Move over China, Southeast Asian art takes center stage

Alan Lau, CNN
Updated 10:28 PM EDT, Wed September 7, 2016
In his most recognisable work to-date, 'We the People', Danh Vo recreated the Statue of Liberty as 267 fragments and dispersed them across the world as abstract sculptures.
"We the People" (2011) by Danh Vo —
In his most recognisable work to-date, 'We the People', Danh Vo recreated the Statue of Liberty as 267 fragments and dispersed them across the world as abstract sculptures.
courtesy of Contemporary Art Daily
For him, the fragmented statue symbolizes the fragility of freedom and power, and mirrors his own personal history of displacement and migration when he fled Vietnam at the age of 6.
"We the People" (2011) by Danh Vo —
For him, the fragmented statue symbolizes the fragility of freedom and power, and mirrors his own personal history of displacement and migration when he fled Vietnam at the age of 6.
courtesy of Contemporary Art Daily
Korakrit Arunanondchai's mannequins in burnt denim, a symbol of consumerism and foreign 'invasion' from the US, are unsettling and visually stunning.
"Painting with history in a room filled with people with funny names 3" (2015) by Korakrit Arunanondchai —
Korakrit Arunanondchai's mannequins in burnt denim, a symbol of consumerism and foreign 'invasion' from the US, are unsettling and visually stunning.
Korakrit Arunanondchai/C L E A R I N G New York/Brussels and Carlos/Ishikawa, London
Previously a rapper, Arunanondchai brings together pop culture, music and religion to create sculptures, videos, and performances. Some of his best performances are done with BoyChild, a performance artist with a "haunting stage persona."
"Painting with history in a room filled with people with funny names 3" (2015) by Korakrit Arunanondchai —
Previously a rapper, Arunanondchai brings together pop culture, music and religion to create sculptures, videos, and performances. Some of his best performances are done with BoyChild, a performance artist with a "haunting stage persona."
Korakrit arunanondchai/CLEARING New York/Brussels and Carlos/Ishikawa, London
Among the first series of works that Dinh Q. Lȇ produced are paper collages woven using the same technique as a traditional Vietnamese basket.
"Persistence of Memory #8" (2015) by Dinh Q. Lȇ —
Among the first series of works that Dinh Q. Lȇ produced are paper collages woven using the same technique as a traditional Vietnamese basket.
Dinh Q. Lȇ/courtesy P•P•O•W, New York.
Each work juxtaposes two images, typically one from VietCon propaganda, and the other an American movie poster.
Persistence of Memory #10 (2015) by Dinh Q. Lȇ —
Each work juxtaposes two images, typically one from VietCon propaganda, and the other an American movie poster.
Dinh Q. Lȇ/courtesy P•P•O•W, New York.
Apichatpong Weerasethakul's 'Primitive' is now showing at the Switch House, the new extension of the Tate Modern designed by Herzog & de Meuron.
"Primitive" (2009) by Apichatpong Weerasethakul —
Apichatpong Weerasethakul's 'Primitive' is now showing at the Switch House, the new extension of the Tate Modern designed by Herzog & de Meuron.
courtesy chaisiri jiwarangsan/kick the machine films
Viewers walk into a large room and immerse themselves in this multi-channel video about the history of the border town of Nabua, in northeast Thailand, re-imagined as an elusive science fiction ghost story rooted in Thai folklore.
"Primitive" (2009) by Apichatpong Weerasethakul —
Viewers walk into a large room and immerse themselves in this multi-channel video about the history of the border town of Nabua, in northeast Thailand, re-imagined as an elusive science fiction ghost story rooted in Thai folklore.
Apichatpong weerasethakul/ courtesy Chaisiri Jiwarangsan
Tiffany Chung's work reflects wars and conflicts. Heavily based on research, she depicts humanitarian crises and natural disasters by obsessively painting dots and circles on paper.
"UNHCR Lebanon Time-series" (2014) by Tiffany Chung —
Tiffany Chung's work reflects wars and conflicts. Heavily based on research, she depicts humanitarian crises and natural disasters by obsessively painting dots and circles on paper.
NAM BUI
The size of the dots in this piece shows the human death toll from the Syrian war. Her inclusion in Venice Biennale last year, showing works about the crisis in Syria, was among the highlights of the exhibition
"Syria Regional Crisis" (2015) by Tiffany Chung —
The size of the dots in this piece shows the human death toll from the Syrian war. Her inclusion in Venice Biennale last year, showing works about the crisis in Syria, was among the highlights of the exhibition
NAM BUI
Herman Chong, a prolific artist and curator, takes his own reading list and reimagines the book covers as modernist paintings.
"Monument to the people we've conveniently forgotten (I hate you)" (2008) by Heman Chong —
Herman Chong, a prolific artist and curator, takes his own reading list and reimagines the book covers as modernist paintings.
courtesy nguan
In his exhibition, canvases are typically arranged in rows that reference the culture of print, and talk to the artist's background in communication, art and design.
"Thinking about Exhibitions, Understanding Media, Living in Singapore, An Artist of the Floating World" (2003) by Heman Chong —
In his exhibition, canvases are typically arranged in rows that reference the culture of print, and talk to the artist's background in communication, art and design.
courtesy nguan
The audience always becomes part of Rirkrit Tiravanija's creations. His projects are 'activated' when viewers interact with the objects or the situation. In his landmark work, 'Untitled (Free)', he turned a gallery into a kitchen and cooked Thai curry for visitors to MOMA.
"Untitled (Free)" (1992) by Rirkrit Tiravanija —
The audience always becomes part of Rirkrit Tiravanija's creations. His projects are 'activated' when viewers interact with the objects or the situation. In his landmark work, 'Untitled (Free)', he turned a gallery into a kitchen and cooked Thai curry for visitors to MOMA.
Rirkrit Tiravanjia/courtesy WikiArt
Tang Chang is the art world's latest 'discovery'. First shown at the Taipei Biennial, in a section curated by Cosmin Costinas, his poignant abstract expressionism works have since been included in exhibitions by Para Site Art Space in Hong Kong, Centre Pompidou in Paris, and National Gallery Singapore.
"Untitled 5" (1969) by Tang Chang —
Tang Chang is the art world's latest 'discovery'. First shown at the Taipei Biennial, in a section curated by Cosmin Costinas, his poignant abstract expressionism works have since been included in exhibitions by Para Site Art Space in Hong Kong, Centre Pompidou in Paris, and National Gallery Singapore.
courtesy the tang chang estate
This short film explores the mythical founding of Singapore. Widespread belief is that Utama, the first King of Malays, founded Singapore and named it after seeing a lion on the island's shore -- Singa means lion and and pura means city in indigenous Malay.
Film still from "Utama - Every Name in History Is I" (2010) by Ho Tzu Nyen —
This short film explores the mythical founding of Singapore. Widespread belief is that Utama, the first King of Malays, founded Singapore and named it after seeing a lion on the island's shore -- Singa means lion and and pura means city in indigenous Malay.
courtesy Ho tzu nyen
Singapore's indigenous history is a great influence in Ho Tzu Nyen's work. This film is about the 1,000 year history of a Malay tiger. Ho Tzu Nyen says, "the tiger for me is a creature of metamorphosis, magic, and myth."
Film still from "Ten Thousand Tigers" (2014) by Ho Tzu Nyen —
Singapore's indigenous history is a great influence in Ho Tzu Nyen's work. This film is about the 1,000 year history of a Malay tiger. Ho Tzu Nyen says, "the tiger for me is a creature of metamorphosis, magic, and myth."
courtesy ho tzu nyen
"Artists have a moral responsibility to add to the global conversation, and inspire people with awareness of what is going on in their environment and in the world at large," says Heri Dono. His work, presented in the Indonesian Pavilion, is a hybrid of the Trojan Horse and the Indonesian Komodo dragon; it is a hybrid of East and West.
"Voyage - Trokomod" (2015) by Heri Dono —
"Artists have a moral responsibility to add to the global conversation, and inspire people with awareness of what is going on in their environment and in the world at large," says Heri Dono. His work, presented in the Indonesian Pavilion, is a hybrid of the Trojan Horse and the Indonesian Komodo dragon; it is a hybrid of East and West.
Heri Dono/courtesy indonesia national pavilion
The work symbolizes Trokomod voyaging through different global and local cultures and history. He also attempted to switch perspectives by placing significant markers in Western points of view inside the telescopes.
"Voyage - Trokomod" (2015) by Heri Dono —
The work symbolizes Trokomod voyaging through different global and local cultures and history. He also attempted to switch perspectives by placing significant markers in Western points of view inside the telescopes.
Heri Dono/courtesy indonesia national pavilion
Philippines artist Taniguchi's signature works are large brick paintings, where she paints one brick at a time after drawing out a pattern on the canvas. Her repetitive paintings won the Hugo Boss Asia Art Award in 2015.
"Untitled" (2015) by Maria Taniguchi —
Philippines artist Taniguchi's signature works are large brick paintings, where she paints one brick at a time after drawing out a pattern on the canvas. Her repetitive paintings won the Hugo Boss Asia Art Award in 2015.
Affandi was one of Indonesia's modern painters known for his simplicity -- while he often painted homeless people, beggars on the street, or self-portraits, what he painted simply described the people themselves.
"Mata Mata musuh" (1947) by Affandi —
Affandi was one of Indonesia's modern painters known for his simplicity -- while he often painted homeless people, beggars on the street, or self-portraits, what he painted simply described the people themselves.
COURTESY AFFANDI MUSEUM
Affandi was also an artist of pure expressionism as his rhythmic brushstrokes show. This self portrait demonstrates a technique he started using in the late 1960s, where he squeezed paint directly onto the canvas.
"Self Portrait of Sipping Pipe" (1977) by Affandi —
Affandi was also an artist of pure expressionism as his rhythmic brushstrokes show. This self portrait demonstrates a technique he started using in the late 1960s, where he squeezed paint directly onto the canvas.
COURTESY AFFANDI MUSEUM
Move over China, Southeast Asian art takes center stage

Editor’s Note: Al