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Pacific-Leipzig grant
The Goethe- Institut & LIA announces awardees of 2022/2023

Pacific - Leipzig Grant 2022

The Goethe-Institut and LIA-Leipzig International Art Programme are pleased to announce the artists from Malaysia, Myanmar, Vietnam and the Philippines that have been selected for a three-month residency at LIA for the period November 2022 to January 2023.

Yim Yen Sum (*1987, Malaysia)

YIM YEN SUM © Private received a diploma in Fine Art from Dasein Academy of Art (2008), where she began her practice of stitching together her work. She predominantly works with textiles when creating her ever-evolving installations and explores the concepts of relationships and interconnectivity, between us as a society, our practices and interactions with our environment. Her work often invites the audience to consider their own connections with those within their vicinity, and through viewing and interacting with her pieces, aims to build new relationships. Yen Sum’s works reflect hours of incredibly delicate needlework, worked through units of gauze that has undergone a process of manipulation, including screen printing and appliqué. She repeats the process accumulating units, like building blocks, and stitching them together until satisfied with the end result, a finality that Yen Sum is often hesitant to declare she’s reached, as each piece she creates has the ultimate ability to evolve and change with time and space. yim-yen-sum-in-act © LIA

Lee Paje (*1980, Philippines)

Lee Paje © Private graduated with a Magna Cum Laude distinction for her Bachelor of Fine Arts degree, major in Painting from the University of the Philippines Diliman, Quezon City. She has shown her works in the Philippines, Taiwan, and Singapore. Her works explore themes of women and gender identity, myth-making, and unique contemporary lifestyles. Lee Paje works with mediums such as painting on copper, sculpture, and video to convey visual narratives that highlight inequity in relation to gender and identity. Lee Paje art work © LIA

Nguyễn Thị Thanh Mai (*1983, Ha Tay/ Hanoi)

Nguyen Thi Thanh Mai 300 © Private lives and works in Hue, Vietnam. She explores cultural and sexual identity and addresses issues of origin, belonging and migration.

She graduated from Huế College of Arts in 2006 and completed her M.A in Visual Arts at the Mahasarakham University, Thailand in 2012. Thanh Mai works with a variety of media, including photography and video. Her earlier works concentrated on issues relating to women’s experiences and rights in Asian social contexts. Recently, her practice has turned to questions of identity, both personal and collective, including issues of migrants’ experiences and rights. She explores the complex relationships between individuals and society, and the role of fantasy and imagination in people’s conception of their existence.

Her works have been featured in Künstlerhaus Bethanien, Berlin; Jogja Biennale 2019, Yogjakarta; National Gallery Singapore; Asia Society Museum, New York; Gallery PM, HDLU Zagreb, Croatia. In 2014, she received the Pollock-Krasner Grant from The Pollock-Krasner Foundation, and in 2021 the Excellent Artist Award from The Factory Contemporary Arts Centre (Saigon, Vietnam). She co-founded Mơ Đơ art space and Nổ Cái Bùm art festival in Huế in 2020.

Being at LIA in 2022 offer her opportunities to visit art festivals in Germany, such as documenta 15 in Kassel, as well as to observe and learn about diverse practices at Art and Culture Centre Leipziger Baumwollspinnerei.
  • thanhmai01 © Nguyễn Thị Thanh Mai
  • thanhmai02 © Nguyễn Thị Thanh Mai
  • thanhmai03 © Nguyễn Thị Thanh Mai
  • thanhmai04 © Nguyễn Thị Thanh Mai

Wunna Aung (*1978, Yangon)

Wunna Aung © Privat Creativity for Wunna is an act of crossing aesthetic and cultural frontiers and genres. His multifaceted oeuvre has consistently shown his ability to trespass boundaries, notably by crisscrossing the ancient culture of Myanmar with his iconic Pop paintings. An examination of such a concept leads fairly directly to the relationship between contemporary art and material culture. As much as Wunna is engrossed in popular culture, he is equally fascinated by personalities that have shaped Myanmar’s history – both by their symbolic nature and their vestiges of human existence. The dynamics of such representations lie in the paintings’ potential, where his working process is more like a painted collage.

Instead of incorporating external elements into the picture, he creates layers for visual textures. A member of ROAR (Release of Artistic Rage) group, Wunna Aung is a regular participant in urban art activities in Yangon. Amongst notable exhibitions he has recently participated in are: Art + Plug Season One to Eight (2013-20) Exhibitions, Rendezvous II: South East Asia Urban Art Event (2013), and Un Leashed (Myanm/art) (2017), R0c And Roll (Myanm/art)(2016), Myanmar New Wave Pop Art Revisited (Intersection Gallery Singapore)(2017), Playing Time and Space (Intersection Gallery, Singapore)(2019), S.E.A. Focus 2019 (Singapore) and All Too Human (Myanm/art) (2022).
  • WunnaAung01 © Wunna Aung
  • WunnaAung02 © Wunna Aung
  • WunnaAung03 © Wunna Aung
  • WunnaAung04 © Wunna Aung
  • WunnaAung05 © Wunna Aung
  • WunnaAung06 © Wunna Aung
  • WunnaAung07 © Wunna Aung
  • WunnaAung08 © Wunna Aung
We cordiadly thank the Goethe-Institut for their kind cooperation.

Also thanks to our jury members:
- Veronika Radulavic (Artist)
- Tuan Do Doc (Cultural scientist and curator)
- Maria Josefina Cruz (Director and Curator at the Museum of Contemporary Art and Design, Philippines)
- Anna-Louise Rolland (Founder and Director of LIA Program)