« The Painting That Is Painted With Poetry Is Profoundly Beautiful – Tang Chang » by Nora Taylor, Jul/Aug 2018, ArtAsiaPacific
Chills ran down my spine as I peered into the vitrine positioned toward the end of the late Tang Chang’s solo exhibition at the Smart Museum of Art, so beautifully and adeptly curated by Orianna Cacchione. On a faded sheet of paper was the word “gunman,” handwritten in English, and repeated in a pattern that resembles a monument. In the top right-hand corner, the word “democracy” appeared; at the bottom right was the date 1978. The Thai artist was referring to the suppression of the student protest against the return of Thanom Kittikachorn, an exiled military dictator, which had taken place two years earlier in Bangkok. That event, known as the October 1976 massacre, had led to the deaths of many at the hands of the Thai military. Yet, reading those words in the south of Chicago, I immediately thought of the recent and persistent shootings that have taken place in American schools. That a Thai artist—a self-described Buddhist, no less—would capture the mood of our violent times in such a poetic way was moving.
There were several other poems shaped like the Democracy Monument. Kill was one of them, and Democracy of Dictatorship (both 1978), written in Thai, was another. Many of the words were barely legible, appearing like scribbles, but their repetition created drawings, interwoven lines and shapes. I begin this review by mentioning these poems, even though Chang was also a painter and the exhibition included many of his paintings, because after walking through the rooms that held them, I could barely distinguish the poems from the paintings and vice versa. The title that the curator chose for the exhibition made complete sense. Poetry comes first, and is the medium for the paintings.
The exhibition at the Smart Museum is the first solo exhibition of Chang’s works outside of Thailand and the first to be held in the United States.
Broad strokes : Indonesian art and 20 years of Reformasi by Erin Cook, 22/05/2018, The Interpreter, Lowy Institute
This month, Indonesia commemorates 20 years since the fall of strongman Suharto and two decades of the Reformasi era. Today, the strife of 1998 serves as inspiration for the country’s burgeoning contemporary arts.
Suharto’s New Order period was marked by mass-centralisation of powers in Jakarta, from which Indonesia’s cultural and artistic industries were not exempt. By the end of the Suharto era, any performance or exhibition needed the express permission of no less than four separate offices, including police and military, to go ahead. Cultural researcher Jennifer Lindsay has written that events at the time could be shut down “immediately if considered to have transgressed limits of tolerated political comment, or to have insulted ethnicity, religion, race, or inter-group relations”.
This environment, paired with the government control of all art schools in Indonesia, gave the Suharto administration immense control and influence over works of art produced during this period. Lindsay notes that this control also led to weariness among private citizens who would otherwise be strong patrons of the arts, leaving the country’s artists to navigate the minefield of acceptable subjects, or to look overseas for support.
Suharto’s demise not only freed the nation’s politics but also changed its art scene dramatically. Today, both Yogyakarta and Jakarta are developing reputations as contemporary art hubs in Asia, and Indonesia’s best artists are regularly showcased across the world. For the generation of artists who came of age in 1998 and are now reaching the top of their field, the days of the New Order continue provide ample inspiration, as well as cynicism.
Eko Nugroho is one of the leading artists of that generation. His bright, colourful sculptures, installations, wall art, and embroidery pieces deal with pertinent political issues, from corruption to the environment, and have been exhibited internationally. As a postgraduate student at Yogyakarta’s Indonesian Institute of the Arts in 1998, Nugroho’s work gradually became more political.
“The year was a starting point and a trigger to develop my works, so it was a kind of inspiration,” he told me.
I am part of the generation of artists post-Reformation, which means I am aware of the particular phenomena that took place in this country, and I can scrutinise their development. In those transition times, Indonesia chose democracy, but the Indonesian version of democracy … This idea of having our own version of democracy I find interesting and I often try to raise it in my works. We see and understand democracy through our society, our dynamics, and through the background of our political history, which have all shaped the current situation we are in.
The dark days of the 1965–66 anti-communist purges are a favourite subject for Indonesian artists. Pre-election promises from President Joko Widodo have failed to come to fruition, leaving the hard questions to be asked by practitioners such as Tintin Wulia, whose futuristic installation Not Alone reimagines the conflict 100 years in the future.
Questioning the legacy of the 1965 purges, talk of which was banned under Suharto, through art has become a lightning rod for conflict between the progressive community and conservative civil society groups and police. Yogyakarta, a city proud of its reputation as a place of tolerance, representative of the multiple identities found in Java, is a particular hotspot for protests, prompting an existential crisis.
Still, Nugroho never finds himself short of inspiration, echoing the oft-heard criticism of the Reformasi-era – how different is it really to before?
Even though Indonesia chose this new system, not many things have actually changed. The ways of thinking of those who run the country is still similar to [the New Order regime]. Twenty years is a short time. Those active in the New Order are still in power now.
That spectre influences the contemporary arts scene in Indonesia, Nugroho says. While Indonesian artists are less likely to be imprisoned for political works – a risk still faced by artists in neighbouring countries – there is a widespread and growing sense of self-censorship.
Nugroho believes this is because successive governments have been focused on the economic and political development of Indonesia, leaving fringe elements of civil society to rise unchecked. Younger artists in Indonesia were only children at the time of the upheaval in the late 1990s, and a division between them and artists of older generations has emerged.
Past fears are still brought up by senior artists, while the younger ones use political messages in more obvious ways. But the threats actually come from around us, from the society itself.
Nugroho points to extremist groups such as Jamaah Ansharut Daulah, a local affiliate of the Islamic State, as the “real censors”. Attacks such as those this month in Surabaya “create terror, fear, and anxiety”, and in turn give the government more scope to intervene in the name of security.
While that in itself is not unique to Indonesia, the relative newness of the country’s democracy creates pressure. Nugroho says:
[In Indonesia] everyone is still euphoric about being able to speak out, to criticise, or comment. Everyone talks, but it doesn’t mean they are ready for criticism. Everyone closes their ears. They want their own version of truth. We minimise research and data, and express our ego and personal opinions.
These teething pains have come to define much of Nugroho’s work and Indonesia’s global reputation in recent years.
This sort of democracy becomes interesting for me to observe, translated in my series of works with masks, although not in an obvious way. My works represent the stories I create which I wish the public can understand in their own ways and connect with what they’ve personally experienced, or with events they know.
Symposium: Tradition and Contemporaneity in the Arts of Asia, 09/11/2017, Department of Art & Art History, University of Hawai’i at Mānoa
About the Talk
Modern and contemporary artists in Asia have had to cope with many challenges, from the inﬂux of Western artistic priorities often intent on redeﬁning or even erasing local artistic traditions, to the wholesale destruction of national infrastructure through unstable political systems and devastating wars. That artists have successfully risen to these challenges, as well as the resilience of local artistic systems and values, is eminently manifest in the vibrant contemporary arts of Asia today.
This symposium will explore the inspirational potential of traditional materials, methods, and styles of art making among modern and contemporary artists of India, China, Korea, the Philippines, Vietnam, and Thailand. It will feature illustrated presentations by three eminent scholars of modern and contemporary Asian art, followed by a moderated discussion, all focusing on the various ways regional “traditions” of art and culture function as inspiration, catalyst, or foil, some times honoring them, other times contrasting and even undermining them, often with humorous or ironic intent.
Speakers & Presentation Titles
Joan Kee, “Tradition as ‘Contemporaneity’s Raw Materials’: Korea, China, and the Philippines”
Kee is an art historian specializing in art and law, with special research focus on modern and contemporary East and Southeast Asian art. She teaches at the University of Michigan, where she is Associate Professor in the History of Art. She is author of Contemporary Korean Art: Tansaekhwa and the Urgency of Method (2013), curated the exhibition From All Sides: Tansaekhwa and the Urgency of Method (2014), and serves as contributing editor to Artforum.
Sonal Khullar, “The Pearl Divers and Shipwrecks of Marine Drive: History, Tradition, and Modernism in India.” Khullar is Associate Professor of Art History at the University of Washington. Her research focus is on Indian art of the eighteenth century to the present, with additional teaching and research interests in transnational histories of art, feminist theory, and postcolonial studies. Publications include the award-winning Worldly Afﬁliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990 (2015).
Iola Lenzi, ““Not Nostalgia: How Tradition is Critically Co-opted in Thai and Vietnamese Contemporary Art” Lenzi is a Singapore-based curator, lecturer, and critic specializing in contemporary arts of Southeast Asia. She has curated exhibitions in in Singapore, Kuala Lumpur, Jakarta and Bangkok, serves as lecturer for the Asian Art Histories MA program at Lasalle College, Singapore, and as regional correspondent for Asian Art, London. She is author of Museums of Southeast Asia (2005).
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.
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.
« 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.
« 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.
Thai Art Archives is an independent, not-for-profit “knowledge platform” for the recovery, study, preservation, and exhibition of Thai modern and contemporary art and ephemera.
Welcome to Thailand’s only heritage-preservation organization that actively identifies, collects, catalogues, preserves, and exhibits the historically valuable ephemera—professional documents, personal papers, photographs, notebooks, sketchbooks and other studio-based items—of Thailand’s renowned modern and contemporary artists, independent/artist-run (“alternative”) art spaces, and related Thai “avant-garde” phenomena.
Unlike primary works of art, such as painting and sculpture, comparatively “ephemeral” materials are frequently lost or destroyed on the passing of a prominent Thai artist, or even during her/his lifetime. Given this potential loss to Thai cultural heritage, the Thai Art Archives’ mission is to proactively identify, recover, study, document, and preserve such materials for the benefit of future generations.
Exhibitions (Modern & Contemporary)
Educational & Public Events/Programs
Curatorial & Museum Studies for University Students
Knowledge Hub & Research Platform
Residencies for Visiting Scholars
Oral History Initiative
Publications, Special Projects, Cataloguing
Cataloguing of Private Collections
The Thai Art Archives aims in all its programs to explore and enrich cultural exchange, to promote global access to transcultural histories, and to encourage regional and international dialogues over the research into, the writing, and the documentation of diverse perspectives on the most progressive currents in modern and contemporary art since the early 20th century to the present.
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.
Photographing the Soul of Cambodia: Interview with Sophal Neak by Francesca Masoero, 04/07/2017 in ArtAsiaPacific
Sophal Neak was born in Takeo, a province in southern Cambodia, in 1989. Since 2011, her works—in particular her photographs—have been showcased across Asia, Europe and Australia. Her unique and uncompromising take on history and people, as well as her distinctive and powerful vision, has played an important role in contributing to the cultural re-awakening of her country. In an interview with ArtAsiaPacific, the photographer discusses her art and creative processes, her take on gender in Cambodia and more.
“Flowers,” your most recent exhibition, is currently being showcased in Phnom Penh, but your work has travelled quite a bit across the globe. How do you feel about the fact that your photographs are allowing more people to get to know Cambodia?
Allowing people outside Cambodia to understand the complexity of my country is really important, but I’d actually like my work to serve as a certain reminder for the Khmer people as well. Most Cambodians tend to stick with the traditional culture and perceptions. This includes, for example, that women have to be young and beautiful, or that they have to cook and have children. By drawing attention to these concepts in my work, I try to raise the awareness of viewers and invite them to move forward from these ideas.
« 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.
« 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.
Now available for purchase at Myanmart! After 2 years of hard work and many brilliant collaborators and donors, the translation, redesign and publication of Myanmar Contemporary Art 1 (MCA1) is complete! Originally published in Burmese language in 2009 under censorship, the new edition was raised through crowdfunding. We hope this book allows more people to learn about and understand a part of Myanmar's art history between 1960-1990.30 USD per book/40,000 MMK. Special discount for artists! All proceeds go towards a future publication of a book about contemporary art in Myanmar. Copies available at Myanmart – 98 Bogalay Zay street, 3rd floor, Botataung township, Yangon OR by special order. Please email firstname.lastname@example.org for more details or message us here.
Myanmar Contemporary Art 1 : traduction anglaise d’un ouvrage publié en birman en 2009 sous la censure et consacré à l’histoire de l’art birman entre 1960 et 1990. Il sera suivi de deux autres volumes.
Myanmar Contemporary Art 1 is the first volume of a trilogy on contemporary Burmese art. Since 1885, when Burma fell under British colonial rule, the traditional practices of Burmese art were overshadowed by the influence of Western art trends–particularly the traditions of academic painting and the Impressionist movement. This book records the progression of Burmese modern art after its encounter with Modernism, focusing on the influence of key individual artists. Democratic rule ended in 1962, and between 1974 and 1988, when Modernism was evolving to a Post-Modern world, Burma adopted a strict isolationist policy during which only three books on art were published: The Quest for Beauty by Paw Thit, From Tradition to Modern by Bagyi Aung Soe and Abstract Painting by Khin One. The end of the closed door policy in 1988 allowed for artists to gain perspective on the international art world and embrace new developments and media. Artists who worked outside the trajectory of Burmese modern art movements such as Lun Gywe, Maung Nyo Wing, Maung Maung Hla Myint and Tun Sein are also included in the book, as well as those who left to work in other countries (See the chapter “Some early practitioners”). This volume focuses on modern artists active from 1962 to 1988. The next volume of Myanmar Contemporary Art will focus on the artists who came after 1988.
Thomas J. Berghuis, Place, Time and Media in Performance Art in Indonesia, 25/05/2017, SOAS
This seminar introduces the development of performance art in Indonesia, from the 1980s until the present day. It considers ways in which performance art in Indonesia has its art historical origins in the conceptual art movement of the 1970s, when artists across Southeast Asia began to consider new social and artistic realities in their artworks. But the the seminar will also draw on the multiple interwoven strands of performance practices and performance traditions that connect the development of contemporary performance art in Indonesia.
The seminar will examine the role of performance art in Indonesia in relation to place, time and media. Artists whose works will be examined include Arahmaiani, Heri Dono, FX Harsono, Mella Jaarsma, Tisna Sanjaya, Melati, Iwan Wijono, W. Christiawan, Mimi Fadmi, Redza Afisina, and Performance Club 69 — a recently established platform for study and practices of performance art initiated by Forum Lenteng in Jakarta, starting in 2016.
About the speaker
Dr. Thomas J. Berghuis is currently a Visiting Fellow at Tate Research Centre: Asia. He is Principal Fellow (Honorary) with the School of Culture and Communication at The University of Melbourne in Australia and is currently based in Leiden, the Netherlands. An art historian and curator of contemporary Asian art, with focus on contemporary art in China and Indonesia, Berghuis previously worked as Lecturer in Asian Art History at the University of Sydney (2008-2013); The Robert H. N. Ho Family Foundation Curator of Chinese Art (2013-2015) at the Solomon R. Guggenheim Museum in New York; and Director of the Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) in Jakarta, Indonesia (2015-2016). Berghuis’ writings have been published in prominent journals and art magazines. He is the author of Performance Art in China (Hong Kong: Timezone 8, 2006).