beyond the self: contemporary portraiture from asia...8 beyond the self: contemporary portraiture...
TRANSCRIPT
� Beyond the self: Contemporary portraiture from AsiaEducationResource
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� Beyond the self: Contemporary portraiture from AsiaEducationResource
Acknowledgements Beyond the self: Contemporary portraiture from AsiaisaNationalPortraitGallerytouringexhibition
EducationResourcewrittenbyJohnNeylon,artwriterandcurator
TheauthoracknowledgesthevaluedcontributionofChristineClark,ExhibitionsManager,NationalPortraitGallery,AustraliaandCuratorofBeyond the self: Contemporary portraiture from AsiaandalsotheassistanceofGillianBrownandotherSamstagMuseumstaffinthedevelopmentofthisresource.
PublishedbytheAnne&GordonSamstagMuseumofArtUniversityofSouthAustraliaGPOBox�47�AdelaideSA500�T 08830�0870E [email protected]/samstagmuseum
Copyright©theauthor,artistsandUniversityofSouthAustralia
Allrightsreserved.ThepublishergrantspermissionforthisEducationResourcetobereproducedand/orstoredfortwelvemonthsinaretrievalsystem,transmittedbymeanselectronic,mechanical,photocopyingand/orrecordingonlyforeducationpurposesandstrictlyinrelationtotheexhibitionBeyond the self: Contemporary portraiture from Asia.
ISBN978-0-9807�75-�-8
SamstagMuseumofArtDirector:EricaGreenCuratorSpecialProjects:SusieJenkinsCuratorExhibitionsandCollections:GillianBrownSamstagAdministrator:JaneWicksMuseumAssistants:ErinDavidsonandAshleighWhatling
GraphicDesign:SandraElmsDesign
NationalPortraitGallerywww.portrait.gov.au
Anne&GordonSamstagMuseumofArtwww.unisa.edu.au/samstagmuseum
� Beyond the self: Contemporary portraiture from AsiaEducationResource
Coverimage:AlwarBAlASUBRAMANIAM,Gravity(detail),�009fibreglass,woodandacrylic,6�x58.4x�0.�cm
3 Beyond the self: Contemporary portraiture from AsiaEducationResource
About this Education Resource ThisEducationResourceispublishedtoaccompanytheexhibition
Beyond the self: Contemporary portraiture from Asia
Friday3August–Sunday30September�0��
Anne&GordonSamstagMuseumofArt
ThisEducationResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheexhibitionBeyond the self: Contemporary portraiture from Asiaby:
n Providinginformationaboutselectedartists
n Providinginformationaboutkeyworks
n Challengingstudentstoengagewiththeworksandtheexhibition’sthemes
n Identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource
n Providingstrategiesforexhibitionviewing,aswellaspre-andpost-visitresearch
Itmaybeusedinconjunctionwithavisittotheexhibitionorasapre-visitorpost-visitresource.
Year level ThisResourceisprimarilydesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.Componentscanbeadaptedforusebyupperprimaryandtertiarystudents.
Education briefing notes
Beyond the self: Contemporary portraiture from Asia
4 Beyond the self: Contemporary portraiture from AsiaEducationResource
Contents 1 Background briefing 5
2 Exploring the works 7
� AlwarBalasubramaniam 8
� NadiahBamadhaj �0
3 AtulBhalla �3
4 NikhilChopra �6
5 AlfredoEsquilloJr �8
6 PushpamalaN �0
7 EkoNugroho ��
8 NusralatifQureshi �4
9 NavinRawanchaikul �6
�0 AlwinReamillo �8
�� AgusSuwage 30
�� HemaUpadhyay 3�
3 Exploring the exhibition: Themes 34
Theme�:Identityandself 34
Theme�:Post-colonialperspectives,traditionandchange 34
Theme3:Humourandsatire 35
Theme4:Materiality 35
4 For teachers / course organisers 37
PlanningasuccessfulvisittoBeyond the self 37
5 Get started 38
In-exhibitionengagementactivities 38
6 Further research: Resources 39
7 List of works 39
SeelistofWorksinthisEducationResourceforafulllistofparticipatingartistsandtheirworks.AllartistshaveextensiveprofilesontheBeyond the selfwebsite:http://www.portrait.gov.au/site/exhibition_subsite_beyondtheself.php
5 Beyond the self: Contemporary portraiture from AsiaEducationResource
1 Background briefing
Curatorial perspectives*ThecuratorofBeyond the self: Contemporary portraiture from AsiaisChristineClark,ExhibitionsManagerattheNationalPortraitGallery,Canberra.ClarkisanartsadministratorandcuratorwithmanyyearsexperienceinAsia-Pacificcontemporaryartprojects.WhileworkingattheQueenslandArtGalleryshewasextensivelyinvolvedinthefirstthreeAsia-PacificTriennialexhibitionsin�993,�996and�999.ShehascuratedandmanagednumerousotherprojectsinvolvingcontemporaryartfromtheAsia-Pacificregion.
Asafrequentvisitortotheregionandobserverofthe‘artboom’whichhascharacterisedtheemergenceofcontemporaryvisualartwithinmarketeconomies(suchasinIndonesia),Clarkwasinauniqueposition,asan‘outsider’with‘insider’knowledge,totrackemergingtrends.Oneinparticularcapturedherattention–thedominanceofportraiture,andself-portraitureinparticular,intheworkofmanyartists.Thefactthatsomeoftheseartistswereprominentfigureswithintheregionalartsceneandpowerfulattractorsforemerginggenerationsofyoungerartistshasmeantthatthistrendhasconsolidated.
ClarkexplainsthatunderstandingtheroleandmeaningofportraiturewithinaSouthandSouthEastAsiancontextrequireslettinggoofWesternEuropeanmodelsandseculartraditionswhichhavetendedtoseeportraiturebeingaboutcapturingalikenessorasymbolofpoliticalandeconomicstatus.ForClarktheinterestindevelopingtheexhibitionlayinthewaytheselectedartistsaretreatingportraitureasameanstonotonlyspeakaboutthemselvesbutalsotoexploreand‘expresslargerconcerns’.
AnumberoftheseconcernsareembeddedwithinBeyond the selfworksandinclude:environmentalpollution,theimpactofurbanisationontraditionallife,thestatusofwomeninpubliclife,thetreatmentofculturalminorities,nationalismandindividualismversusmassconformity.
AsClarkexplainsinheronlineintroduction:
‘Participatingartistsareinterestedinre-describingindividualandcollectiveviewpointswithintheirspecifichistoricalandculturallandscapes.Interestsinredefiningthelocalandquestioningtheselfrunparalleltochangesincontemporarysocietyandtheinexorableshiftsinculturesinthisageofinstantaneouselectroniccommunicationandaconvergingworldeconomy.Thecontemporaryworldsoftheartistsinvolveglobalawarenessandmobilityalongwithalteredeconomicandtechnologicalpossibilities.Theseredefinitionsofthe“personalisedlocal”manifestinsophisticatedresponsestothishomogenisingmomentinhistory.’
(seefulltextinBeyond the selfwebsite)
Why the title ‘Beyond the self’? Clarkstatesthat,‘AlltheartistsinBeyond the selfengageusbyusingtheir“selves”–theirindividualpersonasorthoseofclosefamily–tospeakofthis“beyond”,oflargerexplorationsthatmaysignalhistoricalorculturaltransformations.Inthehistoryofrepresentationacrosscultures,depictionsofselfhavebeentiedtobothanoutwardreflectionandinternalmediation.Thedeftmanoeuvringsoftheartistsinthisexhibitionseektoembracethesestates,butalsotoextendthem,intheirrenderingoftheself-imagetheyworkinaspaceofimaginativeinterventionandthereinventionoftheself.’
Clarkadds,’Invention,exploration,precariouspotentiality,tingedwithintrigue:thesearetheideasconjuredinmymindasIthinkofbeing“inthebeyond”.By“thebeyond”Iwanttoinvokeaspacedevoidofboundaries,offeringperspectivesthatusesdistanceasameansofintersectingwiththepresent’.
Sheacknowledgesthat‘thebeyond’(particularlywhenassociatedwiththeportrait)isa‘slippery’concept,particularlyiftryingtoseeportraiturethroughaprismofWesternEuropeanconstructs.InputtingthistoonesideandbetterunderstandingthecontextsinwhichtheBeyond the selfworkshavebeenmade,therearenoshortcuts.Itdoeshelptohavesomeworkingknowledgeofthepolitical,socialandculturalhistoriesofcountriessuchasIndia,Indonesia,ThailandorMalaysiaforthecentralreasonthatmostoftheBeyond the selfartistsareengagedwithaspectsofthesehistoriesortraditions(andtheirlegacies)withintheirpractices.
*TextbasedonChristineClark’sexhibitionintroduction(andassociatedessay)andconversationbetweenauthorandClark,June�0��
6 Beyond the self: Contemporary portraiture from AsiaEducationResource
Butinstressingthattheworksarelayered(i.e.gobeyondordeeper)thebestresearchstrategyistoapproacheachbodyofworkonitsrespectivemerits,toobserveitsvisualfeaturesandobviousiconography,thenusingvariousresourcesincludingtheBeyond the selfNationalPortraitGalleryresourceandthisEducationResourcetobuildsufficientbackgroundinformationtodeterminewhatandhowmuchadditionalcontextualmaterialneedstobeaccessed.
Throughsuchaprocessitwillthenbecomemoreobviousandmeaningfultoexplore,forexample,wayangshadowpuppetry(seeNugroho),themigrationofindividualsandcommunitiesfromwithinAsiatoAustralia(seeQureshiandReamillo),JoseRizalandthebirthofthemodernPhilippinesnation(seeReamillo),theenduringancientSanskritepics,theRamayanaandtheMahabharata(seePushpamala),Mughalminiaturetraditions(seeQureshi),colonialandpost-colonialhistory(seeHarsano,Pahlasari,andRawanchaikul)andtheimpactofurbanisationandindustrialisation(seeBhalla,BamadhajandUpadhyay).
Throughthisprocessitwillbecomepossibletomovebeyondneatclassificationsofartandartistsintobundlessuchas‘Indian’,‘Thai’or‘Indonesian’andappreciatethattheseworksareamalgamsandwindowson,asClarkstates,‘interlockingentitiesthatconstitutearichmosaicofcultures’,oneinwhichcontemporarychangeisinconstantdialoguewiththepastandwithlivingtraditions.
FromacuratorialperspectivethislineofthinkingopensupnotonlypossibilityofmeaningfulengagementwithcontemporaryAsianartbutalsoofre-imaginingculturalandhistoricallandscapes.
AsClarksummarises,‘TheartistsinBeyond the selflargelyoperateinspacesofimaginativeinventionandintervention.Throughtheirpersonalperspectivesandredefinitionsofvariousculturalandhistoricallandscapestheartistsattempttoaltertheaudiences’customaryparameters–probing,pushingandextendingimaginations.Theyofferalternativewaysofoperatinginandimaginingourworldandsuggestafutureofundefinedpossibilities.WriterHomiBhabha,describinginternationalism,suggeststhat“the…space‘beyond’becomesaspaceofinterventioninthehereandnow”.Theartistsinthisexhibitioncreateworkthatreflectsthatinterventionintothehereandnow,toexplorebeyondtheself.’
7 Beyond the self: Contemporary portraiture from AsiaEducationResource
Focus artistsThefollowingtwelveartistshavebeenselectedforfocusresearchonthebasisofdemonstratingadiversityofideas,stylesandusesofmediainexploringtheexhibition’sthemes.Theorganisationofresearchundertheheadingsof:ArtistStatements,Perspectives,Work,FramingQuestionsandResearchcouldbeusedasatemplateforexploringanyoftheworksintheexhibition.
Theseunitshavebeenresourcedbytheinterpretivematerial(includingvideointerviewswithselectedartists)ontheNationalPortraitGallery’sBeyond the selfwebsite.ItisrecommendedthatthissitebeaccessedandusedinconjunctionwiththisonlineEducationResource.
http://www.portrait.gov.au/site/exhibition_subsite_beyondtheself.php
Thereareextendedprofilesforallnineteenartistsintheexhibitiononthiswebsite.Mostarewelldocumentedthroughpersonalwebsitesandotherinternet-accesssourcesincludingYouTube,galleryandgeneralmediareporting.SamplesoftheseresourcesareincludedintheFocusresearchprofiles.
2 Exploring the works
8 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�97�,TamilNadu,SouthernIndia.livesandworksinBangalore,India
Gravity,�009,fibreglass,woodandacrylic,6�x58.4x�0.�cm
Orifice,�008,laser-burntmarksonpaperonthesameplaceofbodyorificesandscreenprint,47x6�cm
Silent sound,�009,fibreglass,woodandacrylic,45.7x45.7x4.4cm
Artist statement Hisprimarypreoccupationiswithmetaphysics.‘Previousworkswereaboutperception,nowmyartisaboutwhatreallyexists’Balaexplains.InanalmostBuddhistgesture,hetracksthedissolutionofindividuality,itsvoyageintoadeeperreality.likefootprintsinthesnow,Bala’s(invariably)white-on-whiteartworksareremindersofpresencebecausetheygesturetowhatisabsent.‘Theselfdisappearsinmywork.Iamnotcastingmyself,justtheoutsideofmybody;wheremybodyisnot,iswhereitcouldbe’.
FromLifting the painted veil, Alwar Balasubramaniam,ZehraJumabhoy,StevenandElenaHeinzScholaratTheCourtauldInstituteofArt,london.(SeefulltextBeyond the selfwebsite)
PerspectivesAlwarBalasubramaniam’ssculptures,printsandinstallationschallengeourperceptionswhilecreatingformsfortheinvisibleandtheintangible.Hisworkchallengesourexperiencesandpreconceptionsofthephysicalenvironmentandtestsourabilitytoperceivethehiddenbygivingmasstotheephemeral.Hehasfrequentlyemployedhisownbodyasthemediumbymakingcastsofhisface,handsandfullbodytonegotiatetheboundariesofselfandwithinoneself.
(Beyond the selfwebsite)
Seeingisbelieving.InAlwarBalasubramaniam’scase,seeingandbelievingaretwoseparateacts,dependingonyourdiscernmentandperception.Hisprints,paintings,andsculptures,withtheirconstantplaysonthevisibleandinvisible,illusionandcertainty,challengenotionsoftherealandtheunreal.WalkintoaBalasubramaniamexhibitionandyouwillbeconfrontedbyasurrealworldwherewallsarepulledlikefabricbydisembodiedhands,whereafigureoftheartistsitswithhisheadburieddeepinthewall,whereangelsemergeasifbymagicfromblocksofstoneandsculpturesdissolveintonothingness.
Alwar Balasubramaniam: Uncharted Territories,MinhazzMajumdar:www.talwargallery.com/html/inpress/dec08sm.html
WorkThiswork(Orifice)washappenedasaresultofaconversationwithmystudentsinCornellwhereIwasteaching…SowhatIdid,Ijustliedownonthebigscanner,sooncethewholebodyisscannedwhereeverI’mhavingcontactwiththeoutsideworld,youknow,theinandout,liketheearsortheeyesorinsidethemouth,youknow.Sosimilarly,nowallorificesinthebody,youknow,whereverthosepartsare,onthiscanvaswejustmarkedthem,madethemarksonthepaper.Sotheworkisnothingbuttheexactsamepointswheretheinandoutdisconnected.Iwasexploringtheinvisibleinnerspacelike,forexample,thespacebetweentheobjectandtheshadow,thewayhowitfallcastingthiswaysorthepathofthelightorotherthings.
Fromvideotranscript(Beyond the selfwebsite),ChristineClarktalkstotheartist
JustasOrificegesturestothegapsintheself,Bala’sotherofferingsdocumentthetelltalesignsofitsdeparture.IntwoversionsofGravity�008and�009weseefibreglasscastsoftheartist–well,almost.Whitefibreglassmock-upsofBala’sfeaturesemergeunassuminglythroughwhitewalls.Wefeelasifwearewitnessingasubtleghostlyvisitation.But,justaswethinkwehaveglimpsedhisfaceandshoulders,takingslowshapebeforeoureyesinGravity�009,weblinkandloseourbearings:Balaseemstodissolvebackintotheseaofwhitefromwhencehecame.Meanwhile,inGravity�008theartist’sheadappearstobeencasedinasnowyfoldofcanvas,itswhiteweighttuggingBalatowardsthefloor.
FromLifting the painted veil, Alwar Balasubramaniamonsearchingendlessly…,ZehraJumabhoy,StevenandElenaHeinzScholaratTheCourtauldInstituteofArt,london.(Beyond the selfwebsite)
1 Alwar Balasubramaniam
2 Exploringtheworks
9 Beyond the self: Contemporary portraiture from AsiaEducationResource
Eachformanditsmultipleshadowssharetheirowncamaraderiewiththeelementoflight.Withsomeappearingdarkeranddeeperthanothers,thenotionoftranscendentalinfinityisalsoestablished.
DeepakTalwarofTalwarGallery,DelhiandNewYorkhttp://www.saffronart.com/artist/artistprofile.aspx?artistid=547
Framing questions and researchn Theartisthasstatedthat‘Previousworkswereaboutperception,nowmyartisaboutwhatreally
exists’.Towhatextentdoesthiscommentapplytotheworksbythisartistintheexhibition?
n ‘Hehasfrequentlyemployedhisownbodyasthemediumbymakingcastsofhisface,handsandfullbodytonegotiatetheboundariesofselfandwithinoneself.’Whydoyouthinkthiscomment(fromtheBeyond the selfwebsite)makesadistinctionbetween‘self’and‘withinoneself’?
n Ithasbeenstatedthat‘theartist’squestistoenableviewerstobecomeaware,eveninfinitesimally,ofthesubjectivityoftheirperceptionsandrealisethatawholeworldexistsbeyondtheseen.’*Ifthisisso,canyouidentifyaspectsoftheworksthatsupportthis?
*http://www.talwargallery.com/html/inpress/dec08sm.html
n Theartisthascommentedthat‘Thevisualisjustaby-product.Thereallyimportantthingistheinvisible’.Whatmethodsdoestheartistusetocommunicatethisidea?
n ‘Balasubramaniam'sdeceptivelysimplesculpturesandinstallationsposemorequestionsthananswers.’Doesthiscomment(byMinhazzMajumdar)relatetoyourownreadingofthisartist’swork?
n ThereareotherworksintheBeyond the selfexhibitionthatfeatureorincorporatepartsofthebody.Canyouseeanycommonpurposeinthis?
Further resourcesVideointerview(Beyond the selfwebsite),ChristineClarktalkstotheartist.
Seealsohttp://www.saffronart.com/artist/artistprofile.aspx?artistid=547
Gravity,�009,fibreglass,woodandacrylic,6�x58.4x�0.�cm
�0 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�968,Malaysia.livesandworksinYogyakarta
Not talking to a brick wall,�006,singlechannelcolourvideo,5minutes43seconds
Landlocked,�008,charcoalonpapercollage,�88x��7cm
Artist statementlikehistory,architectureisastateenterprise,builtandproducedatcertainperiodstoexemplifythevisionsofitsproducers.likehistory,too,architectureisfurthermarkedbythepersonalmemoryofitsviewer.
Myselectionofbuildingsisbasedonmypersonalmemoryofthosesitesandtheircorrespondingpoliticalperiods.InmyreadingsofthesearchitecturalsitesIseeironiesandincongruitiesoftheseformsinrelationtomyreadingsofhistory.Ithereforecompresstimebetweentheseformsandtheirpastbyplacingtheminselectedoldphotographs.Myselectionofthephotographsisbasedlessontheintentofthephotographerandthehistoricalevent,butmoreonmyownpersonalmemoryandinterpretationoftheimage.
Inthecompressionofarchitecturalformandhistoricaleventanewinterpretationcanbemadeofbothelements.
CPBiennale�005website,artist’sstatementregardingTaking It Personally,(digitalvideo)http://biennale.cp-foundation.org/�005/featured_nadiah_bamadhaj.html
PerspectivesFromherinitialtraininginsculpture,she(NadiahBamadhaj)hasexpandedherpracticetoincludevideo,drawingandinstallation.Anacademicandwriter,withstrongintellectualinfluences,sheisoftendrivenbyasenseofsocialjusticeandisconsciousofthewayinwhichthestaterelatestoitsconstituents,particularlythroughconstructionsofarchitectureandmonument.Bamadhaj’sworkisoftenstronglycriticalofthepoliticalandsocialmachinerythatdrivescommunaldirection.Bamadhaj’spracticeisinformedbyherunstablepositionintermsofgeographicoriginandherpersonalinterestinregionalhumanrights.
Beyond the selfwebsite
InNadiahBamadhaj’swork,thenotionofpersonisinextricablytiedtonotionsofplace.Overthepastdecade,herpracticehasbeenmotivatedbyastrongpersonalinterestinpoliticaleventsandsocialphenomenathathaveshapedoraffectedheridentityandoutlook,expressedthroughvariedinterpretationsoftheirgeohistoricalpositioning.Itseekssometruthorreasonbehindtheposturingsandassumptionsofferedupto‘local’and‘global’audiencesalikeasaglossonthehistoricalandcontemporaryrealityofherregionalnexus,incorporatingMalaysia,whereshewasbornandgrewup;Singapore,thelong-timeseatofherpaternalfamilyhistory;andIndonesia,asiteoftraumaticviolencethatshehaschosenasacurrentbase.
FromNot talking to a brick wallandLandlocked: Architectures of personal space,BeverlyYong,DirectorofRogueArt.(SeefulltextBeyond the selfwebsite)
TheSurveillanceseriesisacollectionofworksonpaperthatrepresentsacontinuationofartistNadiahBamadhaj’sexplorationintoarchitectureandbuiltenvironments.DrawingprimarilyfromherexperienceslivinginKualalumpur,thedrawingsexploretheideathatarchitectureactsasaformofsurveillance.Inthisbodyofwork,theartistarguesthatarchitecture,orbuiltenvironmentshavethepotentialtoshapeandcontrolthebody,itsmovements,andinturn,theidentity/ieslocatedwithinthissurrounding…ThechallengingnatureofthefigureinthesedrawingsplacesSurveillanceasacritiqueratherthanadescriptionofthesebuiltenvironments.
http://www.vwfa.net/kl/exhibitionDetail.php?eid=77
Overall,theworksareexplorationsofurbanandnationalterrainthroughmapsconjuredbytheartisttohighlightthearbitrarinessofmappinginshapingourindividualidentities.Theytakelibertieswithgeographicprecision,butexposeawealthofunderlyingissues.
Indeed,onthemostbasiclevel,mapsfunctionasformidabletoolsinpresentingouridentity:Wedrawmapstodirectotherstoourhomes;colonialpowersmappedterritoriesinuniformedcolourstosignifystrength;chartedlinesdivideusfromourneighbours,markingbothsovereigntyandseparatenessfromoneanother.
RachelJenagaratnam,Mapping Identities,reviewofSurveillanceexhibition:http://thestar.com.my/lifestyle/story.asp?file=/�008/8/�4/lifearts/�849577&sec=lifearts
2 Nadiah Bamadhaj
�� Beyond the self: Contemporary portraiture from AsiaEducationResource
NadiahBamadhaj’sartpracticeispredicatedonalifelongengagementwiththepoliticalandhistoricalforcesthathaveshapedourculturalidentities.ThisnewbodyofworkcontinuesfromherpreviousseriesinvestigatinghowbuiltenvironmentsinMalaysiacontributetothepracticeandmaintenanceofstatepower.Shearguesthatthesearenotneutralspacesandthattheyhavemouldedthepopulationintospecificgroups,basedonreligionandethnicity,sothatthepopulationfitsintofixedandreadilyidentifiablesubjectsinthemulti-culturalrhetoriccommonlyunderstoodasour‘national’identity.
Adoptingtheconceptofsurveillance,theartistzonesintospecificlocalities,intheguiseofasociologistoranthropologist,mappingthecomplexracialandreligiousideologiesthatattendourdifferentbuiltenvironments.Eachsuburbanestateisassociatedwithasymbolicrepresentationofaparticularaspectof‘national’identity,shapedbylocalterrain.
ValentineWillieFineArtwebsite:http://www.vwfa.net/kl/exhibitionDetail.php?eid=77
Landlocked,�008,charcoalonpapercollage,�88x��7cm
�� Beyond the self: Contemporary portraiture from AsiaEducationResource
WorkLandlockedformspartofalargerbodyofcollageddrawingsshowninthe�008exhibitionSurveillance,whichsetsouttoexaminethepoliticisationofhabitatincontemporaryMalaysia.Basedontheartist’sownexperienceoflivinginthesuburbsofthecentralKlangValley,andherresearchinsocialgeography,theworksinSurveillanceinvestigateideasofarchitectureandtownplanningasanexpressionofpoliticalstrategiestocontainsocialandpoliticalbehaviour.Thedesignofsuburbanhousingandlocationinthiscontextisseentoregulatethedailylifeandpreferences(forconvenienceandstability)ofcitizens,facilitatingtheircontrolbythestate.
InLandlocked,thetopographyofaKlangValleysuburbisintegratedintotheartist’sselfportrait,itsregularrowsoftownhouseslaidastattoosonherupperarm.Thecharcoalonpapercollageoflandscapeandskinemphasisesthetactilityandtextureofthis‘mapped’experience,itsemotionalpresenceinacoldstrategiccontext.
FromNot talking to a brick wallandLandlocked: Architectures of personal space,BeverlyYong,DirectorofRogueArt.(SeefulltextBeyond the selfwebsite)
Framing questions and research n BeverlyYonghasstatedthat‘SubjectivityinNadiah'spracticeisdialectic–thepersonalisclearlya
spaceofcompetingagendasofpolitical,historical,religious,ethnicandsexualidentity.Whereherownimageappears,itisalwaysasbothobjectandobjectifier,pawnandchessplayer,asareflexivestrategythattriestounderstandtheselfasapolitical,social,historicalsubject.’(Beyond the selfwebsiteessay)
n ApplythisreadingtoyourowninterpretationofLandlocked.Doesthishelpyoutounderstandwhytheartisthasdepictedherselfinthisway?
n Acentralideaunderlyingthisseriesofworkisthatarchitectureandtownplanningareinfluencedbypoliticalinterests.InvestigatethisideaanddecideforyourselfhowitisexploredinBamadhaj’swork.
n TheseaerialandpanoramicsurveysofthebroadandevershiftingtransformationthatdevelopmenthaswroughtupontheMalaysianterrainrevealanationgrapplingwiththedarksideofitspost-colonialmodernityandprogress.*UnderstandingthisstatementmayinvolveresearchingthepoliticalandsocialhistoryofmodernMalaysia.
*ValentineWillieFineArtwebsite
n ThinkaboutYong’sobservationaboutthetactileandtexturedqualitiesofLandlockedandtheemotionalcontradictionitcreateswiththecentralfocusofthework.Discussthisaspectoftheworkwithsomeoneelse.
n Whydoyouthinktheartistchosethetitleof‘Surveillance’forthisseriesofworks?
n Hastheartist’smethodologyinbuildinganimagebylayeringgivenyouanideatotryinyourstudiowork?
Further resourcesExhibitionopeningremarksbyRimbunDahan:http://www.rimbundahan.org/art/artists/nadiah_bamadhaj/
2 Nadiah Bamadhaj cont’d
�3 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�964,NewDelhi,India
Submerged again,�005,archivalpigmentprint,diptych,��4x�70cm
I was not waving but drowning II,�005,archivalpigmentprint,30.5x45.7cm
Artist statement Waterbeingtherepositoryofmyth,historyandmeaninghasbeenouronlydeliverer,mythicallyandmetaphorically.Myworkisanattempttoconnecthistories;thosethatarebeingconstantlymade,andothers,whichareconstantlythreatenedorarebeingpushedunder.Ichosetoconnectrecenthistoricalsites,whichareonthevergeofbeingforgottenand/orcoveredover,withinsightofinnerShanghai,asa‘listener’:towater,tostreams,canals,wells,locks,harbours,rivers,etc.Iseektodiscernalltheuntoldstories,tales,andmythsthatremainuntoldandtowitnesswhatmay/maynotbeallowed.
WestHeavens:http://westheavens.net/en/artist/atul-bhalla/
PerspectivesHe(AtulBhalla)frequentlycombinesphotography,installation,sculpture,video,paintingandperformancetoquestionthehumanrelationshipwiththenaturalandconstructedenvironment…Bhalla’sworkofteninvitesaudiencestoengagedirectlywithotherwiseoverlookedelementsofurbanandmetropolitanspaces,inparticularwatercourses,inhishometown,NewDelhi,andthosehevisitsduringthecourseofinternationalexhibitionsandresidencies.
(Beyond the selfwebsite)
Engagedwiththesharedenvironmentalandethicalconcernsofanewgeneration,AtulBhallaisaconceptualartistwhoexaminesthisnewgeneration’srelationshiptowateranditsculturalmeaning.Concernedwithissuesofrelentlessurbanisation,heexamineshowhistoricalaswellascolonialandpost-colonialurbanplanningandadministrativepolicies,orlackthereof,definethemannerinwhichthecitymeetswater.
http://westheavens.net/en/artist/atul-bhalla/
AtulBhallaalsousesphotographsandlocation,butinadiametricallyopposedway.Foranumberofyearsnow,hisworkhasfocusedontheriverYamunaandthestreetsofOldDelhi;thetwoarelinkednotjustbytheirproximitybutthroughtheartist’spreoccupationwiththethemeofwater.Traditionaldrinkingfountainsandwatervendors;ritualprayersofferedintheriver;pumphousesbuiltalongthebank;andtheincursive,smoggyurbanscapehavefeaturedinhissculptures,installationsandphotographs.
http://girishshahane.blogspot.com.au/�009/��/dayanita-singh-and-atul-bhalla.html
Overthepasttenyears,AtulBhallahasbuiltupanimpressivebodyofworkthatencompassesdrawings,sculptures,videos,installations,performancesandpublicinterventions.Despitethisformalversatility,however,heisbestknownforhisphotographs,mostoftenpresentedasphoto-serieswhichcreatenarrativesthatcanbe,inturn,enigmatic,poetic,lyrical,disturbingandvisceral.
FromBeyond the self,KhavitaSingh,AssociateProfessorattheSchoolofArtsandAesthetics,JawaharlalNehruUniversity.(SeefulltextBeyond the selfwebsite)
WorkIndianartistAtulBhallain�005tookaseriesoffourteendigitalpigmentphotographsdepictingtheartist’sgradualdescentintotheYamunaRiverandformedapoignantmontageonthespiritualityandenvironmentaldegradationofthewaterreveredbyIndianHindus.TheprintsarebasedonthepoemNot Waving but Drowning(�957)byEnglishpoetStevieSmith.
ThephotographsofBhallaweretakeninIagatpuri,nearNewDelhi,wheretheYamunaisthemostpollutedanddangeroustoswimin.I Was Not Waving but Drowningjuxtaposesthebelievedspiritualityofwaterwiththeharshrealityofhowtheriveristreatedenvironmentally.
3 Atul Bhalla
�4 Beyond the self: Contemporary portraiture from AsiaEducationResource
Submerged again,�005,archivalpigmentprint,diptych,��4x�70cm,courtesytheartist
Inthefirstphotographofthemontage,Bhalla’seyesareopenandhehasaserenelookonhisface,despitethefilthinessofthewaterthatsurroundshim.Hiseyesgraduallycloseoverthenexttwophotographs,andasthephotoscontinuemoreandmoreofhisfacialfeaturesarelosttothedisconcertinglyopaquewater.
Vrindavan Today:http://www.news.vrindavantoday.org/�0��/0�/new-delhi-artist-atul-bhalla-takes-yamuna-pollution-to-the-worlds-art-galleries/
Therearemanylayerstothispiece,butoneinterpretationisthatthroughthesephotographsBhallastressesthatwearenotonlylosingtheenvironmenttopollution,butwearelosingourselves.TheYamunaisanintegralpartofHinduism,andthusitsdesecrationchallengestheHinduidentityandtheroleofwaterinIndianthought.
http://www.news.vrindavantoday.org/�0��/0�/new-delhi-artist-atul-bhalla-takes-yamuna-pollution-to-the-worlds-art-galleries/
�5 Beyond the self: Contemporary portraiture from AsiaEducationResource
Framing questions and further research n Therearemanylayerstothispiece,butoneinterpretationisthatthroughthesephotographsBhalla
stressesthatwearenotonlylosingtheenvironmenttopollution,butwearelosingourselves.*ConsiderhowthisinterpretationappliestoBhalla’swork.
*http://www.news.vrindavantoday.org/�0��/0�/new-delhi-artist-atul-bhalla-takes-yamuna-pollution-to-the- worlds-art-galleries/
n TheobservercanalsofindhopeinBhalla’swork.I was not waving but drowning IIrevealsthat,inspiteofpollution,manandnatureareultimatelyinittogether.Thisknowledgewillhopefullysteerpeopleintherightdirection,promotingspiritualreverencefornature.*Doyousharethissenseofhopewhenlookingattheseworks?
*http://www.news.vrindavantoday.org/�0��/0�/new-delhi-artist-atul-bhalla-takes-yamuna-pollution-to-the- worlds-art-galleries/
n Doesthefactthattheartistisperformingwithinhisownworkinfluenceyourinterpretationinanyway?
n Considerexperimentinginyourownstudioworkbycreatingaseriesofsequencedphotographswhichtrackacentraleventofidea.
n Bhalladescribeshispracticeasanattempttounderstandwater,thewayheperceivesit,feelsit,drinksit,swimsinitandsinksinit.Hispersonalnegotiationofwaterprovidesastagefromwhichtoaddresslargerpoliticalissuesconcerningbodiesofwaterandtheurbanenvironment.*FromyourresearchintothistopiccompareBhalla’sapproachtoexploringenvironmentalissueswiththatofanotherartist.
*Vahedragalleryexhibitionreview:http://www.prohelvetia.in/�04.0.html?&no_cache=�&l=0&tx_ttnews%5Btt_ news%5D=�359&tx_ttnews%5BbackPid%5D=98&cHash=0��80�d�9�
Further resources‘NewDelhiartistAtulBhallatakesYamunaPollutiontotheworld’sartgalleries’,VrindavanTodayarticle(includesextendedanalysisofBhalla’swater-basedwork):http://www.news.vrindavantoday.org/�0��/0�/new-delhi-artist-atul-bhalla-takes-yamuna-pollution-to-the-worlds-art-galleries/
Thissiteincludesbiographicaldetailsandgalleryofimages.http://sepiaeye.com/atul-bhalla
ThisSkodaPrizeforContemporaryArtwebsitecontainsextensivereferencestootherwater-basedworkbytheartist.http://www.theskodaprize.com/�0�0/longlist-�0�0/bhalla-atul.html
Seealso:
http://www.aptglobal.org/view/artist.asp?ID=5�4�
http://girishshahane.blogspot.com.au/�009/��/dayanita-singh-and-atul-bhalla.html
http://sepiaeye.com/atul-bhalla
http://taigh-chearsabhagh.org/taighc_events/atul-bhalla-artists-talk/
�6 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�974,Calcutta,India.livesandworksinMumbai
Yog Raj Chitrakar: Memory drawing series,�0�0
(seelistofWorksforfulldetails)
Artist statement Myperformancesmaybeseenasaformofstorytellingthatinterminglesfamilialhistories,personalnarrativeandeverydaylife.Theprocessofperformingisameanstoaccess,excavate,extractandpresentthem.AutobiographyisoneplaceIknowwheretobeginfrom.Allurgencies,desires,knowledge,emotions,expressions,stemfromthatplacethatIamrootedin.Mysenseofidentityisdeeplyconnectedtomysenseoflocationintimeandspace.
http://www.nikhilchopra.net/home/?page_id=�6�5
Oftheactofdocumentationthroughdrawing,Choprasays,Ithinkdrawingormakingmapsortakingphotographsormakingimagesofsomething…[is]…anactofclaimingownershipoverit.Mytakeonitistoreclaimacertainkindofhistory,toreturn,infact,[to]thisorientalistdiscussionabouttheWesterntravellercomingtotheEastandmakingdocumentsandtakingthembackhome.Iwanttobetheoriental,perhaps,thatcomestotheWestandmakesdrawings…AndmakeschroniclesandperhapsgoesbackhometoIndiawith…documentationofthat.
InterviewwithNikhilChoprabyTomDodson,NewYorkCity,9November�009http://champsnotchumps.org/episode_3/transcript
PerspectivesHispracticebringstogethernarrative,costume,theatreanddrawinginnarrative,costume,theatreanddrawinginaspectaclethatimplicatestheviewerintheperformance.Histhemesdrawonhistoryandmemory;collectiveconsciousnessisexploredthroughpersonalandfamilialreferences.Hischaractersarepartautobiography,partnostalgiaandpartsocialcommentary.
Beyond the selfwebsite
Work Forninety-sixhoursinMay�009,artistNikhilChopra,performingthecharacterofYogRajChitrakar,residedatlesBrigittines,abaroquechapelinBrussels,recentlyconvertedtoatheatre.Heleftthisabodeeverymorning,traversingthecityandscalingGalgenbergHilltoreachtheimposingPalaisdeJustice/Justitiepaleis,avantagepointthatofferssweepingvistasoftheBelgiancapital.Chitrakarcoveredhiscanvaswithcharcoaldrawingsofthecity’spanorama,distinctlydividedintotwohalves,indicativeofthedivisionsbetweentheFrenchandFlemish-speakingpopulationsthatinhabitit.Eveningswerespentbackatthechapelsewingthesetwohalvestogether,producingadramatic,�6metrelongbackdropforYogRaj’sfinalposeasaGreekgoddess–anallusiontotheneoclassicalinfluencesonthecity’sidentityandbuiltenvironment(Yog Raj Chitrakar: Memory drawing VI).
RattanamolJohal,PostgraduateatTheCourtauldInstituteofArt,london(SeefulltextBeyond the selfwebsite)
Framing questions and further researchn Theartisthasstatedthat‘Mysenseofidentityisdeeplyconnectedtomysenseoflocationintime
andspace’.Howdoestheartistexplorethisinthevideo?
n Thereisamomentinthevideowhentheactionoccurringintheparkcoincideswiththeinteriorspaceofthegallery.Whatsignificancedoesthismomenthavewithinthetotalvideo?
n Thestrategyofmakingavideoaboutaperformancethatinvolvesmakingtheactingwithinadrawingmaycreateconfusionabouttheartist’sintentionorthework’smeaning.Doyouthinkthatthismatters?
n Thereareotherworksintheexhibitioninwhichartistsadoptsorbecomedifferentcharacters.Seeifyoucanfindthemandcomparesometobetterunderstandwhythisstrategyhasbeenused.
n Intermsoftheexhibition’sthemedoyouthinkthisisaneffectivestrategytoexploreasenseofself?
4 Nikhil Chopra
�7 Beyond the self: Contemporary portraiture from AsiaEducationResource
Yog Raj Chitrakar: Memory drawing X (Part I, 13:00),Yog Raj Chitrakar: Memory drawing series,�0�0digitalphotographonarchivalpaper,73.7x��0.5cm,costumesbyloiseBraganza,photographybyVinitaAgarwalimagecourtesytheartistandChatterjee&lal,Mumbai
Fromleft:Yog Raj Chitrakar: Memory Drawing IX Part 1,�009digitalphotographonarchivalpaper,costumesbyloiseBraganza,photographybyTinalange
Yog Raj Chitrakar: Memory Drawing VI (16:00),�0�0digitalphotographonarchivalpaper,costumesbyTabsheerZutshi,photographybyShivaniGupta
Yog Raj Chitrakar: Memory Drawing VI (17:30),�0�0digitalphotographonarchivalpaper,costumesbyTabsheerZutshi,photographybyShivaniGupta
ImagescourtesyoftheartistandChatterjee&lal,Mumbai
�8 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�97�,Manila,Philippines.livesandworksinManila
Alab ng puso(Fireintheheart),�0�0,oilonrubberpainting,wheelchair,wood,lacquerpaint,rubber,cyanoacrylate,stainlesssteel,wheels,mirror,lights,leather,motorcyclebattery,speakersandstereo,9�x�75x87.5cm
Artist statementSeeChristineClarkinterviewwiththeartistonBeyond the selfwebsite.
PerspectivesAlfredoEsquilloJrmajoredinpaintingatUniversityofSantoThomas.Sincethenpaintinghasremainedthemainstayofhispractice,evenbeingincorporatedintohismorerecentworksthatcouldbestbedescribedasassemblagesorinstallations.EarlyinhiscareerEsquillowasheavilyinfluencedby‘magicrealist’artistsandFilipinosocialrealists,butashispracticehasdevelopedhehasbroadenedhisthemestomorepoliticisedexaminationsofthecontemporaryandhistoricalexperiencesofhisnation.Histechnicalprowessisevidentincraftedrealistpaintingsthatoftenappropriateimageryfromreligiousiconography,historicaldocumentationandpopularculture.
Esquillo’srecentworkhasimaginedthejourneyoftheFilipinonation,fromserialcolonisationandexploitationtoamorehopefulfuture.Hisworksexamineindividual,social,historicalandcommunalidentities,re-imaginingfamiliarrepresentationstoquestionhowtheseviewpointsareconstructed.EsquillocontinuestoliveandworkinManila,whileexhibitingthroughoutthePhilippinesandinternationally.
Beyond the selfwebsite
Themulti-awardedpainterexpressesapassionforcontentinhisthemes,leaningmoretowardssocialrealities.Heviewshisworksasmorepersonal,usingsymbolisminthegesturesandoverallcontextofhissubject.HisstyleremainslargelyinfluencedbyanearlierattachmenttotheMagicRealists,althoughhisthemeshavereflectedpreferencestotheintrospectivedealingmorewithlife’smeaningandponderingontheessenceofexistence.
ArtistCVnoteshttp://alfredoesquillo.com/
WorkThefollowingarticle(Snippets from the Manila Art Scene)http://manilaartblogger.wordpress.com/�0�0/06/�4/alfredo-esquillo-jr-throws-bato-bato-sa-langit/containsdescriptionsandimagesofseveralofEsquillo’s‘jeepney’sculptures.Seethefollowingextract:
IntheseriesofpaintingswhichhecallsTragicomedy,AlfredoEsquilloJrdisplayshismoresurrealistbent.Fortheseworks,hemakesrepeateduseofanimagehechristensasthewheelchair-jeepney.Aproductofhisimagination,hepaintsthisasajeepney’sdashboardwithoutanengine.Instead,thelargewheelsofthewheelchairappeartomechanicallypowerthehybridvehicle.Throughtheyears,Esquillohasemployedthisinseveralofhispieces:onitsowninThird World,pushedaroundincirclesbyseveralbuffoonsinSurvivor,carryingaloadofcartonsinLipat-Bahay.Heusesthewheelchair-jeepneyasadevicetounderscorethehobbledanddisabledstatewePinoysfindourselvesunabletoshakeoff,thelegacyofrepeatedmisstepsbyourpoliticalleadership.Anotherconveyancethatweseerepeatedlyinhistragicomediesisthedouble-facedjeepney,twojeepneydashboardsfacingoppositedirections.EsquillohasusedthisasametaphorforthePhilippines’lackofprogress.Thestatehastwodriverspullingitinoppositedirections.
ThisYouTubeclipincludesimagesofAlab ng Puso,http://www.youtube.com/watch?v=UljPdQ_GICA
Alfredomadeastereoscopicartwork,Trip to Heaven,modelledafterajeepney,acarry-allbusinthePhilippines.Heusedabicycleandacarttobuildtheframeanddecorateditssidesandroofwitha‘banigpainting’(wovenpaintings),inwhichheusedChristianillustrationsandphotosofFilipinoslivinginFukuokaCity.Sincethisworkrequiredmorelabourthanheoriginallyexpected;manyvolunteershelpedhim.
5 Alfredo Esquillo Jr
�9 Beyond the self: Contemporary portraiture from AsiaEducationResource
RightbeforehewentbacktothePhilippines,heheldaperformancecalledTrip to HeavenintheCultureGallery.Thethemeoftheperformancewasaboutsinfulbelieverswhowerelookingforapathtoheaven.Heassembledscatteredpartstocompletethejeepney,andthendroveitintoawallmadeofemptycans.
FukuokaAsianArtMuseumArchivelibrarynotesonthemakingofanEsquillo‘jeepney’sculpture(FukuokaMuseumartresidency�00�).http://www.city.fukuoka.lg.jp/fu-a/en/art_museums/detail/��.html
Framing questions and researchn Variousartistshaveusedthecarasasocialorpoliticalmetaphor.Whatdoesyourresearchtellyou
aboutthis?
n Thejeepneyasatropeisacontentiousone,havingbeenappropriatedmanytimesbyartistsandthestateasanemblemofFilipinoingenuity.Ithasbeenexaltedasaninventionparexcellence,atributetotheebullienceoffolkartandtheresilienceoftheFilipinospiritthatthrivesamidadversity.
Extractfrom‘Materiel’,PatrickDFlores,ProfessorofArtStudiesandCurator,VargasMuseumoftheUniversityofthePhilippines.(SeeBeyond the selfwebsiteforfullessay).
Doesthisinformationaboutthejeepneyasanationalemblemhelptoexplainthework?
n Imaginethisworkwithoutsoundeffects.Doyouthinkthiswouldchangeitsmeaninginanyway?
n DoyouknowofanyAustraliandesignsthathavebecomenationalemblemsoricons?Considermakingaworkofartwhichmakessomecommentaboutthis.
Further researchSeeBeyond the selfwebsitewhichhasanextensivegalleryofEsquilloworks:http://alfredoesquillo.com/
YouTubeclipofEsquilloexhibitionKalooban Narratives.http://www.youtube.com/watch?v=zplcpStBbkU
ForaninsightintoEsquillo’sideasanduseofMagicRealiststrategiesread‘AlfredoEsquilloJr:TheMagicof(Social)Realism’,PamBrookeACasin,ManilaBulletinPublishingCompany.http://www.mb.com.ph/articles/�35873/alfredo-esquillo-jr-the-magic-social-realism
http://manilaartblogger.wordpress.com/�0�0/06/�4/alfredo-esquillo-jr-throws-bato-bato-sa-langit/
Alab ng puso(Fireintheheart),�0�0,oilonrubberpainting,wheelchair,wood,lacquerpaint,rubber,cyanoacrylate,stainlesssteel,wheels,mirror,lights,leather,motorcyclebattery,speakersandstereo,9�x�75x87.5cm
�0 Beyond the self: Contemporary portraiture from AsiaEducationResource
Born�956,Bangalore,India
Abductionseries,�009
(seelistofWorksforfulldetails)
PerspectivesPushpamalaN.’sphotographicworksareusuallycreatedasseries,sometheartistreferstoasprojects,othersas‘photo-romances’.Pushpamalausesherownbodytoperformdifferentrolesintheseseries,whichdrawfromtheimageryofpopularculture,mythologyandhistoricalreferencesfromIndiaandelsewhere,usinghumour,witandasharpcriticalgazetolookatcontemporarysociety.
Pushpamala’sperformativephotographyandvideossometimesfunctionasakindofinstallation,wheretheexhibitmayresembleafilmortheatremuseumorevenamovietheatre.Sheconceives,researches,scriptsanddesignsthemise-en-scenes,workingwithphotographersorphotostudiostoproducetheworkwhereherfriendsmayplaysupportingroles,oroffertheirplacesaslocations,whichalsofunctionashidden‘jokes’.Shehasalsomadeexperimentalshortfilmsthatplaywithfilmgenres.
(Beyond the selfwebsite)
PushpamalaN.isknownforincorporatingpopularcultureintoherphotographicwork.Theartisthasadoptedvarioustrendypersonas,historicfiguresandironicrolesasvehiclesforherexaminationofissuesofgender,locationandhistory.Thecomicaspectofherworkcarriesaparticularlysharpedgeinherphoto-basedinstallationsandprojections,exposingculturalandgenderstereotypingwhileexploringthecomplexterrainofcontemporaryurbanlifeinIndia.
http://www.saffronart.com/artist/artistprofile.aspx?artistid=�783
BangalorebasedPushpamalaN.isaphotoandvideoperformanceartistwhoisthesubjectofherowncompositions.Inthisseriesofworks,theartistexploresphotographyasatoolofethnographicdocumentationandhumorouslychallengestheauthenticityofthephotographicimage.CreatedincollaborationwithphotographerClareArni,The Ethnographic Seriesdrawsattentiontothechoreographedstylisticsofearlyanthropologicalstudies,enactingandtherebytransformingstereotypesofwomen.Dressinginperiodcostume,Pushpamalarefashionsthesestereotypestosubvertandcritiquetheforensicclassificationofhumanity.ThestrengthofThe Ethnographic SeriesliesinPushpamala’switinreconstructingsuchscenesandplayfullydeconstructingthem,actingbothassubjectandobjecttothecamera.
http://www.saatchi-gallery.co.uk/artists/pushpamala_n.htm
The workInthe‘Wilderness’chapteroftheIndianepicRamayana,Sita,thepinnacleoffemininevirtue,yieldsbrieflytotemptationandisabductedbyRavana.Pushpamalaseizesthismomentandelaboratesonit,playingtheroleofRama’sdemurewifesweptawaybythedemon.Highactionunfoldsinmeticulouslydesignedtableaux,recallingtheproscenium-framedsettingsoflate�9thand�0thcenturyParsiandKannadatheatres.
FromAbduction/Paharana,AjaySinha,ProfessorofArtHistoryandFilmStudies,MountHolyokeCollege,UnitedStates.(SeefulltextBeyondtheselfwebsite).
The PassionexploresthecharactersofthreewomenfromtheRamayanaasarchetypalfigures.Setinfantasyenvironments,fatefulincidentsfromtheepicareplayedoutonaspectacularstageinbothstillphotographsandvideos,withelaboratecostumingandlightingtocreatepowerfulatmospheres.Pushpamalareferstovariousgenresofimage-makinginherworks,resultinginrichlylayeredhybridswithmultiplereferences.Manyoftheworksintheexhibitionrefertotheatrestillsfromtheearly�0thcentury,whileothersuseearlycinemaastheirmodels.Theartistisalwaysthecentralprotagonistinthesedramasandtheworksfunctionasdocumentsofperformances,ascritiquesofrepresentationalconstructions,andasobliqueself-portraits.
ReviewofexhibitionatNatureMorte,�0��,The Passion:http://artnews.org/naturemorte/?exi=3�56�
6 Pushpamala N.
�� Beyond the self: Contemporary portraiture from AsiaEducationResource
Framing questions and researchn SomeofPushpamala’smethodologyisverysimilartothatusedbyNikhilChopra(alsoinBeyond
the self).locatethevideobyChopraanddecideifbothartistsareexploringasimilarsetofideas.
n ThemodelsintheAbductionseriesareactingoutvariousmythologicalscenes.Researchthevariousvideointerviewsandmediafeaturesontheartisttofindoutmoreabouttheartist’sreasonsforusingthisstrategy.
n IthasbeencommentedthatPushpamalaisusingthepasttocommentonthepresent.AnalyseoneoftheworksfromtheAbductionseriesfromthisperspective.
n Considercreatingaphotographicseries,whichinvolvesusingmodels(suchasfriends)toactoutvariousscenarios,whichcritiquesocialvaluesandtraditions.
n Doyouobserveelementsofwitandplayfulnessintheseimages?
Further researchwww.youtube.com/watch?v=sNvAqktHl_I
TimHinman,The Guardian,��March�0��,‘SevenartistsinDelhi:PushpamalaN.–video’.PhotographerandvideoartistPushpamalaN.recreateshistoricalimagesthatshebelievesshowstereotypesofsouth-Indianwomen:http://www.guardian.co.uk/artanddesign/video/�0��/mar/��/delhi-artists-pushpamala-n-video
VimeovideointerviewwithPushpamalaN.regardingherworkintheThe Ethnographic Series,�000–�004attheGundGallery:http://vimeo.com/4��48�94
7 days in Delhi #5 – Pushpamala N.VimeovideointerviewbyMiriamNielsen:http://vimeo.com/�9087�33
Abduction /The Cloud Battle,�009,©PushpamalaN.,gicl�e print, �0�.6 x �5�.4 cm, photograph by Clay Kelton,�e print, �0�.6 x �5�.4 cm, photograph by Clay Kelton,print,�0�.6x�5�.4cm,photographbyClayKelton,cast:PushpamalaN.andSureshJayaram,Bangalore,courtesytheartistandNatureMorte,NewDelhi
�� Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�977,Yogyakarta,Indonesia
Fake is possible,�0�0,machineembroideredrayonthreadonfabricbacking,�56x�56cm
Keep the balance,�0�0,machineembroideredrayonthreadonfabricbacking,�57x�60cm
Artist statementSeeChristineClarkinterviewwiththeartistBeyond the selfwebsite.
PerspectivesEkoNugrohoenteredtheartsceneattheheightofReformasi.Workingacrossdisciplinesandsites,makingpublicmurals,paintingsanddrawings,andexploringothermediaandformssuchasembroidery,artist’sbooks,comics,videoanimationandcontemporarywayang kulit(shadowpuppets)eitheronhisownorcollaboratively,Eko’soptimismandcan-doattitudeembodiestheethosofthisperiod.
likehispeersofthe‘�000Generation’,Ekoappropriated,reinventedandsubvertedthe‘look’ofpopularculturethatinundateshismedia-saturatedsurroundingstoaddresstheexperiencesofhisdailyencountersinanewlyreformedsociety.Merging‘highart’withpopularandstreetculture,EkohasemergedasoneofthemostpopularandaccessibleinterpretersofcontemporaryIndonesianexperience.
FromTheBalancingAct,AdelineOoi,Co-founderofRogueArt.(SeefulltextBeyond the selfwebsite).
TheArtGalleryofSouthAustraliapresents(�8November�0��–�9January�0��)The Eko Chamber: Recent works by Eko Nugroho,twosuitesoflargeembroideredwallhangingsbycontemporaryIndonesianartistEkoNugroho…TheworksincludedinThe Eko ChamberepitomisetheeclecticnatureofNugroho’spracticewhichisinfluencedasmuchbywayang kulit(shadowpuppettheatre)ascomicbooksandgraffitionthestreetsofhishometownofYogyakarta.
EkoNugroho’sworkevokesasenseofplaywhilesimultaneouslyconfrontingthechallengesofcontemporarylifeinhiscountry.Thisisbestillustratedbyhispolychromaticembroideredworksfrom�0��whichcombinehybridcartooncreaturesdepictedinday-glowcoloursandslogansinIndonesian.
AGSAmediarelease,November�0��,http://www.artgallery.sa.gov.au/agsa/home/Media/docs/Current_media_releases/The_Eko_Chamber_MR.pdf
WorkInKeep the balance,themetaphoricalplateimpliesthegreyareasofliving,thatlifeisultimatelyabalancingactaswestruggletokeepinchecktheinnerforcesatworkwithinourselves.Extendingbeyondtheself,thebalancingactinthisimagecanalsobereadwithinabroadercontextastheprecariousnessofnegotiatingthetensionsbetweendifferingideologiesorcommunitiesthatshareasinglebodyorsimilarorigins.
AdelineOoi,(Beyond the selfwebsite)
Thewayangpuppets…aretransformationsofEkoNugroho’scomicfigureswhichhavelongbeenadoptedasthemainaestheticbaseofhiswork.Peculiarfiguressuchasthestone-headedman,diamond-heartedmanandpincer-handedman,arecommoninhispaintings,drawingsandembroideries.
AliaSwastika:http://ekonugroho.or.id/index.php?page=artwork&cat=Shadow%�0Puppet%�0Project
Framing questions and researchn ThePost-SuhartoerainIndonesiabeganwiththefallofSuhartoin�998.Sincethen
Indonesiahasbeeninaperiodoftransition.ThiserahasbeencalledtheperiodofReform(Indonesian:‘Reformasi’).ResearchthisperiodtobetterunderstandhowEko’sworkcanbeinterpretedwithinthiscontext.
n WhoamI?WhatamI?WhereamIgoing?Whydowedothethingswedo?Questionsabouthumanity’sexistenceandcontradictoryandironicnature,ourfrivolityanddysfunctions,
7 Eko Nugroho
�3 Beyond the self: Contemporary portraiture from AsiaEducationResource
andtheabsurdityoflifeingeneralareaddressedthroughan‘alter-’,comic-inspireduniversepopulatedbyhybrid-aliensandbizarrenarratives.*WithreferencetoNugroho’sworkswhatdoyouthinkthisstatementmeans?*From‘TheBalancingAct’,AdelineOoi,(Beyond the selfwebsite)
n AnumberofNugroho’sfigureswearmasksorheadgearthatcanbereadindifferentways–perhapsasconcealmentorprotection.Howdoyoureadthem?
n Thefollowingwebsiteoutlinesthecloserelationshipbetweentheartist’sworkandwayang(Javaneseshadowpuppets).Investigatethisconnection:http://ekonugroho.or.id/index.php?page=artwork&cat=Shadow%�0Puppet%�0Project
n Cancartoon-likeimagesreallybetakenseriouslyorshouldtheyjustberegardedasentertainment?
Further researchNugrohoisextensivelyreferencedonline.Hereisasampleofrecommendedsites.
Thissiteprovidesacomprehensiveintroductiontothediversityoftheartist’swork:
http://ekonugroho-samart.tumblr.com/post/�786�973663/temoin-hybride-musee-dart-de-la-ville-de
Seealso:
http://ekonugroho.or.id/index.php?page=artwork&cat=Shadow%�0Puppet%�0Project
http://www.mam.paris.fr/fr/expositions/eko-nugroho
http://ekonugroho-samart.tumblr.com/
http://ekonugroho.or.id/index.php?page=artworks&id=�5�
Keep the balance,�0�0,machineembroideredrayonthreadonfabricbacking,�57x�60cm
�4 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�973,Pakistan.livesandworksinMelbourne,Australia
Did you come here to find history?,�009,edition3/3,digitalprintonclearfilm,70x870cm
Red silks (I, II, IV, V),�007,digitalprintonpaper,40x30cm
Artist statement SeeChristineClarkinterviewwiththeartistBeyond the selfwebsite.
PerspectivesNusralatifQureshioriginallytrainedinthetraditionalartofMughalminiature(musaviri)paintings.Exquisitelydetailedandexecutedwithtechnicalperfection,Qureshi’sworksarecontemporaryresponsestothisancientcraft.Shelayersappropriatedimageryfromcolonialphotography,patternsfromMiddleEasterntextilesortheArtsandCraftsmovement,silhouettesandbotanicalpaintings;theseelementscombinetocomprisethebackgroundsandforegroundsofisolatedfemalefigures.
MovingtoAustraliaforpostgraduatestudyin�00�,Qureshi’spositionasamigrantwomaninAustraliansocietyhasaddednewlayerstoherexplorationsasshecontinuestopushtheconventionalboundariesofherartform.
FromReflective Looking: An expanded notion of self in the work of Nusra Latif Qureshi,HammadNasar,CuratorialDirectorofGreenCardamom.(SeefulltextBeyond the selfwebsite).
QureshiisrecognisedasanimportantmemberofagenerationofPakistaniartistswhohaverevivedandinnovatedthetraditionalartofMughalminiaturepainting.Herworksfeaturemotifsfromthepast,ideasfromthepresent,andtechniquesfromboth,oftenonsmall,sparinglypaintedsurfaces.Thehistoricalsymbolismofthefemalefigurehasbeenacentralthemeinherwork.Herpaintingsrevealacomplexengagementwithstereotypes,andpresenthistoryasacollectionofoverlappingfragments,rearrangedtoconstructnewnarratives…Bydepictingfigurespaintedinghostlyoutlinesshemapshistory’serasuresandinthiswayQureshiquestionsrecordedhistoricaltruths.
SuttonGallery,artistprofile:http://www.suttongallery.com.au/artists/artistprofile.php?id=69
WorkDid you come here to find history?–anearlynine-metrelongdigitalprintontransparentfilm–wasproducedforthe53rdVeniceBiennale.Theartistworkedwithpassportphotographsofherself,anineteenth-centuryIndianphotographofayoungacrobat(whobearsanuncannyresemblancetoQureshi)andportraitsfrombothMughalminiaturesandbyVenetianpaintersfromthefifteenthtotheseventeenthcenturies.Shesuperimposesthefaces,aligningthemattheeyesandsoplayingwiththeideaofengagingtheviewer’sgaze–imagesareappropriatedandtransformed,obscuring,refusing,flexingorsometimesmagnifyingtheiroriginalmeaning.
HammadNasar,CuratorialDirectorofGreenCardamom,london.(SeefulltextBeyond the selfwebsite).
Qureshihasfrequentlyusedthelonefemalefigureasthesubjectofherwork,ofteninsertingitindialoguewithwell-known(andusuallymaledominated)examplesofMughalminiatures.Attimes,thefigureismerelyanoutlineoracollagedcut-out–aghostlyannotationtoearlierinstancesoffemaleinvisibility.Althoughnotconsciously‘selfportraits’,herpaintedfemalefiguresoftenfunctionasstand-insforherownsubjectivity…Thetwoworks(orratherbodiesofwork)inthisexhibitionmarkadistinctnewstepinherpractice,usingthesamepassportphotographofherselfasanintegralpartofbothcompositions.IntheRedsilksseriesofdigitalprints,shecreatesdigitalphotomontagesincorporatingherpassportphoto,Victorianeradresses,paintingsofflowers,exercisesinclassicalcalligraphyandotherseeminglyorientalistornamentation.Theprintsarevariationsonatightlycontrolledvisualthemebuiltfromthesesamebasiccomponents,andwhenshowntogether,hintattheprocessofconstructingidentity.
HammadNasar,Beyond the selfwebsite.
8 Nusra Latif Qureshi
�5 Beyond the self: Contemporary portraiture from AsiaEducationResource
Did you come here to find history?,�009,edition3/3,digitalprintonclearfilm,70x870cm
Herusuallysmallandoftensparinglypaintedsurfacesareteemingwithlayersofimageryfromthepast,meaningsfromthepresentandmethodsfromboth.Sheencouragesustodistinguishbetweenwhatwasandwhatremains;viewinghistoryasacollectionoffragmentsconstantlyrearrangedtoconstructnewnarratives.
Visitorslondon:http://www.visitlondon.com/events/detail/�5070453-nusra-latif-qureshi-forever-and-ever-at-green-cardamom
Framing questions and researchn ResearchMughalminiature(musaviri)painting.HowdifferentisthistraditionfromEuropean
conventionsofportraiture?
n OverthepastfifteenyearsNusralatifQureshihasworkedextensivelywiththetropesandlanguageofIndo-PersianminiatureandCompanypainting,andnineteenthcenturyconventionsofportraitphotography,toexplorethepoliticsofrepresentationinarthistory.Thereareotherartistsinthisexhibitionwhovisitorrefertothepastforavarietyofreasons.Seeifyoucanfindthem.
n Comparisonshavebeenmadebetweentheusesofportraitureindifferentsocietiestoconstructimagesofcorporatepower.Canyoufindanysuchreferencesinthework?
n Qureshi’sworkisquitedifferenttoothersintheexhibitioninthatitisdifficulttotakeinatasingleglance.Asavieweryouhaveto‘perform’bywalkingalongit.Asyoudosodoyounoticeanythingaboutthewayyoureyesarereadingtheimages?
n Canyoufindtheartistinthiswork?Woulditmatterifshewere‘missing’?
�6 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�97�,ChiangMai,Thailand.livesandworksChiangMaiandFukuoka,Japan
Navins of Bollywood,�006,singlechannelcolourvideo,�0minutes34seconds
Navins of Bollywood,�007,acryliconcanvas,��0x�70cm
Mission Navinland,�0��,paintedfibreglassandmixedmediaonroundplinth,��5x�00x�00cm
From Pak-kun to Mari (January 25, 2011),�0��,gicl�eprintonarchivalfine-artmattepaper,��x�9.7cm
Artist statementTherelationbetweenthepublicandtheprivateisveryimportantandIalwaystrytointegratethisrelationinmyart.Peopleareintegralpartsofthework;theyparticipateintheworkratherthanjustviewingit;theworkisanactualeventthattakesplaceineverydaylife.
NavinRawanchaikul:http://www.culturebase.net/artist.php?�339
PerspectivesNavinRawanchaikulhasbuilthispracticearoundexplorationsofthetransientnatureofidentityinaglobalisedworld,anddrawsmuchofhismaterialfromhisownexperiences.Bornin�97�toHindu-PunjabiparentswhomigratedtoThailandduringPartition,NavinwasbornandraisedinChiangMai.HenowdivideshistimebetweenThailandandJapan,wherehiswifeoriginatesfrom.Encompassingsculpture,video,painting,installation,photographyandperformance,Rawanchaikul’spracticeisnonethelessgroundedininteractionandcollaborationwithcommunities,bothrealandimagined.
Beyond the selfwebsite
Theartistisbestknownfordynamicartpracticesthatinvolvedirectpublicinterventions,socialcommentary,andaninnovativestyleofintegratingcommunityorindividualexperiencesintoeccentricfictionaltalesfeaturingrecurringcharacters.Hisoeuvrehasgrowntoencompassabroadarrayofmediaincludingperformances,billboards,films,comics,games,merchandisesandcocktails,andhehasevenformedhisownparty,theNavinPartythataimstobringtogetherfellowNavinsfromdifferentpartsoftheworld.
ThavibuGalleryprofile(includesimagesofotherNavinbillboards):http://www.thavibu.com/thailand/navin_rawanchaikul/THA3600.htm
WorkNavinRawanchaikulhaslargelylivedhislifeasthe‘other’,firstthroughbirthandthenchoice.BornofHinduPunjabiparentageintheNorthernThaicityofChiangMai,fromveryearlyinlifehehasbeenawareofandnegotiatedhispositionasinsider /outsider,asa‘khaek’,withinhisownsociety…However,inRawanchaikul’scasestraddlinganumberofworldsandbeingculturally‘other’hasbeenadvantageous.Ithasprovidedaparticularacuityinartisticobservationcoupledwithaseeminglyunquenchablethirstforinvestigativestorytellingaroundculture,historyandidentity.Itmayalsoexplainhiseaseofmannerwhennegotiatingdisparatecommunitiesandtheensuingparticipatoryinterventions,andhisuncannyabilitytobecomeimmersedinelaborateautobiographicalnarrativesaboutidentitythatmergesocialhistorywithfantasticalworlds.
WithinthesevariedepicnarrativesRawanchaikulinvariablyplaysthelead.Theselfunderpinsalltheimaginative,seeminglyeccentric,exploratoryjourneyswithautobiographyandself-representationeverobviousandself-realisationcontinuallyexplored.
ChristineClark,The many selves of Navin Rawanchaikul.(SeefulltextBeyond the selfwebsite).
InthecontextoftheabovestatementsconsiderthediversityofworkwithinNavin’sBeyond the selfinstallation:thebillboardcreatinganimpressionofthe‘NavinStory’,thetwosculpturescommunicatinghystericaljoyatholdingapassportto‘NavinWorld’andthevideopromotingtheartistasasuper-celebrity.
9 Navin Rawanchaikul
�7 Beyond the self: Contemporary portraiture from AsiaEducationResource
Mission Navinland,�0��,paintedfibreglassandmixedmediaonroundplinth,��5x�00x�00cm
Framing questions and researchn Byaskingthequestion‘whoamI?’Rawanchaikulexploresandexploitshisownimagetobring
peopletogetherandinspiremeaningfuldialoguesonthenatureofartandsociety,lookingatothersasaway,inpart,ofseeinghimselfmoreclearly.DoesthisobservationbyChristineClarkmatchyourowninterpretationofNavin’swork?
n Theflagheldbythegirlholdsacluetothework’smessage.Canyoudecipherwhatitmeans?
n Thevideodeliberatelyusesvisualanddramaticclich�scommonlyfoundintelevisionadvertising.Seehowmayyoucanidentifyandconsiderreasonswhytheartisthasdonethis.
n Navin’sworksarenottheonlyonesinBeyond the selftodeliberatelyrefertoorusecinematicimageryorconventions.Seeifyoucanfindotherexamplesandconsiderwhytheartistshaveusedthisstrategy.
n Researchthetopicof‘outsiders’withinsociety(suchasAustralia)usingart(orotherartformssuchaswritingorstandupcomedy)toexplorethis.
Further researchSeethe‘official’websiteforNavinRawanchaikul:http://www.navinproduction.com/
�8 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�964,Manila,Philippines.CurrentlydividestimebetweenPerthandManila
Ang Retabla Rizalista (Relikaryo ni Arnulfo Tikb-ang) TheRizalianRetablo(ReliquarybyArnulfoTikb-ang),�0��,mixedmediawithfoundobjectsonconstructedbox,�46x83.�5x��.75cm
At iba pang melikaryo (Andotherreliquaries),�0��,mixedmediaonfoundandconstructedobjects,dimensionsvariable
Artist statementAgreatnumberofmyconceptualworksdealwithbuildingcollaborativesculpturesthatallowmovement,dialogueandexchangeindifferentculturalcontextsandmeetingandengagingwithpeople.IguessyoucouldsaythatIlikethesenseofanticipationanduncertaintyinencounteringtheunknown.Andthevariouschallengesand,perhapsquiteunexpectedrealisationsthatcomeaboutasIamforcedtoadapttothecommunitiesandcontextsIfindmyselfwithin.
AsiaArtArchivewebsite,SusanAcretspeakswithAlwinReamilloabouthiscollaborativeworksandsocialsculptures,hislifeandideas.http://www.aaa.org.hk/newsletter_detail.aspx?newsletter_id=54�
Perspectives Hispracticehasanimprovisationalandexperimentalapproachthatintersectsbetweenmixedmedia,painting,sculpture,installation,shadowpuppetryandperformancethatoftenmakesuseoffoundandsoughtmaterials.AftermigratingtoAustraliain�995,hebecameinterestedinideasaboutmemory,mobility,exchange,collaborationandtheexperienceofmovingbackandforthbetweendifferentcultures,examininghowtheseinteractionscanchangewaysofthinking.Throughimmersiveexplorationofintertwinedthemesofcolonisation,migrationandglobalisationofculture,ReamillohascollaboratedwithcommunitygroupsthroughworkshopsinregionalAustraliaandoverseas,creatinganumberofparticipatory‘socialsculptures’intheformof‘vehicles /vessels/crafts’createdinresponsetolocalcontextsandhistories.
Beyond the selfwebsite
Work Ideasoftravel,migrationormovementarereflectedinmyplayontherelationshipsofmeaninggeneratedintermssuchascraft,orvessel,orvehicle.Craftreferringtoaprocessofmakingacreativeformofsomesort,butalsoreferringtosea/watervessels.Icreateworksthatarevessels,vehicles,orcrafts,fusingtheseliteralmeaningsorstateswiththesealternativereferences.Theart-carsorhelicoptersarevehicles,quiteliterallyintheformtheytake,butalsobecomevesselsofculture,andprojectsthatmobilisecommunities,becomingvehiclesofchange.
AlwinReamillo,http://www.aaa.org.hk/newsletter_detail.aspx?newsletter_id=54�
AsReamilloexplains,‘Forme,Rizal’sfaceonthematchboxisakindoftrivialisation–hissignificancereducedtoacommondaykitchenimplementisfarremovedfromtheideasthatherepresents.MostknowRizalasamatchbox,similartohisfaceonthenowdevaluedonepesocoin.’
ThemixingofmetaphorsandmovingfromoneframeofreferencetoanotherisclearlyevidentinAng retabla Rizalista (Relikaryo ni Arnulfo Tikb-ang) TheRizalianRetablo(ReliquarybyArnulfoTikb-ang),thesculpturalwallretabloincludedintheexhibition.�Presentingoneofhispseudoautobiographicalselvesasthemaker,akindofanti-hero,Reamilloincorporatesanumberofrecurrentmetaphor-ladenmotifsinthiswork,notablythematchbox,crabandpiano.Thecrabappearsaspartoftheartist’sformalselfportraitandagaininthereliquary,andinadditiontoreferencingpersonalmemoriesisusedtodenotethebeach,asthefirstsiteofcolonialcontact,aswellreferencing‘crabmentality’.
From‘JoseRizalthoughthegazeofAlwinReamillo’,ChristineClark.(SeefulltextBeyond the selfwebsite).
Framing questions and researchn Considertheartist’suseofvisualmetaphor(e.g.‘crabmentality’)Doesthisofferyouanyideas
toincorporateintoyourstudiowork?
n AlwinReamillouseshisself-imagetoexplorethepersonalbutmoreoverheappliesthisimagetoposequestionsabouttheother–bethisRizalorthePhilippines.Theabsentportraitexhortstheviewertoreconsideranalltoofamiliariconicimage,andthisabsencereplacedbyasatiricaland
10 Alwin Reamillo
�9 Beyond the self: Contemporary portraiture from AsiaEducationResource
absurdpresencehelpstheviewertorethinktheperson,JoseRizal,hislifeandcontemporarylegacy.HowdoesthiscommentbyChristineClarkmatchwithyourinterpretationofReamillo’swork?
n Allnationshaveprominentfigures(suchasJoseRizal)thatintimebecometargetsforsatireandhistoricalre-evaluation.ConsidermakinganartworkthatinterpretsanAustralianhistoricalcharacterinasimilarway.
n Theartisthasstatedthatheincorporatescollectiveaction(involvingvoluntarygroupwork)intowhathecalls‘socialsculpture’.ReadthroughtheAsia Art Archiveinterview(see‘FurtherResearch’)togetanideaofwhatthismeans.
n TheGermanartistJosephBeuyswasanearlyinfluenceonReamillo’sdevelopmentasanartist.Researchthisartisttobetterunderstandthisinfluence.
n Thework’stitleincludesreferencetoa‘retabla’.Researchwhatthistermmeansandconsiderifthisinformationaltersyourinterpretationoftheworkinanyway.
Further researchAsia Art Archivewebsite:SusanAcretspeakswithAlwinReamilloabouthiscollaborativeworksandsocialsculptures,hislifeandideas.http://www.aaa.org.hk/newsletter_detail.aspx?newsletter_id=54�
Art Radar Asiamediarelease:Reamillo’sHelicopterprojecttouringAustraliain�009http://artradarjournal.com/�008/09/�0/filipino-artist-alwin-reamillos-helicopter-project-to-tour-australia-in-�009/
ABCDarwinradiointerview:ReamillotalksabouthisThuringowa Helicopter ProjectondisplayaspartoftheDarwinFestival.http://www.abc.net.au/local/audio/�0�0/08/�7/�9957�6.htm
Ang Retabla Rizalista (Relikaryo ni Arnulfo Tikb-ang) TheRizalianRetablo(ReliquarybyArnulfoTikb-ang),�0��,mixedmediawithfoundobjectsonconstructedbox,�46x83.�5x��.75cm
At iba pang melikaryo (Andotherreliquaries),�0��,mixedmediaonfoundandconstructedobjects,dimensionsvariable
30 Beyond the self: Contemporary portraiture from AsiaEducationResource
b.�959,Purworejo,CentralJava,Indonesia.livesandworksinYogyakarta
Asuceleng (Dog-boar),�0�0,platinumporcelain,34x�7x�3cm
Man of the year #4,�0��,oil,silverleafongalvanisedzinc,foundobjects,690x340cm
Meleleh (Melt),�0��,wax,resin,galvanisedzinc,37x30x�6cm
Artist statementMyinspirationcomesfrommultiplesources.Inthebeginningstagesofmycareer,everythingwasverypersonal.Allmyexplorationsrevolvedaroundreligion,sociopoliticalthemesandhumanitarianwork.Iamveryattachedtomywork.Nowadays,Ideriveinspirationfrommydeep,sincerethoughtsandpersonalquestions.ItislikepersonaltherapywhereItrytoexpandandbuilduponwhatcomesacrossmymind.ItisamethodIfollowtogetaway,re-analyseandthinkthingsthrough.
Fromtheinformationthatsurroundsmydailylife,Iamabletoseeandreadthingsmeticulously.Ihavemyownperception;hence,Iwanttoreactinmyownway.Creatingorproducingartworkresemblestherapy.Inamoreuniversalandspiritualapproach,reflectingontheveryessenceofmypersonalissuesgiveswaytoself-therapy.Ianalysethingsthroughself-introspection.Iknowthatattheendoftheday,IwillapplyeverythingIlearnbacktomyself.
Whiteboard Journalinterviewwiththeartist:http://whiteboardjournal.com/features/roundtable/interview-with-agus-suwage.html
PerspectivesWithSuwage,theselfportraitshepresentsareacombinationbetweenthereflectionofthe‘self’andthecontrivanceaboutthe‘self’,ashereliesonthecameratorecordavarietyofhisposesandfacialexpressions,beforetransformingthesevisualrecordsintodrawingsorpaintings.AgusSuwageusesthisprocedurebecauseinrealitythenarrativesthathedevelopsinhisworks–albeitinvariablyhavingapersonalaspect–areinfactrelatedtohisstanceandviewsaboutthedifferentsocialissuesaroundhim.Heoncestatedthat‘inordertobecriticaltowardothers,Iopttofirstbecriticaltowardmyself’.
EninSupriyanto,DirectoroflanggengArtFoundation,Yogyakarta,Indonesia.(SeefulltextBeyond the selfwebsite).
EventuallySuwagedecidedtoabandonhiscareeringraphicdesigntoconcentrateonhisartpractice,whichhasfromitsearlieststagesincludedastrongfocusonselfportraiture.Bythemid-�990shewasbecomingwell-knowninIndonesiaandinternationallyforhisprovocativedrawings,installations,paintingsandassemblages,whichincorporatepopularcultureandreligiousimagery,andexaminationsoftherelationshipbetweenhumanandanimal.
Beyond the selfwebsite
Suwage’sthemeshavealwaysrangedfromthecurioustotheperverse,mergingpersonalconcernswithsocietalobsessionthroughself-portraitureandfamiliarpop-cultureimagery.PastworkshaveincorporatedimagesappropriatedfromtheAbuGhraibtorturephotos,famousportraitsofwell-knownartistsandpoliticalfigures,andhisownheadbeingdrilledintobyanelectricscrewdriver,wearingonlyaslightexpressionofdiscomfort.Theoverridingthemeinallthisseemstobeforegroundingwhatwillmaketheviewermostuncomfortable,takingonthethingswefinditdifficulttodiscuss.
JulietHelmke,http://www.artinfo.com/news/story/373�5/agus-suwage
WorkThemainvisualelementoftheseworks(Man of the yearseries)revealsAgusSuwage’sheadlyingonthefloor,piercedbyasharpobjectintheformofastar.Theartist,however,doesnotseemtobeinpain.Instead,heis‘grinning’blithely.Asweconsiderthetitle,wecanpresumethattheseriescommentsonthedevelopmentintheIndonesianartmarketthatcanrapidlypropelanartistintocelebritystatusasthepricesofhisorherworksskyrocket.Theartistmighttakedifferentroutes:feelingtorturedasheorshebecomesthetargetofthemarketthattreatstheworksmerelyascommodities,orenjoyingthefameandensuingprosperity.Or,theartistmightalsotakeacarefreeattitudeandaccepttheconditions.
FromBeyond theSelf, Beyond the Portrait,EninSupriyanto,DirectoroflanggengArtFoundation,Yogyakarta,Indonesia.(SeefulltextBeyond the selfwebsite).
11 Agus Suwage
3� Beyond the self: Contemporary portraiture from AsiaEducationResource
InthevideoconversationbetweenSuwageandChristineClark(Beyond the selfwebsite)theartistcommentsthattheworkMan of the yearreferencestheboomintheIndonesianartmarketofthreeyearsago.Thestarsymbolisesthesuper-starstatusofcertainartistscaughtupinthehype.ForSuwagethereisapricetobepaidforthis–aburdensoheavythatit’spainful.Thisperspectivealsoappliestotheimageofaheadtranslatedintoamoneybox.Thesymbolicmessageofaheadfilledwithmoneyisambiguous.
Framing questions and researchn WithSuwage,theself-portraitshepresentsareacombinationbetweenthereflectionofthe‘self’
andthecontrivanceaboutthe‘self’,ashereliesonthecameratorecordavarietyofhisposesandfacialexpressions,beforetransformingthesevisualrecordsintodrawingsorpaintings.
EninSupriyanto,Beyond the selfwebsite.
Considerusingthismethodologywithinyourownworktotransform‘yourself’intosomethingmoreiconic.
n Theartisthascommentedthat‘Nevertheless,itismyverynaturethatifthingsbecameuncomfortableandcausemoreanxiety,Iwillfightitandovercomemyfear.Ialwaysrebelandpushmyselfforward.Ialwaysrebelandpushmyselfforward’.Canyouidentifyelementsofthisinhiswork?Doesthisapplytoyourattitudetomakingart?
n TheanimalsthatappearinSuwage’swork,particularlythepigandthedog,theartistregardsaspersonaltotems.HisChinesezodiacanimalisinfactthepig,whichSuwageregardsandbothacuteandsmartcreature.Canyoufindexamplesofotherartist’sworkinwhichthedepictionandtreatmentofanimalscanbeconsideredtobeself-portraiture?
n EninSupriyantohassuggestedthatthereisadifferencebetweenSuwage’sself-portraitureandhisexplorationofself.Readthiswriter’sessay(Beyond the selfwebsite)withthisideainmindandseeifyoucanseethisdistinctionintheworks.
n InterpretationsofSuwage’sworkemphasisethattheartistleavestheviewerinastateofuncertainty–betweencelebratinglifeanddespair.Whatmessagesdoyougetfromtheartist’simagery?
Further researchSeeChristineClarkinterviewwiththeartistBeyond the selfwebsite.
Thissitecontainsextensivebackgroundinformationandimages:http://www.agusuwage.com/
ThissitecontainsimagesofSuwageworkingonMan of the year:http://sweet-station.com/blog/�0��/04/agus-suwage/
Man of the year #4,�0��,oil,silverleafongalvanisedzinc,foundobjects,690x340cm
3� Beyond the self: Contemporary portraiture from AsiaEducationResource
12 Hema Upadhyay b.�97�,Baroda,India.livesandworksinMumbai,India
Ladki number 1,�00�,gouache,drypastels,acrylicandphotographsonArchespaper,9�x���cm
Pedestrian,�009,vinylcutout,�00x�87.5cm
Artist statementIliketotellanystories,whetherrealorimaginative.Theseareevenreflectionsofone’sphobias,shortcomings.Therecurringthemeinmyworkisautobiographical.Inaddition,itisthecatharticfactorthatbecomesthereasontotaketheseobjectsandconverttheirability.Yes…myworkiscatharticinprocess.
Artiststatement,SaffronArt:http://www.saffronart.com/artist/artistprofile.aspx?artistid=��87
Perspectives Upadhyay’sworkoftenaddressesissuesrelatedtomigration,especiallytheexperiencesofthoselivinginurbancommunities.Dislocationandnostalgiaarereflectedinimagesthatareoftenbuiltthroughrepetitionofkeymotifs.Herownself-image,houses,matchsticksandcockroacheshaveformedthebasisofdifferentprojects.Upadhyay’sexperiencesofmigration,andthatofherantecedents,haveinspiredalargebodyofautobiographicalwork,includingacollaborativecrochetprojectwithhermothertitledMum-my.OtherworkshaveforegroundedtheexperiencesofcommunitiesthatdwellinthevastslumsofMumbai,usingtropesofpopularandadvertisingculture,suchashoardings,toexplorethedisjunctionbetweentheprojectedimageofaglamorousmetropolisandtherealityofdailylifeformillionsofpoverty-strickenresidents.
FromBeyond the selfwebsiteessay,AmritaGuptaSinghProgramDirector,MohileParikhCenter,Mumbai
BarodabornandMumbaibasedHemaUpadhyayusesphotographyandsculpturalinstallationstoexplorenotionsofpersonalidentity,dislocation,nostalgiaandgender…Upadhyaydrawsonherownpersonalandfamilyhistoryofmigrationtoexpressherconcernsandthisisexpressedthroughthewaysheportraysherselfinherworks.Theupturnedslumsreferencetherepercussionsandsocio-economicinequalitiesthatemergeasahiddenconsequenceoftherelentlesstideofurbandevelopmentinthecity.
http://www.saatchi-gallery.co.uk/artists/hema_upadhyay.htm
HavingexperiencedajourneyparallelingthatofthehordeswhoarriveinBombayseekingworkeachyear,theartistbecameaself-awareagentfortheanonymousurbanmigrant.Inherrenderingsofdisplacement,Upadhyayprivilegesherownimpressionsoftheurbanlandscapeandtheperformativegesture.
BethCitron:http://i�.exhibit-e.com/naturemorte/56484��9.pdf
WorkPedestrian Size�0�0isasite-specificinstallationwhichiscomprisedofvinylstickersintheshapeoftheartist’sownbody-shadowineverydaygesturesandposturesthatmorphintoadecorativecarpetonthefloor.Upadhyayplayswithopticalillusionsthroughthecreationofapatternofgreatbeautyusedindomesticsettingswhilejerkingthespectatorintotherealisationthatlittlehumanbodiesoccupyitsspaces.Sheemulatesthelifeoftheoffice-goerinBombaywhostruggleswithinthechaosoftheeveryday,whojostles,shoutsandsmilesinthesweatandheat,whogetserasedandfragmentedintheprocessofachievinghis /herdesireddreamsinthecity.
Incontrast,herdesiresandfears,ambitionsandstrugglesinthemaximumcityarerepresentedinLadki number 1�00�,wheretheladderalmostbecomesanarchitecturalsublimethrustingitselfintoanetherealbluesky,theterracebeingtheliminalsignbetweenthebodyandthecity.Thelifeofthemigrantandthedislocatedbodyintheurbanarchipelagoissymbolisedthroughtheautobiographicallensoftheartist,raisingexistentialdilemmasofwhomdoesthecitybelongto,amidstsuchexplosivedemographicshifts.
FromBeyond the selfwebsiteessay,AmritaGuptaSingh,ProgramDirector,MohileParikhCenter,Mumbai
33 Beyond the self: Contemporary portraiture from AsiaEducationResource
Ladki number 1,�00�,gouache,drypastels,acrylicandphotographsonArchespaper,9�x���cm
Framing questions and research n Repeatingimagesofselfisadeviceusedbytheartist.Whydoyouthinktheartisthasdonethis?
n AmritaGuptaSinghobservesthattheartistcombinescriticalenquirywithasenseofirony,pathosandsenseofplay.Canyouidentifyanyoftheseelementswithineitherwork?
n WhenAmritaGuptaSinghtalksabouttheworkPedestrian Sizeasemulating‘thelifeoftheoffice-goerinBombaywhostruggleswithinthechaosoftheeveryday,whojostles,shoutsandsmilesinthesweatandheat,whogetserasedandfragmentedintheprocessofachievinghis/herdesireddreamsinthecity’,canyouseeanyconnectionbetweenthisstatementandtheoriginalplacement(onthefloor)ofthework?
n WhythetitlePedestrian Size?Considerinventingsomevisualsymbolsthatrepresentwhoyouare–notjusthowyoulookbutalsowhatyourtrueselfreallyis.Composethesesymbolswithinaworkinsuchawaythatpeoplewillwanttospendtimegettingtoknowmoreaboutyou.
Further researchinitiArt MagazineinterviewwithHemaUpadhyay:http://www.initiartmagazine.com/interview.php?IVarchive=40
http://www.heartmus.com/hema-upadhyay-3400.aspx
http://www.thehindu.com/arts/art/article�798853.ece
34 Beyond the self: Contemporary portraiture from AsiaEducationResource
Exploringtheexhibitionextendsbeyondlookingatindividualartist’sworktoidentifyingandconsideringrelationshipsbetweenanyworksintheexhibition.AneffectivewaytodothisistoseeBeyond the selfasanexhibitionmadeupofgroupsofworkswithsimilarthematiclinks.Decidingonwhichthemesarerelevanttoanyexhibitionisapersonalprocess.Hereareanumberofsuggestedthemes.Asyouexploretheexhibitionyoumayidentifyadditionaloralternativethemes.
Identity and selfWhoamI?Whatdefinesusasacommunityorculturalgroup?Wheredowebelong?Isidentitysomethingdecidedbyothersorbymyself?Isitfixedorcanitbechanged?ThesearesomeofthecentralquestionsraisedbyanumberofBeyond the selfworks.
Consider:n NavinRawanchaikul’s‘invention’ofNavinWorldasaplaceinwhichall‘mis-placed’persons
canbecitizens
n ThewayinwhichVivanSundaram’sphotographsblenddifferentgenerationstosuggestthatultimatelyeveryoneisacompositeorreflectionoffamilyhistory
n PushpamalaN.’sreferencingofarchivaltheatreandcinematictropestoquestiontheroleofstereotypingindefininggenderidentity
n AgusSuwage’suseofassemblagetosignifyasenseofidentitybeingfragmentedbyfameandmortality
n NadiahBamadhaj’simagery,whichintegratesselfwiththecitytoquestionunderlyingassumptionsaboutculturalidentity
n AlfredoEsquillo’s‘jeepney’asasymbolofPhilippinesnationalidentity–unpacked
n NikhilChopra’speripateticartistadoptingdifferentidentitiesashewanderstheglobe
n The‘gender-bending’revelationsofTejalShah’svideos
n Theuseofself-portraitureandinclusionofself-imageswithinanumberofBeyond the selfworkstobuildmetaphorsabouttheindividualwithinwidersociety
Post-colonial perspectives, tradition and change‘Post-colonial’isabroadtermwhichencompassespoliticalandsocialdevelopmentswithinonce-colonisedsocieties.Akeynoteofthesedevelopmentshasbeenare-emphasison(orreconstructionof)indigenousculturalidentity.Butwhoseidentity?InallcommunitiesandcountriesrepresentedinBeyond the self(andelsewhere)thereisongoingdebateaboutdeterminationsofnationalidentity.Differentculturalandregionalgroups,andminoritiesmightsubscribetotheideaofasinglenationhoodbutaredeterminedthattheirdiscreteculturalhistoriesandlivingculturesberecognised,respectedandprotected.InanumberofBeyond the selfworksthisfactoristhedrivingforcebehindtheirproduction.
Consider:n NavinRawanchaikul’splayfuladvocacyforpeoplelikehim–whodon’tfitconventional
culturalidentikits
n NadiahBamadhaj’sconcernabouturbanplanningcreatingculturalandeconomicghettos
n ThelayeringwithinHerraPahlasari’smulti-mediaunpackingofaniconicportraitrevealingsometruthsaboutsocialconventionsandmasternarratives
n AtulBhalla’scomplexcontradictionsinvolvinghonouringsacredtraditionswhileforegroundingcontemporaryenvironmentalconsequences
n AlfredoEsquillo’smocktributetoanationalheroimplyingasensedneedtoengagewithhistoryfromacontemporaryperspective
n HemaUpadhyay’sanxietyaboutmassurbanisationexpressedthroughsatire
3 Exploring the exhibition: Themes
35 Beyond the self: Contemporary portraiture from AsiaEducationResource
Humour and satireHumourisprevalentthroughouttheBeyond the selfexhibition.Ittakesvariousformsaccordingtotheintentionoftheartiststoamuse,mock,satirise,subvertoroffend.Inmostcasesitisaweapon,whichoftensucceedswherebruteforceandbluntcommentsfail.Researchintotheindividualcircumstancesoftheartistsaswellasbroadersocialandpoliticalcontextswillassistinunderstandingjustwhyandhowsomeartistshavegivenhumouracentralroletoplay.
Consider:n Theover-blownmelodramasactedoutinPushpamalaN.’sAbductionseries–whichmaylook
comicaltocontemporaryeyes–butmaketheirpointintermsofexposinggenderstereotypinganditslingeringlegacies
n AlfredoEsquillo’splayfulhybridisationofanationalicon(jeepney)andanemblemofdisability(wheelchair)
n TheabsurdityofNikhilChopra’sprojects,whichinvolveimmenseefforttowardsuncertainends
n NavinRawanchaikuluseofsatiretoexposewhatheseesasthenonsenseofculturalstereotyping
MaterialityTheterm‘materiality’referstotherolethatthematerialsusedtocomposethework,playsindeliveringsomesenseofmeaningorsignificance.Themoderneraforegroundedthisaspectofartmakingtothepointwherethechoiceofmaterialsandtheirtactileandsymbolicpropertiesbecamepartofthe‘package’intermsofsettingupanddeliveringmeaningsorsimplymakingemphaticstatements.Theincreasinguseof‘foundobjects’andmaterials(suchasindustrialormassconsumerdomesticmaterialsandware)acceleratedthisprocess.Todayartistsdrawonarichcontemporarytraditioninwhichtheuseofsuchmaterialsoritemssuchasfat,rubber,furniture,industrialfasteners,clothing,offcuts,toys,clay,timber,furorwaterisoftenreadasbeingsignificantandperhapscentraltothework’sintent.
Consider:n ThetactileandtexturalqualitiesofNadiahBamadhaj’sLandlockedusedtointerrogatethe
contradictionbetweenindividualismandcorporatecontrol
n InventiveplayinvolvingfoundmaterialsinworksbyAlfredoEsquilloandAgusSuwage
n ThesurfaceslicknessofNusraQureshi’sphoto-frieze,whichimpliesablendingofdifferencesandtime
n TheclinicalwhitenessofAlwarBalasubramanian’sSilent soundbodycastswhichdivertsattentiontothecastshadows,whichconveyaninnersecret
36 Beyond the self: Contemporary portraiture from AsiaEducationResource
4 For teachers/course organisers
Planning a successful group visit to Beyond the self Ifplanningtobringagrouptothisexhibition–BOOKNOW.Numbersarerestrictedinsomevideoprojectionareas.Bookedgroupswillhavepriority,scheduledentrytotheexhibition.
To book: Telephonenumber08830�0870
Onlinehttp://w3.unisa.edu.au/samstagmuseum/visiting/school.asp
Allbookingswillbeconfirmedbyemailwiththesupervisingteacher/ lecturer/grouporganiser.
Year LevelTheResourceisdesignedtobeusedbysecondary–seniorsecondaryandtertiaryvisualartstudents.
Pre-exhibitionBackground briefing Informthestudentsabouttheoriginsandcontentoftheexhibition.
RefertotheBackgroundBriefingnotesthisEducationResource.
AccesstheBeyond the selfEducationResourcefromtheSamstagArtMuseumwebsite:http://w3.unisa.edu.au/samstagmuseum/exhibitions/�0��/beyond.asp
Visitselectedartists’websites.
In the exhibitionOnarrivalyourgroupwillbemetandwelcomedbyamemberoftheSamstagArtMuseumstaff.
Organisegroupassmaller,independentviewinggroups(recommended)andtaskthesegroupsbeforedispersingwithintheexhibition.Tofacilitatestructuredviewingconsiderusingthe‘GetStarted’researchactivitiesincludedinthisEducationResource.
Beforegroupsdisperseremindstudentsoftheusualgalleryviewingprotocols(suchasbeingawareofothersusingthespace)andtostressthenatureofviewingthiskindofexhibitionwhichwillrequirestudentstospendreflectivetimewithworks,immersingthemselveswithinviewingexperiencesofupto�5minutesormore.
Thissessionwilllikelyinvolvestudentsbeinginvolvedinsomegroupandindividualanalysisandresponse.Scribingisoptionalbutwillbeusefulforon-sitereportingandpost-visitresearch.
Asuggestionisthatstudentsinthissessiontrytwothings:engagewiththeworkofanindividualartistandwithoneoftheexhibition’sthemes.
ForthistohappenitwouldbeusefulifthestudentshadaccesstotheEducationResourcepriortovisitingtheexhibition.Thiscouldallowstudentstomakethematicselectionsbeforearrival.
Post visitPost-exhibitionoptionsprimarilyconsistofsharingandanalysingtheinformationgatheredduringtheexhibitionvisit.Thisinformationmightbe:
n Informationgatheredon-site
n Individualopinions(shared)
n Differenttaskorthemegroupsreportingfindings
37 Beyond the self: Contemporary portraiture from AsiaEducationResource
5 Get Started
In-exhibition engagement activitiesThefollowingtasksaredesignedtosupport / initiatestructuredviewingandengagementforstudentsintheexhibition.Theycanbeundertakeninanyorderandaresuitableforindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.
Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupporton-goingpost-visitwork.
Think aboutWhenyoufindyourselfwantingtolookatsomeworksinparticularisthisbecausetheimageorsubjectisinteresting?Hastheartist’stechniqueorwayofinterpretingthesubjectaddedtoyourinterestinanyway?
Isthereaparticularworkinthisexhibitionthatcontainsorissayingthingsthatyouagreewithordisagreewithstrongly?Talktosomeoneelseinyourgroupaboutyourresponse.
Isthereaparticularworkinthisexhibition,whichraisesmorequestionsthananyotherwork?
Whatkindsofquestionsdoesthisworkraise?Compareanddiscussyourfindingswithothers.
First and last impressionsWhatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?
Wasthereanyworkinparticularyouwantedtoreturntoandlookatagain?
Arethereanyreasonsforthis?
Isthereaworkinthisexhibitionthatyouthinkyouwillfindhardtoforget?Why?
Isthereoneworkhere,whichhaschallengedyouinanyway?lookatitagainbeforeyouleaveandconsiderwhythisisso.
Beforeleavingcheckouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool
Easy?Whichworkwastheeasiestandwhichworkwasthehardesttomake–andwhy?
Analysis and response (individual work/s)Chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions:
n Couldthisideahavebeenbetterexpressedinadifferentway?
n Canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?
n Whatdoyouthinkthisworkisaboutormightbesaying?
n Hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?
n Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.
Analysis and response (the exhibition)Writeareviewoftheexhibition,whichexploresthelinksorrelationshipsbetweentheworks.
ChooseoneofthethemessuggestedinthisEducationResourceandreviewtheexhibitionfromthisperspective.
Arethereotherthemes(notidentifiedinthisEducationResource)thatcouldapplytothisselectionofwork?
Comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.
38 Beyond the self: Contemporary portraiture from AsiaEducationResource
Alwar BalasubramaniamOrifice,�008laser-burntmarksonpaperonthesameplaceofbodyorificesandscreenprint47x6�cm(eachof�)CourtesyTalwarGallery,NewYork/NewDelhi
Gravity,�009fibreglass,woodandacrylic6�x58.4x�0.�cmCourtesyTalwarGallery,NewYork/NewDelhi
Silent sound,�009fibreglass,woodandacrylic45.7x45.7x4.4cmCourtesyTalwarGallery,NewYork/NewDelhi
Nadiah Bamadhaj Not talking to a brick wall,�006singlechannelcolourvideo5minutes43secondsCourtesytheartist
Landlocked,�008charcoalonpapercollage�88x��7cmCourtesyDrSteveWongKangShen,Kualalumpur
Atul BhallaSubmerged again,�005archivalpigmentprintdiptych��4x�70cm(eachof�)Collectionoftheartist
I was not waving but drowning II,�005archivalpigmentprint30.5x45.7cm(eachof�4)Collectionoftheartist
Nikhil ChopraYog Raj Chitrakar: Memory drawing V (Part II),�0�0digitalphotographonarchivalpaper59.7x89.5cmCostumesbyTabasheerZutshiPhotographbyTinalangeImagecourtesytheartistandChatterjee&lal,Mumbai
Yog Raj Chitrakar: Memory drawing VI (16:00),�0�0digitalphotographonarchivalpaper59.7x39.6cmCostumesbyTabasheerZutshiPhotographbyShivaniGuptaImagecourtesytheartistandChatterjee&lal,Mumbai
Yog Raj Chitrakar: Memory drawing VI (17:30),�0�0digitalphotographonarchivalpaper��0.5x73.7cmCostumesbyTabasheerZutshiPhotographbyShivaniGuptaImagecourtesytheartistandChatterjee&lal,Mumbai
Yog Raj Chitrakar: Memory drawing VI (18:00),�0�0digitalphotographonarchivalpaper57.9x89.5cmCostumesbyTabasheerZutshiPhotographbyShivaniGuptaImagecourtesytheartistandChatterjee&lal,Mumbai
7 List of works
6 Further research: Resources
n AllBeyond the selfartistshaveextensiveonlineprofilesvaryingfromextendedbiographiesandprofessionalprofiles,mediaarticlesandinterviewsandacademicessays.Somehavededicatedartistorgallerywebsites,whichprovidevaluablebackgroundbriefing.Thesesitesarereferencedintheartists’profiles(Section�‘ExploringtheWorks’).
n RememberthattheexhibitionisextensivelydocumentedontheNationalPortraitGallerywebsite:http://www.portrait.gov.au/site/exhibition_subsite_beyondtheself.php
39 Beyond the self: Contemporary portraiture from AsiaEducationResource
Yog Raj Chitrakar: Memory drawing VIII (Day 18),�0�0digitalphotographonarchivalpaper57.9x89.5cmCostumesbyTabasheerZutshiPhotographbyTinalangeImagecourtesytheartistandChatterjee&lal,Mumbai
Yog Raj Chitrakar: Memory drawing X (Part I, 13:00),�0�0digitalphotographonarchivalpaper73.7x��0.5cmCostumesbyloiseBraganzaPhotographbyVinitaAgarwalImagecourtesytheartistandChatterjee&lal,Mumbai
Yog Raj Chitrakar: Memory drawing V (Part I),�0�0videowithsound9minutes�8secondsCostumesbyTabasheerZutshiVideobylisaCazzato-Vieyra,SerpentineGallery,londonCourtesytheartistandChatterjee&lal,Mumbai
S Teddy DRefinding the line,�0��foundcopperpipingDimensionsvariableCourtesytheartist
Alfredo Esquillo Jr.Alab ng puso (Fireintheheart),�0�0oilonrubberpainting,wheelchair,wood,lacquerpaint,rubber,cyanoacrylate,stainlesssteel,wheels,mirror,lights,leather,motorcyclebattery,speakersandstereo9�x�75x87.5cmArtistcollection /courtesyTin-awArtManagementInc.,Manila
FX HarsonoTubuhku adalah lahan (Mybodyasafield),�00�photo-etchingonpaper57x��6cmCourtesytheartist
Open your mouth,�00�photo-etchingonpaper57x��9cmCourtesytheartist
Jose LegaspiUntitled,�0�0Pastelonpaper�00x70cmImagecourtesytheartistandTheDrawingRoom,Manila
Untitled,�0��pastelonpaper�00x70cmImagecourtesytheartistandTheDrawingRoom,Manila
Pushpamala N.Abduction/The Pond,�009©PushpamalaN.gicl�e print, �0�.6 x �5�.4 cm�e print, �0�.6 x �5�.4 cmprint,�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�AP,exhibitionprintCourtesytheartistandNatureMorte,NewDelhi
Abduction /The Forest,�009©PushpamalaN.gicl�e print�e printprint�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�APCourtesytheartistandNatureMorte,NewDelhi
Abduction/Capture,�009©PushpamalaN.gicl�e print�e printprint�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�AP,exhibitionprintCourtesytheartistandNatureMorte,NewDelhi
Abduction /The Battle on the Ground,�009©PushpamalaN.gicl�e print�e printprint�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�APCourtesytheartistandNatureMorte,NewDelhi
40 Beyond the self: Contemporary portraiture from AsiaEducationResource
Abduction /The Cloud Battle,�009©PushpamalaN.gicl�e print�e printprint�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�APCourtesytheartistandNatureMorte,NewDelhi
Abduction /Nightmare (Odalisque),�009©PushpamalaN.gicl�e print�e printprint�0�.6x�5�.4cmPhotographbyClayKeltonCast:PushpamalaN.andSureshJayaramBangaloreEditionof6+�APCourtesytheartistandNatureMorte,NewDelhi
Eko NugrohoFake is possible,�0�0machineembroideredrayonthreadonfabricbacking�56x�56cmPhotographbyDwiObloImagecourtesytheartist
Keep the balance,�0�0machineembroideredrayonthreadonfabricbacking�57x�60cmPhotographbyDwiObloImagecourtesytheartist
Herra PahlasariPotret diri di depan kelambu terbuka(Self-portraitbeforetheopenmosquitonet),�009pigmentprintonHahnemühleleonardocanvas��0x��0cmCourtesytheartist
Imagining Adhesi /Miryam (Aposebeforeoftheopenmosquitonet),�009–��singlechannelcolourvideo4minutes�3secondsCourtesytheartist
Di depan kelambu terbuka (Beforetheopenmosquitonet),�939oilonboardSoekarnoCollection
Nusra Latif QureshiDid you come here to find history?,�009edition3/3digitalprintonclearfilm70x870cmCourtesytheartistandGreenCardamom,london
Red silks (I, II, IV, V),�007digitalprintonpaper40x30cm(eachof4)CourtesytheartistandGreenCardamom,london
Navin RawanchaikulNavins of Bollywood,�006singlechannelcolourvideo�0minutes34secondsCourtesytheartistandNavinProductionCo.,ltd
Navins of Bollywood,�007acryliconcanvas��0x�70cmCourtesytheartistandNavinProductionCo.,ltd
Mission Navinland,�0��paintedfibreglassandmixedmediaonroundplinth��5x�00x�00cmPhotographbySuwatSupachavinswadCourtesytheartistandNavinProductionCo.,ltd
From Pak-kun to Mari (January 25, 2011),�0��gicl�eprintonarchivalfine-artmattepaper��x�9.7cm(eachof4)CourtesytheartistandNavinProductionCo.,ltd
Alwin ReamilloAng Retabla Rizalista (Relikaryo ni Arnulfo Tikb-ang)TheRizalianRetablo(ReliquarybyArnulfoTikb-ang),�0��mixedmediawithfoundobjectsonconstructedbox�46x83.�5x��.75cmCourtesythePaulinoandHettyQueCollection,Manila
At iba pang melikaryo (Andotherreliquaries),�0��mixedmediaonfoundandconstructedobjectsDimensionsvariableB.Gasera(lamp)K.PianoFortissimo
4� Beyond the self: Contemporary portraiture from AsiaEducationResource
D.Rizal /BillyTeaKangarooMatchboxE.Ear-o-copterG.TutubingPosporo(MatchboxDragonfly)Collectionoftheartist
Tejal ShahTrans-,�004 – 05IncollaborationwithMarcoPauloRolladualchannelvideoinstallation��minutes,colour,soundImagecourtesytheartistandProject88,Mumbai
Vivan SundaramFather – daughter,�00�fromtheseriesRe-take of Amritadigitalphotomontage48.3x35.6cm(UmraoSingh,Simla,mid-�940s;Amrita,Simla,�937)Courtesytheartist
Preening,�00�fromtheseriesRe-take of Amritadigitalphotomontage38.�x53.3cm(MarieAntoinette,lahore,�9��;UmraoSingh,�904)Courtesytheartist
Self as Tahitian,�00�FromtheseriesRe-take of Amritadigitalphotomontage55.9x30.5cm(Amrita,Hungary,�938photo,VictorEgan;Self-portraitasTahitian,detail,�934,byAmritaSher-Gil)Courtesytheartist
Bourgeois family: Mirror frieze,�00�FromtheseriesRe-take of Amritadigitalphotomontage38.�x66cm(Fromleft:Indira,Paris,�930;UmraoSinghandVivan,Simla,�946;MarieAntoinette,lahore,�9��;Smallearring,�893,GeorgHendrikBreitner;Amrita,Simla,�937;Amrita,Budapest,�938,photo,VictorEgan)Courtesytheartist
Style,�00�fromtheseriesRe-take of Amritadigitalphotomontage55.9x�5.9cm(Indira,Simla,�937;Portraitofsister,�936,byAmritaSher-Gil)Courtesytheartist
Remembering the past, looking to the future,�00�fromtheseriesRe-take of Amritadigitalphotomontage38.�x53.3cm(UmraiSingh,Paris,early�930s;Amrita,Bombay,�936,photo,KarlKhandalavala;MarieAntoinette,lahore,�9��;Indira,Paris,�93�)Courtesytheartist
Sisters with ‘two girls’,�00�fromtheseriesRe-take of Amritadigitalphotomontage38.�x3�cm(Amrita,Simla,�937;Indira,Simla,early�940s,Two girls,detail,�939,byAmritaSher-Gil)Courtesytheartist
Ghost,�00�fromtheseriesRe-take of Amritadigitalphotomontage38.�x37.6cm(UmraoSingh,Simla,mid�940s;MarieAntoinette,Simla,mid�940s)Courtesytheartist
Melati SuryodarmoPass to converse,�003singlechannelcolourvideo�0minutes40secondsCourtesytheartist
Agus SuwageAsuceleng (Dog-boar),�0�0platinumporcelain34x�7x�3cmCourtesytheartist
Man of the year #4,�0��oil,silverleafongalvanisedzinc,foundobjects690x340cmCourtesytheartist
Meleleh (Melt),�0��Wax,resin,galvanisedzinc37x30x�6cmCourtesytheartist
Hema UpadhyayLadki number 1,�00�gouache,drypastels,acrylicandphotographsonArchespaper9�x���cmCourtesytheartist
Pedestrian,�009vinylcutout�00x�87.5cmCourtesytheartist