Archives de catégorie : Expositions

Recalling a forgotten kingdom in Venice Biennale

Recalling a forgotten kingdom in Venice Biennale by Helmi Yusof, 14/04/2017, The Business Times

Zai Kuning will be showcasing Dapunta Hyang: Transmission of Knowledge at the Singapore Pavilion of the 57th Venice Biennale from May 13 to Nov 26, 2017.

After18 years criss-crossing South-east Asia, Zai Kuning’s artistic journey is now going beyond the region to make a stop at the most important art event in the world: the Venice Biennale.

There, at the Singapore Pavilion in Arsenale, Zai is constructing a massive Phinisi ship out of rattan, string and beeswax. It will be 17 metres long – a metre perhaps for each year he’s spent exploring the history of Malays in South-east Asia – and it will be surrounded by 100 books that have been dipped in wax, never to be opened and read again, a metaphor for lost histories.

Since 1999, the artist has been obsessed with the meta-historical questions of: « Who am I? Where do I come from? Whom do I belong to? Whom do I answer to? » He’s less interested in issues of national identity and family genealogy than the broader field of the ethnogenesis and migration of Malays. The central figure in his research is Dapunta Hyang, the first ruler of the Srivijaya kingdom that dominated the Malay Archipelago from the 8th to the 12th century. As a Malay Buddhist, Dapunta Hyang also helped spread Buddhism throughout his kingdom.

At the Venice showcase, Zai will be putting up 30 photographic portraits of living mak yong performers on a facing wall running parallel to the ship. An audio recording of a mak yong master speaking in an ancient Malay dialect will also be played on loop.

Lire la suite sur : http://www.businesstimes.com.sg/lifestyle/arts/recalling-a-forgotten-kingdom-in-venice-biennale

Transformative traditions: Dana Langlois and Reaksmey Yean of Cambodia’s JavaArts – in conversation

Transformative traditions: Dana Langlois and Reaksmey Yean of Cambodia’s JavaArts – in conversation, 04/04/2017, Art Radar

Prominent Phnom Penh gallery seeks to make contemporary art accessible through initiatives. 

Based in Phnom Penh since 1998, Dana Langlois founded JavaArts in 2000. In addition to the café and gallery that makes up JavaArts, Langlois also founded experimental gallery Sala Artspace and Our City Festival.

Java Gallery’s current Curator for Creative Programmes, Reaksmey Yean worked for art organization Phare Ponleu Selpak as an Assistant to the Department of Performing Arts and Administrator of Artist Residency Programmes (EU) and Cambodian Living Arts as a Communication and Advertising Officer and Production and Logistic Officer. Yean is also the founder of Trotchaek Pneik.

Langlois and Yean talked with Art Radar about the rapid changes engulfing Cambodia’s urban capital and the echo of the country’s brutal genocide under Pol Pot and the Khmer Rouge, where an estimated 1.7 to 2.5 million people perished between 1975 and 1979.

Lire la suite sur : http://artradarjournal.com/2017/04/04/transformative-traditions-dana-langlois-and-reaksmey-yean-of-cambodias-javaarts-in-conversation/

Ramayana : the divine poem as revealed by the Rajbansi masks (India, Nepal, Indonesia)

Exposition : Ramayana : the divine poem as revealed by the Rajbansi masks (India, Nepal, Indonesia), 08/04/2017 – 10/09/2017, Museo Arte Orientale di Venezia

Il Museo d’Arte Orientale di Venezia, presenta la mostra Rāmāyaa. The divine poem as revealed by the Rājbanśī masks, Museo d’Arte Orientale di Venezia, 8 aprile – 10 settembre 2017, prodotta da ICI Venice – Istituto Culturale Internazionale e dall’Association pour le Rayonnement des Cultures Himalayennes, a cura di Marta Boscolo Marchi e François Pannier, con il contributo scientifico di Stefano Beggiora.

La mostra, patrocinata dall’UNESCO, dall’Università Ca’ Foscari Venezia e dall’ICOO, Istituto di Cultura per l’Oriente e l’Occidente, offre un suggestivo percorso tra Nepal, India e Indonesia, seguendo la diffusione del Rāmāyana, testo sacro dell’induismo.

Tradizionalmente attribuito al saggio Vālmīki (fine II – inizio I sec. a.C.), il nucleo originario del grande poema venne composto in realtà tra il VI e il III secolo a.C. e trovò la sua definizione nei primi secoli della nostra era. Analogamente ai poemi omerici, il Rāmāyana è un insieme organico delle conoscenze e dei modelli culturali di un’intera civiltà.

In esposizione alcune splendide maschere in legno dipinto della collezione di Alain Rouveure, che rappresentano alcuni dei numerosi personaggi della saga di Rāma, avatāra (discesa) di Viṣṇu e furono realizzate per le sacre rappresentazioni che si tenevano nei villaggi, testimoniano il radicamento di questa tradizione presso l’etnia Rājbanśī, tra il sud del Nepal, il Bihar e il Bengala indiano.

Come si potrà vedere nel docu-film girato da Anne e Ludovic Segarra nel 1975, nel Mithila le donne continuano a dipingere le loro case con scene sacre, e nei villaggi di quella regione gli attori mettono in scena il Rāmāyana col volto semplicemente dipinto.

Dall’India il Rāmāyana si diffuse anche in Indonesia: la sua messa in scena nel teatro di figura indonesiano e in particolare nel wayang kulit, il teatro delle ombre, lo ha reso una delle storie più popolari e note del paese. Nell’ultima sala del percorso espositivo, le marionette della collezione del Museo d’Arte Orientale raffigurano molti degli stessi personaggi delle maschere Rājbanśī, creando un suggestivo legame culturale tra India e Indonesia.

Pour plus d’informations : https://icivenice.wordpress.com/2017/03/14/ramayana-the-divine-poem-as-revealed-by-the-rajbansi-masks-exhibition-museo-arte-orientale-di-venezia-exhibition-08-04-2017-10-09-2017/

Lav Diaz : Journeys

Lav Diaz : Journeys, 27/01/2017 – 12/03/2017, London Gallery West

London Gallery West is proud to be the first London venue to present six films by Lav Diaz, one of the greatest radical artists of contemporary cinema. For this exhibition the gallery space will be transformed into an inviting cinema environment to screen a rotating programme of Diaz’s extraordinary epics.

Independent Filipino filmmaker Diaz describes himself as a storyteller who makes films about the struggles of his people. His films tell quiet tales of everyday sorrow and resilience, and of the existential quest of a people betrayed by the postcolonial nation state. His films demonstrate a radical reworking of melodrama that extends the possibilities of cinema by combining physical cinematic realism with poetry, modernist literature, painterly landscape, musical improvisation, theatrical performance, ritual intensity and duration.

Shot mostly in black and white, Diaz makes notoriously long films with the economy of means afforded by digital. Diaz’s method of filmmaking exemplifies an organic process that merges fictional storytelling with the material density and tempo of the locality of shooting. Astonishing rhythmic pacing creates a powerful dialectic between the microscopic gestures and steadfast movements of powerless bodies, the immensity of natural and historical forces, and spectral presence.

Diaz was winner of the Golden Lion at the 2016 Venice Film Festival, the Silver Bear Alfred Bauer award at the 2016 Berlin Film Festival, among other prestigious prizes. He is a Radcliffe–Harvard Film Study Center Fellow. Retrospectives of his work have recently been held at the Jeu de Paume Museum, Courtisane Festival, and the Film Society of Lincoln Center.

A programme of talks will take place throughout the exhibition and Diaz will be in attendance in March for an international symposium on his films and artistic practice hosted by the Centre for Research and Education in Arts and Media.

For the screening programme schedule, Gallery talks and symposium see : https://www.westminster.ac.uk/news-and-events/events/lav-diaz-journeys

Vietnam : National treasures go on display

20170105161547-3

« National treasures go on display », 05/01/2017, VietNamNet

16 national treasures will be displayed for the first time at the National Museum of Vietnamese History.

The items were recognised as national treasures due to their special cultural and historical value following an appraisal report of the National Council for Cultural Heritage.

The exhibits include a Ngoc Lu bronze drum related to the Dong Son culture dating back up to 2,500 years ago. It is the most beautiful and intact drum of its type yet discovered and was recognised as a national treasure in 2012.

Other exhibited items include a Dao Thinh bronze jar from the Dong Son culture that dates back 2,500 years, a Dong Son statue depicting two men playing pan pipes dating to around 700 BC, and a large Dong Son bronze lamp in the form of a kneeling person, dating back to around 200 AD.

A Viet Khe boat tomb, a bell from Van Ban Pagoda, an 11th century Le Dynasty stele from Nam Giao Temple and a bronze royal stamp from the 12th century Tran Dynasty are also on display.

Other national treasures include the Prison Diary, a 1927 book entitled Revolutionary Road by Ho Chi Minh, and the handwritten draft of President Ho Chi Minh’s appeal to the nation for a resistance war written in late 1946.

The exhibition will run until May.

Voir : http://english.vietnamnet.vn/fms/art-entertainment/170710/national-treasures-go-on-display.html

Secrets of the Sea: A Tang Shipwreck and Early Trade in Asia

Exhibition : « Secrets of the Sea: A Tang Shipwreck and Early Trade in Asia », 7 March – 4 June 2017, Asia Society, New York

This exhibition brings the precious contents of a shipwreck discovered off Belitung Island in the Java Sea to American audiences for the first time. The remarkable cargo of spice-filled jars and all together more than 60,000 ceramics produced in China during the Tang dynasty (618–907), plus luxury items of gold and silver, was bound for Iran and Iraq. Selected objects illustrate the story of the active exchange of goods, ideas, and culture in Asia more than one thousand years ago. The exhibition will bring to light how this discovery—one of the most important archaeological revelations of the twentieth century—has changed the way we understand ninth-century Asia.

Secrets of the Sea: A Tang Shipwreck and Trade in Early Asia is jointly organized with the Asian Civilisations Museum, Singapore. Objects are from the Khoo Teck Puat Gallery, Asian Civilisations Museum, Singapore. The Tang Shipwreck Collection was made possible by the generous donation of the Estate of Khoo Teck Puat in honor of the Late Khoo Teck Puat.

Voir un échantillon des objets exposés : http://asiasociety.org/new-york/exhibitions/secrets-sea-tang-shipwreck-and-early-trade-asia#!artworks

 

 

“An Atlas of Mirrors”: 10 highlights from Singapore Biennale 2016

Eddy Susanto, The journey of Panji
Eddy Susanto, The journey of Panji

 

“An Atlas of Mirrors”: 10 highlights from Singapore Biennale 2016, 18/11/2016, Art Radar

The fifth edition of the Singapore Biennale 2016 opened on 27 October and will run until 26 February 2017.

Organised by the Singapore Art Museum (SAM), the fifth Singapore Biennale is titled “An Atlas of Mirrors” and features contemporary works by 63 artists and art collectives from 19 countries in Southeast Asia, and East and South Asia. The mega exhibition, which had its first edition nine years ago, started with an international outlook but has gradually narrowed its focus on the art of Southeast Asia and its surrounding regions.

Voir les oeuvres sur :  http://artradarjournal.com/2016/11/18/10-highlights-from-singapore-biennale-2016/

The exhibition is divided into nine tongue twisting sub-themes, which can be simplified into the following categories:

  • ideas of space and place;
  • myths, cyclical time and the ahistorical;
  • cultural legacies, beliefs and memory;
  • nature and culture;
  • the contestation of borders;
  • agency, representation and voices of resistance;
  • national and cultural identities;
  • migratory experiences and displacement; and
  • re-imagining histories that have been marginalised.

With 58 artworks at the Biennale, making a list of ten is not only difficult but limiting. As the 2016 Singapore Biennale unfolds over the months, Art Radar will bring you more highlights of the works on show. The works listed here are mere entry points to the mega exhibition, which can be negotiated in multiple ways. Will the coupling of an atlas and the curiosities of the mirror shift our perception of the world? An Atlas of Mirrors positions Southeast Asia as a vantage point through which we can recognise our world anew.

Moscow museum displays restored 1950s Indonesian paintings

1
“Moscow museum displays restored 1950s Indonesian paintings” by Daria Strelávina, 30/09/2016, Russia Beyond the Headlines

The State Museum of Oriental Art in Moscow recently unveiled « New life of Indonesian Art, » an exhibition, which is dedicated to the celebration of the ASEAN-Russia year of culture.”

“In 1964-65, Vilen Sikorsky and Natalya Chevtaykina worked in the House of Soviet Culture in Jakarta and Surabaya. While he was the general director of the House of Culture, Sikorsky cultivated friendships with many Indonesian artists, who gifted him some of their paintings. During the Indonesian coup d’etat in 1965, Sikorsky and Checkvetaykina left the country and saved some unique paintings of artists, such as Rustamadji, Pekik, and Tarmizi, from getting destroyed.”

Cet article reproduit les tableaux avant et après leur restauration.

http://rbth.com/multimedia/2016/09/30/moscow-museum-displays-restored-1950s-indonesian-paintings_634251

 

 

P-Noise Film Festival – Cinéma et culture philippines – 18-20 novembre 2016

33-page-011

18-20 novembre 2016 – Cinéma Club de l’Etoile – 14 rue Troyon 75017 Paris

P-noise est une association danoise créée en 2011 ayant pour objectif de promouvoir et de faire découvrir la culture philippine en Europe.

L’association a déjà organisé deux éditions du P-Noise film festival à Copenhague. Après une première édition centrée sur le cinéma en 2012, le festival a pris de l’ampleur pour sa seconde édition en 2015 en étendant son spectre à la danse, la musique et la photographie.

Pour cette année 2016, le festival de Copenhague s’accompagne d’une édition parisienne inédite qui s’ouvrira dès cet hiver. Notre ambition est d’organiser le premier événement récurrent en Europe dédié au cinéma et à la culture philippines.

Le Club de l’Etoile accueille donc cette première édition parisienne du P-Noise Festival avec le réalisateur philippin Brillante Mendoza en parrain. Ce dernier présentera son film, primé à Cannes, Ma’Rosa en avant-première et offrira également une masterclass au public parisien.

Continuer la lecture de P-Noise Film Festival – Cinéma et culture philippines – 18-20 novembre 2016

Singapore Biennale | An Atlas of Mirrors

singbienn2016-e1476108499636Exploring shared histories and current realities within and beyond the region, Singapore Biennale 2016 will be a constellation of artistic perspectives that provide unexpected ways of seeing the world and ourselves.

Titled An Atlas of Mirrors, the international contemporary art exhibition will feature site-specific and never seen before contemporary artworks by more than 60 artists across Southeast Asia, and East and South Asia.

Du 27 octobre a 2016 au 26 février 2017Site web : http://www.singaporebiennale.org/

Exposition photographique : Remembering Yolanda: SIGNOS, by Veejay Villafranca

EASTERN SAMAR, PHILIPPINES -  Evcauees board a military plane offering free transport from affected areas December 7, 2013. DISPLACED EARTH/SIGNOS SERIES 2009 - 2015 Photograph by Veejay Villafranca
EASTERN SAMAR, PHILIPPINES – Evcauees board a military plane offering free transport from affected areas December 7, 2013.
DISPLACED EARTH/SIGNOS SERIES 2009 – 2015
Photograph by Veejay Villafranca

 

On the 3rd Anniversary of Typhoon Haiyan, also known as Super Typhoon Yolanda, disaster in the Philippines, we catch up with photojournalist Veejay Villafranca on his long-term project SIGNOS and the urgent issue of Climate Change.

Continuer la lecture de Exposition photographique : Remembering Yolanda: SIGNOS, by Veejay Villafranca

Singapore Biennale 2016 : an atlas of mirrors

Singapore Biennale 2016 : an Atlas of Mirrors

27/10/ 2016 – 26/02/2017

Singapore Art Museum

Exploring shared histories and current realities within and beyond the region, Singapore Biennale 2016 will be a constellation of artistic perspectives that provide unexpected ways of seeing the world and ourselves.

Titled An Atlas of Mirrors, the international contemporary art exhibition will feature site-specific and never seen before contemporary artworks by more than 60 artists across Southeast Asia, and East and South Asia.

https://www.singaporebiennale.org/about-singapore-biennale-2016.php

Chiang Mai Photo Festival – 2017 3-17 février

14707815_592075500984169_6367191911425339227_o

The compiling of the photographic works focusing on young  emergent artists. The collaborative project from both Thai and International photographic related Universities has been initiated to aesthetically express the ideas as well as point of view through photographic language. Moreover, the festival itself is a vital platform for young emerging ASEAN artists, which enables them to develop their potentiality as well as their body of work. The academic upshot of photographic study in South East Asia would also be reflected. A wide range of diversity according to visual culture in our region would enhance

Pour en savoir plus

ANYWHERE BUT HERE, BETONSALON CENTRE FOR ART AND RESEARCH

Betonsalon in Paris presents the exhibition, Anywhere But Here (N’importe où sauf ici, គ្រប់ទីកន្លែង លើកលែងទីនេះ). It brings together art­works that seek out some cir­cu­la­tions of objects, fig­ures or gestures in rela­tion to Cambodia, and more broadly within the geopo­lit­ical con­text of Southeast Asia.

The exhibition runs at Betonsalon Centre for Art and Research in Paris till 5 November 2016.

With a focus on deter­ri­to­ri­al­iza­tion – whether they would be forced or driven by free will, con­se­quences of uncon­trol­lable slip­pages or trans­fers care­fully orches­trated – these col­lected sto­ries of move­ments draw van­ishing points within pre­vailing pro­cesses of his­tory-making and pat­ri­mo­nial her­itage.

The works pre­sented in Anywhere But Here address marginal move­ments devel­op­ping within his­tor­ical moments, such as the forced exile or vol­un­tary dis­place­ments of intel­lec­tuals to France and its colonies (Hàm Nghi, Tran Minh Duc). The works of Thao-Nguyen Phanevoke the after-effects of French and Japanese intru­sions on the evo­lu­tion of agrarian land­scape and def­er­ence ges­tures, while others invent new sce­narios in pat­ri­mo­nial spaces (Shooshie Sulaiman, Pratchaya Phinthong). Some works trace the inti­mate tra­jec­to­ries of objects and anony­mous per­sons (Felix González-Torres, Khvay Samnang, Vuth Lyno), while others take as their starting point former artists’ jour­neys that lie ambigu­ously between a quest for dis­ori­en­ta­tion or a quest of tan­gible ori­gins (Albert Samreth, Singapore Art Archive Project, Vandy Rattana).

Exhibition partners: Sa Sa Bassac, Sa Sa Art Projects, Cité Internationale des arts, Fondation Nationales des Arts Graphiques et Plastiques, Fondation Daniel et Nina Carasso, Pernod Ricard

Le soliloque des muets, l’expo photographique – MAISON DE L’ASIE, Ecole Française d’Extrême-Orient, du 1er octobre au 30 novembre 2016

affiche-a4

Exposition à la MAISON DE L’ASIE, Ecole Française d’Extrême-Orient, du 1er octobre au 30 novembre 2016

Le soliloque des muets est un documentaire écrit et réalisé par Stéphane Roland qui sortira en 2017, après 5 ans d’effort.

En parallèle, Stéphane a conçu avec Truly Hitosoro, chercheuse indonésienne en criminologie, une exposition photographique sur les traces du film qui témoigne du sort effroyable de nombreux indonésiens lors des événements de 1965:

« Indonésie, 30 septembre 1965. Profitant d’une tentative de putsch contre le président Sukarno, le général Suharto lance la répression politique anti-communiste à travers l’archipel. En quelques semaines, l’Indonésie devient le théâtre de l’un des plus importants crimes contre l’humanité du XXème siècle. Torture et viol systématique, déportation massive en camps de travaux forcés, massacres… La propagande fera de cette « victoire » l’acte fondateur du Nouvel Ordre et, au-delà, l’un des piliers identitaires de l’unité indonésienne. Malgré l’apparition de la démocratie en 1998, ces injustices demeurent impunies et inconnues pour une majorité de personnes à travers le monde.

Pour en savoir plus