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The malleable and generative axe: Conversations around the Guggenheim’s No Country project‘ is the title of my essay in The Lifted Brow 18 (July/August 2013). The essay was written in response to the exhibition No Country: Contemporary Art for South and Southeast Asia, held at New York’s Guggenheim Museum in 2013 and set to tour to Hong Kong and Singapore.

My essay isn’t a review of the exhibition. Rather, it argues:

Presentations and comments made at that symposium, as well as at several other public programs organized by the museum and in many other less official forums, constituted an excitingly fertile discourse. At times celebratory, and at times sharply critical of the exhibition, this conversation around No Country was, for me, the exhibition’s most valuable contribution to understandings around contemporary art from this region.

The Propeller Group's presentation | photo from the Guggenheim's Facebook

The Propeller Group’s presentation | photo from the Guggenheim’s Facebook

Readers in Australia should buy a copy of this local, independent publication, for which I contribute a regular column on Southeast Asian contemporary art. Readers in Southeast Asia can view a PDF of the essay online here.

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