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An accessible, clothbound compendium of leading artists in Indonesia, Thailand, Myanmar, the Philippines, Vietnam, Cambodia, Singapore and MalaysiaFilling a noticeable void in art publishing, SEA: Contemporary Art Practices in Southeast Asia presents the work of 60 artists and collectives practicing in the region. Organized alphabetically, SEA highlights points of connection between the artists: community engagement and organization, social and political commentary, gender and identity, environment and ecology, and material traditions and processes.Artists include: Agus Suwage, Alfredo and Isabel Aquilizan, Amanda Heng, Anida Yoeu Ali, Anne Samat, Anocha Suwichakornpong, Apitchatpong Weerasethakul, Arahmaiani, Araya Rasdjarmrearnsook, Arin Rungjang, Cemeti—Institute for Art and Society, Charles Lim, Chiang Mai Social Installation, Chris Chong, Dinh Q Le, Eisa Jocson, Erika Tan, F.X. Harsono, Green Papaya Art Projects, Ho Tzu Nyen, Htein Lin, I Gusti Ayu Kadek Murniasih, Khvay Samnang, Korakrit Arunanondchai, Lee Wen, Lostgens’, Martha Atienza, Melati Suryodarmo, Ming Wong, Moe Satt, Montien Boonma, Nguyen Trinh Thi and ruangrupa.

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. In issue 45, featured artists include Britta Marakatt-Labba, Rasheed Araeen, Rebecca Belmore, and Zai Kuning. Essays include Alec Finlay on indigeneity, nationality, and statehood in Scotland; Ana Texeira Pinto on the Portuguese art scene; and Wanda Nanibush and Walter Mignolo on indigeneity and decoloniality. Also Stefano Harney on Ground Provisions, Anthony Gardner on Documenta Athens and Kassel, and Vincent W. J. van Gerven Oei on Anri Sala's Intervista.

A new platform for contemporary art situated on the outskirts of Riyadh near the At-Turaif UNESCO World Heritage Site, the 2024 Diriyah Contemporary Art Biennale, After Rain, features more than eighty artists of different generations, presents many contributions from Saudi Arabia and the Gulf region, and includes newly commissioned projects and time-based works of art. This international gathering of artists is founded on a commitment to fostering dialogue between Saudi Arabia and other parts of the world. The catalogue provides a visual and spatial navigation of the exhibition and the Biennale Encounters, a series of talks, workshops, performances, poetry readings. A compendium of essays, literary texts, and poetry, this book also serves as a logbook, highlighting the format of the Biennale as a work-in-progress that unfolds over time in diverse collaborations with artists, musicians, chefs, architects, farmers, and botanists. This large-scale international art project and its publication capture and reflect on an exciting moment within a changing Saudi Arabian cultural landscape.

An imaginative reenvisioning of spatial and social relations from America's 1960s urbanist movementIn World of Variation (1970), American architects Mary Otis Stevens (born 1928) and Thomas McNulty (1919–84) outlined a radical reenvisioning of socio-spatial relationships, informed by their background in philosophy and commitment to decentralizing hierarchies. Writing in the context of the Cold War and the political activism of 1960s America, they identified possible design solutions to then-current social issues. In striking abstract drawings, Stevens visualized aspects of the urban environment, proposing a design philosophy she termed “free flow.” These diagrams give expression to both the “flow” of movement and points of “hesitations.”This volume is a facsimile of World of Variation, accompanying the MIT Museum’s exhibition on the work of Mary Otis Stevens.Born in New York in 1928, Mary Otis Stevens is considered one of the most important female American postwar architects. She is best known for Lincoln House (1965), designed with her then-husband Thomas McNulty, the first exposed-concrete and glass house in the US.Thomas McNulty (1919–84) taught on MIT’s faculty from 1949 to 1956, before leaving to open a firm with his then wife, Mary Otis Stevens. In 1978, the couple divorced and McNulty moved to Saudi Arabia, where he taught at the University of Riyadh.

Following the lifework (1960s to 2010) of visionary Singaporean architect William S. W. Lim, The Impossibility of Mapping (Urban Asia) is a compelling compilation of case studies and historical projects. This multifaceted publication takes Lim's ideas to a future Asia: a region defined by an irreducibly complex urban topography under constant flux. Looking from Singapore to Southeast Asia, and from this region to Asia more expansively (and beyond), it presents a diverse range of activities which may be productively framed through the notion of critical spatial practice.The book has three interconnected points of departure: Lim's lifework; the interdisciplinary exhibition 'Incomplete Urbanism: Attempts at Critical Spatial Practice' at NTU Centre for Contemporary Art Singapore, and the related conference, 'The Impossibility of Mapping (Urban Asia)'; and the cross-cultural and urban festival 'CITIES FOR PEOPLE, NTU CCA Ideas Fest 2016/17', held at venues around Gillman Barracks, Singapore. The multiple links are emphasised in three key ways: through editorial texts, through design concepts, and through selected projects inserted as "intermissions" between each of the book's sections.Artists, planners, activists, architects, scholars get together in this volume to respond to Lim's critical spatial practice. Research essays, artworks, visual and textual documentation, spatio-temporal maps grapple with the diversity of Southeast Asia, offering unexpected responses to planning, building, and living cities and urban spaces, but also put forward the question, "Who owns the city?". This key collection offers a path into spatial questions in Asia and beyond, and serves as a teaching and research tool.

A much-needed resource on the practice of public art commissions and community engagement through the arts in urban Asia.Distributed for the NTU Centre for Co ntemporary ArtPublic art integrates landscape architecture, urban planning, and cultural management to create a sense of place. This book, dstributed for the NTU Centre for Contemporary Art, documents a major public art commission in Singapore, featuring works by artists Dan Graham, Zul Mahmod, TomÁs Saraceno, and Yinka Shonibare, and represents a unique collaboration between Nanyang Technology University Centre for Contemporary Art Singapore and Mapletree Investments—a Singaporean state-owned property developer with global operations. Essays and interviews with the artists tell the story of the regional histories, urban politics, and collaboration that went into the successful creation of a public space. Culture City. Culture Scape. is a much-needed resource on the role that art can play in public education and social corporate investment in urban Asia.