How does one represent the complexity of the affinity and heterogeneity across the Southeast Asian region with a wide range of visual materials? On the occasion of the exhibition ‘In Search of Southeast Asia through the M+ Collections’ pursuing this topic, we spoke to the two curators and deputy director from M+, Hong Kong’s museum of 20th and 21st Century visual culture. Pauline J. Yao, Lead Curator of Visual Art, and Shirley Surya, Associate Curator of Design & Architecture, provide invaluable insight into their interdisciplinary and transnational curatorial approach. Doryun Chong, Deputy Director and Chief Curator of M+, also shares with us how this exhibition fits into the vision of M+ and the context of Hong Kong. The exhibition will be presented at the M+ Pavilion from 22 June until 30 September 2018, featuring works from the fields of design and architecture, moving image, and visual art. Using the museum’s growing multidisciplinary holdings, the exhibition sheds light on the diverse and wide-ranging historical and cultural practices within the region over the last half-century, giving special attention to layered conditions of place.
Pauline J. Yao (PY) and Shirley Surya (SS): Since Sep 2016, we have been using the M+ Pavilion to highlight various aspects of the M+ Collections. After mounting exhibitions around the design collections, Hong Kong visual culture and our holdings of ink art, we thought it could be beneficial to explore a different, less media specific route and focus on a particular geography within the M+ Collections. We settled on Southeast Asia in part because it offers an entry point to thinking about locales outside Hong Kong and brings in the question of regional identity. The complexity of the region also feels well suited for a transnational and interdisciplinary approach. After reviewing all of the materials in the collection that relate to Southeast Asia and noting the incredible diversity and range of topics present, we felt that containing the narratives to one or two countries or just to visual art or just design and architecture would be too limiting.
PY & SS: We have been using the term ‘conditions of place’ to comment on how we explore the region - namely, acknowledging the particular specificities of a place or locale. Namely, how each locale is inevitably characterised by particular topographical or climatic factors, and embedded with specific narratives, histories, daily customs and politics, and how all of these became the conditions to which many artists, architects, and designers are compelled to address respond to, or engage with. These responses can be viewed as informed by local contexts but at the same time, what is seemingly “local” is also deeply intertwined with the regional and global.
PY & SS: The challenges we faced in making this exhibition was actually less to do with the focusing on one region per se, but more to do with the (necessary) challenge of representing the region through an interdisciplinary interpretive framework. This means presenting works and materials of very diverse nature - from moving image works, art installations, photography, architectural models, archival materials and design objects - in a way so they could have spatial dialogue with each other. The geographic focus on Southeast Asia does have some challenges built into it since it is quite layered and complex and therefore we have to convey these realities in an engaging and accessible way to Hong Kong audiences who may not be familiar with the intricacies of Southeast Asia or its histories.
PY & SS: Any one work or discipline is certainly capable of revealing various degrees of complexity of a place, or a phenomenon. But in the process of putting together this exhibition, and seeing how, even by the act of choosing to let certain visual art works be placed next to particular design and architecture works - thereby putting them in conversation with each other under one theme or issue - we realise the multiple dimensions in which works from various disciplines and context could shed light on a reality. For example, under the section ‘Transnational Flows’ we realise that, despite being rooted in their specific locale where they are from, their work doesn’t necessarily address/represent the identities or characteristics of the place. Instead their work may be characterised by a deliberate engagement with a more transnational/global conceptual discourse or visual language.
PY & SS: The works were selected for the ways that they could illuminate specific practices or histories within the region, rather than for adhering to a single overarching narrative or defining theme. Given the complexity of the region, it seemed apt to highlight instead of gloss over the deep diversity and the highly localized histories. Some practices speak to a particular moment in time, say post-independence Nation building, or exchanges between practitioners that are largely undocumented while others, usually artists, bring their own personal viewpoint or experiences and take a more critical stance. In terms of display, the exhibition is arranged according to three thematic areas, within these areas one can find a mixture of design and architecture materials as well as visual art side by side. We settled on this design as way to group together works according to broad strategies or topics; but within. Each section there are many different time periods, styles or approaches present and visible.
PY & SS: Historically speaking connections between Hong Kong and Southeast Asia are easy to find - from climate to maritime trade links to shared colonial heritage - but in the contemporary context the links may be less obvious. Hong Kong has a habit of looking to northward to China and East Asia, so with this exhibition we want to encourage people to look southward, and to consider, even for a moment, as being part of Southeast Asia. Geographically Hong Kong is positioned at the intersection point just between East Asia and Southeast Asia so it also raises a point about regional identity.
PY: Indeed, my museum and collection experience in San Francisco combined with years of working freelance in China are both integral to my practice as a curator today. One of these was a large established institution with long history and an invaluable collection available to me for research and the other was much more flexible context of working directly with artists in a more spontaneous way. The situation for me in M+ now, as part of building an important collection and also working in a way that requires me to be adaptable and responsive is a perfect marriage of the two. I have always believed in the public role of institutions and in both SF and BJ this has been an important aspect., it also continues through my current work at M+.
Doryun Chong: M+ is a museum of visual culture, rooted in Hong Kong—one of the most cosmopolitan cities in the world—and with a global vision. Before the building is completed, we have been holding many exhibitions and public programs while also building a collection that covers Asia broadly, and also reaches beyond Asia. One of the reasons why we decided to organize In Search of Southeast Asia through the M+ Collections is because of the proximity of Southeast Asia to Hong Kong as well as due to myriad connections and exchanges between Hong Kong and Southeast Asia. We also wanted to remind our viewers, both local and international, that Hong Kong is at the cultural and historical crossroads between East Asia and Southeast Asia.
We may organize other specific region or location-focused exhibitions in the future. It’s important for us that such exhibitions will not simply address a whole region or location, which is impossible, but will always approach it through a particular thematic, curatorial lens.
Click here to find out more about the exhibition.
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