• Raisa Kabir studies the politics of textile and its geographical implications especially related to borders, migration, labour and the body. With her heavy research-based practice, we had plenty to discuss. We met by zoom on the 17th of October, resulting in a fruitful and fertile conversation.

  • Opened this year, Galerie BAQ is one of the few galleries in Paris devoted to contemporary art from Southeast Asia and its diaspora, while also collaborating with partners in the region to amplify their voices. Led by Lê Thiên-Bảo and Quinnie Seon Gin Tan, I had the opportunity to speak with Thiên-Bảo about the gallery’s foundation, its curatorial approach, funding and the art market. Their new show ‘Tropical Hallucinations’ is on view until the 28th of October.

  • Presenting Asia Art Activism’s new publication.

    Published in 2022, is comprised of written contributions from AAA associates along with invited academics, artists and activists. Its conception came amidst rising political turmoil. In a post-Brexit context, following Donald Trump’s presidency in the US and the murder of George Floyd, along with anti-government protests in Hong Kong and deep-rooted socio-political tensions in Southeast-Asia; this publication probs into our uncertain times with their underlying concerns, while continuing AAA’s practice of examining urgent questions of activism, art, collectivism, solidarity and care.

  • Curated by Celia Ho and Para Site’s new director Billy Tang, ‘signals…瞬息’ is a six months long exhibition unfolding in three parts. First ‘storms and patterns‘, then ‘folds and splits‘, ending with ‘here and there‘.
    Opened in March, this time-based exhibition embraces its moving curatorial method through an ambitious configuration of its space and a careful selection of artists.

  • In 2021, Yin Ker co-curated Bagyi Aung Soe’s solo exhibition at the Centre Pompidou. Art historian and Adjunct curator for Southeast Asia at the Musée national d’art moderne, Centre Pompidou, Yin Ker has written substantially on this multifaceted artist from Myanmar. We thought it important to discuss this major figure in a broader context: considering his thinking, beliefs and philosophy. This might offer a glimpse of the artist’s significance to Burmese culture and to the ways we currently interpret contemporary art.

  • Known as Tsang Tsou-Choi this Hong Kong figure was, and still is, conflicting for many people. Born in 1921, he was a garbage collector turned artist against his will, before becoming a national symbol of resistance.