Chiang Mai: Thailand’s modern-day Left Bank by Denis D. Gray, 16/04/2017, Nikkei Asian Review
Evolution of Thai northern city into creative hub fuels hopes of gaining UNESCO status.
The millions of tourists who flock to the ancient, mountain-ringed city of Chiang Mai in northern Thailand might not immediately notice, but the alleys, riversides and Bohemian cafes here are percolating with striking imagery, innovative design and digital wizardry. It is a heady brew that has prompted some to predict a real explosion — a creative one, that is.
The city is already home to more than 40 art galleries and a world-class contemporary arts museum, with others planned. It hosts design and arts festivals and was listed on a widely consulted digital nomad website as No. 1 of 991 places in the world for roving techies to plug in their computers. A creative resource guide to the city runs to 199 pages, focusing on venues ranging from the Wandering Moon Theater to Chiang Mai University’s College of Arts, Media and Technology.
Among a growing base of arts enthusiasts, Chiang Mai has become Thailand’s Left Bank, a part of Paris long known for its artistic and intellectual community.
Lire la suite sur : http://asia.nikkei.com/Life-Arts/Arts/Chiang-Mai-Thailand-s-modern-day-Left-Bank?page=1
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
Yvonne Spielmann, Contemporary Indonesian Art: Artists, Art Spaces, and Collectors, NUS Press, 2017
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture).
Spielmann’s Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
Voir : https://nuspress.nus.edu.sg/collections/frontpage/products/contemporary-indonesian-art-artists-art-spaces-and-collectors
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/
Southeast of Now : Directions in Contemporary and Modern Art in Asia, vol. 1, no. 1, March 2017
This new journal is published by NUS Press, Singapore
Site : https://muse.jhu.edu/issue/35721
Southeast of Now aims to look and listen closely to the discursive spaces of art in, from, and around the region that is referred to as Southeast Asia, from a historical perspective. The journal presents a necessarily diverse range of perspectives not only on the contemporary and modern art of Southeast Asia, but indeed of the region itself: its borders, its identity, its efficacy, and its limitations as a geographical marker and a conceptual category. As such, the journal is defined by a commitment to the need for and importance of rigorous discussion, of the contemporary and modern art of the domain that lies south of China, east of India, and north of Australia.
Vous pouvez lire des extraits des articles à l’adresse indiquée ci-dessus et l’ensemble du numéro sera accessible à tous dès la semaine prochaine.
Table of contents
- “Total Community Response”: Performing the Avant-garde as a Democratic Gesture in Manila by Patrick D. Flores
- An exceptional inclusion : On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art by Kathleen Ditzig
- Endurance and Overcoming in the Art of Amron Omar and Melati Suryodarmo: Invoking Uncommon Alignments for Contemporary Southeast Asian Art History by Michelle Antoinette
- A Dark Spot on a Royal Space: The Art of the People’s Party and the Politics of Thai (Art) History by Thanavi Chotpradit
- Of Poems in a Recalcitrant Landscape: An Interview with Stanley J. O’Connorn by Pamela N. Corey, Stanley J. O’Connor
- Searching for Discomfort by Sharmini Pereira, P. Kirubalini
- Hol Pidan: Cambodian Traditional Pictorial Silk Textile Preservation and Development, at the National Museum of Cambodia, 2016 by Joanna Wolfarth
- Introduction by Vera Mey
- Towards Figures of Dedication, and a Flood (2015) by Tom Nicholson, Grace Samboh and Edhi Sunarso
- Getah Bening by Shooshie Sulaiman
After Delays, Indonesia’s First Modern and Contemporary Art Museum to Finally Open by Sarah Cascone, 10/01/2017, artnet News
Voir : https://news.artnet.com/art-world/museum-macan-opens-november-2017-811448
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