filter_list Showing 10 results for "Southeast Asia" close Clear
dashboard All 10 museum exhibitions 7article local 1trending_up market 1person people 1
date_range Range Today This Week This Month All
Subscribe

Collateral Events Not to Miss at 61st Venice Biennale

The article highlights several collateral events not to miss at the 61st Venice Biennale, including "The Spirits of Maritime Crossing 2026" at Palazzo Rocca Contarini Corfù, featuring 20 artists from Southeast Asia, Ireland, and Serbia, anchored by Marina Abramović's performance piece "Sea Punishing" (2006). Other notable exhibitions include a seven-decade survey of Korean artist Lee Ufan at San Marco Art Centre, "TURANDOT: To the Daughters of the East" at ACP Palazzo Franchetti featuring 11 female artists from Central Asia, Li Yi-Fan's "Screen Melancholy" at Palazzo delle Prigioni, and Nalini Malani's "Of Woman Born" at Magazzini del Sale.

Indonesian artist Dian Suci wins 2026 Max Mara Art Prize for Women.

Indonesian multimedia artist Dian Suci has won the 10th edition of the Max Mara Art Prize for Women, as announced by curator and jury chair Cecilia Alemani in Venice at the Serra dei Giardini. Suci was selected from a shortlist of five finalists that included Betty Adii, Dzikra Afifah, Ipeh Nur, and Mira Rizki. The jury was organized and chaired by Alemani and included Museum MACAN director Venus La.

Must-See National Pavilions at the 61st Venice Biennale

The 61st Venice Biennale features standout national pavilions from Japan, the Philippines, Timor-Leste, Singapore, and India. Japan presents Ei Arakawa-Nash's 'Grass Babies, Moon Babies,' an interactive exhibition with hand-sewn baby dolls and sound pieces exploring queer parenthood and collective care. The Philippines showcases Jon Cuyson's 'Sea of Love / Dagat ng Pag-ibig,' a solo show using 'mussel thinking' to highlight Filipino seafarers. Timor-Leste's 'Across Words' brings together three artists addressing ethnolinguistic diversity and cultural memory, while Singapore presents Amanda Heng's 'A Pause,' a feminist performance on vulnerability and resilience. India's pavilion features Ranjani Shettar's work, supported by Talwar Gallery.

Amanda Heng Walks the Walk

Singaporean artist Amanda Heng, now 74, is representing Singapore at this year's Venice Biennale with her exhibition titled *A Pause*, featuring a site-specific installation and durational performance. Known for her decades-long performance *Let's Chat* (1996–), in which she cleans mung bean sprouts with participants to foster casual conversation, Heng transforms everyday domestic gestures into feminist acts. Her work reclaims the body, labor, and relationships as sites of personal autonomy. She was part of the pioneering, male-dominated generation of Singaporean contemporary artists in The Artists Village, but left due to its hierarchical structure to pursue collaborations with women artists and further studies.

Hiroshi Sugimoto's first Southeast Asian show opens at SAM on May 29

Hiroshi Sugimoto's first major Southeast Asian exhibition, "Hiroshi Sugimoto: Form Is Emptiness," opens at the Singapore Art Museum (SAM) on May 29, 2026, running through October 4, 2026. The show spans five decades and features 63 works from 11 series across photography, sculpture, installation, and architecture, plus 14 fossils from the artist's personal collection. Sugimoto designed the exhibition as a mandala, with a circular layout that encourages visitors to drift through interconnected sections reflecting the Buddhist Five Elements.

A Grandmother’s Keepsake Turns Out to Be an Imperial Chinese Robe Worth Thousands

A collection of Chinese antiques, including an Imperial robe from the 19th century, was discovered in a chest in London after being kept as family mementos for decades. The items were acquired by Nan Brake, a British translator living in Beijing during the 1950s, who purchased them on excursions around the city. The collection, which features Ming dynasty paintings, Qing dynasty embroidered robes, and jade ornaments, will be auctioned by Roseberys on May 12 with an estimated total value of £40,000 ($54,100). The standout piece is a turquoise silk Imperial robe embroidered with nine five-clawed dragons, likely made for a male member of the emperor's family.

Art: Amanda Heng’s ‘A Pause’ opens at the 61st International Art Exhibition of La Biennale di Venezia to represent Singapore

Amanda Heng Liang Ngim's exhibition 'A Pause' has opened at the Singapore Pavilion of the 61st International Art Exhibition – La Biennale di Venezia. The installation transforms the historic Sale d’Armi into a contemplative space using larch wood platforms, photographs, and a dual-channel video that observes everyday gestures of rest and renewal in Venice and Singapore. The presentation also includes a reprint of her 1990 series 'Parts of My Body' and is accompanied by a comprehensive monograph, 'Amanda Heng: On and On'.

SF Asian Art Museum provides cultural enrichment for visitors

The Asian Art Museum in San Francisco, located at 220 Larkin Street, offers a vast collection of both contemporary and ancient art from across Asia, including Japanese, Chinese, and Southeast Asian works. The museum features permanent exhibits with artifacts such as a Japanese tea set, Chinese jade, and a notable Buddha sculpture dated to 338 C.E., alongside rotating special exhibitions like Chiharu Shiota's "Two Home Countries," which uses red string installations to explore bicultural identity. The museum also hosts events like Mahjong and Mocktails, film screenings, and talks, with general admission at $14 for students and $20 for adults.

Natasha Tontey: ‘Dystopia Is Already Here’

Indonesian artist Natasha Tontey is the subject of an interview discussing her film series *Macho Mystic Meltdown*, which debuted at the Venice Biennale. The series includes chapters *Oikoumenē* (2025), *Monster, She Wrote* (2026), and *The Phantom Combatants* (2026), exploring Minahasan cosmology, the Permesta rebellion, and the mythologized figure of female combatant Len Karamoy. Tontey uses speculative fabulation, collage, and unstable bodily forms to challenge patriarchal norms and official histories.

Red Hong Yi’s newest exhibition is her most personal one yet

Red Hong Yi, the Malaysian-born artist known for her unconventional materials, has opened her most personal exhibition to date. The show features works that delve into her family history, cultural identity, and personal memories, using materials like tea, wax, and thread to create intimate, narrative-driven pieces. The exhibition marks a shift from her earlier, more globally recognized installations toward a deeply autobiographical practice.