also to exposure as the opening into “real” transformation. Fifty-seven artists display their unique interpretations of Leonardo da Vinci's iconic painting at the Cultural Center of the Philippines Drew Kahuaina Broderick and Josh Tengan These drawings were reminiscent of the compelling graphic works of Australian Indigenous artists William Barak and Robert Campbell Jnr.And, if drawing was the portable medium of the nineteenth and early-twentieth century, then digital’s transferability has led to its ubiquity today, as experienced in Taloi Havini’s lush, panoramic video of a post-colonial, post-industrial landscape scarred by civil war.
Other works in the exhibition which arise out of the digital-mediated slippages of contemporary life remind us that the particularities of place and material constitute forms of agency and resistance that are no longer possible or desirable for everyone. Brendan Keep up-to-date on all upcoming talks, screenings, and exhibitions at e-flux in New York Image courtesy of Tropenmuseum, Amsterdam.Landsat 7 image of Sundarbans, released by NASA Earth Observatory.Roberto Chabet, ‟Bakawan” (Exhibition View), 1974, Bakawan wood, nylon strings, hooks, fluorescent lights, dimensions variable. The inability to form a mark is registered as a problem also of historicity.The artist’s shadow falls upon a patch of mangrove-dwelling mudflats. For instance, the combination of the old Malay word “However, the mangrove’s intense bed of foliage, punctuated with prop and stilt roots, remains antithetical to the manicured and decisively cultivated grove. Explore the most recent content from e-flux architecture and urbanism Preview will be on March 21 to 27. In mangrove zones, human determinations become ghosts. Léuli The APT has played a leadership role in showing art from Asia, the Pacific and Australia alongside each other, and building enduring professional ties across the region as well as contributing to a more inclusive, global art history.A pronounced emphasis in APT9 is the work of Indigenous and Pacific peoples and their commitment to honour their cultural heritage in ways that are meaningful and relevant against the mounting tide of uncertain futures, declining natural resources and the impact of climate change. I have read e-flux’s privacy policy and agree that e-flux may send me announcements to the email address entered above and that my data will be processed for this purpose in accordance with e-flux’s privacy policy* The mangrove line is, hence, one of sedimentary reclamation rather than clear political divisions of terra firma. Last year, Triple Canopy published Alix Rule and David Levine’s “International Art English.” 1 As a broad critique of globalized artspeak semantics, the essay has since sparked many debates around the exaggerated claims and imprecise promotional language of contemporary art. Through this ongoing act of self-exposure in observation and of self-application in drawing, Chabet produces not repetition but a kind of vivid co-presence enacted within a durative present.To maintain an enduring receptivity while making journeys from known to unknown territories, one must have the capacity to risk states of exposure.