KALEIDOSCOPE Asia #3 is here

We are delighted to announce the new issue of KALEIDOSCOPE ASIA, our biannual and bilingual (Chinese/English) sibling edition dedicated to contemporary art and culture from the Asia-Pacific region—an adventure launched in January 2015 in partnership with Arthub Asia.
Issue #3 (Spring/Summer 2016) premieres at Art Basel Hong Kong, the most essential go-to event on the region’s arts calendar, held from March 22–26 at Hong Kong Convention and Exhibition Centre.

In the opening section of HIGHLIGHTS, 12 profiles account for the best of the season: Lu Yang (by Xin Wang), Trevor Yeung (by Jo-ey Tang), Nasreen Mohamedi (by Roobina Karode), Xu Qu (by Christopher Schreck), Chen Fei (by Sun Dongdong), Tetsumi Kudo (by Alexander Shulan), Hao Jingban (by Liu Ding), Margaret Lee (by Samantha Culp), Park Seo-bo (by Inès Hwa-haeng Lee), Huang Yong Ping (by Ingrid Chu), Chronus Art Center (by Francesca Girelli), and Heman Chong (by Melanie Pocock).

Follow the hypnotic haze and light glow on Chen Wei’s cover image to discover our MAIN THEME section entitled Club State of Mind. From ’80s Tokyo to post-reform China, whether taking in Western ideologies or conveying cultural specificity, nightlife has been a consistently defining element of Asian urban culture, as well as a platform for self-expression and rebellion. New-generation artists haven’t failed to probe the club for an exploration of identity, gazing at their reflection in the mirrorball. This survey is composed of two essays—Ambivalent State and Pseudo-Sentiment by Xiaowen Zhu and Sing and Be Global by Xun Zhou—and five case studies, including Chen Wei (by Mian Mian), G-Dragon (by Ryan Nuckolls), Bangkok (by Tanat Teeradakorn), Le Baron Shanghai (by Leo Xu), and Yellow Magic Orchestra (by Sachiko Namba).

Keep reading, and an extensive MONO survey will give you access to the studio and mind of Cao Fei, one of the most influential and internationally acclaimed Chinese artists working today. Best known for a Second Life-based speculative reality created in the heyday of virtual communities, Cao Fei intertwines dreamscapes, real-life anxieties, urban legends and eschatological imaginations to express a schizophrenic present at the threshold of prosperity and collapse. This definitive monographic survey comprises an essay by Xin Wang, an interview by Klaus Biesenbach, curator of the artist’s upcoming show at MoMA PS1, and an original photo shoot by Timothy Guo.

Later on, the VISIONS section invites the eye to an enthralling journey across visual contributions by artists and creators including Miao Ying (by Chao Jiaxin), Inoue Yuichi, Liu Shiyuan (by Andrew Stooke), Kong Lingnan, Tang Dixin (by Enrico Polato), Tokyo Pop (by Hiroko Ikegami), Taca Sui, and Chen Dongfan (by Liu Tian).

Lastly, the closing section of REGULARS features our insightful columns on the past, present and future of art and culture: in “Futura 89+,” Hans Ulrich Obrist and Simon Castets interview young Singaporeans artists Luca Lum and Marcus Yee; Ying Tan talks to Chinese-Canadian artist Ken Lum as part of the “Diaspora” series; in “Pioneers,” Davide Quadrio looks back to Shi Yong’s avant-garde; Maria Lind continues her “Center Stage” series in conversation with Korean painter Joungmin Yi; and William Zhao meets Mimi Brown and Christina Li, the minds behind Spring Workshop, to report on Hong Kong’s “Ecosystem.”

In a time of relentless shift towards the digital, this issue’s cherry on top is that, finally, it doesn’t exist only in print. All the exciting content from this and previous issues of KALEIDOSCOPE ASIA is now available online, on the magazine’s entirely renovated website, with text in English and Chinese. Here, you’ll also find a growing archive of articles from our international edition, a rich blog and an online shop. And to bring it with you anytime, anywhere, download the digital version, now available on the App Store.