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 90’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. MaycoNaing’s photographs deal with identity issues that concern everybody. Her ID
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