AAA Public Programmes Curator Ingrid Chu explored the international phenomenon of the ‘art book bag’ in a short history of the art book bag (and the things that go in them). Using the last 15 years as a guide, the exhibition featured ‘the things that go in them’—art publications, magazines, and related ephemera—alongside a vast array of these popular totes in the AAA Library. Chu invited artists, curators, art book fair organisers, and print and online publishers to provide insight into the changing modes of knowledge production and circulation, and their influence on recent art of Asia. An associated public talk, ...

Hong Kong-based artist Samson Young moved through various locations in and around AAA by way of a roving sound station— doubling as a bookmobile and deejay booth—to generate a series of public broadcasts. His project AAAFM99.3 invoked classic radio programmes with news announcements, interview segments, and commercials incorporating ambient noise sourced from AAA’s audio collection.

Jaffna-based visual artist and art educator Thamotharampillai Shanaathanan responded to the AAA collection by drawing parallels between methods of archiving and art making, while delving into the idea of ‘home’ within the context of ethnic conflict.

Solomon Benjamin and Wing Shing Tang, Hong Kong and Bangalore-based scholars of critical geography and urban studies led a set of workshops and walks in Framing Spatial Stories: Life Beyond the Plan, Survey, and Grid to consider the politics of contested urban settings through the lens of recent art of Asia.

Recognised for her work in ‘immersive journalism’, Nonny de la Peña drew from the Asia Art Archive collection to create a new iteration of an earlier performance by Lin Yilin that pushes the boundaries of virtual reality and digital technology.

Zoe Butt formerly of Sàn Art in Ho Chi Minh City, and facilitator of AAA’s 2011 Mobile Library programme in Vietnam, contributed a text to AAA’s e-journal Field Notes. Butt looks at Practising Friendship as a platform that is integral to the longevity of particular kinds of arts infrastructures. Concentrating on those considered independent, ‘alternative,’ and archival in spirit, Butt also investigates a method of working strategically under conditions with political or cultural restrictions.

The fourth issue of Field Notes is a part of a combined and distributed effort towards formulating a multivalent answer to the answer of how we remember exhibitions, and by extension, what knowledge is gained through the process. Exhibitions are where artworks meet their publics. In the context of Asia, with the general absence of systematic public collections and few academic art history departments, exhibitions are more than just sites of display and interaction. Exhibitions—and the curatorial strategies shaping them, institutional demands driving them, and art writing accompanying them—have become the primary sites of art historical construction. The last decade has seen ...

Following his 2014 residency at AAA, New York-based artist Walid Raad developed Section 39_Index XXXVII: Traboulsi. The project stemmed from his research into AAA’s Ha Bik Chuen Archive and consisted of several ‘sculptural spaces’ built by Raad’s fictional collaborator, Suha Traboulsi, who creates reproductions of canonical modern paintings by Arab artists.

Hong Kong-born British poet Sarah Howe gave a talk to present Six Windows, new poems based on her research of the Asia Art Archive collection and to share her experience and discoveries during the process.

Wong Wai Yin, the Hong Kong-based artist and 2011 AAA resident, presented Talking Archive to uncover the ‘true opinions’ behind the material in AAA’s collection by inviting a psychic medium to speak to them. The Medium’s findings were shown in the form of a video and site-specific installation.

Mumbai-based artist Shilpa Gupta presented That photo we never got, a research-based exhibition that drew out narratives from the AAA collection to explore friendships and love in the field of art.

Jakarta-based artist collective ruangrupa staged Toko Pura-Pura as a play on ‘toko rupa-rupa,’ or ‘assorted shop’—where many of Hong Kong’s Indonesian domestic workers’ daily needs are met. Utilising old and new archives, the shop served as a transactional space where knowledge and ideas were exchanged through collaborations with Hong Kong-based artists, musicians, designers, and cultural initiatives.