As news reports of the devastating 8.0 magnitude Wenchuan earthquake on May 12 poured out of Sichuan province, artists and art institutions across China opened their wallets and their studio doors to provide aid to survivors. 

On April 12, following months of delay, Beirut’s leading contemporary art organization, Ashkal Alwan, launched the fourth installment of Home Works, the groundbreaking arts forum that has become the benchmark for cultural discourse in West Asia. 

Indian artist NS Harsha was awarded the £40,000 (USD 78,900) Artes Mundi Prize at a gala ceremony held at the National Museum Cardiff, Wales, on April 24. 

On May 23, more than 20 photographs by acclaimed Australian photographer Bill Henson were seized by authorities from an exhibition about to open that night at the Roslyn Oxley9 Gallery in Sydney.

Beijing and Shanghai have world-class opera houses, but they’re merely huge eggshells without the China Philharmonic, Red Detachment of Women or Kirov Ballet kicking up a storm inside. 

When many societies in South and Southeast Asia threw off the tethers of colonial rule shortly after the end of World War II, they found themselves spontaneously transformed into independent modern nations in search of self-identities. 

Taking the temperature of the Beijing art scene as the hype heats up for China’s biggest event of the new millennium.

Civil war forced her to flee into exile but gave her an opportunity. How a seminal artist turns violent energy into austere meditations on power relations at home and in society.

The two-hour train from Tokyo station to Makoto Aida’s home in Chiba prefecture requires a succession of carefully timed transfers to increasingly smaller alternate lines, moving from urban density to suburban commuter settlements and through rice fields pockmarked with brutally utilitarian structures made of concrete or sheet metal. Miss the last connection and you will end up stranded on an empty platform for an hour or more.

Curated by Vadehra Art Gallery’s Vidya Shivadas, with advisory input from Sonal Khullar, “Fluid Structures” explored the contribution made by six women artists to the tradition of abstraction in India, which dates back to the 1940s with the paintings of the Progressives. 

As one of the first biennials in the non-Western world, the Istanbul Biennial celebrated its 10th anniversary with “Not Only Possible, But Also Necessary: Optimism in the Age of Global War,” curated by veteran roving independent curator Hou Hanru. This installment was a mammoth exhibition of 96 artists from 35 countries spread throughout this bustling city. 

The title of this exhibition pinpoints its major flaws. Although the show intended to counteract existing stereotypes and clichés applied to Asia, it actually further supported them by positing Asia as a discernable whole. 

An unsettling, bulging eyeball in the intricate mixed-media drawing, A06 (2005-06), greeted viewers at the entrance to “Animatuseum,” Seoul-based Hyungkoo Lee’s New York solo debut. 

Svay Ken lives and works in a bustling neighborhood defined by Phnom Penh’s historic landmark, Wat Phnom, the 14th-century hill (phnom) temple (wat) that enshrines Buddhist statues donated by a widow named Penh.