The year 2014 may come to be known as the year of Asian Biennials. During the second half of 2014, no fewer than six major exhibitions of international contemporary art were staged in Asia: the Yokohama Triennale (August 1–November 3) opened towards the end of the summer, followed by Media City Seoul (September 2–November 23),…
Beijing was home to high-energy experimental art practices, including Beijing East Village performances and apartment art, in the 1990s. The practices that were critical of their socio-political context are often referred to today as underground art. How did underground networks function, and how did censorship affect their operation and production? In this conversation, the artists Lin…
Scroll down to see an annotated short list with a main focus on English-language texts on experimental music in 1960s Japan. This list is intended as a starting point from which we hope to develop a growing list of sources on experimental music in postwar Japan. This list is not an authoritative bibliography. It can…
At what moment did artists in Korea show work that was considered experimental, underground, and contemporary? How are the first Korean Happenings, from the late 1960s, seen from today’s perspective? These questions were addressed by Kim Mikyung at a C-MAP presentation at The Museum of Modern Art in April 2014. Her talk, published below, surveys…
Although postwar Japanese avant-garde art is considered to have ended in the year 1970, Julian Ross contends that projection installations in the 1970s took on many of its characteristics, namely, an engagement with the concepts of “environment,” “intermedia,” and “display.”
The opening performance of the 10th Gwangju Biennale, a powerful piece by Minouk Lim, took place on a rainy afternoon. A helicopter hovered over Biennale Square, where ambulances and buses converged, carrying high school students, relatives of civilian victims of the Korean War, and members of the May Mothers’ House, who lost children in the…
When Xu Zhen established MadeIn Company in 2009, he announced the dissolution of his own artistic identity; later he asserted that Xu had become a corporate brand. In the six chapters of this videotaped conversation with Yu-Chieh Li, Xu discusses his practices in relation to MadeIn’s operations, which, from research and production through marketing and…
David Harvey’s essay for the exhibition catalog of Uneven Growth Tactical Urbanisms for Expanding Megacities is published here on post to mark the opening of the exhibition. On the night of June 20, 2013, more than a million people in some 388 Brazilian cities took to the streets in a massive protest movement. The largest of these protests, comprising…
What country is Hong Kong? Hong Kong was an island. Hong Kong will become part of China. MAP Office has decided to present Hong Kong is, with the intention of clearly addressing the specific characteristics of this unique city/territory, which is in a state of perpetual transition. Offering a platform to reveal a hidden urbanity, breaking…
A close examination of the Merce Cunningham Dance Company (MCDC)’s 1964 stop in Tokyo allows for a better understanding of how mutually significant this encounter was for the Japanese avant-garde and Cunningham and his close collaborators Robert Rauschenberg and John Cage. John now feels that the time is propitious for Merce to undertake not only…
These two texts, one by a well-known artist, the other by an eminent critic—both Tokyoites—, first appeared in Japanese in 1963 and 1968, respectively. Each provides a colorful account of interactions between artists from Tokyo and New York in the ’60s, and both present Japanese reflections on American art at that time. Here the texts…
Eight years ago I was told the story of two Chinese coolies who had escaped to the Peruvian Amazon, founded a village called El Chino, which means “The Chinese,” and begun a small tapioca business before vanishing mysteriously. I grew curious about what the Chinese were doing in South America, let alone, the rain forest.…
