KOREA FOUNDATION

COLUMN

The Epicenter of Next-Generation Art
A defining trait of contemporary Southeast Asian art is its adherence to reality. Themes are surprisingly consistent: exploration of new social realities, criticism of suppressed societies, and exposure of power abuses.
By Hong Kyung-han Art Critic

Dexter Fernandez (The Philippines), The Moth and The Bulldozer, Acrylic on Walls, Dimensions Variable, 2015,
Image Courtesy of Fine Arts Work Center in Provincetown

The countries that are mentioned most frequently in any serious discussion of Southeast Asian art are Indonesia, Viet Nam, Thailand, and Singapore. These countries, which actively engage in various kinds of exchanges, not only with Korea but also with most of the EU, have in common their rapid economic development compared to other ASEAN member nations. (Flourishing of culture goes hand in hand with economic circumstances.) Their activeness on the global stage is paired with a growing visibility in the global art community.
Of the 10 ASEAN member states, Indonesia, Viet Nam, Thailand, and the Philippines are the biggest front-runners of today’s contemporary art scene. Artworks by artists from these countries, whose unfamiliarity that is usually associated with them serves as their strength rather than weakness, are easily found in the most coveted spots of major art auctions and galleries as well as biennale and museum exhibitions. This is because these artists use the artistic languages of their respective countries, each of which is slightly different depending on the mixture of globalism with the country’s socio-political context, to visualize their unique colors. A defining trait of contemporary Southeast Asian art is its adherence to reality. Media and methods of artistic expression vary, but themes are surprisingly consistent: exploration of new social realities, criticism of suppressed societies, and exposure of power abuses. Sometimes, realistic depictions of political, social, and economic irregularities are used as a tool to point out what is wrong with our era. Themes such as corruption and violence, the lives and traditions of the common people, and history and identity are especially important, with more attempts by young artists to spotlight issues related to homosexuality, individualism, and capitalism.
One interesting fact about the works of Southeast Asian artists is that they are accelerating their assimilation into global art history by quickly adapting to trends in the global art market, international relations, and the internet-based environment of the 21st century. Just as lifestyles are rapidly changing based on the ever-quickening reorganization of capital, formats and attitudes on art are also undergoing rapid transformation. This does not mean, however, that the art of all Southeast Asian countries fits the above-mentioned phenomena. Creations by artists from Cambodia, Lao PDR, and Myanmar are still heavily based in tradition. At best, faithfulness to tradition offers a feast for the eyes, but there are currently no artists from these three countries who are competitive in terms of contemporary art.
Nevertheless, contemporary Southeast Asian art is a force to be reckoned with because it has a remarkable ability to analyze the popular and cultural nourishment of its societies that is based on economic development and residual Western influences. It is also special because there is a distinctive sentiment to Southeast Asian art as well as a presentation of discourses that are derived from decades of political and social turmoil that are relevant for audiences today.

The content of this article may differ from the editorial direction of the ASEAN Culture House Monthly.