Relevant bibliographies by topics / Asia-Pacific Triennial of Contemporary Art

Academic literature on the topic 'Asia-Pacific Triennial of Contemporary Art'

Author: Grafiati
Published: 10 December 2022
Last updated: 3 March 2023

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Journal articles on the topic "Asia-Pacific Triennial of Contemporary Art"

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Turner, Caroline. "Art Speaking for Humanity: The Asia-Pacific Triennial of Contemporary Art." Art Journal 59, no. 1 (March 2000): 16–19. http://dx.doi.org/10.1080/00043249.2000.10791977.

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Losche, Diane. "The Asia-Pacific Triennial of Contemporary Art: Global and Local in Australia." Australian Historical Studies 47, no. 2 (May 3, 2016): 316–24. http://dx.doi.org/10.1080/1031461x.2016.1163726.

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Antoinette, Michelle. "Monstrous Territories, Queer Propositions: Negotiating The Asia Pacific Triennial of Contemporary Art, between Australia, the Philippines, and Other (Island) Worlds." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 54–85. http://dx.doi.org/10.1163/23523085-00302004.

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For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.
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Jacobs, Karen, and Rosanna Raymond. "Rosanna Raymond’s SaVAge K’lub at the eighth Asia Pacific Triennial of Contemporary Art." World Art 6, no. 2 (July 2, 2016): 233–46. http://dx.doi.org/10.1080/21500894.2016.1224270.

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McDougall, Ruth. "Material matters: Commissioning contemporary artworks from Papua New Guinea for the 7th Asia Pacific Triennial of Contemporary Art." AICCM Bulletin 35, no. 1 (December 2014): 14–21. http://dx.doi.org/10.1179/bac.2014.35.1.002.

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Jones, Jonathan. "untitled (giran)." Visual Communication 19, no. 3 (June 24, 2020): 415–28. http://dx.doi.org/10.1177/1470357220916115.

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Understanding wind is an important part of understanding Country. Winds bring change, knowledge and emotions. Connected to the winds are budyaan, or the birds, who know the winds best. This visual essay traces the development of Wiradjuri dhawura gulbanha (Wiradjuri wind philosophy), a project conceived with Dr Uncle Stan Grant AM, a senior Wiradjuri elder and knowledge holder. Throughout this visual essay, Wiradjuri is used rather than Indigenous or Aboriginal, as the project is based on specific Wiradjuri culture, knowledge, and language, to which the author belongs. In order to represent the winds, the project required thousands of feathers, which were provided with a public call out. The aim of this call out, in addition to collecting feathers, was to stimulate people to show yindyamarra (respect) and engage with their local environment, to take note of the birds that inhabit parks in cities and towns, and to learn to move slowly through Country by engaging with Country. The final work, untitled (giran) 2018, is a major installation with soundscape shown at the 9th Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery/Gallery of Modern Art, Brisbane. This visual essay, in the form of photographs and an extended caption, shows how Wiradjuri gulbanha (Wiradjuri philosophy) can benefit all members of the community.
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Cochrane, Susan. "Inter-Animation of Kastom and Contemporary Culture: Papua New Guinean Art at the Asia Pacific Triennials." Australian and New Zealand Journal of Art 13, no. 1 (January 2013): 146–67. http://dx.doi.org/10.1080/14434318.2013.11432647.

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Kataoka, Mami. "Diasporic Art of the Asia Pacific in Modern and Contemporary Art Museums." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 207–12. http://dx.doi.org/10.1163/23523085-00601020.

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Machotka, Ewa. "The Geopolitics of Ecological Art: Contemporary Art Projects in Japan and South Korea." Mutual Images Journal, no. 5 (December 20, 2018): 105–22. http://dx.doi.org/10.32926/2018.5.mac.geopo.

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The notion of ‘affinity with nature’ functions as a powerful political concept employed in the national identification of different cultural regions of East Asia including Japan and South Korea. Both countries have much in common. They share the myths of a ‘love of nature’ and a comparable history of post-war economic miracles followed by an ecological crisis and the subsequent development of environmentalism. They also host highly recognised contemporary art events guided by an environmentalist agenda: the Echigo-Tsumari Art Triennale (ETAT), established in the depopulated countryside of Niigata Prefecture in 2000 by the Art Front Gallery, a commercial gallery from Tokyo; and the Geumgang Nature Art Biennale, initiated by the Korean Nature Art Association (Yatoo), sponsored by the Ministry of Culture, Sports and Tourism, and first held in 2004 in Gongju, South Chungcheong Province. Guided by ecological thought, both art events aim to induce harmonious interaction between human and non-human realms, while questioning established modes of artistic interaction with ‘nature’ related to modern Western art discourses. Satoyama (lit. village mountain), an agricultural site based on harmonious human-nature interactions, the foundational concept of the ETAT, challenges the notion of gaze that defines the modern Western notion of landscape and its relationships with power. The ‘nature art’ practiced in Gongju, which involves simple interventions in the environment that are spontaneous and impermanent, questions the paradigms of Land Art. While responding to concrete environmental issues pertinent to the operation of social-ecological systems, the Echigo-Tsumari Art Triennale and the Geumgang Nature Art Biennale both attempt to create localised alternatives to dominant epistemologies associated with global (Western) art discourses. But the question is if these practices are capable of challenging the established geopolitics of ecological art and conventional hierarchies of power between the local and the global embodied by the institutional framework of the eco-art biennale.
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Machida, Margo L. "Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.

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This essay focuses on the Asia Pacific region and selected works by contemporaryus-based Asian American artists that engage shared themes of trans-Pacific journeys, circulation, conflict, and convergence between Asian diasporic, Indigenous, and other groups. The Pacific, with more islands than the world’s other oceans combined, is above all an island realm. Accordingly islands and associated oceanic imaginaries exert a powerful hold on works by artists who trace their ancestral origins to coastal East and Southeast Asia and Oceania. These artists’ endeavours underscore the idea of islands as multi-located historic and affective subjects within global systems of cross-cultural exchange. Through the different levels of focalization they provide, the featured artworks render insights into the formation of complex, multiple points of attachment as contemporary artists cross and re-cross borders: physical, temporal, and psychic.
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Dissertations / Theses on the topic "Asia-Pacific Triennial of Contemporary Art"

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Axelsen, Megan Lena. "Do the motivations of people attending short-term art exhibitions differ from those of general gallery visitors? : a case study of the Queensland Art Gallery's Asia Pacific Triennial /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17781.pdf.

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Books on the topic "Asia-Pacific Triennial of Contemporary Art"

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Gallery, Queensland Art, ed. Asia-Pacific triennial of contemporary art. Brisbane: Queensland Art Gallery, 1996.

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1953-, Seear Lynne, and Queensland Art Gallery, eds. APT 2002: Asia-Pacific Triennial of Contemporary Art. South Brisbane, Qld: Queensland Art Gallery, 2002.

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Lynne, Seear, Raffel Suhanya 1962-, Queensland Art Gallery, and Australian Centre of Asia-Pacific Art., eds. The 5th Asia-Pacific Triennial of Contemporary Art. South Brisbane, Qld: Queensland Art Gallery, 2006.

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Gallery, Queensland Art, ed. The 6th Asia Pacific Triennial of Contemporary Art. South Brisbane, Qld: Queensland Art Gallery, 2009.

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Queensland Art Gallery. Gallery of Modern Art, ed. The 7th Asia Pacific Triennial of Contemporary Art (APT7). South Brisbane, Qld: Queensland Art Gallery, 2012.

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Gallery, Queensland Art, ed. Beyond the future: The third Asia-Pacific Triennial of Contemporary Art. South Brisbane, Qld., Australia: Queensland Art Gallery, 1999.

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Asia-Pacific, Triennial of Contemporary Art (3rd 1999 Brisbane Qld ). Beyond the future: Papers from the Conference of the third Asia-Pacific Triennial of Contemporary Art, Brisbane, 10-12 September, 1999. Brisbane, Qld., Australia: Queensland Art Gallery, 2000.

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Gallery, Queensland Art, and Gallery of Modern Art (Brisbane, Qld.), eds. Publicity report: Opening of The 5th Asia-Pacific Triennial of Contemporary Art, Gallery of Modern Art and Queensland Art Gallery : from 1 November 2006 - 13 February 2007. South Brisbane, Qld: Queensland Art Gallery, Gallery of Modern Art, 2007.

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Gallery, Queensland Art, and Gallery of Modern Art (Brisbane, Qld.), eds. Publicity report: Opening of The 5th Asia-Pacific Triennial of Contemporary Art, Gallery of Modern Art and Queensland Art Gallery : from 1 November 2006 - 13 February 2007. South Brisbane, Qld: Queensland Art Gallery, Gallery of Modern Art, 2007.

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1947-, Turner Caroline, ed. Tradition and change: Contemporary art of Asia and the Pacific. Queensland, Australia: University of Queensland Press, 1993.

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Book chapters on the topic "Asia-Pacific Triennial of Contemporary Art"

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Baguley, Margaret. "Learning to See Differently: The Asia-Pacific Triennial of Contemporary Art." In Cultural Essentialism in Intercultural Relations, 81–98. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137498601_5.

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van der Grijp, Paul. "Collecting Art in Asia and the Pacific." In An Anthropology of Contemporary Art, 146–60. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc, 2017.: Routledge, 2020. http://dx.doi.org/10.4324/9781003084464-13.

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Li, Yu-Chieh. "Core Events of Contemporary Art from Mainland China, 1980–2015, Mainland China, the Asia-Pacific Region, Europe, and the Americas." In Chinese Contemporary Art Series, 153–77. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3064-7_12.

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Descola, Philippe. "Collecting Art in Asia and the Pacific." In An Anthropology of Contemporary Art. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781350016439.0019.

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Conference papers on the topic "Asia-Pacific Triennial of Contemporary Art"

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Gao, Junsong, and Changbin Xu. "Chen Duxiu's "Art Revolution" From the Current Situation of the Development of Contemporary Art Education." In IPEC 2021: 2021 2nd Asia-Pacific Conference on Image Processing, Electronics and Computers. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3452446.3452680.

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