Max Crosbie-Jones

The fourth Thailand Biennale, on view across Phuket, looks beyond the island’s leisure economy artreview.com/thailand-bienn…

The Bangkok Art & Culture Centre (BACC) has removed and obscured several artworks and artists’ names from their current exhibition following a visit by Chinese embassy officials artreview.com/bangkok-art-cu…

The prolific Indonesian director’s work has been censored, cancelled and erased. What can we learn from that which remains? artreview.com/the-fruits-of-…

How Asian artists made their mark on Paris s.nikkei.com/3Z4igMT

The San Francisco Asian Art Museum (SFAAM) board has voted to return four bronze 'Prakhon Chai' sculptures to Thailand. Next, Thailand’s Department of Fine Arts, Ministry of Foreign Affairs, and SFAAM will work together to arrange the return. SFAAM is expected to make an official announcement next week. This decision could set a precedent for returning artifacts from six other U.S. museums, possibly influencing future cases. The four sculptures are part of a group of 32 artifacts that Thailand requested from the U.S. government in 2019. The U.S. Department of Homeland Security and the Attorney’s Office brought the case to court. The artifacts were bought from people who illegally excavated them and were then exported, mainly to Spink and Son in London by Douglas Latchford, a well-known figure in the art market. Latchford, who was involved in the illegal trade of Southeast Asian antiquities, co-authored books with Emma Bunker, an academic specializing in Southeast Asian art. However, investigations revealed that their books included artifacts with questionable provenances, later sold at high prices. Latchford was sued but passed away before the trial. #Thailand #US #ประโคนชัย

After a 13-year hiatus, BEFF returns as a collective display of artistic might artreview.com/7th-bangkok-ex…

It’s fun to frolic amid art and nature in Thailand’s newly opened Khao Yai Art Forest, but it might yet take some time for this utopic enterprise to bloom, writes Max Crosbie-Jones artreview.com/inside-thailan…

Tontey’s practice has gained traction in recent years for her madcap explorations of Indigeneity, ecofeminism and posthumanism. ‘Primate Visions’ at MACAN, Jakarta goes bananas artreview.com/natasha-tontey…

My latest feature for @ArtReview_ Asia highlights some of the many Myanmar artists and collectives finding safe space and allies in Thailand's remote corners, non-profits (@SEAJunction , most notably) and art communities. artreview.com/regroup-and-re…

lola Lenzi’s survey of Southeast Asian contemporary art gives the lie to both the idea that art can ever disengage from its political and historical contexts and the presumption that it can never meaningfully act upon them, writes Max Crosbie-Jones. e-flux.com/criticism/6447…

For @ArtReview_ I wrote about cinema in 2024, the year the film world turned a blind eye to genocide artreview.com/the-year-in-fi…

ArtReview’s 2024 edition of the Power 100 list is out now artreview.com/power-100/

A new show at Storage, Bangkok takes a range of subaltern, diasporic and postcolonial perspectives on home and belonging artreview.com/homing-instinc…

Introducing the ArtReview Asia Winter 2024 issue, out now. Featuring Riar Rizaldi on the cover, Saule Suleimenova, Mark Bradford; an artist project by Sim Raejung; reports on Myanmar artists and Hong Kong’s art scene; plus reviews and more: artreview.com/artreview-asia…

Perhaps it would be better if Myanmar’s civil war became a ‘forgotten conflict’ - Would there be any improvement if the conflict was less forgotten? Me for @RadioFreeAsia rfa.org/english/opinio…

Mati Diop’s new film Dahomey reflects on the many contradictions of the postcolonial condition artreview.com/what-happens-w…

phnompenhpost.com/post-in-depth/… From what I understand, The Met was offering gifts to Cambodia, such as fellowships and trips for senior ministry officials, but they still wanted to keep the stolen artefacts in New York. That’s not acceptable.

Let's not forget that it is within the powers of big bands to keep tickets affordable, rein in resales and exorbitant fees and generally kick @Ticketmaster's arse for its venal behaviour – as demonstrated by Robert Smith. Many simply choose not to. theguardian.com/music/2023/mar…

James C. Scott, the political scientist, anthropologist and anarchist thinker, whose work has had an increasing footprint in the artworld, has died artreview.com/james-c-scott-…

ArtReview Asia Summer 2024 is out now – featuring Kawita Vatanajyankur, Cheng Xinhao, Tenzing Dakpa, Art Labor, the 8th Yokohama Triennale, and much more artreview.com/artreview-asia…