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The Preter-National: The Southeast Asian Contemporary and What Haunts It
ARTMargins Pub Date : 2017-02-01 , DOI: 10.1162/artm_a_00165
David Teh 1
Affiliation  

Southeast Asian modern art has thus far been historicized largely within national historical frameworks. The region's contemporary art has been pulled, sometimes unwillingly, into those national frameworks, even as it enters a global market and takes part in a more transnational dialogue. What is the geography proper to contemporary art? And what insights might a regional perspective afford about art that speaks to a world beyond the nation, but resists outright assimilation under the rubric of ‘the global’? This essay proposes a calibration of three art historical frames – national, regional and international. I argue that far from meaning transcendence of national frames, even where artists intend it, contemporaneity compounds and complicates them. I examine two specific manifestations of contemporaneity, one that emerged at the height of the Cold War in the work of a Sino-Thai modernist, Chang Sae-tang; the other in the broaching of Cold War trauma in art and film of the ‘post-historical’ twenty-first century. Neither ‘contemporary’ can be understood without its respective national framing, but that framing alone proves inadequate for describing the complex histories, subjectivities, and formal choices with which Southeast Asian artists have grappled. If studies of modern art demanded recourse to specific national histories, the study of contemporary art will require no less specific histories of the international.

中文翻译:

民族前线:东南亚当代艺术及其困扰

到目前为止,东南亚现代艺术很大程度上是在国家历史框架内进行历史化的。该地区的当代艺术有时甚至不情愿地被拉入了那些国家框架,即使它进入了全球市场并参与了更为跨国的对话。什么是适合当代艺术的地理环境?对于与国家以外的世界交流但又抵制“全球”专栏的彻底同化的艺术而言,区域视角可能提供什么见解?本文提出了对三个艺术历史框架的校准:国家,地区和国际。我认为,当代意义远非超越国家框架的意义,即使是在艺术家的意图下,也使它们复杂化并使之复杂化。我考察了当代的两种具体表现,在冷战最盛时期,一位中泰现代主义者张世棠的作品出现了。另一种是在“后史”二十一世纪的艺术和电影中探讨冷战创伤。没有各自的国家框架,这两个“当代”都无法理解,但是仅靠框架就不足以描述东南亚艺术家们努力应对的复杂历史,主观性和形式选择。如果对现代艺术的研究要求求助于特定的国家历史,那么对当代艺术的研究将同样需要国际上的特定历史。没有各自的国家框架,这两个“当代”都无法理解,但是仅靠框架就不足以描述东南亚艺术家们努力应对的复杂历史,主观性和形式选择。如果对现代艺术的研究要求求助于特定的国家历史,那么对当代艺术的研究将同样需要国际上的特定历史。没有各自的国家框架,这两个“当代”都无法理解,但是仅靠框架就不足以描述东南亚艺术家们努力应对的复杂历史,主观性和形式选择。如果对现代艺术的研究要求求助于特定的国家历史,那么对当代艺术的研究将同样需要国际上的特定历史。
更新日期:2017-02-01
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