The word “body” refers to much more than flesh. In the context of art, particularly art by women, the word “body” has historically been too often relegated to questions of gender and biology. Whilst such topics are indeed important, the three artists on this particular panel have deeper questions concerning alternate views of a metaphysical body, political body and a topographical body as an investigation of the spiritual, of justice and the landscapes of our natural world. Their approach to such “bodies” of “knowledge” will here be shared with unique introspection, focusing on particular prior personal experiences or events that have triggered poetic and critical artistic enquiry resulting in projects spanning performance, installation, sculpture and film.
The artists are part of the upcoming exhibition ERRATA at MAIIAM Contemporary Art Museum. Curated by Gridthiya Gaweewong with Anna-Catharina Gebbers, Grace Samboh, June Yap, the exhibition explores the regional networks and the approaches of women artists to performance art, photography and media arts. The show deals with contested narratives, fabricated and counter histories from the colonial period to Cold War politics. It investigates the relationship between Joseph Beuys’s social sculpture and its resonance with Southeast Asian performance arts such as Chiang Mai Social Installation and regional artist collectives.
This program is part of “Collecting Entanglements and Embodied Histories”, a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the Goethe-Institut.
was born in Bandung in 1961. A highly-respected seminal Indonesian contemporary artist, she has long been internationally recognized for her powerful and provocative commentaries on social, political, cultural and environmental issues. Arahmaiani works with different media, including performance, painting, drawing, installation, video, poetry, dance and music. She was among the Indonesian artists in the Indonesia National Pavilion at the 50th Venice Biennale (2003). Her work grapples with contemporary politics, violence, the critique of capital, the female body and in recent years her own identity as a Muslim who still meditates between Islamic, Hindu, Buddhistic, and animistic beliefs. She has participated in numerous global art events, including the 2nd Asia Pacific Triennial (1996), Havana Biennale (1997), Sao Paulo Biennale (2002), Lyon Biennale (2000), Werklietz Biennale (2000), Gwangju Biennale (2002), Biennale of Moving Image (Geneva 2003), Venice Biennale (2003), World Social Forum (Mumbai 2004), Global Feminism (Brooklyn Museum 2007), and Kunming Biennale (2017) among others.
has achieved significant recognition since graduating from RMIT University (BA, Fine Art) in 2011. In 2015 she was a finalist in the Jaguar Asia Pacific Tech Art Prize and her work was included in the Thailand Eye exhibition at Saatchi Gallery, London. In 2017 her work was exhibited in the “Islands in the Stream” event in Venice parallel to the 57th Venice Biennale, the Asia Pacific Triennale of Performing Arts at the Melbourne Arts Centre, and “Negotiating the Future”, The Asian Art Biennial Taiwan. In 2018 she showed her works as part of the Bangkok Art Biennale, and in the following year she had her largest museum show to date at Albright Knox Art Gallery, New York.
Vatanajyankur has exhibited widely across Australia, Asia, the USA and Europe. Her works are part of the National Collection Thailand, the museum collections of the Singapore Art Museum, Dunedin Public Art Gallery (Dunedin Art Museum), MAIIAM Contemporary Art Museum, MOCA Museum of Contemporary Art (Bangkok) as well as university collections and private collections in Australia, New Zealand, Asia, Europe and the USA.
lives and works in Chiang Mai and Lamphun, Thailand. Her works encompass a wide variety of mediums such as installation, objects, still and moving images and mainly take a documentarian approach. Her artistic practice questions and interprets public information and reveals its structures. Her recent projects focus on the impact of human activities on other humans and the landscape through political, historical and literary lenses. Sutthirat earned a BFA in painting from the Faculty of Fine Arts at Chiang Mai University and a postgraduate diploma in Media Arts from Hochschule Fuer Grafik und Buchkunst in Leipzig, Germany.
Zoe Butt
is a curator and writer who lives in Vietnam. Her practice centers on building critically thinking and historically conscious artistic communities, fostering dialogue among cultures of the globalizing south. She is currently Artistic Director of the Factory Contemporary Arts Centre, Ho Chi Minh City, formerly in directorial/curatorial roles with San Art (Ho Chi Minh City), Long March Project (Beijing), Asia-Pacific Triennial of Contemporary Art, and Queensland Gallery of Modern Art (Brisbane). Notable endeavors include
Pollination (2018-),
Sharjah Biennial 14:
Leaving the Echo Chamber – Journey Beyond the Arrow (2019),
Conscious Realities (2013-2016),
Embedded South(s) (2016), and
San Art Laboratory (2012-2015). Zoe is a MoMA International Curatorial Fellow, a member of the Asia Society’s “Asia 21” initiative, a member of the Asian Art Council for the Solomon R. Guggenheim Museum, and in 2015 she was named a Young Global Leader of the World Economic Forum.
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