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Providing a recent history of Southeast Asian art linked to the social and political contexts in which the illustrated work emerged, this groundbreaking book reveals the innovative creative strategies, often covertly encroaching on public space, developed by regional artists to ensure the communication of sometimes provocative, even rebellious, ideas to a general audience.
Surveying work created by Vietnamese, Thai, Burmese, Cambodian, Indonesian, Malaysian, Singaporean and Filipino artists, the publication’s broad regional spread provides valuable insights for a global audience perhaps unfamiliar with the pioneering utilisation of the street, public locales, and techniques of audience co-opting that have made Southeast Asia, and continue to make it, a region instrumental in facilitating social change through art.
‘[Lenzi’s] search for the socio-historical antecedents, attributes, and arc of the art made in Southeast Asia from the 1970s to the present is rigorous and edifying.’ – Max Crosbie-Jones, E-flux Criticism
Iola Lenzi, originally trained in law, is an art historian and curator of modern and contemporary Southeast Asian art, a subject that she teaches at undergraduate and graduate level in Singapore.
Introduction - Southeast Asian contemporary art: characteristics, framing and importance; 1 The early contemporary shift in Southeast Asia: messy politics, new art; 2 The formative 1980s: strengthening Southeast Asian contemporary art aesthetics; 3 Art and resistance in the early-1990s: from Tiananmen to urbanisation; 4 Southeast Asian contemporary art at millennium turn: finance and regime change; 5 Southeast Asian contemporary art in the 21st century: from fringes to mainstream; Conclusion: local origins, global agency; Timeline; Selected Bibliography; Acknowledgements; Index