Southeast Asia

A tapestry of interplays between mythology and technology is on display in Ming Wong’s Windows on the World (Part 2), a 24-channel soundtracked video installation from 2014 composed of flat-screen monitors arranged on three levels of long tabletops stacked like freestanding shelves. This work’s corpus of moving images and accompanying on-screen notes are gleaned from the sprawling archives of Cantonese opera film, East Asian science fiction, and TV news about the role of the People’s Republic of China in what has become of the Space Race.

Originally a concept that signifies manuscripts in which new layers of writing have been added atop of an effaced original writing, of which traces remain, the palimpsest has evolved into a methodology through which one critically examines a historical phenomenon as embedded in the cycle of inscription, erasure, and re-inscription. I employ the palimpsest as a methodology to reassess the material ethos of Vietnamese lacquer and its place in prominent canons in Vietnam’s art history, thus opening opportunities for its rewriting.

Untitled (Soldiers at Rest) (2003) belongs to a body of work which resulted from Vietnamese American artist Dinh Q. Lê’s long-term archaeological investigation of the visual culture of the American War (known as the Vietnam War in the United States), via a traditional Vietnamese weaving technique. Lê learned the latter from his aunt who, when he was a child in Vietnam, wove grass mats, and he later adapted this traditional craft for his own purposes.

This two-part essay introduces the exhibition Bali, Background for War: The Human Problem of Reoccupation, an exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson at The Museum of Modern Art in 1943. Bali, Background for War was an important exhibition of Southeast Asian modern art history and occupies an exceptional place in the Museum’s institutional history. This second essay traces the wide-ranging infrastructural implications of Bateson’s exhibition from the unrealized Wartime Regional Materials Unit at MoMA to the landscape of foreign capital flows and cultural infrastructure that contributed to the canonization and conceptualization of a Southeast Asian modern art during the Cold War.

A wartime exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson, Bali, Background for War opened at The Museum of Modern Art (MoMA) in late summer 1943 and then traveled to universities and museums across North America. Bali, Background for War was an anthropological exhibition of Balinese modern art and culture conceived as a technology for producing a necessary subjectivity in the American infantry and civilian administrators who would oversee the “reoccupation” of Japanese-captured territories, such as Bali. The exhibition sought to cultivate the ability to recognize cultural patterns so as to foster understanding of “those habits of thought and behavior” characteristic of a particular people.

The prefix “para-” stages an ancillary relation: near, beside, beyond, off, away. Across the series of essays that comprise Paracuratorial Southeast Asia, we look at the “paracuratorial”: methods, sensibilities, frameworks, and practices that work within, alongside, or as supplement to exemplary curatorial frameworks such as the exhibition or the collection. The series of essays focuses…

Invocation of Montien Boonma (1953–2000) almost always arrives in the form of an elegy. Best known for meditative sculptural installations that incorporate herbal medicines and earthy fragrances, he was a rising star of the international biennial circuit before an untimely death from cancer at the age of forty-seven. For many curators and critics who came…

5.0: The Fifth Position air cut into song was first installed in four parts at the seventh Singapore Biennale at the invitation of Nida Ghouse, one of the show’s four co-artistic directors. The artwork is part of an ongoing project that is less a comprehensive collection than a compilation of “gaps.” This fifth entry, composed…

Articulations of the relational have been shifting in parallel with the recent turn in global contemporary art toward validating ecological and indigenous practices. This shift invites a consideration of what exactly constitutes the relational among artistic and curatorial efforts within the global contemporary. And among Southeast Asian exemplars, the multimedia practice of artist Araya Rasdjarmrearnsook…

In relation to the Māravijaya, an occurrence in the Buddha’s life, and Letters from Panduranga, a video work by artist Nguyễn Trinh Thi, art historian Ashley Thompson discusses ideas of land, gender, and colonial history. Thompson’s essay is accompanied by a two-week screening of select clips from Nguyễn’s video work.

Joshua Chambers-Letson extrapolates antinomies from Danh Vo’s Death Sentence, a work on paper in MoMA’s collection, in particular the coexistence of values related to life and death.

The author applies what they call “a Buddhist reading” to Rirkrit Tiravanija’s Untitled (rucksack installation), 1993, analyzing it alongside recent developments in contemporary Thai art and politics.