Guggenheim UBS MAP Global Art Initiative
No Country: Contemporary Art for South and Southeast Asia
February 22–May 22, 2013
The first exhibition in the Guggenheim UBS MAP Global Art Initiative features work by 22 artists and collectives representing some of the most compelling and innovative voices in South and Southeast Asia today. No Country: Contemporary Art for South and Southeast Asia revokes national borders as limits to understanding, revealing in their place networks of influence and resistance. More
June Yap recently spoke to Art in America about her inspriation for No Country: Contemporary Art for South and Southeast Asia, how she selected the artists represented, and the goals of the exhibition. Read her interview with Richard Vine and learn more about the Guggenheim UBS MAP Global Art Initiative.
In their latest interivew with The Huffington Post, artists Matt Lucero, Tuan Andrew Nguyen, and Phunam of the Vietnam-based multimedia art collective The Propeller Group discuss how advertising and graffiti influenced their work. Read the article.
View photos, listen to excerpts, and watch footage from the MAP: Regarding South and Southeast Asia symposium that took place in Bangkok on November 28, 2012. This public panel discussion, which was live streamed from the Jim Thompson Art Center, was the first public program of the Guggenheim UBS MAP Global Art Initiative.
Stay connected with the Guggenheim UBS MAP Global Art Initiative on Flickr to view photos from public and educational programs such as the No Country: Regarding South and Southeast Asia Symposium, Storytelling and Art with No Country artist Khadim Ali, and Barmak Akram: The Kabuli Kid.
Read, watch, listen to, and discuss essays, stories, and interviews by international artists, writers, and curators.
Curator Hammad Nasar examines the work of Durriya Kazi, David Alesworth, Iftikhar Dadi, and Elizabeth Dadi, four artists who, in 1990s Karachi, reworked Pop art tropes to explore themes of the popular and the everyday.
Lahore-based artist and researcher Murad Khan Mumtaz plots the unique historical trajectory of miniature painting in Pakistan, detailing its roots in sixteenth-century India, the aesthetic influence of European colonialism, and the technique’s latter-day “modernized” reemergence.
Revisiting the histories of two Indian art-world institutions, Gallery Chemould and the Centre for the Study of Developing Societies, theorist and curator Nancy Adajania demonstrates the universal and continuing vitality of alternative models for exhibiting.
- 14 May
Arin Dwihartanto18 May
Open High World17 May
Dian Ina17 May
Michael Wilson17 May
The Untitled Mag17 May
Jackie Morrison TV17 May
- 17 May
Susan Forsyth14 May
- 14 May
- 14 May
Kate Bevans12 May