Archives de catégorie : Expositions

Philippine Art: Collecting Art, Collecting Memories

« Philippine Art: Collecting Art, Collecting Memories », 14/07/2017 – 11/03/2018, Asian Art Museum, San Francisco

Landmark exhibition at Asian Art Museum showcases centuries of creativity and cultural exchange

On view July 14, 2017–March 11, 2018 and presented in the Tateuchi Thematic Gallery, Philippine Art: Collecting Art, Collecting Memories is the result of more than a decade of study and collecting by the museum’s curatorial team — a labor of love to expand the institution’s holdings in this oft-overlooked area.

This is the first exhibition ever mounted in the United States of Philippine art spanning from the precolonial period to today. It explores the Philippines’ diverse artistic practices through twenty-five rare and compelling works: traditional carving and weaving; Islamic metalwork; Christian art from the colonial period; and modern and contemporary painting and mixed-media. This rich variety comes together to tell the sometimes unfamiliar story of how the Philippines — an island nation positioned along ancient trade routes between China and India, and, later, Europe via the Americas — has for centuries been a center for artistic exchange and innovation.

“The artistic culture of the Philippines has been marked by a history of invasion, resistance, accommodation and adaptation,” explains Natasha Reichle, who as the museum’s associate curator of Southeast Asian art spent years acquiring the artworks organized into this exhibition. “What has been fascinating is seeing how contemporary artists draw upon aspects of this complex legacy to create new works, works that are celebrated in the Philippines and valued in a global art market that is beginning to appreciate their beauty, originality and sophistication.”

“Ironically, the Philippines’ colonial history and Christian artistic legacy placed much of its art outside familiar ‘Asian art’ storylines of Hinduism or Buddhism, which may have led to its exclusion from our museum’s original founding collection,” explains Reichle. “Luckily for our visitors, this is a story that wants to be told. We have pieces in this exhibition acquired by donation, given directly from artists and collectors, even from the families of former missionaries and on-the-ground field researchers. The backstory of how we acquired every artwork mirrors the fascinating history of the Philippines.”

Lire la suite sur : http://www.asianart.org/press_releases/81

‘Land of Freedom’: Heri Dono’s First Solo Exhibition in Hong Kong

« Joko Tarub Bathe in the Lake, Attacked by Terrorists, Protected by 7 Bidadari » (2016) by Heri Dono. Image courtesy of the artist and Tang Contemporary Art

« Land of Freedom » : Heri Dono’s First Solo Exhibition in Hong Kong by Valencia Tong, 07/07/2017, the Artling

As one of Indonesia’s most celebrated contemporary artists, Heri Dono is known for his satirical political commentary in his paintings and installations. Earlier on, The Artling interviewed the Yogyakarta-based artist back in 2015 during his residency at STPI in Singapore, before his solo installation at the Indonesian Pavillion for the Venice Biennale. Fast-forward to 2017, Heri Dono is showing his works at Tang Contemporary Art in his first solo gallery exhibition in Hong Kong.

The artworks on view seem humorous at first glance, yet they deal with serious sociopolitical issues, such as those in the Brexit and Trump era. To illustrate the complexities of the global political scene, strange-looking mythological creatures are juxtaposed against political caricatures. In Super Trump – Land, US president Donald Trump is depicted as a superhero-like figure with three eyes.

The artist, born in 1960 in Jakarta, Indonesia, is inspired by wayang kulit, a form of traditional shadow puppet play in Indonesia. Symbols of animals, mythological beasts, machines, spaceships and parodies of world leaders are commonly found in his work.

Lire la suite sur : https://theartling.com/en/artzine/2017/07/07/land-of-freedom-heri-donos-first-solo-exhibition-in-hong-kong/

Banda : Heritage for Indonesia

« Banda : Heritage for Indonesia : a seminar and an exhibition about Banda, nutmeg and the treaty of Breda 1667-2017 », 31/07/2017 – 31/08/2017, Erasmus Huis, Jakarta

2017 marks the 350th anniversary of the Treaty of Breda. This Treaty, named after the Dutch city where it was signed on 31 July 1667, ended the Second Anglo-Dutch war (1665–1667) during which England and the Netherlands had fought over maritime hegemony and world trade. Through signing the Treaty of Breda, the Dutch accepted English rule over what is now New York (New Amsterdam), while the British accepted Dutch rule over Suriname and Run, the remotest of the Banda islands. However, the Banda islands had been an international trade centre long before the Portuguese were the first Europeans to visit Banda. It was after their arrival to the islands that various European powers attempted to monopolize the worldwide trade in nutmeg. These disputes turned the Banda islands into a lively, yet often violent stage for world politics. After the Dutch, led by J.P. Coen, unleashed a lethal expedition against the Bandanese in 1621, a Dutch monopoly on the spice was secured even though the British maintained their claim on Run until 1667.

This exhibition traces this fascinating history behind the Treaty of Breda. Through the presentation of historical maps, images and objects, Banda’s multi-faceted history will be highlighted. The visitor gets acquainted with nutmeg and its characteristics, Banda as a centre of international trade and world politics.

Voir : https://www.facebook.com/bartelegallery/photos/a.157149674310864.41895.111961525496346/2010751102284036/?type=3&theater

Deep South ‘Patani arts’ opens in the North

« Deep South ‘Patani arts’ opens in the North » by Kong Rithdee, 20/07/2017, Bangkok Post

A major contemporary art exhibition about the Deep South is on display at a museum in Chiang Mai, one of the biggest gatherings of artists from the region, with the addition of others whose works touch on the stories of conflicts and violence in the southernmost provinces.

« Patani Semasa » opened last night at MAIIAM Contemporary Art Museum in San Kamphaeng, Chiang Mai. It features 27 artists who work in painting, photography, installation pieces and video art.

The majority are from « Patani », the generic and historic name of the provinces of the Deep South. Many are women, and while the exhibition generally showcases the development of contemporary art in the region, the dominant theme at this show is the loss, reflection and hope that come with the protracted unrest plaguing the region for decades, particularly since 2004.

Lire la suite sur : http://www.bangkokpost.com/lifestyle/art/1290594/deep-south-patani-arts-opens-in-the-north

 

Passion and procession : art of the Philippines

Passion and procession : art of the Philippines, 24/06/2017 – 12/11/2017, Art Gallery New South Wales

Celebrating the diverse and vibrant art of the Philippines.

Passion and procession brings together painting, sculpture, video and installation works from ten contemporary Filipino artists, revealing their very personal responses to faith, history, politics and life in the Philippines.

The works draw on folk mythology, family archives, nature and religious ceremony to reconsider established narratives of history and nation. The artists have used found as well as ritual objects, plant specimens and symbols of precolonial histories to address the ambiguities of faith and science, social inequality and relationship to place. In doing so, they demonstrate a belief in the potential of art to inspire, heal and effect social change.

The artists include Santiago Bose, Marina Cruz, Alfredo Esquillo Jr, Nona Garcia, Renato Habulan, Geraldine Javier, Mark Justiniani, Alwin Reamillo, Norberto Roldan and Rodel Tapaya.

Accompanying their works is a selection of textiles and sculptural objects from the Philippines given to the Gallery in 2005 by Dr John Yu and Dr George Soutter.

This exhibition is part of the Bayanihan Philippine Art Project, a collaboration between the Art Gallery of NSW, Blacktown Arts Centre, Mosman Art Gallery, Peacock Gallery (Auburn) and Campbelltown Arts Centre in association with Museums & Galleries of NSW, to celebrate the art and culture of the Philippines through a series of exhibitions, performances, creative writing and community programs across multiple venues.

The last issue of TAASA Review : The Journal of the Asian Arts Society of Australia (vol. 26, n° 2, June 2017) is dedicated to the Bayanihan Philippine Art Project, and the art and culture of the Philippines.

Voir : https://www.artgallery.nsw.gov.au/exhibitions/passion-and-procession/

Patani semasa : pameran seni dari Patani

Exhibition : Patani Semasa : Pameran Seni dari Patani, 19/07/2017 – 14/02/2018, MAIIAM Contemporary Art Museum

An exhibition on contemporary art from the Golden Peninsula. Ranging from different time periods, works of art as well as cultural representations of the « Patani region » from 27 artists have been selected – both locals and those engaged with issues relevant to the area in question.

Voir : http://www.maiiam.com/exhibition/

Sunshower : Contemporary art from Southeast Asia 1980’s to now

« Sunshower : Contemporary art from Southeast Asia 1980’s to now », 05/07/2017 – 23/10/2017, The National Art Center, Tokyo & Mori Art Museum

With its total population counting around 600 million, multi-ethnic, multi-lingual, multi-faith Southeast Asia has nurtured a truly dynamic and diverse culture. Contemporary art from the emerging economic powerhouse of Southeast Asia is currently earning widespread international attention. The “sunshower” – rain falling from clear skies – is an intriguing yet frequently-seen meteorological phenomenon in Southeast Asia, and serves as a metaphor for the vicissitudes of the region. This exhibition, the largest-ever in scale, seeks to explore the many practices of contemporary art in Southeast Asia since 1980s from 9 different perspectives. It aims to showcase its inconceivable dynamism of Southeast Asia that is somewhat nostalgic yet extraordinarily new.

Nine sections :  Fluid World, Passion and Revolution, Archiving, Diverse Identities, Day by Day, Growth and Loss, What is Art ? Why Do It ?, Medium as Meditation, Dialogue with History.

Voir la liste des artistes par pays, les oeuvres et le programme des discussions sur :  http://sunshower2017.jp/en/index.html

« Sunshower »Brings Flowers with this Major Exhibition of 180 Southeast Asian Artworks

« Stormy Weather » (2009) by Filipino artist Felix Bacolor (Image courtesy of @katrinav_)

« Sunshower Brings Flowers with this Major Exhibition of 180 Southeast Asian Artworks » by Yunyi Lau, 08/07/2017, The Artling

The tropical climate of Southeast Asia lends for torrential downpours across the year. For those not used to the weather, one can be shocked to find what was a pleasantly sunny day, suddenly turn into a very wet situation in under a minute. Known as a sunshower, this frequent meteorological phenomenon in the region is the paradox of rain falling from clear skies.

It is this phenomenon that has been the inspiration behind a major show of Southeast Asian Contemporary Art that commemorates the 50th anniversary of the Association of Southeast Asian Nations (ASEAN). The sunshower is a poetic metaphor for the developments within Southeast Asia that resulted from the post-WWII decolonisation. Despite the turmoil that many countries were thrown into, many experienced democratisation and globalisation that caused rapid economic and urban development, resulting in drastic changes that have since changed the socio-political landscape of the region.

Sunshower originally began as an idea conceived between the Director-General of the National Art Center, Tokyo and the Director of the Mori Art Museum, and was assented by The Japan Foundation. The three parties came together to set up a 14-member curatorial team, which conducted a two and a half year field research, culminating in a selection of about 180 artworks by 86 artist groups from the ten ASEAN member countries, exhibited across the two museums.

Through the works selected, the exhibition seeks to explore the development of contemporary art in Southeast Asia since the 1980s against the backdrop of the currents and fluctuations of the times from nine different perspectives, with the goal of capturing its dynamism and diversity. Below is a selection of some of the works that we suggest you check out if you plan on checking out the exhibition!

The nine sections that Sunshower is divided into include: Fluid World that looks at maps and how they reflect socio-poltical economic values, Passion and Revolution that focuses on some of the major wars that shaped the region, Archiving that looks at the development of document-collection in Southeast Asian art, Diverse Identities focuses on postcolonialism and the emergence of independence and democracy, Day by Day is a look at artists’ exploration of local everyday life, Growth and Loss is the observation of the changes of globalisation and urbanisation that have impacted Southeast Asia, What is Art? Why Do It? is a look at the development of institutions and the characteristics of the art community in the region, Medium as Meditation focuses on how local traditional culture has affected the way artists use materials as their museums, and finally, Dialogue with History is an exploration into how artists engage with their histories in the present day.

A voir sur : https://theartling.com/en/artzine/2017/07/03/sunshowers-bring-flowers-with-this-major-exhibition-of-180-southeast-asian-artworks/

Vintage Photographs Capture the Beauty of Classical Dance – Avec les danseuses royales du Cambodge

Photos of Khmer classical dancers printed on canvas are exhibited at the Institut Francais. (Siv Channa/The Cambodia Daily)

Vintage Photographs Capture the Beauty of Classical Dance by Michelle Vachon, 15/06/2017, The Cambodia Daily

When George Groslier first approached Nou Nam in March 1927 with the idea of photographing her while she performed Khmer classical dance, she refused. “People no longer know how to dance, she told me with disdain,” he later wrote.

A few minutes later, the dancer—a favorite of both King Norodom and King Sisowath—relented.

Then in her 50s, Nou Nam agreed to help the photographer archive Khmer classical dance movements in photographic form.

As he began to capture the former star dancer, George Groslier realized that “the hand stops two centimeters higher than on Wednesday, and the head turns two degrees more than in Nou Nam’s day,” showing how the dance form had evolved.

For Khmer classical dancers whose slightest movements are painstakingly executed, this was profoundly troubling. Master dancers watching Nou Nam became agitated, he wrote.

Capturing these changing styles for posterity was Groslier’s goal. He wanted to provide a historical record for generations to come.

Lire la suite sur : https://www.cambodiadaily.com/news/vintage-photographs-capture-the-beauty-of-classical-dance-131369/

Exposition :  « Avec les danseuses royales du Cambodge », 15/06/2017 au 07/09/2017, Galerie de l’Institut Français du Cambodge

En 1927, George Groslier, directeur du musée National, entreprend pour conserver la mémoire des postures de danse du ballet royal, un exceptionnel travail de documentation photographique. Longtemps resté à l’écart, le corpus de négatifs sur verre a été récemment catalogué et numérisé. Après leur présentation au Musée National du Cambodge en 2012 puis à New York, Paris et Siem Reap, ces photographies sont exposées à l’Institut Français du Cambodge.

Exposition conçue par le MNC et l’EFEO à Phnom Penh (avec le soutien de l’IFC et de l’UNESCO)

Voir : https://institutfrancais-cambodge.com/expo-avec-les-danseuses-royales-du-cambodge/

Indonésie, les fermiers du miel

Exposition : Indonésie, les fermiers du miel, du 20/05/2017 au 27/11/2017, Musée de l’Homme, Balcon des Sciences

Par Nicolas Césard, Muséum National d’Histoire Naturelle

Au détour de la forêt indonésienne, à Bornéo, découvrez comment des hommes se rendent en haut des arbres, en pleine nuit, pour récolter le miel produit par la plus grande des abeilles mellifères, Apis dorsata.

Cette apicollecte évolue vers une apiculture par l’aménagement d’emplacements favorables à l’installation des essaims sauvages. Ainsi, la destruction des abeilles est limitée et la récolte du miel est rendue plus aisée. Ces nouvelles pratiques permettent une gestion plus durable des ressources mellifères.

À travers des objets, des spécimens et des reconstitutions, et grâce à plusieurs dispositifs multimédias – jeux interactifs et vidéos de terrain -, cette exposition présente les diverses techniques et outils utilisé par ces fermiers du miel, et explore les relations entre les sociétés et les abeilles en Indonésie.

Voir : http://www.museedelhomme.fr/fr/visitez/agenda/exposition/indonesie-fermiers-miel

Balthazar, Prince Noir de Timor et de Solor en Chine, en Amérique et en Europe au XVIIIe siècle

 

Exposition : Balthazar, Prince Noir de Timor et de Solor en Chine, en Amérique et en Europe au XVIIIe siècle, du 22/05/2017 au 02/06/2017, INALCO

Par Frédéric Durand, Professeur, Université Toulouse II – Jean Jaurès

Originaire des îles de la Sonde (Indonésie et Timor-Oriental) où il est né en 1737, dans la communauté de métis Timorais/Portugais des Topasses-Larentuqueiros, Balthazar est selon toute vraisemblance le fils de Gaspar da Costa, le chef des métis portugais qui vivaient entre Flores, Solor et Timor-ouest, et avait le statut de « roi ».
Gaspar da Costa est mort en 1749, lors de la bataille de Penfui contre les Hollandais, à la tête d’une armée de 50 000 hommes. Il est considéré comme un des pionniers de la lutte anti-coloniale aux Indes néerlandaises et sa mémoire est commémorée par un monument à Timor-ouest.

Le Prince Balthazar, se rend à Batavia, à Macao et à Canton, avant de prendre un bateau pour la France, où il est abandonné à l’âge de treize ans par son précepteur, un prêtre portugais. Pour survivre, le jeune Prince embarque sur des bateaux, dont des navires corsaires, qui l’emmène notamment aux Pays-Bas, en Angleterre, en Ecosse et au Québec. Il revient ensuite en France, où il écrit à de nombreuses personnalités dont les rois Louis XV et Louis XVI et le philosophe Voltaire. Il n’est alors pas évident pour lui de se faire reconnaître en France, car en concurrence avec d’autres étrangers se disant « princes », dont ceux d’Angola et de Macao. Au cours des années 1760/70, la presse internationale parle de lui, de l’Italie à l’Angleterre et de Paris à Bratislava. Balthazar fréquente de nombreux milieux intellectuels où religieux, dont des académiciens, des alchimistes, des encyclopédistes et des francs-maçons. Il est également l’ami de la communauté des Noirs et des Asiatiques de Paris. Dans les années 1780, Balthazar devient conteur et poète dans la grande société parisienne, mais en 1789, la Révolution française fait s’effondrer le monde dans lequel il s’était intégré. Il est mort en 1791 à l’Hôtel Dieu de Paris.

Oublié au XXe siècle, plusieurs articles à son sujet on été publiés dans des revues scientifiques, et notamment dans Archipel, à propos de mémoires qu’il avait fait publier dans les années 1760. Les historiens qui avaient travaillé sur lui n’avaient cependant pas perçu sa notoriété et pensaient qu’il était mort pauvre et inconnu.

Les vingt-quatre panneaux de l’exposition reproduisent chronologiquement les étapes importantes de la vie du Prince de Timor et de Solor.

Voir : http://www.inalco.fr/evenement/exposition-balthazar-prince-noir-timor-solor-chine-amerique-europe-xviiie-siecle

Photographer Captures Intimacy of Daily Life in Cambodia

« Photographer Captures Intimacy of Daily Life in Cambodia » by Michelle Vachon, 02/05/2017, The Cambodia Daily

When French-Canadian photographer Serey Siv embarked on a project two years ago to photograph ordinary life across small-town Cambodia, his goal was far from simple.

Assuming the role of an observer, he sought to capture the “timeless” side of life in the country: the small episodes in people’s daily lives that could have taken place in the 1960s or on Monday. To better set the photographs out of time, he shot in black and white.

“I played a bit with this notion of past and present,” he said on Friday.

An exhibition of Mr. Siv’s series, “La balade de Serey,” or “Serey’s Stroll,” opens today in Siem Reap City.

It took a year for Mr. Siv to capture the images of daily life, waiting to seize the moments as they happened in the “beautiful natural light” that occurs for only a few hours each day. The result is images in which the gray and black tones make the scenes all the more striking and create a quiet intimacy with the people portrayed, drawing in the viewer.

Lire la suite sur :  https://www.cambodiadaily.com/news/photographer-captures-intimacy-of-daily-life-in-cambodia-128957/

New photo exhibition takes on Cambodian gender double standards

An image from Neak Sophal’s Flower series. Photo supplied

New photo exhibition takes on Cambodian gender double standards by Anna Koo, 05/05/2017, The Phnom Penh Post

Neak Sophal’s Flower opens at Java Café and Gallery at 6:30pm on Tuesday, May 9. The exhibition, which will be displayed on the second floor of the café, runs through June 25.

The series, which was the product of six months work, is based on a Khmer saying that compares women to white paper and men to gold. If gold were dropped in the mud, the saying goes, it could be polished and cleaned and will never tarnish.

White paper, meanwhile, gets permanently stained and, once considered dirty, no longer has value. The proverb is a not-so-subtle reminder of the need for women to behave themselves sexually, or else they “lose their value”.

“If you are virginal, you are a valued woman. If you don’t have it, you are not a good woman . . . For me, it is an unacceptable comparison, because women and men are human and we live together,” she says.

Gender studies has long been a subject of interest for the 28-year-old Royal University of Fine Arts graphic design graduate. Her distinctive conceptual style results in work that often serves as social commentary, highlighting what she sees as invisible social issues in Cambodian culture.

She won the Photo Prize at the Angkor Photo Festival in 2013 with her exhibition The Hang On, featuring subjects from all walks of life in Cambodia with their faces obscured by objects, usually related to their jobs, which have overtaken their identity.

In Sophal’s images, the subjects are framed by flowers a motif inspired by the frequent comparisons in songs, movies and stories of women to flowers. She then drops paint on the photograph to produce her final product, to prove that stains do not always have to be dirty and can be an element of beauty itself…

Lire la suite sur : http://www.phnompenhpost.com/post-weekend/new-photo-exhibition-takes-cambodian-gender-double-standards

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/