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Malaysia: Der Kunstkritiker Lee Weng-Choy führt ein Gespräch mit den Künstlern Liew Kung-Yu und Ray Langenbach über zeitgenössische Kunst in Malaysia. Im ersten Teil des geht es um Nationalismen und die Praxis kreativen Protests gegen Politiker*innen., südostasien – Zeitschrift für Politik • Kultur • Dialog, Bd. 38 Nr. 1 (2022): It´s the collective, stupid! – Zeitgenössische Kunst in Südostasien

In anticipation of the moment he will encounter Simryn Gill’s Where to draw the line, Lee Weng Choy revisits a gift given to him by the artist, and speculates about the role of intimacy in her practice.

In this article, the author discusses art criticism, literature, theory and global art history. For a few years now, there has been much discussion of ‘global art history’, but the author wonders if one can ever really understand how big the world is. As a way of addressing the sheer vastness of the world, he attempts to consider the relationship between literature and art writing. In the past, critics from Charles Baudelaire to Clement Greenberg wrote about both literature and art. Today's art critics seem less literary. Is it because they are more enamoured of theory? Who reads art criticism any more – especially in the context of the emerging arts discourses within Southeast Asia? Today, everywhere, there is more and more art – more biennales, more art fairs. There is even more art writing: reviews, catalogue essays, art books of all shapes and sizes. Yet there is also more talk about the decline of reading, the decline of university departments of literatures, and the decline of criticism. There is an...

As this issue of the Journal raises the question of globalism's influence on the way art history will be written, we thought it would be timely to address the history of the Asia- Pacific Triennial (APT). Mounted by Brisbane's Queensland Art Gallery (QAG), the APT is the only regular survey show dedicated to the art of this region. It was launched in 1993, and has had four subsequent installments - APT2 (1996), APT3 (1999), APT4 (2003), and APT5 (2006) - with APT6 due to open late 2009. The APT proved prophetic, anticipating, pacing, and co-evolving with the rise of contemporary art in Asia. When it began, it was entering largely uncharted territory, and many of the issues it confronted, in retrospect, proved key to the times. As such, we asked some participants and observers to comment on the evolution of this unique project. While we canvassed many people, not all angles are covered. This remains a partial account.

journal of visual culture [http://vcu.sagepub.com] Copyright © 2007 SAGE Publications (Los Angeles, London, New Delhi and Singapore) Vol 6(3): 343–348 [1470-4129(200712)6:3]10.1177/1470412907084510 The ‘future’ – in the fullest sense of what the word can evoke – paradoxically belongs more properly to the past than to itself. Or rather, it belongs not to the impersonal ‘the’ past, but to the highly subjective ‘our’ past. The future was when our younger selves imagined a horizon beyond which another world beckoned. A better, more exciting, or more dangerous world, but never the same world – a world that can be imagined but not, strictly speaking, recognized. That is why I would not say ‘our future’. By definition, it eludes possession. It is the future. As we find ourselves older, or simply old, we imagine the future differently, if at all. Perhaps because rather than imagining it, contemplating the distant horizon, we are too busy trying to realize it, trying to compress the long interval between here and then, to make it happen now. A productive life requires rendering the future predictable. Our tomorrows look very much like our todays. The true future, the future of imagination, is the future of our past, of our younger selves. Let’s be clear about this: I am not talking about the middle-aged longing for their youth. I am just as easily referring to those in their 20s. They too have younger selves. My point is that whenever we stop to ponder the future, we find ourselves somehow older (indeed, to pause and ponder such things is the very sign of age). The future never seems as wondrous or full of potential as when – in our distorted recollection – we imagined it when were young.

(2002). The Politics of Cultural Practice: Thinking through Theatre in an Age of Globalization by Rustom Bharucha. Inter-Asia Cultural Studies: Vol. 3, No. 2, pp. 321-324.

“Just What Is It That Makes the Term Global-Local So Widely Cited, Yet So Annoying?” my essay for the Flight Patterns catalogue, was the basis for the presentation that I gave at the panel discussion that accompanied the exhibition. In my essay, I was interested in considering such questions as: What are the relationships between the “global,” the “local,” “spectacle,” and “landscape”? And how does the small island city-state, Singapore, figure in the imagining of topography and landscape? I attempted to address these questions by looking at certain images of Singapore and hoped to reveal some of the dynamics involved in looking not just at this society that aspires to be a “world-class” global city, but at the more global desire for the “local” and for “location.” Moreover, my purpose was to look not just at Singapore, but from and through it.