Melting Boundaries Exhibition Catalogue by School of Contemporary Art Project Myanmar SOCA

Local Exhibition in Yangon, Myanmar.

Melting Boundary Making Identity

September 2017

(MM)

Contents ? rmwdum 7

Introduction

Outline of the Project

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Exhibition Concept

Curator Statement

Artist and Artworks

Curator & Collaborative Team

Curator Essay

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Glimmer in the Mist

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Review by curatorial team

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From the Melting Boundary...

Feel the existence

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Public Program

Overview of the Public Program

Panelist & Moderator

Discussion Topic

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Yangon, September 2017

Photography by amh.

Introduction ed'ge;f

About the Program

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The exhibiton “Melting Boundary” project is a part of “Condition Report” program, which is a Southeast Asian curators’ workshop of Japan Foundation Asia Center. By the main subject”What is Southeast Asia?” the project aims to create space for the participants to exchange their knowledge on contemporary art and culture while it also provides curatorial skills and insights. The project allows the participants to explore and do research in Japan and eight Southeast Asian countries (Malaysia, Indonesia, Philippine, Thailand, Vietnam, Lao, Cambodia and Myanmar). The new knowledge from this exposure will be used by each participant to reflect on the state of the art scenes in their respective countries and find solutions where there are issues. The first phase of”Condition Report” consists of four collaborative exhibitions, Sindikat Campursari in Jakarta by Ade Darmawan and Iida Shihoko, Escape from the SEA in Kuala Lumpur by Yap Sau Bin and Hattori Hiroyuki, Almost There in Manila by Patrick D. Flores and Che Kyongfa, Mode of Liaisons in Bangkok by Pichaya Aime Suphavanij. The second phase on individual themes by eight SEA country and Japan curators. Fan Chon Hoo, Goh Sze Ying from Malaysia/ Singapore, Ayos Purwoaji Surip Mawardi, Kurnia Yunita Rahayu and Bayu Genia Krishbie from Indonesia, Lisa Ito-Tapang, Alicia Sarmiento from Philippine, Le Thuan Uyen from Vietnam, Lyno Vuth from Cambodia, Souliya Phoumivong from Laos, Vittavin Leelavanachai from Thailand, Aung Myat Htay from Myanmar and Yoshizaki Kazuhiko and Nakamura Fumiko from Japan. This Yangon exhibition is a one of (12) local exhibitions in each site.

2nd Curators Workshop project in Southeast Asia

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Outline of the project

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The objective of the“2ndCurators’ Workshop” project is to improve the art environment in Southeast Asia through aworkshop program for young curators. This project also aims to foster networks among the up-and-coming curators from Japan and Southeast countries by providing them an opportunity to participate in the collaborative proces. Based on the result from the first “RUN & LEARN” project (implemented by Art and Culture Department by the Japan Foundation in 2014), this project will organize a large-scale exhibition in the major cities, combined with small-scale exhibitions in the regional cities, to foster empathy with partners, both in the cities and in the provinces. The general theme of the project is “What is Southeast Asia?” Southeast Asia is, on the whole, understood historically as a region that is located between China and India where a diverse range of culture and ethnic groups exist. It has been a strategic location where vessels from the East and the West cross. Many in the region once experienced colonization by the West in the 19th century and becoming an independent nation-state after the Second World War. Today, the region collectively draws attention from elsewhere as ASEAN (Association of Southeast Asian Nations), an association which encourages collaboration among

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its members in the political, economic, social, and cultural fields. Under this scheme, the members in the region have increasingly shaped each other’s society and culture as broadly conceived. But for those who reside in the region, what does this regional binding of “Southeast Asia” mean? In the field of the visual arts, for example, national art histories have been written, but is it possible to write a regional art history for the whole of Southeast Asia? How can curators contribute to the regional art scene, while also taking part in the global art scene, both made possible as a result of the advancement in information technology? For this workshop, with the assistance of the facilitators from the participating countries, the general theme of “What is Southeast Asia?” is broken down into subthemes that are tailored to meet the local conditions.

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Ref; Project Outline paper

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Japan Research Trip Route

Participant Country

1.Tokyo - The National Museum of Modern Art, Tokyo - Mori Art Museum - 331 Arts Chiyoda - NTT Inter Communication Center (ICC) - Tokyo Opera city Art Gallery - National Museum of Emerging Science and Innovation (Miraikan) - 21-21 Design Sight

Myanmar Laos Thailand Cambodia Vietnam Malaysia Indonesia Philippines

2. Fukuoka - Fukuoka Asian Art Museum 3. Yamaguchi - Yamaguchi Center for Arts and Media (YCAM) 4. Hiroshima - Hiroshima Peace Memorial Museum - Hiroshima City Museum of Contemporary Art (Hiroshima MOCA) 5. Osaka - National Museum of Art, Osaka

6.Kanazawa 10.Mito

6. Kanazawa - 21st Century Museum of Contemporary Art, Kanazawa - Kenroku-en (Japanese Garden)

1.Tokyo 7.Ogaki

7. Ogaki - Institute of Advanced Media Arts and Science (IAMAS) 8. Nagoya - Aichi Prefectural Museum of Art - Minatomachi POTLUCK BUILDING 9. Yokohama - Yokohama Museum of Art - Bank ART Studio NYK

9.Yokohama

8.Nagoya 5.Osaka 4.Hiroshima

3.Yamaguchi 2. Fukuoka

10. Mito - Contemporary Art Gallery, Art Tower Mito

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Melting Boundary, an exhibition of contemporary art, draws upon the social and cultural commonalities between Myanmar and its neighboring countries. It is also an attempt to observe shared concerns and ideas among artists from these countries. In Myanmarese, the word “melting (pyor-win-hmu)”is used in different situations with different connotations. When a solid material reaches its melting point, it can be shaped into something else before it solidifies again. This word is also used to refer to the transition from a physical/material state to a spiritual/immaterial state. All forms of blending and transformation result in something different than the original shape, form or nature. Boundaries are not just geographical. They also define certain disciplines, techniques and media in art. When those boundaries melt into one another, we have something new. In this exhibition, artists from Myanmar and Thailand present their works hoping they will inspire the viewer to think about the similarities and differences in their cultural characteristics and aesthetic tendencies. The viewer may be able to make a conclusion about the state of contemporary art in the region. This exhibition also aims to find a balance between the characteristics of contemporary times and national, cultural, psychological and physical ones of these three countries by finding commonalities and intersections. In order to keep it as much conceptual as informative, three artists—one Bangkok-based Thai artist and two Yangon-based artists—are showing their multimedia works including photography, video and other cutting-edge approaches. The works of these artists reflect our contemporary times and its socio-political aspects. As a special feature of the exhibition, the curator will also make a presentation about his trip to Indonesia and Chiang Mai. This exhibition space will be a place where cultures meet and melt into one another. Translated from Burmese by: Mg Day

Curator Statement pDpOfo\ l xkwjf yefcsuf Experimenting in Unpredictable Ways

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by: Aung Myat Htay

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Art, along with the progress of the society, has gone through so many changes. The spatial, social and political context in which art is created is constantly changing. Techniques, media and theories are also changing all the time. Scientific and technological innovations that have provided impetus to human civilization to shift from subsistence agriculture and need-based way of living to the world we see today are the results of interdisciplinary experimentation and integration of thoughts, ideas and fields. What we can easily see today is social, political and cultural components of the society merging with new ideas and technology in all aspects of life. Likewise, Southeast Asian countries are reinventing their region by fostering cultural interconnectedness and cooperation. It is a process of reframing, adjusting and innovating. If we look at the art history, we will notice that all those art movementsâ&#x20AC;&#x201D;from Modernist traditions such as Romanticism, Realism and Impressionism to Postmodernist ones including Expressionism, Minimalism and Conceptualismâ&#x20AC;&#x201D;have evolved and very often merged with each other. When an art movement merges with another, it gives birth to a new aesthetic direction. As this evolution continues, art becomes friends with technology and science. Photography, video and other forms of technological innovations have secured their place in visual art. Artists today bring in an array of things into the making of their works: technique, technology, concept, context and research. Art is not just one thing anymore, but communicates with other fields at a wider level. Integration is the key concept of this exhibition. One of the objectives is to give the viewer a chance to explore the results of different places, nationalities, philosophies and cultural objects becoming intertwined. Another objective is to go beyond technique, art form, medium and ism that put boundaries to visual art, and to reinvent art by experimenting with all these things in unpredictable ways. The different professions of artists's Visual art, Photography and Film, by doing so, fixed ideas that embody a medium will lead to new ones, and new meanings will be born if we can incorporate the opinions of the viewer.

Translated from Burmese by: Mg Day

Artist & Artwork

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Napat Vatanakuljaras (Thailand) Mayco Naing (Myanmar) Kriz Channyein (Myanmar)

Napat Vatanakuljaras Physical of Belief (Remake 2017) Multimedia Installation Due to his family belief, the pomegranate tree was used in the birth ritual of the Chinese family's first son and this pomegranate tree is the same age with artist. This relationship in the dimension of time, space and physical."Pomegranate tree as a protagonist for the story or as an â&#x20AC;&#x2DC;avatarâ&#x20AC;&#x2122; to record new stories through short documentaries. Apart from a self-exploration from environmental and external contexts also exploring internal identities through microscope microscopy to visualize physical presentation within the physical world through the simulation of scientific research labs" he said. Proof of biological identity between his (urine, cheeks, hair, finger) and pomegranates (roots, leaves, fruits, trunks). All images are presented on a 3 screen television. This Yangon experience make him to explore again, this year about he reach the age of 25, his pomegranate tree as well. His returned to revisit it again and travel to the 'neighbours' that even though the distance is very close, knowing only through the textbook at school. This opportunity to start researching neighbours more and more, leading to the idea of how to get to know 'neighbours' in how to use art as a tool by using my avatar- leaving home to experiencing through his recordings stuff (photos, video and notes).

Napat Vatanakuljaras (Thailand) (born- 1992 Bangkok)

Napat Vatanakuljaras is a young multi-media Artist from Thailand. He learned Art at the faculity of Architecture, King Mongkutâ&#x20AC;&#x2122;s Institute of Thechnology Ladkrabang, Bangkok. He practiced in the multi-media and conceptual based reflected social phenomena, identity and complex of culture. His first solo exhibition was held at the Bangkok University Gallery(BUG) in 2015. From 2012 to 2016 he participated the collective projects. Recently he joined this SEA programâ&#x20AC;&#x2122;s "Mafia table" collective work collaborate with Roslisham Ismail aka ISE at Bacc (Bangkok Art and Culture Centre) in 2017. 17

Artist Statement:

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I had started my last project in the university in 2015, it was a period of reconsidering myself again about my life at the present and the near future. Starting to find an identity, the history of myself from the evidence and traces that appear from my home (Narratives, objects, photos, videos) until it converges on the pomegranate tree, which is a representation of my existence. Due to Chinese belief, the pomegranate tree was used in the birth ritual of the first son and the pomegranate tree is the same age as me. This relationship in the dimension of time, space and physical. I chose pomegranate tree as a protagonist for my story or as an ‘avatar’ to record new stories through short documentaries. Apart from a self-exploration from environmental and external contexts also exploring internal identities through microscope microscopy to visualize physical presentation within the physical world through the simulation of scientific research labs. Proof of biological identity between me (urine, cheeks, hair, finger) and pomegranates (roots, leaves, fruits, trunks). All images are presented on a 3 screen television.

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This exhibition in Yangon make me explore again, this year I am about to reach the age of 25, my pomegranate tree as well. I returned to revisit it again and travel to the 'neighbours' that I don’t know well. Even though the distance is very close, I just get to know only through the textbook at school. So I took this opportunity to start researching and getting to know my neighbours more and more, leading to the idea of how to get to know 'neighbours' in how to use art as a tool by using my avatar - pomegranate tree to exchange avatar with 24 neighbours (including me 25) equal to my age to get to know and start counting 1 with outward looking or leaving home to experiencing through my recordings stuff (photos, video and notes). This exhibition also become as a scientific research labs simulation to meet and get acquainted ‘neighbors’ from the information the audience provided, and I brought the information to make a new version of the name card to return and exchange to each other.

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PhotoSketch of the Plan drawing by Artist Napat.

PhotoUpper-Artist touching his Installation. Below- Audience enjoy Napat's Multimedia Installation and discuss with Artist.

Manuport

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“ Manuport “ In archaeology and anthropology, a manuport is a natural object which has been moved from its original context by human agency but otherwise remains unmodified. The word derives from the Latin words manus, meaning "hand" and portare, meaning "to carry".

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This is the first time I going to have an art exhibition outside my home country. The artwork brought me from where I live, I brought my artwork, a living tree, with me. This work is a journalof me and the tree journey in many areas. By meeting people in the local area, I took my tree to know new friends. By doing a name cards for my tree to exchange with people who own a plant trees. This work is a small experience to exchange and get to know each other for a short time. But I see new identities of neighbors who have never known by the tree talk.

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Mayco Naing

theme: Self-portraits ID Photo & Multimedia Installation "Self-portraits are the mirror of my feelings, emotions and my personal life" The artist did capture thousands of IDs for different types of people and the artist personally think that taking ID photos are not so called ordinary that it used to be in the past. An ID represents a personâ&#x20AC;&#x2122;s feelings, emotions and their attitudes towards life. Anybody can ask someone to smile or act infront of camera but it is difficult to capture the true essence of his or her existence. An image is reflection of our reality and we can see the reflection of both emotional and physical changes over a lifetime from an ID. In Myanmar, where clicking ID picture is considered to be old fashioned or out of style due to people never get full attention that they deserved to get to bring out their true essence. There a lot of other people's ID photos will gives this representation too.

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udk,fhyHkwludk udk,f rSwfwrf;wif&wm b0cHpm;rIjzpfwnfr I awG&JU a&mifjyefwpfckyg/ tEkynm&Sif[m oludk,fwdkifeJY olUtvkyfobm0 t& rSwfyHkwif"mwfyHk axmifeJYcsD &dkuful;cJh w,f/ 'DyHkawGudkMunfh wJhtcgrSm omrefvlyHkwpfckxuf twdwfudkjyefajymjyaew,fv-dkY jrifvmw,f/ rSwfyHkwif"mwfyHk[m vlwpfa,muf&JU pdwfcHpm;rIudk wpf enf;enf; ajymaeovdk olYb0wpfpdwfwpfa'oudk vSpf[jy aewmrsdK;jzpfw,f/ wu,fh jzpfwnfrIudk &,lEdkifzdkYawmh cufcJygw,f/ "mwfyHk qdkwm tppfrSef&JUyHk&dyfayr,fh wpfu,fh tppfrSefcHpm;csufawG? b0rSmtajymif;tvJawGjzpf aewmudkjrifEdkfifwJht&m/ 'DEdkifiHrSm tdkif'D"mwfyHkawGudk cyf&dk;&dk; enf;vrf;a[mif;eJY om&dkufae qJyg/ vlawG&JU wpfu,fhjzpfwnfrI ay:vGifwJh tdkif'DyHkrsdK;jzpfvmzdkY vnf; r&SdEdkifao;ygbl;/ tdkif'DyHkawGu vlawGtaMumif;? ,Of aus;rIawGtaMumif;eJY olwdkY&JU &kyft&Sdtaetxm;awGudk cefY rSef;Edkif ovdk rsufESmtrlt&meJY tjcm; vlaygif;rsm;pGm&JU tdkif'DyHkawGu 'D oabmudk qifjcifoHk;oyfrdaprSmyg/ 26

Mayco Naing (Myanmar) (Born-1981 Yangon)

Mayco Naing is a Photo & Multi-media artist from Myanmar. She worked as a photographer and she found the freedom of expression in contemporary art. Having spotted an YPF (Yangon Photo Festival) poster in 2010, she attended her first master classes, received the Creative Prize, exhibited abroad (the Lyon Biennale, the Bangkok Biennale, festivals in Lishui and Dali in China). Her portrait series, entitled Identity of Fear, captures the Burmese generation born around the time of the 1988 revolution, raised with little education, conservative values, and coming of age under a repressive military regime.

PhotoPeople enjoy and took the self-ID photo at the Mayco's work.

theme: portraits of Nun Photograph (Print) A woman being two sides of a coin; being glamourous and on the other hand and being truly religious. Can not judge a person depending on what he or she is doing in outside world, as one is capable of performing different roles in their lives. Lots of young women became independent through their hard works, fashion, trendy, and they are being religious as well at the same time. They have a choice to be a temporary nun or permanent if they wish to. And one can become honour for religion, explore conscious and unconscious minds through meditations etc. To conclude, a woman has an equal right and chance to select and become what she wants to be in her life. However, there are some stereo types still exist in our society but I have full confidence on other women that they will overcome such issues and they will find their way out to make a place on their own in outside world.

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PhotoInstallation View of the Mayco's Portrait of Nun, at the Opening.

Kriz Chan Nyein

Kriz Chan Nyein (Myanmar) (born- 1990 Yangon)

Kriz Channyein is an independent filmmaker from Yangon, graduated from Nanyan Technological University in Singapore. He was born in Kachin State (northern Myanmar) and left to study filmmaking after high school instead of studying medicine as his family wanted him to. He received a grant to study at a film school in Singapore where he lived and worked for a decade before moving back to Yangon. He founded a production company called Lucid Tree Motion Pictures.

PhotoSome Clips at the Kriz's Video Installation and audience enjoy in Opening.

Curator jyyGpJ pD Ofol

Aung Myat Htay Originally from Mandalay, upper Myanmar. In 1993 he certificated from the State Fine Art school in Mandalay and in 1998 graduated in BFA at the University of Art & Culture,Yangon. He is deeply involved in the artistic community of Myanmar since 1997 his first solo exhibition. He share the role of artist, curator and writer. He has presented work in several regions of Asia including Japan, Thailand, India, Indonesia, Hong kong and in US. He has participated in various residencies and exhibitions among which the Fukuoka Asian Art Museum (Fukuoka, Japan) 2010, Live Art Festival (Banglore, India)2011, Koganecho Bazaar International Art Festival (Yokohama, Japan)2012. In 2013 he received sixmonth grant from Asian Cultural Council (ACC) for New York Residency and research contemporary art in the US. In 2015 he co-founded SOCA (School of Contemporary Art), an alternative art learning community to support the new generation of art. Recently he co-curated the public art project for the Yangon Art & Heritage Festival â&#x20AC;&#x153;My Yangon My Homeâ&#x20AC;? was hold in Yangon. Now based in Yangon and currently working as a freelance artist & curator.

Collaborative Team About The Team

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Refering to main objective of "Condition Report", Project "Melting Boundary" address to chances to different experiences of curatorial approachs. As a planning in the proposal, two of young member has a chance to joined the curatorial team for assist and working together curatorial process.

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The team make examine the artworks and all events also discussion with artists and audiences. Amon and Ye Min Tun, working in similar background of public relations career, They are also young art enthusiasts and involved on local art scene with critical eyes. They meets the artists and curator and they see the exhibition as like representation to local eyes.

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Participant Bio Amon (Born- 1989 Yangon)

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Amon is an art observer, art writer and editor. She has a deep passion in art and has a strong interest in art management and acts as a part of planning, organizing and curating in exhibitions while studying art related knowledge and practices. She believes that art is not just to see and feel but also plays a vital role in human life. She graduated from the University of Yangon with M.A in English and she has been working in the fields of education, culture and public relation.

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Ye Min Tun

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(Born- 1987 Yangon) Ye Min Tun is a public relation specialist and learning contemporary art in SOCA online program. He graduated from Basic Education High School in Ahlone, in 2002, and from the University of Dagon at Dagon Townsip, Yangon with a Bachelor of engineering - Food Technology in 2006. He is the Senior Media and Influencer Relations Specialist of VERO Public Relations. He has more than 6 years journalism background. He is an experienced journalist and media relations professional. He has led Vero’s media relations efforts for three years.

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Curator Essay jyyGpJ pD Ofo\ l tufaq;

Curator Essay

Glimmer in the Mist by Aung Myat Htay

Review by Curatorial Team:

From Melting Boundaryâ&#x20AC;¦ by Amon

feel the existence by Ye Min Tun

Glimmer in the Mist by Aung Myat Htay

Every country has its own unique experience with the development of contemporary art. Eastern and Western art philosophies have evolved and given rise to new art concepts and techniques. Art is always in motion. The time and context in which art is created has a significant impact on art itself. Adaptability and contentment take up an important place in the psyche of Myanmar society. Everyday, people learn to be content. In 1921, a young Myanmar artist called Ba Nyan studied Western realist painting in London. Since then, Myanmar artists have always invented something of their own by incorporating influences from the West. However, Myanmar artists today have difficulty doing the same thing like their predecessors. One reason is everything about art has changed in the 21st century. When we talk about education as an important pillar of the society that was knocked down by the one-party socialist government and a succession of military regimes that came later over the past 60 years, art education was also one aspect of education that was hit very hard. Today there are artists trying to do something new and different. But they are just a small number and not strong enough. Art education in Myanmar today is not up to the international standards.

articles in the constitution that limit and threaten freedom of expression. The country seems freer on the surface, but at its core there are threats and challenges. Art is one sector that has been paid least attention during the reconstruction process that has started since 2015. We can probably take encouragement from public art events, literary festivals and urban decorations, which never happened in the past. However, these events and festivals may have been used for political propaganda instead of promoting art. Art is not a priority in the minds of Myanmar citizens. It can be observed that the government is still ignoring art. This makes people not see how a good art education coupled with critical thinking can make a difference. Another issue is alternative art events have stopped when the new government came to power. Artists and festival organizers need to find new ways, new solutions. Therefore, it still needs support and cooperation. It can be concluded that Myanmar art cannot develop without depending on international system. If the country can reform its education system and place new approaches in art education starting now, we can expect a better future for Myanmar art.

Looking Back on "Melting Boundary"

Despite all this, we are seeing a growing number of small groups of artists in the contemporary Myanmar art scene. There are also other groups still managing to survive. They are from the generation that burst onto the scene in the 90â&#x20AC;&#x2122;s. Most of them received support from non-government organizations that worked with artists. These artists went through a very difficult time under the control of the military regime, but somehow managed to get connected with international artists.

This exhibition was organized in the manner that is not familiar to the local audience. It did not feature works by famous artists and the artworks in the show had not used media and techniques that are common. The audience was mainly young people and those from other artistic and scholarly fields. The mainstream art community in the country has its own inclinations and has yet to acknowledge or accept new art forms.

The military dictatorship ended in 2012. But freedom and opportunities for artists are still big issues. There have been a lot of tension and uncertainties during the political transition. Doubts are still looming large. There are

Melting Boundary featured works from three young artists and emphasized the differences in the media they use and their professions. MaycoNaingâ&#x20AC;&#x2122;s photographs deal with identity issues that concern everybody. Her ID

photos show the faces of other people as well as herself. One work compares the life of a laywoman with that of a nun. It examines the role of clothes in creating oneâ&#x20AC;&#x2122;s identity. Does one become a nun once she decides to put on the pink robe? Does it mean she can change her identity? Will it also change the way she thinks, the way she is? MaycoNaing has been working as a professional photographer for many years and has become fascinated with human faces and emotions those faces conjure up. In this exhibition, she installed a photo booth where the audience could make their own ID photos. Perhaps, these self-portraits/ID photos give us a glimpse into the relationship between time, technology and existential conditions. The audience was eager to take their own ID photos and became part of the exhibition. This created an interesting physical dynamic for the exhibition. All the societal systems and time we have gone through, all the uncertainties about our identities. The video installation of KrizChannyein who studied filmmaking at Nanyang University, Singapore, reveals the dialog between Myanmar culture and social sphere. KrizChannyein shot a short video around Yangon. In his video, a young girl is seen playing cane ball in the middle of the city with people bustling about around her. All these people are walking backward in the opposite direction. In this installation, KrizChannyein hung oversize cane balls with red and Green Light in front of the screen. The viewers needed to create some kind of coordination to be able to see the screen behind the cane balls. NapatVatanakuljara, a young artist from Thailand, put up a multimedia installation which is about a tree and himself. He tried to construct his own identity from his family history and their beliefs. And everything pointed to one thing: a pomegranate tree. His work invited the audience to build the story from small entry points he provided. He also incorporated his research experience in Yangon into his work. He visited shops where flowerpots and plants are sold, and talked to the people who came to those shops. He looked for people who had a strong personal relationship with trees like him. When he

discovered one, he wrote down the name of the person and the name of the tree on the picture of his pomegranate tree. There can be so much that a tree and a person share with each other. His research on the pomegranate tree has not stopped here. He collected stories about pomegranate trees from Eastern and Western history and from Christian, Buddhist and Jewish texts. When the Spanish conquered Mexico in AD 1521, they planted pomegranate trees marking the beginning of a new world. In Judaism, people believe that Adam and Eve were expelled from the Garden of Eden because they ate the fruit from a pomegranate tree. Some people believe that there are 613 seeds in a pomegranate and it makes a good new year. When Zen Buddhism was first established in China in 1195, they planted numerous pomegranate trees around the temples. In Islam, pomegranate trees are from heaven and prophet Mohammed told his followers to guard themselves from jealousy and hatred by eating pomegranates. In sum, this exhibition explored new ideas about identity without rehashing the old ideas that most people in the society are comfortable with. We hope that this is only the beginning of the exploration. Past and present are fluid and flow into each other, like older generations pass along their knowledge to new generations. In art, boundaries that lie between different ages, media and techniques have mingled. This will help fill the creative void that we have in Myanmar. For this reason, it is important to find and support new generation artists.

Translated from Burmese by: Mg Day

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Artists and the Curatorial Team's at the working meeting.

Review by the Curatorial Team by Amon

From Melting Boundary… It has been a contradictory nature of human beings since one cherished the freedom while living in the boundaries set by rules and restrictions occurred to be an obligation. Whether you look at the lengthy history of mankind or the fields of art and science, you will see the restrictions existed through ages and the breakthroughs that overcame those restrictions and boundaries. As the way the land was bounded by the territories, there have always been boundaries in the respective fields in respective ages. Some were bounded within confinement of the society and the era while some boundaries set the individuals in their existence and their perspectives upon life. This “Melting Boundary” has been an endeavor to break the boundaries through the creations and inquiry of the three artists and the organizer. You will melt together and look for the answers of the happenings and the existence of the society around you and yourself. Diverged from the traditional presentations, art has been coexisting with the other things beyond the boundaries and that’s been testified by this exhibition. Despite being three young individuals of similar ages from one generation, these three individual artists with different backgrounds and different styles of artistic creation put and presented their different types of artworks ( photography, videography and installation) harmoniously as an individuals as contributing to the whole exhibition. At the exhibition, you will see the video installation of Artist Kriz that was named “Beginning and Ending” in which larger-than-life chinlones (rattan balls) were installed. Despite not occupying a large space in the exhibition, it would grab the attention of the audience in conscious and subconscious levels. The chinlones were installed in the exhibition in order to let them move in the air harmoniously with the movements of the people. Believing that boundaries were set only by people, artist Kriz transformed his thoughts on the harmony between coherence of the chinlone and its surroundings, the endless existence of a chinlone and that an end of existence brought to a beginning of another emergence, into artwork. His video installation depicted the overall dynamics of melting boundaries: existence of a chinlone, its interaction with the people and how this harmonious act went beyond boundaries. The artworks of Mayco were presented as photo installation which the artists combined her self-portraits ID taken during years of her photographer life contrasting with expression on part of her life, emotions and experiences. These self-portraits taken by herself are more than usual photographs. For her, they are the past that comes in front of her as she sees the changes within her and feels her feelings back from the past. As she questioned her po-

sition in the past, and the position she will be in the future and her existence, the artwork reinforces the audience to question the connection between own identity in the past and current self. She put herself to create nude identity and create artwork on this. On the other hand, she presented “Portraits Nun” as a symbol to describe the identity of a woman with two sides where the woman struggles in between those two faces and the existence within the influence and society’s norms. Many of the artist Mayco’s works are brought to the exhibitions as a reflection of her own being and permutation of her experiences. By the time they are being presented at the exhibitions, her works transformed to be the representations not only of herself but also of the generation and time she grew up together with. Questioning herself within the artworks drains andgives awareness to the viewers and let questions on own existence of the viewer. The presentation of the artworks of Artist Napat is quite notable and different from usual. It is also the artist’s self-assessment and exploration through the scientific experiments on transforming his and his family’s beliefs into the physical and visual forms. Not just he represented himself through the Pomegranate tree and scientifically created visualized physical presentation through video installation, he also expressed the relationship between the tree and him by presenting the pairing of the part of Pomegranate tree covering with the cloth he wore in his very early life. The color red plays the vital role in the Chinese culture. Here, Napat presented the background history and its position within the family through the color he used. Moreover, he also displayed a photo installation in a series of photos of other people’s representational trees and names which he made new relationships through his Pomegranate tree. To also create a connection forward to the future, he also tried to present in relating and exchanging the cards of his own which presents the photo of Pomegranate tree and his name with others’ who came to the exhibition. The presentations of Artist Napat artworks is compact and condense as if he collects his identity in all the forms of past, present and future as one. These all artworks of three artists form a new presentation of art scene as a combination of their own inner concepts with the representation of their striking past and experiences and their self- identification within the society they are living in and questioning themselves between the values set by the society. The prominent part of the exhibition is being beyond the visual experience as it shares and draws the audience into the life of each artist’s and their existence through their artworks. Then, it also let question the viewer’s own existence. Artists go beyond another boundary as they challenged and questioned themselves through the alternative presentation of the artworks.

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feel the existence by Ye Min Tun Physical of Belief : We sometimes the relationship between humans and other living being forgotten we are focused to the very existence of mankind. Artist are create the existence of human and existence of other living organisms are correlated in the same disposed. Its existence and the existence of other organisms that seeking mutual beings. Artist was shown on the TV screen to create a family trust, searching from traditional, psychological and science laboratory. Result of physical representation was also searched living organisms like looking outside himself from the relationship. Human organisms and plants are very existence of life of humans and other living materials relations. Also display this on the television. Despite different languages for plants that vary according to the respective language names, but their live stand diversity are the same. artist's existence for exchange Name Card to communicate with the other's existence with a question. Artist who has been happening there with his clone (pomegranate) tree is a living material, inanimate objects as changed. And (how) the history of the survival of its existence, in one way or another went about this is part of its history. Humans take care of your living rather are discretionary in nature care about living or inanimate objects on need.

feel this kind. What is between the religious identity and ordinary lives which we wanted like models? Beginning and Ending: The artist has also been questioned, and where the end and the where the start?. A 3-minute video presentation look without starting and ending. A larger than average size of Chinlone hang on the space across viewing the video screen. A compromise traditions Chinlone games, gives an organization more or less common, and different situations with different shapes lives struggling like each other a struggle supportive. A smiling picture see on the T-shirt of playing Chinlone women with the background of daily life in Yangon street. Movement of the contact between people who move to backward and player is forward. The artist created Chinlone to focus more on the nature of the adjustments to play each other and the need to adjust each society. This is a social community around setting a full and equal regarding of gender responsiveness and anxiety. The supportive measures od balance as needed rather artist seems to want. Dynamic survives, meeting each other in the same of the causes and support to be able to make a exchange of each other.

Self-portraits ID: Your record is well-known mark for your life. The manual is going to be his best photographs on display. The maker of this photo well noticed beyond can be learned. His emotions, and life has been created in connection with also show that some part of him. There, visitors can also recorded your ID photo. It is between the artist and audience recorded the memories. When artist recalls the past with an ordinary life. The past is really suffering, changes to a photo's image recalls. This project makes several years ago as a studio work. This is a self-research. Others like you, what is your record of what had feelings back to what happened was questioned from the life. To review your past, need to feel the existence of the artist seems to want. Portraits Nun: The artist make a question, can find herself as a religious atmosphere. Whether it is to find yourself as a religious teaching survival and between community are different, but it's herself. Many of the lives by the various understanding I think. Artist's give a sense and

Artists and the Curatorial Team at the Working (Right to left- Amon, Mayco Naing, Kriz Chan Nyein, Napat, Aung Myat Htay, Ye Min Tun)

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Public Program vlxt k pDtpOfrsm;

1. September -23 (Saturday) 6:00 pm Exhibition Opening 2. September -24 (Sunday)1:30 pm Section-1 Artist Talk Section-2 Curator Presentation 3. September - 29 (Friday) 5:30 pm Art Forum/Discussion

Above PhotoExhibition Coordination team

Public Program Overview

The exhibition itself creates the opportunities for the audience to directly engage with the artists. Apart from the usual exhibition routine, it creates the vibrant atmosphere adding the artists’ talk, the curator’s presentation and art forum throughout the exhibition period. Especially at the art forum, the professionals, the panelists discussed the Southeast Asia art scene and position of Myanmar focusing on the areas and facts on the lack of systematic art education on modern and contemporary within the country and its needs on the development of art education and training systematically. The discussion also included the roles of the artists, the demands falls upon them during the social change and their experiences with all the changes of the era. The discussion affords the important commencement of the future art journey here especially for the emerging artists. The forum also highlighted the existing challenges of artworks presentation and exhibiting along with the creation process of the artworks these days. It discussed the importance of the creation of the artists, the concern and belief of the artists upon his/her works as well as the importance of the relationship and communication between the artists and the public. The forum also questioned the promoting of the national culture, the role of the youths and the role of government in its promoting process. It also stated the practices and creations of art to harmony with the advanced technology and also discussed how to learn from the museums, centers, and exhibitions of other countries and to act setting in with the local practice. This is not the end of Melting Boundary. In this exhibition, the artists look for the things which exit beyond boundaries as they explored themselves and their community through their identity and existence. Melting Boundary also examines and shares awareness on the questions and solutions to the future art scene through fresh presentation. Melting Boundary is a step to find out more on many unanswered questions and also one great step as a support towards the upcoming changes in art here. Amon

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Art Forum Penalist & Moderator

Discussion Topic Future Myanmar Artscene & Artist role in Southeast Asia

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As part of the condition Report project, this organized of the art forum a kind of reporting from Yangon, targeting the network connection to SEA community and comparing across the region. The goal of the forum was sharing and understanding the current SEA conditions and what is Southeast Asia?

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Generally, a lot of mention about the education system, management of art and culture institutuins, how survived the artists lived under the different threnten of late regime government and its adventageous situations. Myanmar was no included SEA art scene conversation for a long years as mention Nathalie Johnston, because of countryâ&#x20AC;&#x2122;s cultural and art policy was a formal and less of relationship in the cultural and art. The role of the curator, researcher and institutions are difficult. They thought like they couldn't because of country is still close type. But the Yangon has very large and strong art community, much bigger than what people imagine outside. That is go beyond outside of institutions as artists are self tought in own gallery, learn by local books and found the own life. That also like other SEA country but not so well known oustide. If we looking back to military regime all learning has limit with filters, this habit still overwhelm on every sectors and people who authority.

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Myanmar's art and culture policy is going traditional ways, and to filters not receptive to other ideology. As a G to G inter-country relations in artistic exchange has weakened the effectiveness on the ideology and institutional management. As comparing to other sectors of economic and political, art had estimated only second or third position may consider. We hope that the future generation of young people has been improved on the education level of the country, the artistic level analysts were predicting. The questions what we aimes to examine are:

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t"dutcsufrsm;... 1.

What are the changes or changing in Southeast Asia art? What are the reasons about that changing? Who and what lead that changes?

How the artists role change under the technology, age and rule?

What are the changes of myanmar in SEA during past 5 years? R they apparent changes?

Is SEA countries do with effective policy like America, Europe or other developed countries for art? What is art policy? When it's need to make art policy?

What is Myanmar current art policy?

What do myanmar need to change to follow with the SEA current art ?

5. 6.

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Photo- (clockwise from top) -Attendence audience at Art Forum. - Simultaneous Translation and enthusiastic audiences. -Nathalie Johnston at her speech. -Special Guest Speaker, Pichaya Aime Suphavanij's Talk.

Art Forum event, panel discussion of Htein Lin, Dr. Aung Min and Nathalie Johnston on 29th Sept 2017 Photo- (clockwise from top) -Artist Htein Lin explain his opinion at the Forum. -Curator of the exhibition, explain about project. -An audience concentration the Talk.

Photo- A selection of the best smiles & moods, at the Reception of Melting Boundary Exhibition.

Acknowledgement Melting Boundary would like to Thanks and sincerest gratitude to all the following people and generous support, assistance and contributions. Yasuko Furuichi and The Japan Foundation Asia Center Mr. Yusuke Matsuoka and Barani Japan Embassy, Yangon. Ko Thet Wai Pentastellar event management Ko Zaw Zaw and Team Carpentry for exhibition Space Nathalie and Ngwe Khaing Myanm/art Space Thurein Than Kyaw Railway Walker Design Studio. Marie Starr MYANMORE Magazine Bay Bay Professional Phoyography Lucid Tree Film Production Image Video Service Lay Nwe Media Service 10 Men Film Group and Dr. Aung Min SOCA group Paung Kuu Group and Ko Htein Lin Mg Day Zoncy Yadanar

Project Team Collaborative Team Amon Ye Min Tun Thurein Than Kyaw Exhibition Coordinator Zoncy Yadanar Win Myanm/art Nathalie Johnston Ngwe Khaing

Organizer The Japan Foundation Asia Center

Furuichi Yasuko Osumi Tomoko Zaitoku Kaoruko

Melting Boundary

Catalogue Editor Aung Myat Htay Writer Aung Myat Htay Amon Ye Min Tun Translator Mg Day A mon Designer SOCA, Design Team and Railway Walker Graphic Studio Photographer Bay Bay@ Nay Thet Thet Nway Printer Aung Thein Than Offset Publisher The Japan Foundation Asia Center © 2017 The Japan Foundation Asia Center © 2017 The Artists and the Authors All right reserved Printed in Myanmar

Melting Boundary Making Identity

23 Sept - 2 Oct 2017, Yangon, Myanmar.

(MM) With collaborative team,

Amon mon (MM) Ye Min Tun (MM)