I made my first super-8 movie The Glove, a surrealist tale of desire, in 1984, while studying radiology in Hong Kong. 

Edmund Cheng is one of the main, quiet forces behind the growth of Singapore’s contemporary art scene. 

When silent motion pictures were first introduced to mass audiences in Japan in the late 19th century, the task of a benshi was to preface the contents of a film and narrate the plot during the presentation. 

In his MFA thesis, completed in 1985 at New York’s Pratt Institute, Bahc Yiso (1957–2004) recounts a parable about a group of four blind men. 

Curated by Loredana Pazzini-Paracciani, the ambitious survey “Diaspora: Exit, Exile, Exodus of Southeast Asia” featured works by 18 artists and artist collectives, and was centered on three facets of displacement: “exit,” which implies economically motivated emigration; “exile,” the removal and disempowerment of a person; and “exodus,” suggesting a group or common experience of leaving one’s home.