Five directors speculate on the uncertain future of the Mekong River in the anthology film Mekong 2030.
Directors Lav Diaz, Mattie Do, and Minh Quý Truong have built off Hollywood’s tropes in unexpected ways in their science fiction films.
The Met Breuer mounts recent acquisitions from Latin America, South and Southeast Asia, West Asia, and North Africa alongside mainstays of postwar American art, sketching a potential reorientation of art history.
Art Jakarta seemed to breathe new life into a region teetering on the brink of complete disillusionment with art market machinations and the global art-fair-industrial complex.
Strangely, of the three works visitors are most likely to bump into first after entering the National Gallery Singapore to view its show on Minimalism, none of them feel explicitly Minimalist.
With Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, the Metropolitan Museum of Art once again proves its stature as a world-class museum — not just because of its collections, size, or location, but because it is one of the few institutions in the world that can luxuriate in mounting shows of profound global impact that are not dictated by the whims of mass popularity.