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2020, World Art
Co-authored with Francis Maravillas. Published as part of the special issue "Contemporary Art Worlds and Art Publics in Southeast Asia" for World Art, coedited by Michelle Antoinette and Francis Maravillas. This essay positions the rapidly changing field of contemporary art in Southeast Asia, and the shifting structure, dynamics and influence of the region's contemporary ‘art worlds' and ‘art publics’. It seeks to open up new horizons and frameworks for understanding the particular character of art worlds and art publics in Southeast Asia by being especially attuned to the local contexts and histories of contemporary art in the region and their particular ecologies. We contend that while contemporary art worlds and art publics in Southeast Asia might bear similar structures and dynamics to contemporary art worlds and publics elsewhere, they are nevertheless indicative of culturally specific and localised developments. Indeed, the various past and present practices and mediation of art and its publics in the region are suggestive of the ways in which art worlds take on nuanced character and meaning in Southeast Asia, are diversely configured and imagined, and are multiply located and complexly interconnected. The worldliness of these practices are, moreover, indicative of the ways in which Southeast Asian artists continue to respond to the exigencies of the everyday and the political economy of survival in an increasingly challenging world. Keywords: Southeast Asian art, contemporary art, art worlds, art publics, regionalism, world-making
The Substation, Singapore
Southeast Asian Art's Contemporary Turn: the role of siting, audience, and performativity STEALING PUBLIC SPACE2020 •
On Southeast Asian art's modern-to-contemporary shift: argues a distinctive Southeast Asian contemporary art methodology whereby public space and intangibles (money, national anthems, history, so on) are co-opted to engage audiences on social issues. Analysing seminal Southeast art from the 1970s onwards, author shows how these strategies emerged and persisted from contextual necessity, and are fundamental to Southeast Asian art's transition to contemporary modes.
2022 •
Published in "Art Journal" 81:4 (2022): 146-149. Review of Pamela N. Corey, "The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia" (Seattle: University of Washington Press, 2021) and Viêt Lê, "Return Engagements: Contemporary Art’s Traumas of Modernity and History in Sài Gòn and Phnom Penh (Durham, NC: Duke University Press, 2021).
Southeast of Now: Directions in Modern and Contemporary Art
Review: Michelle Antoinette, Reworlding Art History: Contemporary Southeast Asian Art After 19902017 •
The Third Avant-garde: contemporary art from Southeast Asia recalling tradition
The Third Avant-garde: contemporary art from Southeast Asia recalling tradition2018 •
The Third Avant-garde investigates radical art manifestations in Southeast Asia, which took place around the mid-1980s when postmodernism started to gain force in the region. It proposes that the advent of postmodernism in Southeast Asia is anchored in the materiality of traditional arts, an aspect that renders it different from its Western equivalent. The dissertation distinguishes two sets of postmodern manifestations: first, practices that use traditions in a celebratory way, and second, a set of works that use traditional arts radically. This study proposes that the second possibility manifests a double dismantle—first, against local patronizing forces that were enforcing artists to practice academic art and Western media (such as painting and sculpture), and second, a distancing attitude from Western art intelligentsia, who acted as ‘owners of the discourse’, and regarded ‘non-Western’ practitioners as followers rather than as trendsetters. For this investigation, the discipline of anthropology was called in, as was the art historical category of the avant-garde. The two approaches combined reveal how contemporary art from Southeast Asia that reprocesses traditional arts can be regarded as avant-garde. These gestures are novel, and result from practicing art in a certain location, and which is bound to a specific socio-political context. Keywords for Library Repository Avant-garde Tradition Southeast Asia Art History Anthropology Postmodernism Agency Multi-temporality
SUNSHOWER Exhibition catalogue: SUNSHOWER – Contemporary Art from Southeast Asia 1980s to Now, Date of Issue: August 9, 2017 >>Exhibition-catalogues are significant. However big the show, once taken down, it is primarily the catalogue, that speaks for the exhibition-artworks’ relationship with each other and the larger field. When the field is young and undecided, the catalogue, embodying the curator’s vision and position, matters more. This critic’s own knowledge of Southeast Asian art is grounded in the scholarship built through multiple-essay catalogues of historically relevant shows. A number of these were produced by Japan’s institutions, particularly with the opening of the Fukuoka Art Museum in 1979. Take for instance the principal text from the catalogue of one such regional exhibition, ‘Art in Southeast Asia 1997: Glimpses into the Future’, produced by The Japan Foundation Asia Centre in ‘97. Curator Junichi Shioda’s essay ‘Glimpses into the Future of Southeast Asian Art: A Vision of what Art should be’, constructed and cross-examined the idea of a regional canon, independent from Euramerican modernism, through the socially-rooted practices of artists from five Southeast Asian countries. Two other academic essays in this exhibition-catalogue further provided analyses of art in Southeast Asia and contemporary art in Indonesia. Around the same time, a similarly vital exhibition ‘Contemporary Art in Asia: Traditions/Tensions’ was curated by Thai scholar Apinan Poshyananda. This exhibition’s catalogue included seven essays that built the discourse around the politically charged practices of various Southeast Asian artists among others from Asia. Such exhibition-catalogues sought intellectual contributions from field-scholars who connect socio-economic complexities, and ground artistic practices in their respective historical, cultural and political contexts. Such catalogue-essays, written two decades ago or today, are important to establishing the canon around Southeast Asian art because scholarly analyses of exhibition artworks, and their comparison with other pieces, permit the discerning of larger currents and parallels that give shape to the field. That artists from Southeast Asia have been potent voices for social change and reformation is established through scholars’ analyses of artworks presented in writing for exhibition-catalogues, past and present.<<
Southeast of Now: Directions in Contemporary and Modern Art in Asia
"My World is Modern": Deprovincialising Chen Cheng Mei and You Khin, Artists from Southeast Asia Who Traversed the Global South2021 •
Should paintings made in Sudan, or depicting scenes in Kenya, be considered “Southeast Asian” art? This essay considers this and related questions, in dialogue with the works of artists Chen Cheng Mei (b. 1927, Singapore; d. 2020, Singapore) and You Khin (b. 1947, Cambodia; d. 2009, Thailand). Chen was based in Singapore but travelled extensively on short study trips that she initiated between the 1960s and 2000s, while You Khin lived and worked in Sudan, Ivory Coast, Qatar and elsewhere during his three decades in exile from Cambodia, from the 1970s to the 2000s. The essay argues that their work reflects the divergent histories of Southeast Asian nations during the period of decolonisation, while also necessitating new critical approaches to artworks that depict unfamiliar people and places, going beyond concepts of primitivism. Drawing on primary research in both artists’ archives as well as on discourses derived from the locations depicted in their work, the essay argues that Chen’s and You’s works enable a deprovincialising of Southeast Asia’s modern art, and exemplify a postcolonial cosmopolitanism that traverses the Global South.
ART IN AMERICA
(Re)making History: An emerging generation of art critics and scholars is recasting Southeast Asia’s postcolonial modernism.2019 •
Contemporary Asian Art and Exhibitions: Connectivities and World-making
Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art2014 •
Shaping the History of Art in Southeast Asia
Modern Art in Southeast Asia2017 •
2017 ‘Modern art in Southeast Asia’, in Furuichi Yasuko, ed., Shaping the History of Art in Southeast Asia, special issue of Art Studies, 03, Tokyo: The Japan Foundation Asia Centre, 2017, 020-023 Modern art in Southeast Asia exists in a context of severe historical disjunction between the different linguistic and cultural situations inherited from colonialism or neocolonialism. Let us take art schools as one direct indicator. Some countries had a colonial art academy. In Vietnam this was followed by a variety of overseas "attachments"the North with the former Soviet Union and China, the South with the USA and France, until reunification in 1975. Russian and Chinese replaced French as the language of art discourse for North Vietnamese, and English for some South Vietnamese. Others countries, like Thailand, experienced a kind of self-colonialism. The Thai court and nobility imported Italian art and artists wholesale in the 1890s and 1910s, and in the 1930s the military government's art school took Italy as a model through the work of Corrado Feroci. Malaysia was without its own art schools until the late 1960s; Indonesia only had them from the early 1950s; yet the Philippines had the earliest art schools in the region, dating from the early 19th century. What could possibly link, or what structural parallels could possibly be valid for, such disparate histories? Probably the single most important linking element is the simultaneous absence of articulated indigenous academic painting discourses and the presence of the representational power of European mid-and late-19th-century salon realism. In Southeast Asia, realist European oil painting was not connected with the strong pictorial discourses of China and Japan, each of which had developed parallel art-theoretical or poetic criticism. Furthermore, where there was a highly developed, stylistically syncretic representational mode, as in Thai Buddhist temple murals, stylistic innovation was not questioned as long as the narrative integrity of the morality tale depicted was maintained. An equally striking structural analogy is found in the interest of midand late-19th-century aristocrats in the mastery of European art forms, whether by study at home, as with Prince Naris in Thailand, or through study in Holland, as with Raden Salleh from Java. The long historical lead times for the development of modern art in Europe to some extent finds a minor social equivalent in the learning of oil painting by these colonial or self-colonizing aristocrats and their successors-colonial and postcolonial educated members of the literate middle classes. To some extent, this prehistory positions oil painting among the post-independence, court, or upper-middle-class elites as the formal expression of a received or acquired status. A signal example of this is the Indonesian artist Basuki Abdullah, who was "court" painter to Soekarno in Indonesia in the 1960s, to the King of Thailand and to the Marcoses in the Philippines during the 1970s.
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