Speaking Alone

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SPEAKING

ALONEThavibu Gallery 21 February - 15 March, 2009Curator: Shireen Naziree

An Exhibition ofConceptual Art from

Myanmar/Burma

AUNG MYINT, AYE KO

PHYU MON, NYEIN CHAN SU


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SPEAKINGALONE

Thavibu Gallery 21 February - 15 March, 2009

Curator: Shireen Naziree

An Exhibition of

Conceptual Art from

Myanmar/Burma

AUNG MYINT, AYE KO

PHYU MON, NYEIN CHAN SU


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Published 2009 by

Thavibu Gallery Co., Ltd

Silom Galleria, Suite 308

919/1 Silom Road, Bangkok 10500, Thailand

Tel. 66 (0)2 266 5454, Fax. 66 (0)2 266 5455

Email. [email protected], www.thavibu.com

Layout by Wanee Tipchindachaikul, Copydesk, Thailand

Copyright Thavibu Gallery

All rights reserved. No part o this publication may be reproduced or transmitted in any orm or by

any means, electronic or mechanical, without prior permission in writing rom the publisher.


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Myanmar... the past has been punctuated with so

many waves o repression that any sort o sensible

society must renegotiate its relationships with its rich

historical past as well as with the dynamic ux that

represents the rest o Southeast Asia. Geographically

speaking, Myanmars isolation has become the ace

o its current national identity which is underwrit-

ten by the extreme conditions that aect its civil and

social environment. Decades o social deconstruction

and economic unease have reconfgured its geographic

representation, which is clearly distant rom the global

intersection o technology and visual culture that allow

openness, ree movement and interconnectedness.

This national ragility results in wasted vitalities and the

orced isolation o a population and culture obliged to

play their assigned roles with quiet dignity.

This dynamic inevitably leads one to consider whether

these orces allow or a blossoming o artistic activ-

ity and natural dialogue among artistic and culturalpractitioners. As raw material, this uncertainty can be

transormed into visual poetry and become a point o

departure or unanticipated artistic expeditions through

irony and allusion, as well as homage to traditional

cultural and moral values. Keeping in mind Myanmars

rich cultural past and its current national identity, it goes

without saying that any shiting o cultural conditionswill aect the production o art in meaningul ways.

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Most pertinent to the understanding o Myanmars

cultural landscape with its melange o activity is

Myanmars capital Yangon. Yangon is above all a

commercial centre with a rich history o international

exchange. Throughout the British colonial rule that

lasted almost a hundred years, Yangon was a hub

o international commerce. Colonial Yangon with its

spacious layout and mix o exquisite colonial and tra-

ditional architecture was known or its beauty. Despite

its current dilapidated state, the arts inevitably have

their oundation in the citys ormer past glory.

Yangon has a number o private art galleries and

artists whose work continues to be a vital export

commodity and source o income, although it is true

that there are ewer oreign visitors nowadays.

With virtually no state support and with only two

art academies oering basic training best suited

or artisans, Yangon does not have the grassroots

initiatives necessary or an innovative and internation-

ally competitive art scene. While it is not uncommon

to encounter numerous sel-taught artists, it could

only be expected that serious proessional artists

(either progressive or conservative) would become

increasingly committed to inding discursive av-

enues to explore issues and expose their art envi-

ronment where almost everybody aspires to be anartist. This attitude is not only embedded in the

SPEAKING ALONEShireen Naziree


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4 Speaking Alone

polarization that has dramatically altered every acet o

economic practice, but also lies in a historically-based

nostalgia that has become one o the oundational

sources o artistic inspiration.

Although artistic production is oten permeated with

the nostalgia o a quiet paradise that idolises the past

and is deeply engaged in the serenity o Buddhism,

simultaneously there exists a desire to reect on the

present with its contemporary values, as well as his-

tory. In addition, there is the mapping o an expanded

feld by subtly negotiating the relationship between the

visible and the invisible. This reers to the subliminalaspects o culture that are articulated through every-

day events and daily practices, which suggest a more

circuitous commentary on Yangons contemporary

art scene.

Conceptual art and perormance art oten ocus on

negating arts commodity status, a crucial dimensionthat the global contemporary art market now mani-

estly appropriates. A handul o Yangon artists clearly

embrace conceptual art practices and perormance

art that subtly ocus on the notion o social sculpture,

which in turn consistently addresses the structures

o power, challenging the controlled ambiguity that

generally characterizes art in order to promote criti-cal awareness and dialogue. In a place where art eels

more literal than ever, conceptual art practices actively

reinterpret the commodiication o art and ideas to

remind us what it really means to have the liberty to

think dierently.

With Yangons cultural landscape seemingly isolated,

it is tempting to question how conceptual art practices

may be perceived to have long-lasting eects while

claiming to be original yet inclusive, autonomous yet

relevant. An art space such as the Lokanat Art Gallery

in downtown Yangon has served as a vital social and

intellectual gathering point o the citys artistic scene

since the 1970s. Within its downtown location in

a time-scarred building, Yangons art communityhas literally preserved an artistic liestyle o quiet yet

determined opposition to the lattening o cultural

meaning and imagination. This has occurred at a

time when the speed o an electronically linked planet

is relected in the swit expansion o art practices

beyond traditional painting and sculpture to an

inclusiveness that represents the best possible meanso making personal artistic statements. Freed rom

the constraints o the canvas, conceptual art allows

the artist reedom to express any concept through

any means, especially relating to the politics o the

day or the politics o the sel.

Aung Myints art is a clear product o the dynamicinterplay between art and lie in Myanmar.


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A sel-taught artist, Aung Myint graduated as a

psychologist rom the Rangoon Arts and Science

University in 1968. Although his interest in art began

at an early age, it wasnt until 1969 that he actively

pursued artistic expression when he participated in a

group show in Yangon. Sympathetic to the politicalstruggle that has nurtured present-day Myanmar, he

sought new ways o seeing that would parallel his

concerns. Given the lack o support and exposure to

modern art during the latter hal o the twentieth cen-

tury, largely as a result o the introduction o socialism

in 1962, Aung Myint became one o the ounding

members o Yangons Inya Gallery o Art in 1989. With

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his own synthesis o Theravada Buddhist inuences in

traditional Burmese art (where non-realist depictions

reected the artists inner visions and spirituality) and

the interpretive characteristics o Western abstract

expressionism (amongst others), Aung Myint became

a leading fgure on Yangons art scene.

Aung Myint and his peers were seeking new dimen-

sions o expression and were ready or a new explosion

in art. The work Beginning and End in 1995 marked

Aung Myints debut as a pioneer o perormance

art. The aesthetic that developed, inherited rom his

vanguard experimental art, would extend itsel toearn him international recognition and become an

important element in the development o new media

art in Myanmar. A renowned painter (Aung Myint

was the recipient o the Jurors Choice Award at the

2002 ASEAN Arts Awards competition), he used his

experience o examining the illusory space o the

canvas to confgure his place in perormance art bymaking o himsel a piece o material, which together

with movement and other elements allowed or

complex and emotional statements.

Together with a number o noted Burmese artists,

Aung Myint elevated the status o perormance art

in Myanmar, particularly through participation innumerous international perormance estivals. Aung

Myints interactive practices reect the sentiments oAung Myint in perormance at Chaungtha beach,

Pathain, 1997


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debut in perormance in 1999 at the Asiatopia II

perormance art estival in Bangkok. With subsequent

perormances in Hong Kong, Nagoya and New York,

Aye Ko oten used elements such as fre and water

to support his ritualised movements. Prominent in

Aye Kos perormance works is the use o the writtenword, which can at once be quietly revealing and

secretive, a source o bonding as well as o separation

that oten portrays people under impossible conditions.

It is also a dramatic testament to the power o words

and the way words are linked to the direct and

indirect experiences that constitute the apprehension

o his world

Working with multiple artistic disciplines, Aye Ko

produces results that are striking at many levels. What

is oten remarkable is his association with nature.

While nature is oten reduced to an abstract orm,

he incorporates sources rom philosophy and his own

personal history in his work, sources that he exploressimultaneously. For Aye Ko, the challenge remains a

constant discovery o trying to weave concepts o the

individual, the spiritual and nature together into a

seamless continuum o reconciliation amidst the uncer-

tainty and harshness o his social environment.

Nyein Chan Su is best known or his vibrant artisticexpression and ree association perormances.Aye Ko in perormance in Yangon,2006

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many Burmese artists and intellectuals. Combining

live perormances with other orms o expression such

as installations and video, artists parodied Myanmars

politics o isolation, oten seizing on its idiosyncrasies

to highlight their situation.

Both Aye Ko and Nyein Chan Su are internationally

renowned artists whose multimedia practices include

perormance. In capitalising on the rustration o their

social environment, both artists oten use graphic and

cosmetic representations to illustrate their statements.

Also a sel-taught artist, Aye Ko made his international


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A ounding member o Yangons Studio Square Art

Gallery, NCS as he is more popularly known is

recognised or his eclectic practices, oten ormally

challenging the primacy o the painted surace. NCS

revels in the excess o meaning, which has reduced the

gestures o his canvasses to a uency that is a rarityin Myanmar art. NCS does not limit himsel by the

hierarchy o thought but instead strives to create a

human intimacy whether in his paintings, installations

or perormance works. Multiple identities, interactiv-

ity and narrative choices join together with complic-

ity to orm the axis o NCSs works. Less reliant on the

construction o identity, whether individual or cultural,but rather on psychological events, NCS has created

works with peripheral vision in which sight extends

beyond the borders o physical location. These

elements are particularly visible in his series o Nat

paintings. The artist has used these indigenous spirits,

an important part o Myanmars cultural and spiritual

grammar, as thumbprints or signatures to reer to hisBurmese identity.

Nevertheless, it is in perormance where he boldly

defnes his situation as an artist within his countrys

painul modern history. His early works were site

speciic such as the crowded streets o downtown

Yangon, which he chose to boldly deine his ownragile emotional states. However, he claims, oten with

humour, that his works are not particularly rooted in

Nyein Chan Su in perormance in Bangkok, 2008

At Thavibu Gallerys 10th Anniversary

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any particular social or historical circumstances. As

much as anything, NCSs work is about the assertion

o his own persona.

In Southeast Asia, it is no coincidence that the

emergence o women artists is one o the mostinteresting developments in contemporary art. While

it is a act that eminist symbolism has incorporated

a number o attitudes inspired by the rich history

o the region, the identity o eminist art practice in

Myanmar remains ambiguous. However, it is impera-

tive to understand that in Myanmar both individual

consciousness and a system o social communicationrequire time to establish themselves in a dierential

relationship to the social environment. And neither o

these can occur in an environment o isolation because

their very being depends on exposure.

Artist Phyu Mon is a rarity. Born in Mandalay but now

living in Yangon, she makes use o a dierent set oMyanmar traditions. Her work is based on the cul-

tural values that have encompassed her world as a

daughter o Myanmar, but with an element o ironic

contemporary commentary. Digital photography has

allowed Phyu Mon to work at the intersection o

several cogent themes, although gender, presence and

absence are paramount in her work, which has alsoincluded perormance. Her early career ocused on

paintings that relected her interest in surrealism.

Phyu Mon in perormance in Yangon, 2008

Transfxed: What am I?

Giclee print on archival paper, edition o 2

90 x 136 cm

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Intellectual explorations o poetry and the spirituality

that embodies the sel have provided her with a link

to her world ractured by prejudices, philosophies and

crises o identity.

Digital art has allowed Phyu Mon to turn her attentionto personal narratives that reect her desires and quest

or a greater identity and social equity or women,

although she asserts that these developments oten

reect economic realities and the subservient position

o Burmese women, an issue that has become an

ongoing theme in her perormance art.

SPEAKING ALONE re-enacts the practices o these

our artists. The exhibition unolds aspects o the on-

going story o the solitary situation in which artists

in Myanmar ind themselves. Under the present

circumstances, artists have become increasingly

interested in fnding alternative discursive avenues toshelter their artistic expressions rom the impact that

has dramatically altered many acets o their world.

Digital electronic technology and the monolithic

power o the global industrialised art markets have

encouraged artists to reinvest their aesthetics with

new dimensions. While this dialectic appears to be

in opposition to a cultural landscape seemingly littlealtered by time, the limited available technology has

Transfxed: Inside Out!, 2008


90 x 136 cm

Transfxed: Where am I?, 2008


90 x 136 cm

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allowed these artists to transcend typical representa-

tions with renewed authenticity and stronger resonance,

even i only as a critical reerence point at a time when

internationally there is a clear and dynamic interplay

between art, technology and lie in general.

Transfxed eatures three digital prints on paper and a

video work by Aye Ko. This combination o digital,

video and perormance art reveals Aye Kos artistic

practice as an ongoing exploration o an irresolvable

relationship between his ethos and, by extension, the

vacuum o his social environment.

Aye Ko subtly harnesses the viewers habits o percep-

tion to access his works, clearly understanding that

art is absorbed through the senses. He uses imagery

rom his own physical world to create pictures inspired

by his own spirituality and emotions wrapped within

a humanist perspective, which he questions by using

his physical sel as a canvas to illustrate and mimic theissues he highlights.

Aye Kos dynamic images in Transixed: What am

I?, accomplished through varied camera angles and

sophisticated montage editing, owe much to the rag-

mented shapes o Cubism, in which multiple views

o reality seen in repetitive layering allow or multipleunderstandings o reality. In dealing with issues o

identity, Aye Ko requently uses his own image to

illustrate the notion o alienation and to involve his

audience intimately with his narrative. By moving away

rom the conventional boundaries o representation,

he conronts the diiculties o being three-dimen-

sional in a two-dimensional pictorial. The mediation o

digital photography in Aye Kos work closes the gapbetween dimensionality and atness: Aye Ko and his

pictures assume equal presences in the photographic

rame. Typically in Transfxed: Where am I?, he presents

his emotions as imagery, emphasising the negative

through a potent use o primary colours.

Aye Ko makes ull use o his artistic space. Trans-ixed: Inside Out! is both provocative and quiet

as he ully externalises the notion o sel-explo-

ration. In his video Transixed: Silent Escape, he

continues the trajectory, touching on an overlay o

gestures that allow him to manipulate the surace

as a painter engages the canvas. These gestures

demonstrate that sophistication and dignifed artisticeloquence can continue to thrive even in adversity.

The video draws us into Aye Kos interior lie which is

to say, his soul, through a kind o spirit photography

that is evoked by a palette o black and white. Aye

Kos video concerns itsel with the viewers reaction

to his emotional solitary state. It does so by allowing

viewers a glimpse into an historical rameworkthrough gestures that he hopes wi l l inspire

contemplation o the outer world that surrounds

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Transfxed: Silent Escape, 2008

Video still62.45 minutes, edition o 4

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Mother and Child (6), 2008

Acrylic and handmade paper on canvas

82 x 82 cm

Mother and Child, 2007

Ceramic

18 x 23 cm

Mother and Child (5), 2008

Acrylic and handmade paper on canvas

82 x 82 cm

him. Within the context o Myanmar artists, Aye Ko

has gained the most international recognition or his

explorations o sel beyond conventional boundaries,

using the camera as a conduit or real lie.

But Aye Ko has not been utterly solitary in his isolation.

Emotions are the places where dierent memories

and concepts o representation collide. For Aung

Myint, the concept o memory is particularly vexing.

The loss o his mother at our years o age has with

varying degrees vexed his emotional stability.

Also drawing upon the political, economic and cul-

tural considerations that have dictated his intellectual

makeup, he has constantly attempted to knit the

ragments together and reconnect with his past. For

the past several years, Aung Myint has explored issues

o his identity, with a ocus on its maniestation in the

emotional ideal o a mothers love. In contrast to Aye

Ko, Aung Myint describes his melancholy not only inspiritual terms, but as a state o mind that is ultimately

as lie-afrming as it is negating delicately balanc-

ing his emotions. In Tears or my Mother, My Moth-

erland, a body o work that he has executed or this

exhibition, he oers viewers two signature drawings

on handmade paper, collage and installation.

Even though Aung Myints work does not make grand

political statements (as SPEAKING ALONE is less

about nationhood and more about the artists trans-

national or transitional circumstances in relation to

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Elements rom Tears or My

Mother, My Motherland, 2009

Traditional Myanmar papier mchdoll and mixed media paintings

Size variable

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their living conditions and impending paradigm shits),he does present the transitory condition o the eco-

nomic environment o Myanmar in his mixed media

collage Farewell, where he addresses the paradoxes

o present-day Myanmar. This work respectively ques-

tions the bigger picture o Myanmars lost consumer

economy and social degradation.

His mixed media installation combining sketches,

traditional toys and ound objects is rich with per-

sonal memories; by engaging amiliar objects o his

childhood which are imbued with deep meanings

together with his signature sketches, Aung Myint

defnes where he places himsel in relation to the art

object. For the installation environment also allows

or a greater participation by viewers, as Aung Myintinvites them to enter the artwork in a literal sense.

For SPEAKING ALONE, Phyu Mon avours genteel

appreciation o the everyday in her ongoing series

o digital photographs titled Hope, with images o

children and women gazing into the male strong-

hold that she perceives dominant in her society. Shedeals cogently with the themes o gender, presence

and absence. The expansion o various media now

allows artists to tell their own stories, and thus digital

manipulation has enabled her to undertake an ever

deepening exploration o the sel.

Phyu Mons dominant concern is with the statuso women, their inner tensions and despair at the

challenges they ace. For regardless o any token

gestures o equality, it is ultimately the male who is

in control. It becomes clear that Hope is one o her

major projects as it stands as a beautiul testament

to the positive values embodied in images such as

a child with a balloon. The cultural qualities o herphotographs also relate to the desire to hold onto

what is being lost. I the images are meant to be a

Farewell, 2008

Collage and pencil on canvas

85 x 117 cm

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Hope (1), 2008

Lambda print on archival paper

edition o 2

61 x 122 cm

Hope (3), 2008

Lambda print on archival paper,

edition o 2

60 x 91 cm

Hope (4), 2008

Lambda print on

archival paper,

edition o 2

68 x 91 cm

Hope (2), 2008

Lambda print on archival paper,

edition o 2

61 x 122 cm

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memorial to a passing era in her own personal lie

(her youth in Mandalay), they also reveal the loss o

place that had a signifcant impact in that lie. Hope

is nostalgic as it gives us a sense o Phyu Mons own

emotional location. Through her connectedness with

time, place and situation, Phyu Mon has producedan allegorical body o work that oers a rare contem-

porary engagement with moral consciousness in a

world that preers to bury its horrors.

The striking images comprising Nyein Chan Sus

latest body o work, People, fnd him exploring the

expressive power o being human. While he conrontsquestions pertaining to the deteriorating conditions

o his social environment, he does so in largely ormal

and sophisticated terms. For SPEAKING ALONE,

Nyein Chan Su oers examples o the multiplicity o his

practice with works on canvas and video. Abandoning

his colourul signature style o painting in avour o

another territory that is equally rewarding, he tapsinto a requency that is both universal and up to the

minute, displaying a rare curiosity or experimentation.

As a photo-conceptualist, Nyein Chan Su expands

photography with a level o intelligence that subtly

resonates on multiple cultural planes and yet which

occasionally reveals issures. In his mixed mediaportraits o prominent cultural activists, he employs

layered colour and distorted scale and perspective

People Artist Aye Ko, 2008

Acrylic painted on inkjet print on vinyl122 x 152 cm

even though he has moved to starker material. The

dualism o these inkjet prints on canvas, stamped with

acrylics, has as much to do with the relation o image,

art and lie as it does with artistic innovation.

Social discourse amongst artists and cultural practi-

tioners is paramount in Yangon, and such relationships

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People Artist Maung Aw, 2008

Acrylic painted on inkjet print on vinyl

122 x 152 cm

People Artist Maung Maung Zay Ya, 2008


122 x 152 cm

People Artist Maung Di, 2008


122 x 152 cm

People Artist Wathone, 2008


122 x 152 cm

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are at the heart o Nyein Chan Sus practice. People

is clearly about emotional connection; although all o

the artworks are conceptual, they possess considerable

elegance nonetheless. At the same time, they combine

an acute sense o respect with what could be termed

a ormal characteristic o appreciation he avoidsbeing sentimental even though interaction with these

individuals is at once personal and intimate. Likewise,

he plays with the visual perception o contrasts, as

maniest in the lack o eye contact by his subjects and

the distorted scale o the images disfgured with the

stamps o authority that are the power representa-

tions pervading all levels o everyday society. Bydipping his paintbrush into these mainstream value

systems, he eectively explores their inringement,

be it psychological, intellectual or physical.

Multiple narrative choices, including complicity, come

together to orm the axis o Nyein Chan Sus work.

In Goldish, the video camera allows viewers toexperience the physical and psychological location

o an unstable, contested space where one must

tread careully. Deceptively simple in its ormal rigour,

the flm blends both sound and image together into

one homogeneous whole. NCS knows exactly how

to use common examples o his social environment

to turn it into something one would never expect.

His output o typically loud music and garish colours

takes the viewer straight to the streets o Yangon.

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Goldfsh, 2008Video still

3.51 minutes video

The eect is realistic even though we understand

that what we are really experiencing is merely a

silhouette o his own reality. Making the invisible

visible is the heart o visual expression. Thats what

Nyein Chan Su and his peers are doing.


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Aung Myint

Born in 1946, Aung Myint is regarded as a pioneer in contemporary art in Myanmar. He

is known or his minimalist expressionism and as an innovator in experimental art. As one

o the ounding members o Yangons Inya Art Gallery in 1989, Aung Myint distanced his

art rom the traditional romanticism and instead chose to address social and criticalissues through his multidisciplinary artistic practice that includes perormance and

installation art. However, he is best known or his ongoing Mother and Child series,

a subtle but critical interplay between his own personal emotional and social parameters.

A sel-taught artist, U Aung Myint was the recipient o an ASEAN Art Award in 2001 and

has participated in numerous exhibitions and perormance art projects internationally

as well as in Myanmar. His works are in the permanent art collections o the National

Art Gallery o Malaysia, the Singapore Art Museum and the Fukuoka Asian Art Museum,as well as in numerous private collections internationally.

Aye Ko

Aye Ko was born in 1963. Although trained in classical and traditional painting under

the master artist U Min Soe, Aye Ko has established his international reputation throughcontemporary orms o expression that have become his hallmark. The artist has exhib-

ited extensively; his notable shows include a solo exhibition in New York in 2002 and his

participation in the exhibition Thermocline o Art, New Asian Waves at the ZKM Museum

o Contemporary Art in Karlsruhe, Germany, in 2007. A renowned perormance artist,

Aye Ko has participated almost annually in perormance art estivals in Southeast Asia,

Japan, China and the United States. His art is included in numerous private collections

internationally as well as in the private ZKM Museum o Contemporary Art.

Speaking Alone 19

Artists Biodata


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20 Speaking Alone

Phyu Mon

Born in 1960 in Mandalay, Phyu Mon graduated rom Mandalay University with

a Bachelor o Arts degree and studied painting under the master artist U Ba Thaw

during 1978 and 1979. She was introduced to video and ilm production through a

programme at the University o Finland. Phyu Mon is one o the very ew women artistsin Myanmar who currently works with digital photography, a medium that has enabled

her to address the angst that many Myanmar women experience. She has been a

regular participant in exhibitions since 1985. She represents a new breed o artist who

openly invests their sense o restriction and oppression with broader meanings. Phyu Mon

is also a perormance artist and a renowned poet in her native Burmese language.

Nyein Chan Su

Nyein Chan Su was born in 1973 and graduated rom the Myanmar State School o

Fine Arts, Yangon, in 1994 and had his frst solo exhibition at Yangons Lokanat Art

Gallery in 1997. His participation in the 1999 Fukuoka Art Triennale in Japan launched

his international art career. He has since participated in numerous internationalexhibitions .He is equally renowned as a painter and perormance artist as or his video

installations. A ounding member o Yangons Studio Square Art Gallery, Nyein Chan Su

is widely regarded as one o Myanmars most promising mid-career artists. In 2001, he

received a Certifcate o Recognition rom the ASEAN Art Awards and in 2004 was the

second prize winner o the Myanmar Contemporary Art Awards competition. Nyein Chan

Sus artworks are in the permanent collections o the Singapore Art Museum, Fukuoka

Asian Art Museum as well as private collections in Europe and Asia.


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Bangkok 10500, ThailandTel (662) 266 5454, Fax. (662) 266 5455

E-mail. [email protected]

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Speaking Alone

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