Archives par mot-clé : Art

Toys for the souls : life and art on the Mentawai Islands

Nouvelle parution : Reimar Schefold, Toys for the souls : life and art on the Mentawai Islands, PRIMEDIA Editions, 2017

This book presents a detailed and inspiring picture of the traditional ways of life and the impressive art of the Mentawai archipelago located off the west coast of Sumatra in Indonesia. This shamanistic culture, most notably found on the northernmost island of Siberut, maintains an ancient relationship between man and the spiritual world. Within this worldview, everything is animated. Not only do humans have souls, but so do animals, plants and objects. To please these souls and to create harmony, alluring artifacts have been created for generations. In this way life, art, ritual and esthetics are intertwined: a notion reflected in the field photographs and in the beautiful and rare objects that are described and illustrated here. Toys for the Souls reveals for the first time the richness and creative power of an artistic imagination, deeply rooted in Southeast Asian prehistory.

Voir : http://www.tribalartmagazine.com/fischbacher/art-books/?a=view&id=382&lang=en

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

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/

Site and Space in Southeast Asia

Map of Rangoon, ca. 1914. Cartographers Wagner and Debes, Leipzig.
In Karl Baedeker, Indien. Handbuch für Reisende. Verlag Karl Baedeker, Leipzig, 1914, p. 256 f

The Power Institute (Sydney) is thrilled to announce a new collaborative research initiative, Site and Space in Southeast Asia.

The project explores the intersections of urban space, art and culture in three cities—Yangon, Myanmar, Penang, Malaysia, and Huế, Vietnam—through collaborative, site-based research. With major funding from the Getty Foundation’s Connecting Art Histories Initiative and partners from within and beyond the region, including National Gallery Singapore, Nanyang Technological University, and Dumbarton Oaks Research Library and Collection, Site and Space in Southeast Asia, continues our efforts to support innovative research in the art and architectural histories of the region, foster professional networks among early career scholars, and expand our engagement with an ever more global field.

Site and Space in Southeast Asia builds on the success of our first Connecting Art Histories project, Ambitious Alignments: New Histories of Southeast Asian Art. While Ambitious Alignments was centred around individual research projects exploring histories of modern art between 1950 and 1990, Site and Space expands its chronological reach, from the colonial into the postcolonial and contemporary, while shifting focus to site-based work by small teams of researchers. Engaging with cities as sites that generate cultural narratives, researchers will explore spaces of memory, interaction, and production across national and regional boundaries.

While Field Directors will lead research teams in each city, the overall program is directed by Stephen Whiteman, Lecturer in Asian Art at the University of Sydney, with professors Adrian Vickers, Director of Asian Studies, and Mark Ledbury, Director of the Power Institute. Dr Yin Ker of Nanyang Technological University will be joining the project as Field Director for Yangon, while Dr Simon Soon, a University of Sydney graduate and Senior Lecturer at the University of Malaya, will lead the Penang team. A search for the Field Director for Huế is underway; interested candidates are invited to contact Dr Whiteman at stephen.whiteman@sydney.edu.au with any enquiries.

Site and Space in Southeast Asia will launch with a mini-field school in Singapore in late autumn 2018. A call for participation will be announced in September—please spread the word!

Voir : http://www.powerpublications.com.au/site-and-space-in-southeast-asia/

Approaches to the Study of Khmer and Cham Art

Approaches to the Study of Khmer and Cham Art: a Research Workshop with Tran Ky Phuong and Soumya James, 16/05/2017, CSEAS, SOAS.

Scholarship on ancient Khmer and Cham art evolved concomitantly with the French colonial project, and has long been grounded in archaeological and epigraphic study. This workshop presents new currents of research expanding the field. Tran Ky Phuong is the leading scholar of Cham art. After a first curatorial career at the Danang Museum of Cham Sculpture, he joined the Vietnam Association of Ethnic Minorities’ Culture and Arts, where he has launched research combining ethnographic and art historical methods. Soumya James represents a new generation of Southeast Asia art historians. Her work examines the representation of the divine feminine in cultural and eco-political landscape of Angkor.

Tran Ky Phuong is a former curator of the Museum of Cham Sculpture in Da Nang (1978-98); currently he is a senior research fellow with the Vietnam Association of Ethnic Minorities’ Culture and Arts; and is a researcher of the Center for Cultural Relationship Studies in Mainland Southeast Asia (CRMA Center) of Chulachomklao Royal Military Academic, Thailand and at APSARA Authority, Siem Reap, Cambodia; from 2012 until the present he has been a consultant of UNESCO World Cultural Heritages at My Son Sanctuary. He has awarded several research fellowships to study at International Institute for Asian Studies (IIAS), Leiden; Asia Research Institute (ARI) of National University of Singapore; Center for Advanced Studies in the Visual Arts (CASVA), National Gallery of Arts, Washington DC.

He has published several books and articles in Vietnamese, English and Japanese, including: My Son in the History of Cham Art (1988); Vestiges of Champa Civilization (2008); Champa Iseki/Champa Ruins (co-author with Shige-eda Yutaku, 1997); The Cham of Vietnam: History, Society and Art (co-editor with Bruce Lockhart), NUS Press (2011); “The Architecture of Temple-Towers of Ancient Champa (Central Vietnam)” in Champa and the Archaeology of My Son, Vietnam (2009); “The Preservation and Management of the Monuments of Champa in Central Vietnam: The Example of My Son Sanctuary, a World Cultural Heritage Site”, in Rethinking Cultural Resource Management in Southeast Asia: Preservation, Development and Neglect (2011);“The new archaeological finds in Northeast Cambodia, Southern Laos and Central Highland of Vietnam: Considering on the significance of overland trading route and cultural interactions of the ancient kingdoms of Champa and Cambodia”, in Advancing Southeast Asian Archaeology 2013, SEAMEO SPAFA Regional Center for Archaeology and Fine Arts, Bangkok, Thailand (2015).

Soumya James is an independent Art Historian who studies premodern South and Southeast Asian art. She received her PhD in Art History from Cornell University. Her dissertation focused on the cultural and eco-political significance of the divine feminine at three Angkor period sites. Her research investigates the relationship between landscape and built form, gender and sexuality, and the art historical links between premodern South and Southeast Asia. Following her graduation, she continued her research while working as the coordinator for the Science and Society Programme at the National Centre for Biological Sciences, Bangalore, India. She was a Postdoctoral Associate at the Franke Program in Science and the Humanities and a Fellow at the Whitney Humanities Center, both at Yale University. She is currently working on a book manuscript and planning her next fieldtrip to Cambodia.

Voir : https://www.soas.ac.uk/cseas/events/16may2017-approaches-to-the-study-of-khmer-and-cham-art-a-research-workshop-with-tran-ky-phuong-and-.html

CALL FOR PAPERS : Remapping the Arts, Heritage, and Cultural Production: Between Policies and Practices in East and Southeast Asian Cities

CALL FOR PAPERS : Remapping the Arts, Heritage, and Cultural Production: Between Policies and Practices in East and Southeast Asian Cities, 16-17 August 2017, Asia Research Institute, NUS

Deadline : 30 April 2017

For Zukin (1982, 1987, 1995) culture has been central to the development of the new ‘symbolic’ or ‘creative’ economy, but she also cautions against its appropriation for urban redevelopment that can lead displacement of local communities. Castells (2010), on the other hand, suggests that cultural materials, including digital media, facilitate social change, especially in relation to social movements, because they enable social actors to redefine their subjectivities and transform the social structure. While local and regional governments are striving towards the ‘rejuvenation’ of urban spaces as a form of city branding, citizens and artists alike are seeking ways to maintain the viability of local arts and culture along with (in)tangible heritage. In many Asian cities, heritage preservation has played an important role in the democratisation of urban spaces and community building. Tensions between different interest groups have been unavoidable but mutual ground is needed for feasible policies and practices to construct inclusive and socially just urban spaces.

With the rise of local governance, and changing state-society relationships, we believe that the full potential of arts, heritage, and cultural production in the social transformation and civic participation has not yet been fully acknowledged. Given differences in urban governance, planning and civic participation in East and Southeast Asia, more nuanced research is needed to identify what kind of cultural policies and creative practices could be developed and how they might provide innovative approaches beyond the Western paradigms of ‘creative’ or ‘cultural’ cities, and gentrification. Similarly, Douglass (2015) has raised policy questions about how to strengthen civic engagement, belonging and community building in cities through the cultivation of civic participation. Innovative forms of civic participation resonate with the ‘worlding practices’ defined by Ong (2011:4) as ‘projects that attempt to establish or break established horizons of urban standards in and beyond a particular city’. The purpose of this multidisciplinary conference is thus to explore both government-led cultural policies and the organically emerging artistic and creative practices aimed at the empowerment of local communities and neighborhoods in contemporary East and Southeast Asian cities.

We invite the submission of papers from early career and established scholars, policy makers, activists, and creative practitioners to explore the role of arts, culture, and heritage in developing more progressive urban societies in East and Southeast Asia cities. We encourage applicants to consider empirical case studies and theories within comparative contexts and to extrapolate policy options for other regions apart from the East and Southeast Asia that explore innovative ways to build co-operation between varied social groups, institutions, and local governance. Questions that will guide the conference proceedings speak to integrated themes across disciplinary and geographical boundaries and include:

  • How do arts, heritage, and creative practices provide opportunities for ‘creative communities’ to resist the encroachment of the corporate economy (Douglass 2015)? What challenges do they face in asserting their right to urban space?
  • How and to what extent could ‘gentrification aesthetics’ (Chang 2014) open up new approaches for analysing both positive and negative impact of urban redevelopment?
  • What kind of innovations in governance are needed to support art communities, heritage preservation, and cultural and creative industries in ways that are socially inclusive, viable, and enhance civil participation? Can an approach based on the interconnectedness of cultural and social sustainability (Kong 2009) benefit the understanding of the collective processes emerging in cities today?
  • How does public art reflect the ways in which forms of vernacular heritage, culture, and socio-spatial identity are bound up with the representation and (re)shaping of place and landscape in cities? What controversies and political fault lines might emerge through these processes?
  • What kind of novel forms of ‘art activism’ or ‘cultural activism’ are emerging, and how do they benefit, interact, or hinder the aims of social transformations?
  • To what extent are arts, heritage, and cultural productions contributing to the development of ‘tourist cities’? How is this being resisted or embraced by local populations?
  • What new approaches are emerging that transcend purely physical space? Can intangible forms, such as digital networks, forums and sites, benefit the survival of local communities?

Plus d’informations sur : https://ari.nus.edu.sg/Event/Detail/f767b24e-9d53-4d4b-9f72-0ec54a53689b

Obieg, no. 2 (2016) : Parallel contemporaries : the art of Southeast Asia

Obieg, no. 2 (2016) : Special Issue :  Parallel contemporaries : The art of Southeast Asia

Editor : Krzysztof Gutfranski

Obieg is a bilingual Polish-English online quarterly that deals with the humanities.

A lire sur : http://obieg.u-jazdowski.pl/en/azja

Table of content

  • Parallel Contemporaries: The Art of Southeast Asia by Krzysztof Gutfranski
  • The Distances of Our Time: Reflections on Art Criticism and Southeast Asia by Lee Weng Choy
  • Rethinking Curatorial Colonialism by Simon Soon
  • Public Play: Audience Involvement and the Decoding of Concept in Socially-engaged Southeast Asian Contemporary Art by Iola Lenzi
  • Affective Labor and the Philippine Body by Patrick D. Flores
  • Defining the Thai Territory through Monuments: The Counter-insurgency in the Highlands Border by Thanavi Chotpradit
  • Playing with National Politics: Vietnamese Artists’ Visions of War by Nora Taylor
  • The Chorus of Idle Footsteps by Ron Hanson
  • Currencies of the Contemporary: Biennials and the International in Southeast Asia by David Teh
  • Comparative Contemporaries by Lee Weng-Choy, Sue Acret, Patrick D Flores, Ho Tzu-Nyen, Ly Daravuth, Keiko Sei