ArrowArtboardCreated with Sketch.Title ChevronTitle ChevronIcon FacebookIcon LinkedinIcon Mail ContactPath LayerIcon MailPositive ArrowIcon Print
"18/28: The Singhaseni Tapestries," a work by Jakkai Siributr shown at APT9, is a family tale of political persecution in Thailand told through patchwork and embroidery.   © Josef Ruckli, QAGOMA
Arts

Brisbane's Asia-Pacific art festival melds remote and familiar

Contemporary 'triennial' doubles down on quixotic regional focus

MAX CROSBIE-JONES, Contributing writer | Australia, New Zealand, Pacific Islands

BRISBANE, Australia -- After visiting the first edition of Brisbane's triennial celebration of regional contemporary art in 1993, the eminent Singaporean critic T.K. Sabapathy was impressed by what he saw, and also a tad jealous.

"The Asia Pacific Triennial recently convened in Brisbane provides useful lessons," he wrote in a paper lamenting Singapore's then listless art institutions and anemic attempts at regional exhibition-making. "Yes, it was a blockbuster event. Why was this so? Because there was vision, because there was purpose, because there was drive," Sabapathy noted.

Sponsored Content

About Sponsored Content This content was commissioned by Nikkei's Global Business Bureau.

Discover the all new Nikkei Asia app

  • Take your reading anywhere with offline reading functions
  • Never miss a story with breaking news alerts
  • Customize your reading experience

Nikkei Asian Review, now known as Nikkei Asia, will be the voice of the Asian Century.

Celebrate our next chapter
Free access for everyone - Sep. 30

Find out more