Description
This issue presents a range of papers, profiles and reviews focused
on Southeast Asia and India, which each explore how artistic practice
is affected by social change, particularly the experience of travel and
emigration.
We open with Clare Veal's analysis of avant-garde production
within the context of 2010's pro-democracy, anti-capitalist demonstrations
in Thailand. Using new methods of exchange, including image and video
sharing websites, these artist collectives made palpable contributions to
the visual rhetoric of political protest.
Simon Soon's paper examines how, through the Tibetan experience
of exile, the creation of the mandala has been appropriated by the
performative, scopic regimes of the museum, and transformed away from
its devotional context.
Sanni Sivonen travels to Mamallapuram, Southern India to observe
how both international and domestic tourism have affected the ancient
practice of devotional stone carving, again examining how objects originally
created for specific devotional purposes are functionally transformed
through their reception by an international audience.
Carolyn Porter Phinzy discusses how the Orientalist aspects of
British novelist William Makepeace Thackeray's appropriation of Indian
culture in Vanity Fair were treated by director Mira Nair, herself part of an
Indian diaspora in the UK.
Our artist's portfolio segment presents Sixtych for Cambodia by
Emmanuelle Nhean, a Cambodian painter living in Paris, whose work
mines motifs from traditional Khmer art to respond to political change in
her homeland.
Majella Munro concludes the issue with a review of Asian
participation at the Frieze Art Fair.
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