Archives de catégorie : VIE ARTISTIQUE

Online exhibition of Buddhist art of Myanmar

Online exhibition of Buddhist art of Myanmar in the collection of the British Museum. Curated by Alexandra Green, Henry Ginsburg Curator in Southeast Asian Art at the British Museum.

Introduction

In the 19th and early 20th centuries, Western scholars viewed Buddhism as an austere, monolithic religion focused upon meditation and nirvana – the escape from the cycles of rebirth.   Such a portrayal ignores the realities of religious systems in Myanmar (Burma), where people combine homage to the Buddha with such activities as spirit worship, making offerings, and divination. People select these rituals according to their personal needs in everyday life, and also to form spiritual pathways to pleasurable rebirths and to help them strive for nirvana.   This exhibition draws on the British Museum’s Myanmar collections to explore how the variety of Buddhist ideas is revealed in lively daily practices.

A explorer sur : https://artsandculture.google.com/exhibit/twKyUyMK68joJA

The Thai director who shows the future of cinema

UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES aka LOONG BOONMEE RALEUK CHAT  2010

« The Thai director who shows the future of cinema », 24/05/2018, BBC Culture

Palme d’Or winner Apichatpong Weerasethakul encourages sleeping in the cinema and thinks virtual reality has major creative potential, writes Jessica Kiang.

It’s a strange thing to meet a stranger whose dreams you’ve dreamed. That’s what it feels like to find myself sitting across from Apichatpong Weerasethakul one afternoon in the thick-carpeted quiet of a Doha hotel. We are both at Qumra, a week-long industry event held annually in the Qatari capital, at which Apichatpong is one of 2018’s attending ‘masters’. It is easy to feel dislocated and rootless here: a few miles away the skeleton scaffolds of future World Cup stadiums rear up from shifting sands, and outside, the bright paving stones of the already immaculate souk are being scrubbed of the last few hours of history once again. Everything feels new and clean and spaciously empty, except this room, which I’m fanciful enough to imagine teeming with a shared lexicon of imagery and ideas. In here, there are talking baboons, sleeping soldiers, ghosts and goddesses, doctors swigging hooch from stashes hidden in prosthetic legs and dead sons turned into furry, red-eyed demons that, a delighted Apichatpong claims, are often likened to Chewbacca.

All of it is a means to the same greater end, Apichatpong’s ultimate science-fiction project: the perfect communion of minds, the lossless transfer of thought. There is no precious attachment to an ossified idea of cinema for its own sake. In fact, he imagines a distant future when we won’t even need a camera or any device, when « we will be able to share dreams by hooking up our brains in a real collective sleeping. » The shimmering, transcendent, sometimes soporific, defiantly cinematic experience of his exceptionally strange stories, unfolding in the cool, focused, companionable darkness of a cinema – that’s just the best we can do right now.

Lire l’article sur : http://www.bbc.com/culture/story/20180523-the-thai-director-who-shows-the-future-of-cinema

The Tale of Prince Vessantara at the Ashmolean Museum (Oxford)

« The Tale of Prince Vessantara », until 09 September 2018, Ashmolean Museum (University of Oxford)

The Buddha is believed to have had many lives before being born as Siddhartha Gautama. Stories of his past lives are known as jatakas (‘birth stories’). They play an important role in teaching Buddhist values.

The Vessantara Jataka is the last and most popular of the jataka tales. Here the Buddha was born as Prince Vessantara of the Sivi Kingdom, a very generous man who gave away everything, including his wife and children, to help others. His actions demonstrate the virtue of generosity, which in Buddhism is one of the ‘perfections’ required to achieve enlightenment.

The tale is often illustrated in Southeast Asian and Sri Lankan art. Buddhists can gain merit by making and commissioning these images. This display, drawn from the Ashmolean’s own collection, highlights a selection of Burmese and Sri Lankan drawings, paintings and woodcarvings of the story dating to the 19th century.

Curator : Dr Farouk Yahya

Voir : https://www.ashmolean.org/event/the-tale-of-prince-vessantara

 

Exposition Latiff Mohidin au Centre Georges Pompidou

Latiff Mohidin, « Provoke » (1965)

« National Gallery Singapore brings major show of works by Latiff Mohidin to Paris’s Centre Pompidou » by Gareth Harris, 5 /03/2018, The Art Newspaper

The exhibition of 1960s works by the Malaysian artist is part of a long-term plan to turn Euro-centric Modernism on its head

The National Gallery Singapore is going global, presenting its first show at the Centre Pompidou in Paris as part of the joint Reframing Modernism initiative launched by both institutions. The exhibition in Paris, Latiff Mohidin; Pago Pago 1960-69 (until 28 May), includes more than 70 works by the eponymous Malaysian artist and poet drawn from private and public collections in Singapore and Malaysia.

Reframing Modernism “was developed in the spirit of re-examining the currents and perspectives which have shaped existing notions of Modernism”, write Eugene Tan, the director of the National Gallery Singapore, and Bernard Blistène, director of the Centre Pompidou’s Musée national d’art moderne, in the exhibition catalogue.

Both institutions are keen to “contribute to a more nuanced understanding of interactions between southeast Asia and Euro-America from a decentralised perspective”. In 2016, the Beaubourg gallery loaned works by artists such as Picasso and Chagall to the Reframing Modernism show held at the National Gallery Singapore, putting southeast Asian works in a new global context.

Prints, poetry, sculptural objects and writings on display reflect Mohidin’s multifaceted practice during the 1960s. The co-curators—Catherine David of the Centre Pompidou and Shabbir Hussain Mustafa of the National Gallery Singapore—demonstrate how Mohidin was exposed to movements such as German Expressionism and Cubism during his time studying at the Hochschule für Bildende Künste in west Berlin from 1961 to 1964. Key works on show include Nature Morte I, Paysage de Berlin (verso; 1962), and the work on paper Un garcon (1963).

In the second half of the 1960s, Mohidin travelled across southeast Asia against a turbulent political backdrop whereby various nationalist movements had begun to prevail (Singapore split from the Malyasian Federation in 1965, for instance). The artist also forged important relationships with other avant-garde thinkers such as the writer Goenawan Mohamad in Jakarta. Mohidin dubbed this dialogue, and the new aesthetic taking shape regionally, Pago Pago.

Hussain Mustafa outlines the process, saying: “Mohidin evokes the consciousness that emerged through these travels with a phrase, Pago Pago, a manner of thinking and working that complicated Western Modernism through the initiation of dialogues with other avant-garde thinkers in southeast Asia.”

Mohidin describes how the Pago Pago works are made, saying in the exhibition catalogue: “Each Pago Pago object is constructed with a black contour… sometimes the colouring came after the shape had taken form. The bottom ground is uniformly the same colour, like the Berlin still-life paintings. In terms of the brush technique, although Pago Pago has fewer brush strokes, there is significant control over the form, the curves, the leaves.” His poetry of the time is, meanwhile, in free verse form, echoing the biomorphic aspect of his art.

Voir : https://www.theartnewspaper.com/news/national-gallery-singapore-brings-major-show-of-works-by-latiff-mohidin-to-europe-with-70-strong-survey-at-paris-s-centre-pompidou

 

IFUGAO SCULPTURE: EXPRESSIONS IN PHILIPPINE CORDILLERA ART

Exhibition : Ifugao Sculpture : Expressions in Philippine Cordillera Art, 01/12/2017 – 04/02/2018, University Museum and Art Gallery, University of Hong Kong

The University Museum and Art Gallery, The University of Hong Kong, is delighted to present Ifugao Sculpture: Expressions in Philippine Cordillera Art from December 1, 2017 to February 4, 2018, an exhibition of tribal art and culture. Rarely shown in such a large group display, both figurative sculptures and ritual boxes exemplify the talent of artists from the Ifugao, Bontoc and Kankanaey tribes in the northern Luzon region of the Philippines. The exhibition is organised in cooperation with Mr Martin Kurer and the Hong Kong-based Asian Art:Future (AA:F), a collection specialising in contemporary and antique Asian art.

The works displayed in the show range from sculptural objects, including ‘bulul’ statues, deities associated with the production of bountiful harvests; ‘hipag’ (or ‘hapag’) figures, war deities used as vehicles through which divine help can be summoned; sculptural boxes used in ceremonies, the ‘punamhan’; and various boxes for the storage of food—sometimes called ‘tangongo’ or ‘tanoh’—along with other functional items such as ‘kinahu’, food bowls, and toys. Fascinated with the modern abstract style of these carved 19th- and 20th-century sculptures, the exhibition takes an artistic rather than an anthropological approach, highlighting the aesthetics of the displayed artworks rather than signifying them as ethnic markers or religious tools. Both the bulul figures and boxes are deeply connected to cultural rituals, while they present abstract expressions of a group of talented rural artists.

Together, these selected pieces showcase the aesthetic and artistic side of a wide range of Cordillera sculptural art from the 18th through the 20th centuries. The pieces are arranged in line with various centres of artistic gravity—‘archaic’, ‘minimalist’, ‘transition’—although the lines are sometimes blurred, and most of the ‘archaic’ material also shows ‘minimalist’ elements.

One of the essays in the exhibition catalogue draws comparisons with other tribal arts and describes their influence over modern Western artists, such as the Russian Wassily Kandinsky (1866–1944), the Romanian Constantin Brancusi (1876–1957) and the French artist George Braque (1882–1963). This claim is based on visual comparisons and it is each object’s physical structure, design value and international character that is highlighted in the current exhibition.

Voir : http://www.umag.hku.hk/en/exhibition_detail.php?id=4040081

412 Historic Artefacts to Return Home to Sarawak, Malaysia

412 Historic Artefacts to Return Home to Sarawak, Malaysia

 

On 22 November, in the historic surroundings of Museum Prinsenhof in Delft, the Netherlands, YB Datuk Haji Abdul Karim Rahman Hamzah, Minister of Tourism, Arts, Culture, Youth and Sports of the Sarawak State Government, Malaysia, received one of the 412 historic artefacts which have been donated by the City of Delft to the Sarawak Museum to be displayed in the exhibition galleries of the new Sarawak Museum Campus.

A delegation from Sarawak, led by YB Datuk Karim, brought an appreciation visit to the city of Delft to convey the gratitude of the Sarawak State Government. The Deputy Mayor of Delft, Mr. Ferrie Forster, and the Director of Heritage Delft, Mrs. Janelle Moerman, ceremonially handed over the collection to the Minister and Mr. Ipoi Datan, director of the Sarawak Museum.

In his speech, YB Datuk Karim conveyed the gratitude of the Sarawak State Government on the generous donation of the highly unique 412 Bornean ethnographic items to the Sarawak Museum. He added that: ‘The donation greatly complements the Sarawak Museum’s own collection and augurs well to assist in achieving its Vision of becoming the “Global Centre for Bornean Heritage by 2030.” The Sarawak government is ever keen to ensure that such artefacts that originated from Borneo, the world’s third largest island, would be returned to its original abode.’ Datuk Karim, in his speech, acknowledged the role that Mr. Hans van de Bunte, the Senior Project Director of the Sarawak Museum Campus, had played in this matter.

In early 2018, after the artefacts have arrived in Sarawak, an exhibition will be set up at the Textile Museum in Kuching to show a selection of the Nusantara artefacts to the public. A special edition of the booklets on the Sarawak Museum’s collections will be published alongside the exhibition. For both the exhibition and booklet YB Datuk Karim extended his gratitude to the Dutch Embassy in Malaysia for their kind support and very helpful sponsorship.

Museum Nusantara, in the city of Delft, The Netherlands, closed its doors to the public in 2013 and the city government with Heritage Delft started a project to find new museum owners for the collection of artefacts. The possibility to acquire a selection of historic artefacts from Borneo came under the attention of the Sarawak Museum Campus’ Senior Project Leader. The Sarawak Museum, a member of ASEMUS, was seen as the appropriate location for this collection. A formal request was prepared and initiated the successful donation by the Dutch institute to the Sarawak Museum.

YB Datuk Karim extended an invitation to the city of Delft to attend the opening of the exhibition in Sarawak in early 2018. He offered the city of Delft the opportunity to collaborate with the Sarawak Museum to co-organise any events or activities, like seminars or exhibitions, for their mutual benefit, to be held in Sarawak in 2019, which happens to be Visit Sarawak Year.

The Sarawak Museum Campus and Heritage Trail

The Sarawak Museum Campus is a State-funded project to revive the international status of the Sarawak Museum and to build a new museum to showcase Sarawak’s rich cultural and historical heritage which will incorporate education and public outreach programmes. Its main goal is to establish a world-class museum campus and become one of the best museums in the region.

The objectives of the Sarawak Museum Campus include:

  • Establishing a world-class museum campus and restoring its status as one of the best museums in the region
  • Developing a new main museum building to showcase Sarawak’s rich cultural and historical heritage and provide visitor facilities for all.
  • Setting up an internationally recognized Sarawak Heritage Conservation Centre for research into Sarawak’s Heritage with conservation laboratories, collection storage facilities, research and museum staff offices, a library and the museum archive.
  • Ensuring conservation of the historic Sarawak Museum building and exhibitions to its former glory in an early 20th-century style museology and conservation of the ancillary buildings and gardens.
  • Harnessing the potential for education and public outreach through educational programmes for all, especially to younger generations.
  • Strengthening cultural tourism to Kuching and Sarawak.

The permanent exhibition galleries at the new museum span 6,000 sq. meters and research on the collections is being done by academic specialists to give depth to the exhibition storyline and provide new academic insights. The exhibition storyline is developed with a strong research background, and will be presented in an accessible format so that it engages with a local and broad audience. Especially as it will be presenting exciting knowledge about the local communities, culture, history and archeology of Sarawak and Borneo at large.

For  about the activities of the Sarawak Museum Department, please visit http://www.museum.sarawak.gov.my/

 

Pictured above: delegations of Sarawak and Delft, 22 November 2017; box, bamboo, early 20th century; jacket, bark, early 20th century

The First Reel : Philippine Film Festival in Berlin

The First Reel : Philippine Film Festival in Berlin, Breaking Boundaries, 3-5, 8-12 November 2017

We are proud to announce this year’s festival theme of « Breaking Boundaries », which is a nod to the myriad ways in which this year’s films portray going beyond, challenging, confronting, and struggling against individual, economic, political, and societal boundaries. From stories that feature people finding the courage to create a new life for themselves to a film that tackles indigenous Manobos’ struggles against environmental plunder and the militarization of their communities, the films in our lineup are about discovering one’s self, asserting one’s identity and rights, fighting for equality, struggling against oppression, and of reclaiming dignity.

Festival Schedule:

November 3, Friday – “Bwakaw” (2012), directed by Jun Lana
November 4, Saturday – “Batch ‘81” (1982), directed by Mike De Leon
November 5, Sunday – “Lorna” (2014), directed by Sigrid Andrea Bernardo
[break]
November 8, Wednesday – collection of Short Films by up-and-coming Filipino directors
November 9, Thursday – “Patintero: Ang Alamat ni Meng Patalo” (2015), directed by Mihk Vergara
November 10, Friday – “Birdshot” (2016), directed by Mikhail Red
November 11, Saturday – “Tu Pug Imatuy” (2017), directed by Arbi Barbarona
November 12, Sunday – “Sunday Beauty Queen” (2016), directed by Baby Ruth Villarama

Plus d’information sur la page FB du Festival : https://www.facebook.com/thefirstreel/

Voices of Transition : Contemporary Art from Myanmar

Exhibition : Voices of Transition : Contemporary Art from Myanmar, 16/11/2017 – 03/12/2017, Lunn + Sgarbossa Gallery, Londres

Lunn+Sgarbossa presents ‘Voices of Transition: Contemporary Art from Myanmar’, an exhibition of unprecedented size, scale and scholarly ambition in Europe to display contemporary artists from Myanmar.

In our curation, we aim to communicate the dynamic experiences of artists in Myanmar from the inception of contemporary art in Myanmar in the 1980’s to the present day. Our title – ‘Voices of Transition’ – demonstrates our enquiry into the transitional context for contemporary artists, understanding the oppression of state censorship, and how artists have boldly fought to have their voices heard. We also place the work in a broader, non-artistic context and challenge the reality of the often quoted ‘transition to democracy’ of Myanmar post-2015. In essence, ‘Voices of Transition’ asks how we reconcile individual voices and national context, in order to understand societal ‘transition’.

Visitors to the exhibition will be exposed to a carefully curated set of media and practises. Moe Satt (b. 1983) presents his captivating video-art ‘Hands around in Yangon’ (2017), which deals poignantly with the daily tasks of many pairs of hands, revealing through its hypnotic pace the inner-workings of a day in the life of Yangon. Aye Ko (b.1963), winner of the Joseph Balestier Freedom of the Art’s Prize 2017, prints striking and tortured self-depictions, through which we are able to reflect on his time as a political prisoner. Nge Lay’s (b.1979) visceral and disarming photography explores the effects of time on the bodies of the female role models from her personal life, illustrating a central curatorial tenet of the exhibition, the departure of the old and the emergence of a new generation.

The exhibition will display major new works from the ‘father of Burmese modern art’, artist Aung Myint (b.1946), whose artworks have been collected by the Guggenheim. Until the 2000s, the colours red and gold were largely censored in art and film for political and religious reasons. Aung Myint’s use of colour and reinterpretation of traditional calligraphic and mural techniques are radical acts of rebellion. Acclaimed performance artists from Myanmar will be performing in person at the exhibition. Performance art, requiring minimal tools beyond the artist’s own body, has been a crucial medium of social-political participation, protest and solidarity in the struggle for a democratic Myanmar. While paintings can be symbolic, performance art is a direct action of defiance.

Lire la suite sur : https://www.lunnsgarbossa.com/current/

Southeast Asia Stakes Its Claim in the Art World

Htein Lin’s “A Show of Hands,” 2013–present, features hundreds of white plaster casts of raised right hands, each one an index of a political prisoner like himself. Credit Maria Baranova-Suzuki

Southeast Asia Stakes Its Claim in the Art World by Jason Farago, 27/09/2017, New York Times

Until recently — the 1990s, let’s say — an American critic keeping tabs on new art would concentrate on New York’s museums and galleries; cast an occasional, often dismissive eye on Western Europe; and perhaps try to visit Los Angeles now and again. No longer. By the ’90s the idea of a single avant-garde was dead and buried, and in its place arose a pluralist art ecosystem that spans the planet. It makes larger intellectual demands than ever, and requires us to accept that we’ll never see everything or understand it completely. In the new global art world, even we New Yorkers are provincials.

Perhaps nowhere benefited as much from this shift to a pluralist art world as Asia, where the 1990s saw an explosion of biennials and triennials. The Gwangju Biennale, Asia’s most important such exhibition, began in 1995 in South Korea, and was soon followed by large-scale shows in Shanghai, Taipei, Fukuoka, Yokohama, Singapore, Jakarta, and a half dozen other Asian megacities — all of which introduced Asian audiences to foreign art and pushed their own region’s figures to the international forefront. In these exhibitions, as well as in the new museums and art schools that arose around them, traditional styles of painting, drawing, pottery or calligraphy fell by the wayside, and installation, video and performance served as lingua franca.

The art in “After Darkness: Southeast Asian Art in the Wake of History,” at the Asia Society on Park Avenue, is the fruit of this global shift. The work here comes from Indonesia, Myanmar (or Burma) and Vietnam, though with just seven artists and one collective, it’s small enough to avoid the curse of the “regional show” and doesn’t force any unity on a diverse lineup. Not every work here is a masterpiece, but all of them plumb the roiling past and fractured present of places that, with a combined population of nearly 400 million, we have no excuse to be clueless about.

Lire la suite et voir les oeuvres sur : https://www.nytimes.com/2017/09/27/arts/design/southeast-asian-art-asia-society.html

 

Ancestors & Rituals, EUROPALIA INDONESIA

Ancestors & Rituals, Europalia Indonesia, 11/10/2017 – 14/01/2018, BOZAR/Palais des Beaux-Arts, Bruxelles

Commissaire: Daud Tanudirjo
Conseillers: Pieter ter Keurs & Francine Brinkgreve

Immense archipel de plus de 13 000 îles s’étalant sur pas  moins de 5 000 kilomètres d’est en ouest, l’Indonésie compte près de 255 millions d’habitants, 300 groupes ethniques et plus de 700 langues. Ces quelques chiffres donnent une idée de la diversité de ce pays et de la variété des cultures qui le composent.

Un point commun relie cependant une  grande majorité de ces cultures : l’importance accordée aux ancêtres. De Sumatra à la Papouasie, en passant par Java, Bornéo, Sulawesi, les petites îles de la Sonde et les Moluques : les ancêtres ont joué et jouent souvent encore un rôle de premier plan en Indonésie.

Qu’ils soient généalogiques ou mythiques, les ancêtres remplissent trois fonctions cruciales ayant trait au passé, au présent et au futur. Ils relient les vivants à leur passé, leur permettant de revendiquer une place au sein d’une lignée et de définir ainsi leur statut et position sociale. Ils sont ensuite garants de l’équilibre de la société et assurent par leur soutien et protection un présent harmonieux. Ils sont enfin source de fertilité et préservent ainsi le futur des peuples et cultures.

Les échanges avec d’autres cultures et religions ont, au fil des millénaires, influencé les arts, les identités et la manière  même d’envisager le monde des peuples indonésiens. La majeure partie des cultures de l’archipel trouvent leurs racines dans la culture austronésienne, apportée par des peuples migrateurs qui partirent de Taiwan il y a plus de 5 000 ans. La splendide culture Dong Son du nord du Vietnam, connue pour sa grande maîtrise du bronze, n’est pas non plus restée sans influence.

Enfin, un important volet de l’exposition est consacré aux surprenants rituels funéraires. Accomplis en différentes phases, parfois étalées sur plusieurs années, c’est ceux-ci qui permettent aux défunts d’accéder au statut d’ancêtres. Ceux qui leur survivent ne ménagent ni leurs efforts ni leurs finances pour les accompagner vers les mondes supérieurs et préserver ainsi l’équilibre et l’harmonie de la communauté.

La plupart des 160 trésors archéologiques et ethnographiques ont été prêtés par le Musée national d’Indonésie et sont exposés pour la première fois en Europe. Une trentaine de ceux-ci proviennent quant à eux de musées et de collections privées européennes. L’ensemble est mis en contexte à partir de photographies d’époque, de vidéos, de dessins et de peintures.

Voir : https://europalia.eu/fr/article/ancestors-rituals_1041.html

Between worlds : Raden Saleh & Juan Luna

Exposition : Between worlds : Raden Saleh & Juan Luna, 16/11/2017 – 11/03/2018, Singtel Special Exhibition Gallery C, National Gallery Singapore

Explore the extraordinary life stories of two artists who are considered national heroes in their home countries––Indonesian painter Raden Saleh (c.1811–1880) and Filipino painter Juan Luna (1857–1899). Drawing from important collections around the world, this landmark exhibition brings together more than 80 of their works for the first time.

Between Worlds takes you through significant chapters of each artist’s journey, uncovering parallels and differences in their experiences, from their emergence as artists in Java and the Philippines; to their subsequent training and participation in artistic and social circles in Europe; and their later return to Southeast Asia.

Between Worlds is part of the showcase Century of Light, which features two exciting exhibitions on art from the 19th century, a post-Enlightenment era of innovation and change. Together with Colours of Impressionism: Masterpieces from the Musée d’Orsay, the show demonstrates the range of painting styles and art movements that emerged in Europe during this formative period, which has been and continues to be influential to the development of art in Southeast Asia and around the world.

Voir : https://www.nationalgallery.sg/see-do/programme-detail/619/between-worlds-raden-saleh-and-juan-luna

Exposition : Les Mentawai d’Indonésie : Trésors de la réserve

Exposition : Les Mentawai d’Indonésie : trésors de la réserve, 21/10/2017 – 28/05/2018, Museum Volkenkunde, Leiden

Dans cette exposition, des objets uniques nous racontent l’histoire des traditions séculaires et de la culture d’aujourd’hui des Mentawai (Indonésie). Dans quelle mesure des traditions comme celles des Mentawai continuent-elles à être observées à une époque où la modernité s’est frayé un chemin jusque dans leur île ? Dans quelle mesure les Mentawai sont-ils prêts à faire partie d’un monde globalisé ? Les anciennes traditions sont-elles compatibles avec la vie au 21e siècle ?

C’est grâce au don de Reimar Schefold, ancien professeur d’anthropologie de l’Indonésie à l’Université de Leyde, que le Museum Volkenkunde peut disposer d’une collection d’art et d’objets Mentawai.

Lire la suite : https://volkenkunde.nl/nl/tentoonstelling-schatten-depot-mentawai-uit-indonesie

 

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

Eduardo Masferré : People of the Philippine Cordillera

A densely populated southern Kalinga village with sugar cane growing among the houses.
Saklit, Tinglayan, Kalinga 1950

Collection de photographies du Museum fünf Kontinente  : Eduardo Masferré : People of the Philippine Cordillera

Eduardo Masferré (1909–1995) was a Filippino-Catalan photographer who made important documentary reports about the lifestyle of the people of the Philippine Cordillera in the middle of the 20th century. He is regarded as the Father of Philippine photography.

Eduardo was born in Sagada in the Mountain Province of Northern Luzon as the son of Jaime Masferré, a Spanish soldier whose family had emigrated from Spain in the late 19th century. Jaime married Mercedes Langkew, a local woman from Sagada and became a farmer and eventually an Episcopalian priest. From 1914 to 1922 the family went back to Catalonia so that their children could study there, but then they returned to the Philippines and Eduardo finished his studies there. In his early years he became interested in photography, he was a self-taught photographer and when World War II ended, he opened a photographic studio in Bontok. The first exhibitions of his photographs were held in Manila in 1982 and 1983 and subsequently in Europe, Japan and the United States.

“Eduardo Masferré is an artist who did the right thing at the right time for the right reasons. A photographer with remarkable foresight, Masferré understood that change is inevitable. So with his camera, his eye and his heart, he kept the Cordillera’s proud, ancient soul visible and timeless amidst the changes.
With passion and with dedication, Masferré made a creative record of the life around him, realizing its importance. He is a Filippino who loved Filippinos in their everyday, ordinary setting. This is evident in his photographs, which are intensely felt and imbued with the spiritual element of creativity. The world’s way of gauging civilization and the value placed on Filippino ethnic heritage have only recently caught with the vision Masferré had over fifty years ago”, said Felice Sta. Maria, the President and Trustee of the Metropolitan Museum of Manila, in a message to Masferré’s book People of the Philippine Cordillera: Photographs 1934 – 1956 which was published in 1988.

Voir : https://www.facebook.com/pg/museumfuenfkontinente/photos/?tab=album&album_id=781120092013130

Voir les 90 photos d’Eduardo Masferré sur le site du musée : http://www.museum-fuenf-kontinente.de/museum/emuseumplus.html