Profile·Global
Southeast Asia's ArtsEquator folds after a decade as funding for arts criticism runs dry
After ten years of championing Southeast Asian arts criticism, the charity-run platform ArtsEquator announced on 20 October that it will cease operations this month, citing scarce funding for arts publishing, rising costs, and grant structures that rarely serve regional organisations.

ArtsEquator, one of Southeast Asia's most dedicated platforms for arts criticism and regional writing, is closing. After a decade supporting artists, writers and critics across the region, the registered charity announced on social media on 20 October 2026 that it will bring its operations to a close this month, with its website carrying a notice of the closure and the transfer of parts of its work.
The organisation pointed to a familiar squeeze in independent arts media: rising financial and manpower demands alongside funding for arts writing and publishing that remains hard to come by. Because its work was regional rather than national, it said, it struggled to access grants that are typically targeted at single countries. In a statement, the organisation said it had considered different scenarios and pathways forward before concluding that the journey had reached its final chapter.
Co-founder Kathy Rowland, who started ArtsEquator with Jenny Daneels in 2016, reflected on the emotional weight of winding down an organisation she said she really believed in, thanking the board, partners, funders and the dozens of writers and critics the platform worked with across Southeast Asia. The announcement drew an outpouring of responses, with many describing the news as heartbreaking and thanking the organisation for its mentorship programmes.
Among ArtsEquator's lasting contributions was the ArtsEquator Fellowship, a professional development programme for mid-career arts critics and journalists producing critical content about the arts in Southeast Asia, which yielded more than 50 articles, podcasts and video episodes across its first two editions. The closure leaves a gap in regional arts criticism at a time when independent outlets face mounting pressure everywhere.

