Performance art festival Action Script aims to provide deeper understanding of art form – event alert

PERFORMANCE ART HONG KONG FESTIVALS

Art Radar Asia would like to notify you of what we consider an important and interesting Asia Art Archive performance art festival, Action Script – Symposium on Performance Art Practice and Documentation in Asia, which will be held in Hong Kong later this month. We have copied the press release below to give you more information:

 

Event flyer for Action Script: Symposium on Performance Art Practice and Documentation in Asia, to be held in late October this year and organised by Asia Art Archive.

 

“Performance art” or the production of “live art” by artists has become a vital element in the flourishing contemporary art scene throughout Asia. Festivals celebrating performance art proliferate in Asian cities and provide significant platforms for interaction, activism, and creative development. In addition toquestions concerning the presentation, contextualisation, and reception of performance art, there are many issues surrounding the documentation of the ephemeral art form. Over the course of a few days in October, internationally respected performance artists, archivists, and researchers will gather together to critically discuss the various challenges associated with performance work. The aim is not only to provide better resources and a deeper understanding of performance art, but also to further encourage its cultivation.

Round-table Seminars
21-22/10 [Thu & Fri]
Experts from around the world will come together to exchange ideas concerning the practice and preservation of performance art. Special attention will be given to such topics as festival as a platform for performance art, challenges faced by artists in the region, technical complexities of documentation, and the philosophical dilemmas ofarchiving/historicizing art creations that are inherently impermanent.Participating professionals include Martha Wilson of Franklin Furnace Archive (USA), Paul Clarke of Live Art Archives (UK), Farah Wardani of Indonesian Visual Art Archive, Thomas Berghuis who researches Chinese performance art, Ray Langenbach, a scholar and artist, and Wen Yau of Asia Art Archive. The 2-day roundtable discussion will be moderated by Debra Wacks, an art historian who specialises in performance art, and Ko Siu-lan, an artist and curator who has participated in numerous festivals across Asia. They will be joined by artists and festival organizers from the region to analyse past experiences and to consider the possible future of performance work in Asia.
Enquiry & registration：2815 1112 / actionscript@aaa.org.hk

Artist Talk by Tehching Hsieh: In conversation with art critic Lee Weng-choy
23/10, 2:30pm [Sat] Agnès b. CINEMA!, Hong Kong Arts Centre
The exceptional series of actions entitled One Year Performances by Tehching Hsieh from 1978 to 1986 have played a significant role in the history of performance art: for one year the artist locked himself inside a cage, another year he methodically punched a time clock every hour on the hour, one year he lived completely outdoors, one year he conducted his life while tied to another artist without ever touching, and for an entire year he did no art. Along with his Thirteen Year Plan of doing art without publishing for 13 years, Hsieh’s body of work explores essential concerns of life, time, and being. Hsieh will talk about his lifeworks in conversation with the Singapore-based art critic, Lee Weng-choy. (The talk will be conducted in English and some Mandarin.)
Seats are limited and on a first-come-first-served basis. Please make reservations in advance：actionscript＠aaa.org.hk / 2815 1112

Performances
23/10 [Sat] 4.30pm Outside Hong Kong Arts Centre 24/10 [Sun] 3pm McAulay Studio, Hong Kong Arts Centre
An opportunity to witness Asia’s vibrant performance art scene will be offered by local and regional artists presenting their exciting and thought-provoking work to the Hong Kong public. Some of the artists include: Lee Wen (Singapore), Chumpon Apisuk (Thailand), Wang Mo-lin (Taiwan), Shu Yang (Mainland China), Aye Ko (Myanmar), Yuan Mor’O Ocampo (the Philippines), Sanmu (Hong Kong), Yuenjie (Hong Kong), Mok Chiu-yu (Hong Kong), Ko Siu-lan (Hong Kong).
Tickets：$90 / $70* full-time students, senior citizens aged 60 or above, or people with disabilities) Enquiry：2891 8482 / 2891 8488 / cccd@cccd.hk
Tickets will be available at URBTIX from 20/09/2010 onwards.

Workshop
23/10/2010 [Sat] 10am-1pm McAulay Studio, Hong Kong Arts Centre
International and local performance artists will host a workshop to explore their creative processes involved. Suitable for anyone actively interested in doing performance work.
Fee：$300 / $150* (*full-time students) Enquiry & registration: 2891 8482 / 2891 8488 / cccd@cccd.hk
Action Script at Lingnan University
25/10/2010 [Mon]

Workshop, seminars and performances will be held at Lingnan University campus.

We hope to provide some coverage of the event in November for those readers who are not based in Hong Kong or cannot attend. Keep an eye open.

KN/KCE

Related Topics: festivals, performance art, Hong Kong venues

Related Posts:

• Nindityo Adipurnomo talks with Art Radar on “+Road” collaboration with Myanmar artists, “gambling spirit” of Indonesian collectors – July 2010 – Adipurnomo reveals that Burmese artists favour performance and political art
• Unapologetically political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive interview – June 2010 – a well-known Southeast Asian performance artists talks about the development of her art with Asia Art Archive
• Interventions explore art industry relationships in curator Meenakshi Thirukode’s Guild Art Gallery show: interview – June 2010 – Thirukode has found a unique way to discuss the diverse relationships between artist, curator, dealer and other art professionals through performance
• Art about curators: Korean artist Yang Ah Ham’s No Nonsense solo show – April 2010 – a brief post exploring the artists latest works, including one performance piece, and contains links to further information
• Why do critics like Zhang Huan but not his show? Live pigs installation at White Cube 2009 – review roundup – October 2009 – Zhang’s exhibition was to pay homage to the remarkable Cast-Iron Pig; critics, however, found the exhibition wanting

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Myanmar artists access international art community, Art Radar speaks to Aye Ko about +ROAD

ART PROFESSIONAL INTERVIEW MYANMAR ARTIST AND ART SCENE

Late last month, Art Radar spoke with Nindityo Adipurnomo, one of the executive directors of Cemeti Art House, about the recent “+ROAD” collaborative project and exhibition between five young artists from Myanmar and five from Indonesia. He presented our readers with valuable insight into the Indonesian art climate and his perspective on the project.

Art Radar Asia thought it important to find out what is going on in Myanmar, so we contacted Aye Ko, Executive Director of New Zero Art Space and one of the participating artists in the exhibition. Here is what he had to say…

Aye Ko with some of his paintings

Outreaching to one of the most prestigious art centers in Asia

The reason why Aye Ko initiated the “+ROAD” project, as he said, was because he knew that Cemeti Art House is one of the most important art centers in Asia. He had had his first experience with Cemeti Art House when he invited the two executive directors, Nindityo Adipurnomo and his wife Mella Jaarsma, to the ASEAN Contemporary Art Exchange Program in 2009, where New Zero Group tried its best to build mutual understanding and connections with Cemeti. The project was initiated as a further step towards collaboration.

Aye Ko was keen for New Zero Group to learn from Cemeti Art House. He says,

The whole project was what we asked Nindityo for. The detailed program was planned by Cemeti Art House. As you know, Cemeti Art House’s experience is about twenty years, but honestly New Zero is just green. That’s why we need to learn from them.

Access to a passport the major selection criteria for Myanmar artists

According to Aye Ko, the most important consideration in the selection of Myanmar artists to participate in “+ROAD” was whether the artists held a valid passport, which is very difficult and costly to obtain in Myanmar. The second consideration was whether the artists could concentrate on their artwork and be serious about it. The final consideration: selecting a variety of artists who produced different genres and styles of work.

The “+ROAD” project ran for two weeks; an exhibition followed. Although two weeks is not a long time, Aye Ko did have a chance to observe the Indonesian art scene, culture and developing environment, especially during the workshops, when he and the other artists had friendly conversations and shared their knowledge, opinions and ideas. He attributes their successful communication to patience, understanding and a passion for arts, especially new media and contemporary art.

When Aye Ko and other artists brainstormed ideas in workshops, they didn’t know these ideas would be used to put together an exhibition; the news came as a surprise as well as a headache when the Cemeti organisers broke it. The artists began to seriously discuss their ideas: ways of presenting them as well as the use of materials, lighting and space. Aye Ko explained that this process is how great artworks are created and how artists gain respect and admiration from each other.

Myanmar artists need to learn from their Indonesian counterparts

Presentation of ideas and reflections on society were usually different for each of the artists involved in the “+ROAD” project, who had different ideas and emotions because of their unique social-cultural backgrounds and corresponding identities, but Aye Ko appreciated the differences. As he explains,

The sense of art could be promoted through sharing. Different ideas could also help [us] to understand more about their passion and identities. We also have an opportunity to oppose a view point.

Aye Ko felt that two weeks were a rather short period of time in which to brainstorm ideas and produce a piece of artwork, but overall he enjoyed the experience. It gave him the opportunity to discover different ideas and styles in others’ artwork and to learn from the Indonesian artists. As he explains,

I saw how hard working the artists from Indonesia are. I think the Indonesia artists concentrated a lot on their art and the ideas and they feel deeply about their art. I feel that we, Myanmar artists, need to work more, concentrate more and improve our communication.

Aye Ko’s view of the Myanmar art scene and future prospects

Aye Ko believes that projects like “+ROAD” are crucial for educating Myanmar artists and exposing them to international art practices and standards.

[The] Myanmar art scence is isolated from other countries. It needs to develop internationally and take time to develop enough for [the] international [art community]. Indonesian artists are catching up with international artists. [The] international art society is interested in Indonesia artists, in my opinion. There are many museums in Indoneisa but there is only one in Myanmar.

This project is a very crucial event, not only for me but also for New Zero Art Space, Myanmar artists and arts, and new generation artists. Because our country is isolated, it can [be] directed from an isolated country to a free and open art society. With this hope, I am trying to do different types of projects which can give [me] more knowledge.

[By] displaying these exchange programs, Myanmar artists knock the door of international art society for the first time.

As I said, I am planning to make this kind of event in Myanmar. We already did the Nippon-Myanmar Performance Art Exchange (2001/2005/2009), the Hong Kong-Myanmar Performance Art Exchange (2010), the ASEAN Contemporary Art Exchange (2009), and the Artists Residency Program (2010). There will also be the Mekong Contemporary Art Exchange in Vietnam and Bangkok this month. These events motivate me to do more art events continuously in order to promote international standards for local artists and new generation artists.

CBKM/KN

Related Topics: Myanmar artists, Indonesian artists, art spaces, collaborative art

Related Posts:

• Nindityo Adipurnomo talks with Art Radar on “+ROAD” collaboration with Myanmar artists, “gambling spirit” of Indonesian collectors – July 2010 – an original Art Radar interview representing the Indonesian side of +ROAD
• Leading non-profit institutions gathered by Tate Modern for art event: Art Radar Asia lists Asian participants – July 2010 – comprehensive descriptions of 11 Asian art spaces
• Unapologetically political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive interview – June 2010 – a revealing interview which contains some first-hand insight
• Historically important Indonesian gallery Cemeti closes…to change focus – May 2009 – a report on changes to an important gallery
• Myanmar artists explore new media, produce courageous art – April 2009 – an overview with details on 4 Myanmar artists

Subscribe to Art Radar Asia for more original interviews with Southeast Asian art professionals

Nindityo Adipurnomo talks with Art Radar on “+Road” collaboration with Myanmar artists, “gambling spirit” of Indonesian collectors

ART PROFESSIONAL INTERVIEW INDONESIAN ART EVENTS

In an Art Radar Asia exclusive interview with Cemeti founder Nindityo Adipurnomo, we hear the fascinating story of their latest venture working collaboratively with artists from Myanmar.  Read on to learn how cultural conflicts and artistic disappointments were eventually resolved.

New Zero Art Space in Myanmar and Cemeti Art House in Indonesia joined hands in June this year to present the collaborative project and exhibition “+Road|5 Myanmar Artists + 5 Jogja Artists“ in Yogyakarta.

Within a tight schedule of two weeks, five Burmese artists and five Indonesian artists interacted and produced performances, videos and installations.

These creations acted as a language through which the two distinctive cultures could communicate their differences, resolve conflicts and move closer to mutual understanding.

The five participating Myanmar artists included Aye Ko, (Executive Director of New Zero Art Space), May Moe Thu, Htoo Aung Kyaw, Nwe (Thin Lei Nwe) and Zoncy (Zon Sapal Phyu). The five Indonesian artists were Doger Panorsa, Ikhsan Syahirul Alim (Ican), Restu Ratnaningtyas, Ristyanto Cahyo Wibowo and Wibowo Adi Utama.

To understand more about how the collaborative project came into being, how the event was viewed by the local art community, and to gain some insight into the Indonesian art scene, Art Radar Asia spoke with Nindityo Adipurnomo, one of the executive directors of Cemeti Art House.

+Road| 5 Myanmar Artists + 5 Jogja Artists, a collaborative exhibition currently being held at Indonesian art gallery, Cemeti Art House.

From a commercial art promotion to a cross-cultural art exchange project

Nindityo Adipurnomo explained that the idea of collaboration between the two art spaces was initiated by Aye Ko, Myanmar artist and director of New Zero Art Space and Community New Zero Art Space. Ko thought that, by hosting a project of this kind, New Zero Art Space might land an exchange grant from the Asian Cultural Council in New York. With this in mind, Ko proposed the idea to Mella Jaarsma and Nindityo Adipurnomo, co-owners/coordinators of the renowned Indonesian gallery Cemeti Art House and winners of the 2006 John D. Rockefeller 3rd Awards, who expressed a keen interest.

Art censored in Burma

The couple saw “+Road” as an excellent opportunity to develop networks within regions such as Myanmar. They had learnt much from New Zero Art Space and they had been seeking opportunities to cooperate with them since attending the New Zero Art Space organised 2007 ASEAN Contemporary Art Exchange Program, an event open only to members of the space. Of the programme, Adipurnomo recalled how each of the artists, gallery owners and art activists who participated had to bring along a single painting of a limited size with no political message. The night before the event, the Burmese police came and censored the art works on display, and removed the works of four Burmese artists. Despite this horrific episode, the programme was fruitful; each of the art activists present conducted informative talks.

In addition, “+Road”‘s aims were in line with the project-based platform Cemeti Art House has been working under since the beginning of 2010. This new platform focuses on an alternative approach to art and society in Indonesia. They have a successful model to follow; Landing Soon (2006-2009) was a three year exchange program in which one Dutch artist and one Indonesian artist resided in Yogyakarta and received assistance, guidance, and support from the studio manager through weekly progress reports.

“The reason [for launching the new platform] was because we were fed up with all the exhibition models, art fairs, auctions in Indonesia; [these events] never pay attention to invest in a kind of  healthy regeneration of the art scene. No, I’m one hundred percent sure that they do not realise this. The Indonesian commercial art scene has been investing in promotion only.” Nindityo Adipurnom

Conflicting goals of Burmese and Indonesians

However, it turned out Aye Ko wasn’t thinking about the kind of collaborative exhibition Adipurnomo had in mind. Basically, he just wanted to use Cemeti’s exhibition space for a group exhibition of five Myanmar artists and five Indonesian artists, where published catalogues could distributed. His commercial approach to the collaboration, which did not aim to provide any platform for meaningful interactions among artists, was certainly not what Cemeti Art House wanted.

“We did not want to only organise a promotional exhibition that has no interesting curatorial subject, not being involved in how artists go through their process before presenting their works in exhibition. And so we, in the end, asked [the artists] to just come to Yogyakarta; not bring any paintings with them. Instead, each of [the artists] should be well prepared with an individual artwork presentation in Power Point to see what we can do together.” Nindityo Adipurnomo

Jaarsma and Adipurnomo tried carefully to intervene and transform the  cooperation into a “mutual exchange project” instead: a program involving short events such as artists’ talks, discussions, workshops and master classes, allowing both groups of artists to understand each other better and create possibilities for a deeper collaboration, with an exhibition as the end goal. And in Jaarsma and Adipurnomo’s eyes, it was a success. “+Road” became a truly collaborative project for the ten artists involved, where they could engage themselves in intensive cultural exchanges and meaningful interactions.

Mix of talents strongly affects resulting artwork

The choice of the five Burmese artists and the five Indonesian artists was made separately by New Zero Art Space and Cemeti Art House respectively. Adipurnomo launched an open application, attracting nearly seventy artists, and selected five from this group. He admits to being disappointed with the choice made by New Zero Art Space. Among the five Burmese artists, only two were professional artists, while the rest of them were new members of New Zero Art Space and were very amateur beginners. In contrast, the Yogyakarta artists selected by Cemeti Art House had a lot professional experience.

Disappointment at Cemeti

“[The Burmese artists] are bad painters: they cannot draw, have no sense of colour and have, in fact, a very superficial sense of  exploring materials… While our local Yogyakarta artists you can see, … that they were very well trained academically, strong and skillfull in model drawings, sketches, colours, well experienced in treating materials with good sense.” Nindityo Adipurnomo

Burmese artists favour performance art, political art

Although the Burmese artists were generally inexperienced painters, their strength lay in performance art, an artistic skill which the Yogyakarta artists were either still developing or not interested in exploring.

“My very personal observation was that the artists from Yangoon were very much into performance art. They are very direct, expressive and always fulled of political intentions in their performance. They really use their body as the most direct tool and medium…. It often becomes a physical movement that is very close to a dance performance. One of our local artists participating in this project was [hesitant] to join the workshop on performance!” Nindityo Adipurnomo

This mix of opposing artistic strengths, differences which became very apparent during the workshops, influenced what was produced for the exhibition finale. “+Road” showcased a lot of video works and photographs, and a smaller number of installation and performance pieces, with no paintings at all.

Zon Sapal Phyu's 'Revolution of Own Space' (mixed media).

Aye Ko's 'No Money, Hungry, Hard Eating' (photography, video).

Wibowo Adi Utama's 'Art-NARCHY' (video).

Ikhsan Syahirul Alim's 'Commando Dance' (video, karaoke).

More opportunities open up future collaboration

Overall, Cemeti Art House viewed the collaboration as a successful pilot project, achieving its aim of engaging artists from two cultures in interactions that led to a gradual mutual understanding.

“[The] major understanding [the artists] did have was cultural dialogues. This is something that I find you can not just improvise in an Internet facilitation. You really need to [be] facing each other. Building up your assumptions, making a lot of missunderstandings and opening up conflicts, so that in the end you will understand each other better. We did ask every Indonesian artist to be a partner everyday by sitting on the same motorcycle – one motorcycle for two artists – during the two week intensive dialogue…. The time was just too short for so many reasons. But now we know better how to handle and open up more networks with young artists, who are really willing to continue in a deeper context.” Nindityo Adipurnomo

Working towards a healthy regeneration of the Indonesian contemporary art scene

Adipurnomo considers Cemeti Art House to be ground-breaking in promoting a healthy regeneration of the Indonesian contemporary art scene, which has grown largely commercially up to this point. From “rumours and a very quick-glimpse analyzation and observation”, he suggests that banks have been gaining control of the Indonesian art market.

Banking money makes a mark in the Indonesian art market

“In the beginning, [art] was dominated by rich people around the tobacco industry. Of course, Dr. Oei Hong Djien was the respected ‘pioneer’ of the Indonesian collectors, among many others who were more nationally known; Dr. Oei Hong Djien is going international quickly. He was also very generous in educating and influencing many other rich Chinese people in the tobacco industry to invest their capital in art. Starting from that mile stone, Indonesian art dealers and collectors [were] growing fast. Most of [these collectors] were hunting names instead of, you know, a ‘quality’. They created many kinds of tricks in order to get as many ‘big names’ as possible, which they could easily call ‘masterpiece’ makers. Auctions and art fairs were becoming a medium for them to gamble in so many tricky ways. This rapid growth of gambling spirit stimulated many other rich people, out of this tobacco industry, to borrow money from banks to join this gambling. That is the way banks are now getting involved. A lot of bankers started to invest their capital in the arts.” Nindityo Adipurnomo

New Jogyakarta Art Fair attracts outside collectors

With the opening of the Jogyakarta Art Fair recently, art dealers and bankers, many of whom had never visited the region before, flocked to Cemeti Art House to see what was happening. This is, perhaps, further evidence that the Indonesian arts scene is commercialising.

“Cemeti Art House is considered to be ground-breaking in promoting a healthy regeneration of the art scene. We have only been ‘fighting’ for that faith for so long. Of course, we are not the only ones. There are many others, such us Ruang Rupa in Jakarta, and the new comers like JARF (Jatiwangi Artists in Residence Festival), Forum Lenteng, and many other smaller scale [organisations] who come up and disappear and come up with different formulas [only] to dissappear again.” Nindityo Adipurnomo

CBKM/KN/KCE

Related Topics: Myanmar artists, Indonesian artists, art spaces, collaborative art

Related Posts:

• Leading non-profit institutions gathered by Tate Modern for art event: Art Radar Asia lists Asian participants – July 2010 – comprehensive descriptions of 11 Asian art spaces
• Unapologetically political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive interview – June 2010 – outlines a revealing interview
• What is Indonesian style? Jumaldi Alfi on the art, style and Jogja – interview – November 2009 – Art Radar Asia gains insights from a renowned Indonesian artist
• Historically important Indonesian gallery Cemeti closes…to change focus – May 2009 – a report on gallery closure and changes
• Myanmar artists explore new media, produce courageous art – April 2009 – an overview with details on 4 Myanmar artists

Subscribe to Art Radar Asia for more articles on the art happenings in Indonesia and Burma

Unapologetically political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive interview

MYANMAR ART BURMESE ART ASIA ART ARCHIVE ARTIST INTERVIEW

After growing up under Myanmar‘s military junta, Burmese artist Chaw Ei Thein‘s works is unapologetically political. In a recent interview with Asia Art Archive the artist speaks about the connection between her art and the politics in Myanmar as well as her hopes for the future of Burmese art.

Although she received several art awards as a child, Thein did not pursue art as a career until after graduating university with a law degree in 1994.  Thein became interested in performace art in the late 1990’s and began to create her own works with encouragement from more experienced performance artists.

Artists Chaw Ei Thein and Htein Lin at Lin's London exhibition.

In 2004, Thein took part in the Nippon International Performance Art Festival (NIPAF) which she credits as opening the door for her involvement in the performance art community. During the interview with Asia Art Archive she does not hesitate to humbly thank her mentors for such opportunities.

“I did my very first street performance in Tokyo – and I still thank Seiji Shimoda and Aye Ko for giving me this great opportunity… Seiji Shimoda and NIPAF have played an important role in engaging Asian and international artists, to work together and create more networks. This was how I got the chance to network and make contacts with many Asian and western artists”

From this point, her career as a performance artist took off. She participated in several other major art festivals such as Open in Beijing in 2007. In addition to performance, Thein maintained an interest in several other mediums ranging from painting to installation.

Regardless of the medium she chooses, the political nature of her work remains a constant. At times, Thein even feels limited by her drive to reflect on the current climate in her homeland.

Thein's performance piece at NARS Open Studios event in May 2010.

“Whenever I try to create something, it just appears in my mind as relating to my country’s current situation – my friends who are still in prison, and the people in Burma… I cannot get away from this issue, even today. I don’t know how to change the subject to create something else. That is my own problem, and the conflict within me”

The politcally minded Thein also elaborates on her struggles with automatic self-censorship even when working outside of Myanmar. For those artists who grew up in Myanmar and now have the chance to work abroad, concern for friends and family back home affects the kind of art they create. Fear of retaliation against loved ones living in Myanmar leads Thein to think carefully about what kind of art she she displays in public in any location.

Chaw Ei Thein in a 2003 performance piece.

” I am a Burmese artist living under a military junta, I am used to being limited with what I can and cannot create inside Burma… There is a problem now whenever I want to create something: I have controlled myself already, automatically. …These “fears” and “worries” control me even when I am creating art outside of Burma.”

Being faced with the task of connecting the creative and political aspects of her art, Thein has developed ways to show subtle but powerful connections between the two. Though the artist worries that some of these connections may be lost on Western audiences, the conditions in Mayanmar are on her mind daily and show up in her art just as often.

“How can I help do something for the people who cannot speak out about what is happening in my country? I cannot escape these thoughts – that is why all of my paintings and performances are mostly about this.”

It is clear that the artist also has a passion for art education, a field that she feels is underdeveloped in Myanmar, especially in rural areas. In addition to preparing for upcoming shows, including a collaborative show with Htein Lin in November, Thein’s current activities include readying her second children’s’ book on art.

When asked by Asia Art Archive what she would improve in Myanmar’s art scene Thein’s answers reflect her desire to bring art to the people.

“Most people think about having art activities in cities like Rangoon (Yangon). I am more interested in doing it in other regions and places. It could be anywhere…”

Chaw Ei Thein, 'HeShe I', acrylic on paper, 2007.

Even with all of this, Thein doesn’t take herself too seriously. She is constantly moving from city to city, still unsure of where to settle down and seemingly not too anxious to make this decision. For her, art is not about formality or rules, it is simply about making the art that she wants to create.  Whether people applaud her or not, she continues to create powerful and moving pieces on her own terms.

Read the full article on Asia Art Archive

EH/KN

Related Topics: Southeast Asian artists, performance art, political art, activist art

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• Vietnamese performance art- new research underway – August 2009
• Myanmar artists explore new media, create courageous art – April 2009
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Myanmar artists explore new media, produce courageous art

MYANMAR ART

Asian Art News reports that some Burmese artists are bravely stepping outside the restrictions of censors and the pressures of the tourist market to create a new kind of art. Three commercial Thai galleries are supporting them: Suvannabhumi Gallery and La Luna in Chang Mai and Thavibu Gallery in Bangkok.

Aye Ko

“While Myanmar has a thriving art scene there is an overwhelming predominance of generic Asian subject matter. Rather sentimental and nostalgic the golden temple spires, monks …and busy market scenes…satisfy the narrow tourist demands as well as placating the military junta” writes Steven Pettifor.

However earlier this year Jorn Middleborg worked with Malaysian art historian Shireen Naziree to curate a different kind of show.

The exhibition was called Speaking Alone and incorporated live performances, videos and mixed media works by four important Myanmar artists: Aung Myint, Aye Ko, Phyu Mon and emerging young artist Nyein Chan Su.

Aung Myint

Aung Myint is regarded by some to be the ‘father of modernism’ in Myanmar. Aung Myint, who lost his mother as an infant, is widely known in S E Asia  for his black and white simple line drawings of mother and child. Examples can be found in museums in Singapore, Malaysa and Japan.

Aye Ko has had some international exposure with a solo exhibition in New York in 2002 and more recently in Europe as part of Thermocline of Art, New Asian Waves 2007. He has produced digital prints of multiple figures daubed in black, white and red looking wild and untamed. See a clip of his video Transfixed: Silent Escape.

Phyu Mon, Hope

Phyu Mon is the only female artist in the show and works in paint, video, performance and poetry and her artwork is concerned with expressing hope and uses symbolism to express disagreement with the ruling party.

Nyein Chan Su has produced a new series People in which inkjet print portraits of fellow activist artists – agreeing to pose was a courageous act – are overlaid with red lettering to parody official stamps. See clip of Nyein Chan Su video: Goldfish.

Asian Art News has published a thorough review and full information about the art scene and artists as well as an interview with Shireen Naziree. It is well worth a read but is only available in print direct from the publisher or a library such as Asia Art Archive.

Nyein Chan Su, People

Here is a small selection of notable points:

Art schools

There are only a couple of major art school based in Mandalay and Yangon which focus on early modernist theory. This somewhat formal and rigid training has caused artists to become self-taught or take private lessons.

Performance art

During traditional religious Nat ceremonies there are performances where worshippers go into a trance so in this sense Myanmar has a long history of performance art says curator Shireen Naziree. This medium has become popular with artists in recent years perhaps because it is cheap and informal and mobile so can easily sidestep the attention of censors says Jorn Middleborg.

Constraints on art scene in Myanmar

Due to political isolation, artists lack exposure to new art trends and they have limited access to information and funding. The economic situation constrains their ability to buy materials and the lack of English prevents Myanmar artists taking up residencies abroad.

To subscribe to Asian Art News

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• 5 80s born Cambodian artists featured in historic show Forever Until Now – Mar 2009
• Western art advisors turn to Asian new media art for their clients – IHT – Sep 2008

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