Para Olvidar (“In Order to Forget”; 1995), an installation by Cuban artist Kcho made up of 2,000 beer bottles and a rowing boat, and fellow Cuban Yoan Capote’s Muro de Mar (“Seawall”; 2018), whose seven concrete panels are built with thousands of fishhooks, were both shown at this year’s Gwangju Biennale. Picture: Enid Tsui
Enid Tsui
Opinion

Opinion

The Collector by Enid Tsui

Art Basel owner MCH Group pulls out of Singapore fair, raising the question – have Asian art events finally reached saturation point?

As biennials and art fair continue to proliferate across Asia, The Collector questions whether we are experiencing a festival overload

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Para Olvidar (“In Order to Forget”; 1995), an installation by Cuban artist Kcho made up of 2,000 beer bottles and a rowing boat, and fellow Cuban Yoan Capote’s Muro de Mar (“Seawall”; 2018), whose seven concrete panels are built with thousands of fishhooks, were both shown at this year’s Gwangju Biennale. Picture: Enid Tsui
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