A small yet influential strain of independent contemporary curatorial practice has emerged in Southeast Asia, which is performing (expanded) art historical functions. This mode of independent curating now constitutes an important base for exciting new research—making use of diverse archives as well as other methodologies—to study the often little-known histories of the region's modern arts, including its architecture, cinema, and photography. That such research is taking place in the context of independent contemporary curatorial practice is significant because it locates modern art history largely outside of large and state-funded institutions, including museums and universities, thus enabling the development and proliferation of art historical research in areas of Southeast Asia, including its mainland sub-regions, which have comparatively little funding and official infrastructure for the arts. This article explores the emerging practice of independent curating as (expanded) art history in Southeast Asia, through comparative discussion of three case studies: the Roung Kon Project in Phnom Penh, which researches histories of cinema in Cambodia; the Buddhist Archive of Photography in Luang Prabang, which researches histories of photography in Laos; and Spirit of Friendship in Ho Chi Minh City, which researches histories of artist groups in Vietnam.

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策展为（扩展的）东南亚艺术史：胡志明市，琅勃拉邦和金边的近期独立项目

东南亚已经出现了少量但有影响力的独立当代策展实践，它正在发挥（扩展）艺术历史功能。现在，这种独立策展模式构成了进行激动人心的新研究的重要基础，该研究利用了各种档案资料和其他方法来研究该地区现代艺术的鲜为人知的历史，包括建筑，电影和摄影。这种研究是在独立的当代策展实践的背景下进行的，这意义重大，因为它将现代艺术史定位在大型的国家资助机构（包括博物馆和大学）之外，从而促进了艺术史研究的发展和扩散。东南亚，包括其大陆子区域，这些国家的艺术资金和官方基础设施相对较少。本文通过对三个案例研究的比较讨论，探讨了东南亚独立策展（扩展的）艺术史的新兴实践：金边的Roung Kon项目，该项目研究柬埔寨电影史；琅勃拉邦的佛教摄影档案馆，研究老挝的摄影历史；胡志明市的“友谊精神”，研究越南艺术家团体的历史。琅勃拉邦的佛教摄影档案馆，研究老挝的摄影历史；胡志明市的“友谊精神”，研究越南艺术家团体的历史。琅勃拉邦的佛教摄影档案馆，研究老挝的摄影历史；胡志明市的“友谊精神”，研究越南艺术家团体的历史。