The Graduate Institute, Geneva. Voir tableau 1. Voir tableau 2. Le premier sommet du mouvement se tient au Caire en
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An exhibition on contemporary art from the Golden Peninsula. With its total population counting around 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. This exhibition, the largest-ever in scale, seeks to explore the many practices of contemporary art in Southeast Asia since s from 9 different perspectives. It aims to showcase its inconceivable dynamism of Southeast Asia that is somewhat nostalgic yet extraordinarily new. Why Do It? 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. 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.
The three parties came together to set up a member curatorial team, which conducted a two and a half year field research, culminating in a selection of about 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 s 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! When George Groslier first approached Nou Nam in March with the idea of photographing her while she performed Khmer classical dance, she refused. Then in her 50s, Nou Nam agreed to help the photographer archive Khmer classical dance movements in photographic form. For Khmer classical dancers whose slightest movements are painstakingly executed, this was profoundly troubling.
Master dancers watching Nou Nam became agitated, he wrote. He wanted to provide a historical record for generations to come. 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. To better set the photographs out of time, he shot in black and white. An exhibition of Mr. It took a year for Mr. 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.
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. Gender studies has long been a subject of interest for the 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 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.
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…. There, at the Singapore Pavilion in Arsenale, Zai is constructing a massive Phinisi ship out of rattan, string and beeswax.
Where do I come from? Whom do I belong to? Whom do I answer to? 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. 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.
Prominent Phnom Penh gallery seeks to make contemporary art accessible through initiatives. London Gallery West is proud to be the first London venue to present six films by Lav Diaz , one of the greatest radical artists of contemporary cinema. Independent Filipino filmmaker Diaz describes himself as a storyteller who makes films about the struggles of his people. His films tell quiet tales of everyday sorrow and resilience, and of the existential quest of a people betrayed by the postcolonial nation state.
His films demonstrate a radical reworking of melodrama that extends the possibilities of cinema by combining physical cinematic realism with poetry, modernist literature, painterly landscape, musical improvisation, theatrical performance, ritual intensity and duration. Shot mostly in black and white, Diaz makes notoriously long films with the economy of means afforded by digital. Astonishing rhythmic pacing creates a powerful dialectic between the microscopic gestures and steadfast movements of powerless bodies, the immensity of natural and historical forces, and spectral presence.
A programme of talks will take place throughout the exhibition and Diaz will be in attendance in March for an international symposium on his films and artistic practice hosted by the Centre for Research and Education in Arts and Media. The items were recognised as national treasures due to their special cultural and historical value following an appraisal report of the National Council for Cultural Heritage.
The exhibits include a Ngoc Lu bronze drum related to the Dong Son culture dating back up to 2, years ago. It is the most beautiful and intact drum of its type yet discovered and was recognised as a national treasure in Other exhibited items include a Dao Thinh bronze jar from the Dong Son culture that dates back 2, years, a Dong Son statue depicting two men playing pan pipes dating to around BC, and a large Dong Son bronze lamp in the form of a kneeling person, dating back to around AD.
This exhibition brings the precious contents of a shipwreck discovered off Belitung Island in the Java Sea to American audiences for the first time. The remarkable cargo of spice-filled jars and all together more than 60, ceramics produced in China during the Tang dynasty — , plus luxury items of gold and silver, was bound for Iran and Iraq. Selected objects illustrate the story of the active exchange of goods, ideas, and culture in Asia more than one thousand years ago.
The exhibition will bring to light how this discovery—one of the most important archaeological revelations of the twentieth century—has changed the way we understand ninth-century Asia.
The fifth edition of the Singapore Biennale opened on 27 October and will run until 26 February The mega exhibition, which had its first edition nine years ago, started with an international outlook but has gradually narrowed its focus on the art of Southeast Asia and its surrounding regions. The exhibition is divided into nine tongue twisting sub-themes, which can be simplified into the following categories:.
With 58 artworks at the Biennale, making a list of ten is not only difficult but limiting. As the Singapore Biennale unfolds over the months, Art Radar will bring you more highlights of the works on show.
The works listed here are mere entry points to the mega exhibition, which can be negotiated in multiple ways. Will the coupling of an atlas and the curiosities of the mirror shift our perception of the world? An Atlas of Mirrors positions Southeast Asia as a vantage point through which we can recognise our world anew.
Photos of Khmer classical dancers printed on canvas are exhibited at the Institut Francais. A few minutes later, the dancer—a favorite of both King Norodom and King Sisowath—relented. The exhibition will run until May.
British and French Colonialism in Africa, Asia and the Middle East
Lenormand Maurice-H. Par ailleurs, l'U. Aujourd'hui feu Claudius-Petit revenant. L'occasion perdue. Il n'y a plus que les grands ensemble qui comptent. Mais il lui avait bien fallu constater qu'en poursuivant son but d'obtention de l'autonomie, le mouvement bien que majoritaire depuis 27 ans, n'avait pu l'atteindre.