Yap, Anne Ray C.

BSID3A

It is complex to talk about what contemporary art is. Contemporaneity is both a possible

replacement for post-modernity and contemporary. Artists and writers are forced to rethink what

they have understand as the present as never before. Contemporary art writers seem infatuated by

the desire to periodize produced artworks as to distinguish between early and late contemporary

art. Contemporary Southeast Asian art is complex because of its idea that it contains by the

overwhelming diversity. Yet, to emphasize contemporary art, it is the self-satisfaction, where it

should continually give way to discomfort. Contemporary art can also be developed with the

methods of identifying possibility of things through regionalization.

What are some of the characteristics of contemporary Southeast Asian art?

Contemporary Southeast Asian art discusses globalization where artists direct their

attentions between parts instead of their connections, they assumed to be equal. It also created

Catholic iconography or iconoclasm which appear to be the product of free will whether it is

religious or secular in nature. Another characteristic is its complexity, the only basis about

Southeast Asian art is by admitting the extent of its cultural diversity, it can be turned towards

the local and away from the national and international. It is also multiculturalism which it allows

group and division but not threatens interpretative charity.

How has modernity and globalization affected Southeast Asian art?

Flores describes in the article that contemporary Southeast Asian art is an anxiety born of

the contrast between the ‘aesthetic’ and the ‘anthropological’. It reinforces the comparative

invisibility of contemporary Southeast Asian art. In Euro-America context, it contradicts modern

and contemporary art and far from being an awareness of the Third World art’s condition. It can

also be viewed as a statement of guilt and even shame. In globalization, it has a tendency on

national and cultural identifications to avoid movement of ideas and its resemblance. It connects

patterns through events, institutions or persons based in Euro-American metropoles. Another

kind is the regionalization, ‘geographic affiliations matter less than the recognition of

contingency’, to be connected but not beholden. To underscore the relevance of contemporary

Southeast Asian art it is perhaps the mode of reorganization that is needed.