'This book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production. As artists, they can freely draw on academic research methodologies and, at the same time, question or divert them for their own artistic purpose. The outcome of their research findings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society.' —from back cover
HO Tzu Nyen, 何子彥,
Tun Win Aung,
Research-based Art Practices: Context and Framework
Birth of a New Art Language
The Artist as a Producer of Knowledge: Cultural Activism in Tiffany Chung's The Vietnam Exodus Project (2009–)
Research as Strategy: Reactivating Mythologies in Wah Nu and Tun Win Aung's The Name Series (2008–)
Beyond the Artist's Discourse: Implicit and Sensuous Knowledge in Khvay Samnag's Preah Kunlong (2017)
Emancipatory modes of knowledge production in Ho Tzu Nyen's The Critical Dictionary of Southeast Asia (2013/2012–onging)
Research-Based Art Practices in Southeast Asia: The Artist as Producer of Knowledge
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