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Page 1: Beyond the self: Contemporary portraiture from Asia€¦ · 8 Beyond the self: Contemporary portraiture from Asia Education Resource b. 97 , Tamil Nadu, Southern India. lives and

� Beyond the self: Contemporary portraiture from AsiaEducationResource

Beyo

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Asia

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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

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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

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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

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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��

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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.’

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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

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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

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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

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�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

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�� 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

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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

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�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

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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/

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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/

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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

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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

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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

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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

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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.

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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

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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

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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

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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

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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’?

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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

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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/

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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