27 contemporary Southeast Asian artists featured in ASEAN-Korea photo exhibition

KOREAN ASEAN CONTEMPORARY PHOTOGRAPHY EXHIBITION

Created to showcase the range of dynamic contemporary photography coming from Korean and Southeast Asian artists, “Emerging Wave“, currently on view at the GoEun Museum of Photography in Busan (South Korea), features works from 27 artists ranging from emerging creators to established veterans.

Established in March 2009, the ASEAN-Korea Centre promotes both cultural and economic cooperation between Korea and the ten ASEAN (Association of South East Asian Nations) member countries. The organisation  recently partnered with Seoul Art Centre’s Hangaram Art Museum to open their 2010 photo exhibition which features 27 artists from 11 countries.

The exhibition, which is the second since ASEAN-Korea Centre’s launch, exposes the international community to new work by some of Southeast Asia’s brightest contemporary photographers. While many of the participants are veterans, the exhibition gives younger artists exposure to the contemporary art scene of a major city such as Seoul.

“Emerging Wave” attracts artists from all over ASEAN region

For example, for emerging Bruneian photographers Hirfian Hussain and Akmal Benangsutera, the exhibition is an opportunity to showcase the budding photography scene in their home country, as well as a chance to connect with dedicated artists from outside of Brunei.

Artists well-established in other media also make up this year’s selected names such as Burmese performance and installation artist Po Po. While not considered a prolific artist – he has had only two solo exhibitions since 1987 – his work is thoughtful and full of depth. As an artist who works with different media there is much crossover within his work. With his photography he employs elements of cubism, a movement he considers to be painting’s “highest state of intellectual approach.”

Po Po, 'Searching for Identity: Bottle # 1', 2002-2007, C-print, 167 x 305 cm.

“How can I make cubist photos which present every aspect of a thing? These works are not objects of material.  They are objects of mind”.

Although in an article on the Myanmar Times website Po Po states his distinterest in “flashy technology or visual hype”, his selected photos demonstrate his willingness to experiment with newer media to create complex, visually stimulating images without losing the sincerity of his message.

Like Po Po, Singaporean artist Mintio incorporates multiple overlapping angles in photos from her “Concrete Euphoria” series (2008-2009).

Mintio, 'Kuala Lumpur City Centre', 2008, D-print, 152 x 122 cm.

In spite of being relatively young Mintio, who got her start at a major commercial studio at age 16, has already created a stir with her documentation of Asia’s largest cities using long-exposure techniques. For Mintio, the process is about both rediscovery and finding the unknown in familiar things.

“At the end of the day, no matter how familiar we think we are with a person or a place, there always will be jewels left undiscovered. Perhaps the answer of what a place or city means might just be a continuous journey of finding those jewels.”

Also on display is work by fellow Singaporean Zhao Renhui, a resident artist and member of the Institute of Critical Zoologists. Zhao channels his fascination with man’s perception of animals into photos sometimes depicting live or taxidermy creatures, and other times depicting man’s often futile attempts to be at one with nature. In an interview with Asian Photography Blog, Zhao expresses the idea that photography is a medium through which people “relate to animals and the world”. At the same time it is a medium which “blurs the distinction between fact and fiction”. In one particular image he presents a zoologist who appears nearly invisible with the aid of a camoflague cloak and photo manipulation.

Zhao Renhui, 'Tottori Sand Dunes', 2009, archieval piezographic print, 84 x 121 cm.

In doing so, Zhao presents a surreal image as reality and challenges the validity of photography as a medium for depiciting truth. For the artist, reality in photography is illusory and constantly in flux. Viewers must try to make sense of the natural, scientic world through a manipulated, and possibly false, image.

A fascination with perceptions of truth also permeates the photographs of Thai artist Dow Wasiksiri and Vietnamese artist Richard Streitmatter-Tran. While Streitmatter-Tran makes no attempt to hide the artifice of his composite images, Wasiksiri’s saturated photos capture a side of Thai culture that he feels foreigners are not exposed to when viewing the “styled and staged” images of Thailand. According to the artist’s statement on his website:

“Visitors are presented with contrived, idealized images of Thainess by Thais ourselves … countless published views of Thailand are staged and styled. The contrivance and the reality rarely match, leading to startling juxtapositions”.

In presenting what he calls the “unexpected moments”, Dow aims to show unabashed ‘Thainess’ with humor and unself-consciousness.

Indonesian photographer Angki Purbandono makes use of what he calls a “freestyle” approach which allows him to employ methods ranging from collage to the scannography technique used in “Avocado Horse” (2010). Even so, Purbandono doesn’t separate himself from other photographers too much.

“Just like other people working with photography, I play with objects, considering light as important and employing a dark room to print my work.”

Angki Purbandono, 'Avocado Horse', 2010, scannography, 100 x 100 cm.

Korean artists well represented in “Emerging Wave”

Although most of the eleven countries are represented by two artists, organisers made sure to give Korean artists plenty of additional exposure. Bright candied flora populate the work of Koo Seong Youn while Hyun Mi Yoo seems to suspend falling objects in time with skillful compositions. The warped perspectives of Zu Do Yang, Wawi Navarroza’s impersonation of Mexican artist Frida Kahlo, and “real vs. unreal” themes explored by artist Lee Yeleen add to the diversity of subject matter and style. Given that they were chosen for their talent and thoughtful innovation, it comes as no surprise that “Emerging Wave” participants turn the idea of photography on its head. With their photos they call on viewers to question the factual nature not just of the images they view but also the experiences which they have come to accept as normal and routine.

Koo Seong Youn, 'Ht01 (+ Ht02), C-Prints, 2009, 120 x 150 cm.

Other artists included in the show are Koreans Choi Jung Won, Lee Won Chul, and Nanda; Laotians Manichanh Pansivongsay and Phonephet Sitthivong; Indonesian artist Arya Pandjalu; Filipina artist Bea Camacho; Malaysian artists Liew Kung Yu and Tan Nan See; Burmese artist Thit Lwin Soe; Tanapol Kaewpring; Vietnamese artist Le Kinh Tai; and Cambodians Sok Sophal and Tralong Borin.

The exhibition has moved from the Hangaram Art Museum to the GoEun Museum of Photography in Busan and will close on 8 August.

EH/KN

Related Topics: Southeast Asian, photography, museum shows

Related Articles:

• Unapologetically Political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive Interview – June 2010 – discusses the Myanmar art scene and her experiences making art under the military junta
• Pop culture references abound in Indonesian art: curator Eve McGovern discusses Indieguerillas’ Happy Victims and the Southeast Asian art climate – June 2010 – offers some insight into what art is being created in the region and why
• Korean National Museum of Contemporary Art Young Korean Artists restrospective spans 30 years – May 2010 – highlights from a Korean contemporary art retrospective
• New York gallery Tyler Rollins holds rare showing of Thai artist Jakkai Siributr – May 2010 – about Southeast Asian artists gaining global recognition
• Four Asian artists nominated for NYC PULSE Awards – March 2010 – Southeast Asian artists recognised abroad for standout talents

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Sa Sa Gallery and Art Project, new artist-run initiatives in Cambodia

CAMBODIAN EMERGING ARTISTS ARTIST-RUN SPACES PHOTOGRPAHY

In 2009, a group of artists and photographers called Stiev Selapak founded Sa Sa Art Gallery, Cambodia’s first artist-run gallery. The programming focuses on emerging Cambodian contemporary artists. With the idea of wanting to promote the Cambodian contemporary art by supporting emerging Cambodian artists, Stiev Selapak started a new non-commercial initiative in early 2010, the Sa Sa Art Project.

Art Radar Asia spoke with Vuth Lyno, manager of Sa Sa Art Gallery, to find out more about this remarkable and influential group, gallery and project.

Chhin Taingchhea, 'Untitled', "Old Building" series, 2009. Image courtesy of the artist.

Stiev Selapak formed to share ideas

Artist group Stiev Selapak was formed by six Cambodian artists and photographers in 2007, after meeting at a photography workshop. The ideal behind the group is to share, to communicate and to learn together. Three of the members graduated from the Royal University of Fine Arts and the other members came from various backgrounds.

Vuth Lyno, Sa Sa Art Gallery’s manager, for example, began his career in the arts as an information technology and communications specialist. In his work, he was required to take photographs for promotional communications which lead to a desire to explore artistic photography.

“Later on I realised that photography is not just about taking photos of happy people. I wanted to show real lives of people. For me that was the entry point.” Vuth Lyno, speaking with Art Radar Asia.

Vuth Lyno, 'Untitled', "Reflect" series, 2007. Image courtesy of the artist.

Each of the members implement their projects individually, but also work together. As Lyno elaborates: “Sometimes we would go out, take photos and document, review and show them to each other, comment and share what could be improved in a way where we could reflect [on] our personal inner perspectives.”

Sa Sa Art Gallery is founded

Stiev Selapak opened Sa Sa Art Gallery in early 2009. Significantly, Sa Sa is an abbreviation of Stiev Salapak, who are also known as the Art Rebels. For the group, the name Art Rebels did not find meaning in rebelling, but saw it more as wanting to do something new. “We want to introduce contemporary photography to people here and promote it to a wider audience,” Lyno divulges.

In the beginning, the group wanted to find a space which they could work in. Having some support, they could start having exhibitions. Mostly these events showcased photographic works, but the group soon realised that it was not only about Stiev Selapak, it was also about Cambodian artists and Cambodian contemporary photography.

“I believe that we contribute to the local art scene. When we had finished our creation of Sa Sa [Art Gallery] we had attended a one year photography workshop; we had group exhibitions together from all the students graduating from the class. That for me was the big step into the scene, when we look at it from the contemporary photography side.” Vuth Lyno, speaking with Art Radar Asia.

In Cambodia, most of the galleries are foreign-owned. Being artists themselves, the members of Stiev Selapak felt that Cambodian artists did not have a productive and equal relationship with these galleries. They commonly felt they needed a space that was Cambodian-owned, independent and that helped other artists.

Creating the gallery, the founders did not only exhibit their own works, but also work from other local artist groups. Though the size of the gallery is limited, they can still present and sell a decent-sized body of work. ”It’s a matter of how we can present that. So far we’ve exhibited a lot of photography, but we also show paintings and drawings,” Lyno elaborates.

Kong Vollak, 'Untitled', "Building 2" series, 2009. Image courtesy of the artist.

Sa Sa Art Project – a haven for experimental art practice

Earlier this year, Stiev Selapak founded a non-commercial initiative called the Sa Sa Art Project. This project is dedicated to experimental art practice and can accommodate installation art, residencies, meetings, and classes. The main goal is simple – to create opportunities for young artists to realise new ideas, to share their experiences and knowledge, as well as to educate the next generation about art.

One of the main activities of the project is inviting new and emerging artists to live and work at the Sa Sa Art Project’s space. Here they can experiment with new ideas free of any of the limitations normally encountered in commercial galleries. Each residency ends with a short exhibition. One drawing class every week is also held under the project which caters to students and local artists.

Both the Sa Sa Art Gallery and the Sa Sa Art project were created and founded by  Stiev Selapak, but what sets them apart from each other is that the gallery is operating commercially, hosting artist talks and welcoming students. The gallery focuses on showcasing emerging Cambodian contemporary artists’ bodies of work. The art project’s aim is to foster a community of knowledge sharing among artists. It tries to create opportunities for new artists, but also works as an educational program.

Funding and support in the Cambodian art industry

Finding spaces for the gallery and the project was easy, but the more challenging task was finding sustainable funding. In early March this year, Stiev Selapak organised a fundraiser so that they could continue with the programming of the gallery and to expand activities for the art project. Though they sometimes depend on the support from the public, most of the time the founders fund the gallery themselves. Since it is run with minimal funding and minimal resources, their communication and marketing are limited as well.

At the moment, the Sa Sa Art Gallery doesn’t operate on the same scale as other galleries in Cambodia, who represent a number of artists. Sa Sa is limited to representing the founders of Stiev Selapak and a few other artists they have close relationships with. One of the founders, internationally-known artist Vandy Rattana, is one of the more exposed artists in the group, exhibiting his works in Asia and in the U.S.

Vandy Rattana, 'Untitled', "Fire of the Year" series, 2008. Image courtesy of the artist.

“We have a new wave of artists and photographers coming now, continuing their practices in contemporary photography.” Vuth Lyno, speaking with Art Radar Asia.

One big difference in the Cambodian art scene is that ten years ago there were maybe a couple of contemporary art galleries, a number which has increased significantly over the past few years. Having the experience of creating and starting a gallery, Lyno’s advice would be to consider the idea carefully.

“Putting on an exhibition might not generate enough funds to continue running the gallery. Those who wish to start thinking of opening a gallery need to consider it carefully in terms of marketing [and] connections with buyers and collectors. These approaches have been adopted by many other galleries in town already. There are many gallery/restaurant/café [establishments]. My approach when I mean art gallery, [I mean] a clean gallery where they can appreciate the art.”

Neighbouring countries are more established and more systematic in terms of the development of their arts industries. The founders of Stiev Salapak believe that artists should make an effort to engage with each other in order to learn more. As there is almost no support from the government for the art in Cambodia, artists need to make the effort to create opportunities for themselves in the Southeast Asian region as well as in Cambodia itself. In saying this, although the art scene in Cambodia is relatively new, there has been a significant advancement in recent years.

The main goal for Stiev Salapak has always been to promote Cambodian contemporary art and by doing that, they support emerging artists. As Lyno states, this original idea has not changed. It has evolved into something bigger, meaning that the idea has evolved into something that can now accommodate and support Cambodian artists adequately.

“When we started as a group, we thought we wanted to create a new way of contemporary photographing and to support that we needed a space. Later on we realised it was not about our group, but about Cambodian artists, new emerging artists, the Cambodian contemporary art scene and [making a contribution] to the art scene. We also wanted to welcome other artists. That’s why we created the art project, so we can engage more emerging artist to realise their ideas; to create opportunities for them to experiment [with] their new ideas without any limitations.” Vuth Lyno, speaking with Art Radar Asia.

JAS/KN

Related Topics: artist-run spaces, Southeast Asian artists, photography

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• London’s Michael Hoppen pioneers photography at ART HK 10, plans Hong Kong gallery – interview – June 2010 – art professional reveals details about Asian photography market
• Four Asian artists nominated for NYC PULSE Awards – March 2010 – Cambodian artist among winners
• Will Vietnamese non-profit art space San Art shift the art scene from Hanoi to Ho Chi Min city? – interview Dinh Q Le – December 2009 – another successful Southeast Asian artist-run space
• First New York solo show for Sopheap Pich, Cambodia’s most prominent contemporary artist – November 2009 – information post on exhibition
• 5 80s born contemporary Cambodian artists featured in historic show Forever Until Now – March 2009 – lists names and details of top Cambodian artists

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Four Asian artists nominated for NYC PULSE Awards

EMERGING ASIAN ARTISTS –  ART PRIZES

 

Four Asian artists were nominated for Pulse Awards at the PULSE art fair  which took place in New York City and Miami between 4-7 March 2010: Shun Duk Kang from Korea, Hiroshige Furuhaka from Japan, Farsad Labbauf from Iran and Sopheap Pich from Cambodia.

Though none of these four artists won either the PULSE award or the People’s Choice award, the fair gave them extensive exposure (they each won their own booths) and point to their status as emerging names in the global scene.

Shin Duk Kang, Heaven and Earth, 2008

Shin Duk Kang, a South Korean artist, is represented by Seoul’s Galerie Pici. She creates installation art that reflect the limits of her material while evoking nature in her work. She also makes prints, which utilize geometric forms to continue exploring the subject of nature.

Hiroshige Fukuhara, The Night Became Starless, 2008

Ai Kowada Gallery 9 represents Hiroshige Fukuhara, who specialises in drawings with graphite and black gesso on wood. Viewers are drawn to the simplicity of his works, as well as the subtle addition of graphite, which makes his black-on-black drawings shimmer from certain angles. Before PULSE, he was featured in PS1’s 2001 show “BUZZ CLUB: News from Japan.”

Farsad Labbauf, Joseph, 2007

Iranian artist Farsad Labbauf combines figurative painting with Iranian calligraphy to create a unified image, regardless of the content of the words or pictures within that image. He refers to his Persian heritage as his inspiration, especially its carpet-making tradition: that unrelated elements were able to come together in linear patterns to create a whole. He concludes that his work is “often an attempt for the union of the internal.”

Sopheap Pich, Cycle, 2005

Sopheap Pich is a Cambodian artist represented by Tyler Rollins Fine Art of New York. His work mostly consists of sculptures of bamboo and rattan that evoke both biomorphic figures and his childhood during the Khmer Rogue period. He has become a major figure in the Cambodian contemporary art scene.

AL/KCE

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• Art industry elite meet at inaugural Abu Dhabi Art Fair – Dec 2009
• First NY solo show for Sopheap Pich, Cambodia’s most prominent contemporary artist – Nov 2009
• Abraaj Capital art prize fills void – May 2009

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First New York solo show for Sopheap Pich, Cambodia’s most prominent contemporary artist

SOUTHEAST ASIAN CONTEMPORARY SCULPTURE

On November 12th, Tyler Rollins Fine Art (TRFA) introduced another Southeast Asian artist to the New York art scene. Bamboo sculptor Sopheap Pich’s first solo exhibition in New York will run until January 9th 2009, ending the Fall exhibition season.

RAFT, 2009 BAMBOO, RATTAN, WOOD, WIRE, METAL BOLTS 89 X 177 X 52 IN.

According to TRFA, Pich has been very active on the international stage in recent years and is now considered to be Cambodia’s most prominent contemporary artist. In addition, Pich’s artwork is currently part of the 4th Fukuoka Asian Art Triennale ending on November 23rd.

"THE PULSE WITHIN" INSTALLATION VIEW

“Issues of time, memory, and the body are integral to Pich’s work. For this exhibition, he has created a dynamic group of sculptural forms derived from the internal organs of the human body, such as the heart, lungs, and intestines. These function as visceral reminders of the past and of the intimate, physical connections between human beings” – quoting TRFA’s website

Related Links and Posts:

• Visit Sopheap Pich’s website at http://sopheappich.com
• 5 80s born contemporary Cambodian artists featured in historic show Forever Until Now – March 2009
• 5 60s and 70s born contemporary Cambodian artists in documentary show Forever Until Now– March 2009
• Historic show documents development of Cambodian art- Forever Until Now – March 2009
• World first show of Japanese sculpture in bamboo New York – Sep 2008

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SF/KCE