Reworlding Art History Encounters With Contemporary Southeast Asian Art After 1990 1st Edition Michelle Antoinette

Reworlding Art History Encounters with
Contemporary Southeast Asian Art

After 1990 1st Edition Michelle
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Reworlding Art History
C
ROSS
ULTURES
178
Readings in Post / Colonial
Literatures and Cultures in English
SERIES EDITORS
Gordon Collier Bénédicte Ledent Geoffrey Davis
(Giessen) (Liège) (Aachen)
CO-FOUNDING EDITOR
Hena Maes–Jelinek
Reworlding Art History
Encounters with Contemporary
Southeast Asian Art after 1990
Michelle Antoinette
Amsterdam - New York, NY 2014

COVER IMAGE
Lee Wen. Splash! (Series #1 and #2), 2003. Digital print on archival paper
(edition: 3/5 +1 artist proof), 60.96 cm x 76.2 cm (24 inches x 30 inches).
Reproduced by courtesy of the artist.
The paper on which this book is printed meets the requirements of “ISO
9706:1994, Information and documentation - Paper for
documents - Requirements for permanence”.
ISBN: 978-90-420-3914-8
E-Book ISBN: 978-94-012-1196-3
© Editions Rodopi B.V., Amsterdam – New York, NY 2014
Printed in The Netherlands
For Gran, Luke & Keir
ART WORKS NEVER EXIST

IN TIME, THEY HAVE
“ENTRY POINTS”
Stencilled text presented in the artwork Entry Points of 1978, by

Redza Piyadasa (1939–2007).
Table of Contents
Acknowledgements xi
List of Illustrations xv
Preface: Departures xxxi
Prologue: Points of Entry xxxv

Frames, Axes: Art History’s Temporalities and Spatialities xxxvi
‘Worlding’ from the Region xl
The Southeast Asian Regional Frame: A Critical Mapping xlii
Cosmopolitan Intersections xlv
Regional Intervention in ‘The Contemporary’ xlviii
Coordinates, Parameters, Trajectories:
Between the Cultural and the Aesthetic xlix
PART I
PRELIMINARY ENCOUNTERS
1 Contemporary ‘Southeast Asian’ Art:
Regional Interventions 3
Why ‘Southeast Asian’ Contemporary Art? 3
The Shifting Art-Historical Field for Southeast Asia:
Tradition, Modernity, and ‘the Contemporary’ 8
Reworlding ‘Contemporary Art’ 34
Contemporary Southeast Asian Art: Between
‘the Cultural’ and ‘the Aesthetic’ 46
Encounters with Contemporary Southeast Asian Art:
Oscillating Currents 58
Fluid Encounters I: Lani Maestro’s a book thick of ocean 58
Fluid Encounters I I : Yee I-Lann’s Sulu Stories 67
P A R T II
LOCATING SOUTHEAST ASIAN DIFFERENCE
2 Mapping Regional Difference: Institutionalized
Cartographies of Southeast Asian Art 81
A Southeast Asian Regional Agency 84
Defining Southeast Asia:
Contending with Maps of Colonial Inheritance 89
Towards an Art History of Contemporary Southeast Asian Art 94
Institutional Perspectives: Locating Contemporary Southeast
Asian Art through Regional Exhibitions and Collections 105
Alternative Art Spaces in Southeast Asia:
From the Margins to the Centres of Contemporary Art 127
‘Territorializing’ and ‘Deterritorializing’ Regional
Difference in the Art of Wong Hoy Cheong 136
3 Exhibiting Southeast Asian Difference:

Global and Regional Currents 157
Visible Difference: Asian Spectacles and Spectres
in International Mega-Exhibitions of the 1990s 160
Art and Anthropology: The Ethnographic Impulse 166
Figuring Asia in the World 169
‘Global Art’ Exhibition Precedents 176
Dilemmas of Representation: Shifting Asian
Identities under Globalization 181
A “Journey Without Maps”? En Route to the ‘Third
Asia–Pacific Triennial of Contemporary Art’ 182
‘Traditions/Tensions’: Figuring the ‘Asian
Contemporary’ in Art 190
‘Cities on the Move’: Tumultuous Visions
of the Asian Metropolis 198
Interventions of Difference: The International
Journeys of Lee Wen’s Yellow Man 209
Shifting Curatorial Imaginaries for Asian Art:
‘Under Construction’ and ‘36 Ideas from Asia’ 221
Into the Twenty-First Century: Beyond Identitarian Art 235
P A R T III
COUNTERPOINTS: SOUTHEAST ASIA IN PRACTICE
4 Trans/Localities? Between Dwelling and Movement 239
Globalizing Currents 242
‘A Border Crosser with Good Ballast’:
The Consummate ‘Hybrid’ Artist, Heri Dono 246
Netscapes: tsunamii.net’s Translocal-Locative Aesthetic 269
‘A Map to My Own Becoming’: Judy Freya
Sibayan’s Nomadic Aesthetic 278
Simryn Gill’s Moving Representations 286
5 Memoryscapes: Present Pasts Revisioned 309

Gathering Memories: The Aquilizans’ Projects
of Belonging and Remembrance Across Borders 316
Re-Searching History in the Present:
The Memory-Work of Wong Hoy Cheong 330
Contemporary Aesthetics of Traumatic Memory 341
Dadang Christanto’s ‘Counter-Monuments’ to History 343
José Legaspi’s Dark Pasts – Resurrected and Released 367
Making the Invisible Manifest: The Art of Lim Tzay Chuen 383
6 Corporeographies: Locating Intimate Spaces of Art 401

Art of the People, for the People: The Politics of Figuration 404
Exchanging Skins: The Art of Mella Jaarsma 417
Presencing the Abject Body in Singapore:
Suzann Victor’s Bodies by Proxy 434
Nindityo Adipurnomo: The Cultural Matter of Hair 460
Ecologies of ‘Being-in-the-World’: Performing the
Body in Art (Roberto Villanueva, S. Chandrasekaran) 472
Breathly Presence (Ye Shufang, Susyilawati Sulaiman) 475
Epilogue: Origins, Futures, Becomings 483

Southeast Asia and Contemporary
Art History’s Contingent Imaginaries 483
Contemporary Tracings: Repetition and Difference 488
Reflections, Projections, Vectors 498
Bibliography 507
Index 561
Acknowledgements
I for their support in making this book

H AV E M A N Y P E O P L E TO T H A N K
possible. First, I am immensely grateful to the many artists, curators,
art historians, and other arts professionals – too many to name indi-
vidually here – who have inspired me with art in different ways and assisted
me with the development of this book, especially those I met and spoke with
at length during fieldwork trips in Southeast Asia, wider Asia, and Australia,
many of whom have become dear friends now. For your extraordinary gene-
rosity and hospitality, expertise, knowledge, creativity, and inspiration, I am
truly thankful.
I am especially indebted to those artists who assisted me so graciously and
generously with interviews, image permissions, and/or reproductions for this
book and whose art moved me to undertake this research in the first instance:
Nindityo Adipurnomo, Alfredo and Isabel Aquilizan, Agnes Arellano, the late
Santiago Bose and his family, Dadang Christanto, Heri Dono, Simryn Gill,
Ho Tzu Nyen, Mella Jaarsma, Lee Wen, José Legaspi, Lim Tzay Chuen, Lani
Maestro, Ruangrupa, Rumah Air Panas (R A P ) especially Yap Sau Bin,
Sanggawa, Judy Freya Sibayan, Susyilawati Sulaiman, Charles Lim Yi Yong,
Woon Tien Wei and Melvin Phua Yang Chien of tsunamii.net, the family of
the late Roberto Villanueva, Wong Hoy Cheong, Yee I-Lann, and Suzann
Victor. Very special thanks must go to Lee Wen for also kindly allowing me to
reproduce his artwork for the book cover.
Various cultural institutions and other individuals also very kindly assisted
with permissions and/or reproductions and I thank them, too, for their support
and generosity: Balai Seni Lukis Negara in Kuala Lumpur; the Drawing
Room and Hiraya Gallery in Manila; the Fukuoka Asian Art Museum, the
Japan Foundation, and the Tokyo Opera City Art Gallery in Japan; the Singa-
xii REWORLDING ART HISTORY ½¾
pore Art Museum; and, in Australia, the National Gallery of Australia and the
Queensland Art Gallery|Gallery of Modern Art. I am also grateful to Quentin
Bertoux and Brent Hallard for permission to reproduce their photography as
well as Stanley Schab, Managing Editor at the Center for Biographical Re-
search, University of Hawai‘i at Manoa, for his kind assistance in recovering
reproductions.
This book has its genesis in my doctoral research and ensuing thesis –
“Images That Quiver: The In/visible Geographies of ‘Southeast Asian’ Con-
temporary Art” – which I undertook at the Humanities Research Centre at the
Australian National University, Canberra. I am grateful to the H R C for their
generous support of my initial research and writing; in particular, I extend my
sincere thanks to Dr Caroline Turner, who, as Deputy Director of the H R C ,
served as chair supervisor of my research and continues to be a generous
collaborator in shared projects on Asian art; I am also tremendously thankful
to Caroline for so kindly taking the time to read the manuscript for this book
and providing such thoughtful and astute advice for its development from
dissertation to book. Alongside Caroline, I am also especially grateful to Pro-
fessor Jacqueline Lo for her intellectual guidance as a PhD supervisor and for
her continuing support and collaboration thereafter. Professor Mandy Thomas,
Professor Paul Pickering, and Dr Ashley Carruthers also gave generously of
their time and advice as research supervisors and advisors, and my warm
gratitude to Professor Margaret Jolly for her support and encouragement of
my book proposal and postdoctoral research, as well as for continued support
and friendship.
My profound thanks to my long-time friend and colleague Dr Francis
Maravillas, who, besides offering terrific camaraderie over the years, also
very generously read the manuscript for this book, providing invaluable and
sage advice for its development.
My thanks to the Australian Research Council, which funded the three-year
Discovery Project ‘The Rise of New Cultural Networks in Asia in the
Twenty-First Century’ (D P 1096041), which allowed me to undertake further
research and writing so as to update, revise, and complete this book in tandem
with new research. I also acknowledge the support of the A N U ’s College of
Arts and Social Sciences, which was host to my A R C research.
This book has been generously supported by publication subsidies from the
Australian National University and the Australian Academy of the Human-
ities. These have made possible the inclusion of the many reproductions fea-
tured throughout this book, so integral to a study of art and the affective en-
½¾ Acknowledgements xiii
counter with it. Indeed, I could not have responsibly published the text of this
book without the very images it speaks to, so am thankful for this financial
support and its crucial contribution to realizing this book in its entirety of
word and image.
Parts of the material in this book now also appears in extracted and/or
altered form in individual publications, where they are also foregrounded in
different intellectual purposes and contexts, namely as: a journal article for
the special issue on “Autographics” in Biography: An Interdisciplinary Quar-
terly by the Biographical Research Center, in which I focus on the art of José
Legaspi – see 33.1 (Winter 2008): 133–60; a book chapter in Race and Multi-
culturalism in Malaysia and Singapore, ed. Daniel P.S. Goh et al. (Routledge,
2009), in which I focus on the art of Wong Hoy Cheong in the Malaysian
context; a book chapter on Indonesian artists in Cosmopatriots: On Distant
Belongings and Close Encounters, ed. Jurriëns & de Kloet (Rodopi, 2007);
and as a chapter in Crossing Cultures: Conflict, Migration and Convergence,
The Proceedings of the 32nd International Congress of the History of Art
(Melbourne University Publishing, 2009), in which I focus on the making of
Southeast Asian art history. I am grateful to the respective publishers for their
permission to include material for republication in the current book.
I wish to express my sincere thanks to Rodopi’s Cross /Cultures series edi-
tor, Gordon Collier, who has been an incredible source of support and guid-
ance. I am tremendously thankful for his encouragement of the book, his
enthusiasm for the topic and art generally, and his energetic and sustained
commitment to seeing the manuscript to completion (yes, finally!). I have
been so privileged to work with such an expert, patient, genial, and good-
humoured editor, someone so understanding of the personal lives we all
juggle alongside academia, and am delighted to have made another friend
through the journey of this book.
This book could not have been realized without the continued love and
support of my family and friends. I thank my late grandmother Giséle, always
with me in spirit, sister Sabrina, mother Brigitte, father Gerard, Aliette, Nic,
Mike, Roselyne, Priscilla, and all my other aunties, uncles, and cousins who
have been there for me as I have developed this book. So, too, my gratitude to
the Hamblys, especially Anne and Kevin, for giving generously to me of their
kindness and love. My heartfelt thanks to all who make up my ‘second’
Antoinette family in France, for their unconditional love over the years. And,
of course, my thanks to all my friends and other colleagues who in their
various ways have helped me arrive at this point – in particular: Kim, Sonia,
xiv REWORLDING ART HISTORY ½¾
Nathalie, Melissa (‘MD’), Sandra, Mar, Antonella, Yolanda, Nsangou, Sally,

Tzay-Chuen, Pedro, Rebecca, Olwen, Ursula, Katie, Sophie, Silke, John,
Christine, Chaitanya, Ludger, Christiane, Rachel, Stephan, Markus, Duncan,
Neil, Ben, Toni, Delilah, Nathan, Kristen, Jess, Savanhdary, Ruth, Liam,
Shayne, Randall, Greg, Denise, Gail, Sue and Rachel; thanks to you all for
your friendship, love, and support.
Finally, my deepest, heartfelt gratitude goes to my new family. To my won-
derful partner Luke, thank you for your infinite love, friendship, and kindness,
and for your unwavering support both as I completed my doctorate and
throughout this book endeavour. Your tireless practical help, incredible pa-
tience and understanding, always reassuring words of encouragement, shared-
ness in conversation, affecting smiles, infectious warmth, and unending love
have been so instrumental to realizing this book. I am truly blessed by your
presence in my life and so thankful for the happiness, care, and love that you
give to me as a partner, and now also as a father to our little Keir.
And Keir, thank you for the sweet joy and immeasurable new happiness
that you have brought to my life. For giving me new perspectives on life,
humanity, and family, for showing me the remarkable thing that is new life –
with its new beginnings, new learning, and new trajectories – for reminding
me of wonder and awe, presentness and play, for your cuddly, warm embrace,
your affectionate smiles, and your beautiful, boundless love, and, of course,
your incredible patience.
½¾
List of Illustrations
COVER ILLUSTRATION
Lee Wen. Splash! (Series #1 and #2), 2003. Digital print on archival
paper (edition: 3/5 +1 artist proof), 60.96 cm x 76.2 cm (24 inches x
30 inches). Reproduced by courtesy of the artist.
FIGURES
P R E L I M I N A R Y N O T E : In a sequent listing of Figures from the
same artwork, descriptive details are provided for the first only.
1: Redza Piyadasa. Masa Penerimaan – Entry Points, 1978. Acrylic

and assemblage on board, 152 x 136 cm. Acq. No. B S L N 1979.004.
Image courtesy of the National Visual Arts Gallery, Malaysia (Balai
Seni Lukis Negara). xxxvi
2: Sulaiman Esa, Prof. Madya Dr. Menanti Godot I – Waiting For
Godot I, 1977. Etching, 76 x 62 cm. Acq. No. B S L N 1980.040.
Image courtesy of the National Visual Arts Gallery, Malaysia (Balai
Seni Lukis Negara). 10
3: Tang Da Wu. Tiger’s Whip, 1991. Mixed media. Dimensions
variable. Singapore Art Museum collection. Acc. 1993–01665.
Image courtesy of the Singapore Art Museum. 28
4: Lani Maestro. a book thick of ocean, 1993. Installation with hard-
bound book with linen cover, title stamped in silver, duotone re-
production, 600 pages, oak table. Book: 61 x 48.2 x 3.8 cm; table:
182.8 x 91.4 x 78.5 cm. Photograph: Lincoln Mulcahy. © Lani
Maestro. Image courtesy of the artist. 59
5: Lani Maestro. a book thick of ocean, 1993. 59
xvi REWORLDING ART HISTORY ½¾

10: Yee I-Lann. Sulu Stories: Barangay, 2005. Digital C-type print, 61 x
183 cm. Image courtesy of the artist. 68
11: Yee I-Lann. Sulu Stories: The Archipelago, 2005. Digital C-type
print, 61 x 61 cm. Image courtesy of the artist. 69
12: Yee I-Lann. Sulu Stories: Map, 2005. Digital C-type print, 61 x 122
cm. Image courtesy of the artist. 71
13: Yee I-Lann. Sulu Stories: The Landmark, 2005. Digital C-type print,
61 x 183 cm. Image courtesy of the artist. 72
14: Yee I-Lann. Sulu Stories: The Ch’i-lin of Calauit, 2005. Digital C-
type print, 61 x 61 cm. Image courtesy of the artist. 72
15: Yee I-Lann. Sulu Stories: Brothers in Arms, 2005. Digital C-type
16: Yee I-Lann. Sulu Stories: Song of the Keris, 2005. Digital C-type
17: Yee I-Lann. Sulu Stories: High Noon, 2005. Digital C-type print, 61
x 61 cm. Image courtesy of the artist. 75
18: Yee I-Lann. Sulu Stories: Borderline, 2005. Digital C-type print, 61
x 61 cm. Image courtesy of the artist. 77
19: Yee I-Lann. Sulu Stories: Sarung, 2005. Digital C-type print, 61 x 61
20: Liu Kang. Artist and Model, 1954. Oil on canvas, 84 x 124 cm.
Singapore Art Museum collection. Acc. P –1070. Image courtesy of
the Singapore Art Museum. 102
21: Cheong Soo Pieng. Tropical life, 1959. Chinese ink and gouache on
Chinese rice paper, 43.6 x 92 cm. Image courtesy of the National
Visual Arts Gallery, Malaysia (Balai Seni Lukis Negara). 102
22: Rumah Air Panas (R A P ). “S P A C E [ S ] Dialogue and Exhibition,”
2003 (installation view). Image courtesy of the artists. 131
23: Eko Nugroho in collaboration with Ign. Clink Sugiarto, Yennu
Ariendra, Ki Catur Kuncoro, and Andy Seno Aji. Hidden Violence,
2009. Multi-media performance, dimensions variable. Image cour-
tesy of Cemeti Art House. 131
24: Ruangrupa. P I C N I C K I T [a project about holiday in the city of
Jakarta with Sebastian Friedman], 2006. Interactive C D , news-
letter, flyer, video, games, object, postcard & photography. For
½¾ List of Illustrations xvii
Ruangrupa 2006 Artist in Residency Program. Participants / Artists:

Sebastian Friedman (Arg), Ari Dina Krestiawan (I D N ), and Irayani
Queencyputri (I D N ). Photograph: Sebastian Friedman. Image cour-
tesy of the artists. 132
25: Ruangrupa. P I C N I C K I T [a project about holiday in the city of
Jakarta with Sebastian Friedman], 2006. 132
26: Wong Hoy Cheong. Text Tiles, 2000 (installation view). 290 tiles
made from disintegrated, pulped, and burnt text of Asian histories,
20 woven images of world leaders, catalogue made from leftover
pages from books, 4.5 x 5.5 m. Image courtesy of the artist. 141
27: Wong Hoy Cheong. Text Tiles, 2000 (detail: woven image of Ferdi-
nand Marcos, Philippines, and Ronald Reagan, U S A ) . 141
28: Wong Hoy Cheong. Buckingham Street and its Vicinity, 2002.
Offset line lithograph, 62 x 82 cm (edition of 6). Image courtesy of
the artist. 146
29: Wong Hoy Cheong. Downing Street and its Vicinity, 2002. Offset
line lithograph, 62 x 82 cm (edition of 6). Image courtesy of the
artist. 148
30: Wong Hoy Cheong. In Between Masjid Kapitan Keling and Nar-
cissus, 2002. Charcoal on paper, 75 x 51.5 cm. Image courtesy of the
artist. 149
31: Wong Hoy Cheong. In Between Malayan Railway Building and
Eleanor Cross, 2002. Charcoal on paper, 75 x 51.5 cm. Image cour-
tesy of the artist. 150
32: Wong Hoy Cheong. Non Indigenous Skins, 1998 (detail of papaya).
9 partial faces / masks cast in resin, covered with dried fruit and
plants, 122 x 255 cm in vitrine (edition of 2). Image courtesy of the
artist. 151
33: Wong Hoy Cheong. Non Indigenous Skins, 1998 (detail of tea). 9
partial faces / masks cast in resin, covered with dried fruit and plants,
122 x 255 cm in vitrine (edition of 2). Image courtesy of the artist. 152
34: Wong Hoy Cheong. Poison, 2000. Four heads cast in resin, covered
with dark poisonous and non-poisonous plants; light bulbs, metal
stands, variable dimensions. Image courtesy of the artist. 153
35: Wong Hoy Cheong. Poison, 2000. 154
36: Installation view of Magiciens de la Terre exhibition, 1989, with Red
Earth Circle by Richard Long (England) on wall, and ground paint-
ing by Yuendumu community (Australia) in foreground; at La
xviii REWORLDING ART HISTORY ½¾
Villette. Photograph: © Quentin Bertoux. Reproduced by courtesy of

Quentin Bertoux. 178
37: Simryn Gill. Vegetation, 1999. Gelatin silver photograph, from a
series of 5, 26.5 x 26.5 cm each (image). Image courtesy of the artist. 188
38: Agnes Arellano. Vesta, Dea, Lola, 1995. Image courtesy of the artist. 196
39: Simryn Gill. Interloper, 1997. Offset prints on perforated paper, on
stamped and addressed envelopes, 4.2 x 2.8 cm each. Image cour-
40: Simryn Gill. Interloper, 1997. 206
41: Judy Freya Sibayan. Scapular Gallery Nomad, 1997–2002. At PS1
in New York in October 2008 during the opening of “Cities on the
Move.” The artist pictured with “Cities on the Move” curators Hou
Hanru and Hans–Ulrich Obrist. On view in S G N is Cecilia Avan-
cena’s “Sacred Heart.” Photograph: Karen Sibayan. Image courtesy
of the artist. 206
42: Lee Wen. Journey of a yellow man no. 13: Fragmented bodies / shift-
ing ground, 1999 (still). Videotape, 10:30 min., colour, stereo.
Purchased 2000. Queensland Art Gallery Foundation. Collection:
Queensland Art Gallery. © The artist. Image courtesy of the
Queensland Art Gallery | Gallery of Modern Art. 212
43: Lee Wen. Journey of a yellow man no. 13: Fragmented bodies / shift-
ing ground, 1999 (still). 212
44: Lee Wen. Journey of a Yellow Man No 4: L I B I D O (“Sense Yellow”
group exhibition, installation, and performance. Concrete House,
Nontburi and Thamasat University, Bangkok, Thailand, 9–15
October 1993). Image courtesy of the artist. 215
45: Lee Wen. Journey of a Yellow Man No 15: Touching China (2nd
Open Art Festival, Sichuan, China (Pengshan), 13 August 2001).
Image courtesy of the artist. 215
46: Lee Wen. Lifeboat 3 (“Theertha International Artists Workshop –
2001,” Lunaganga, Sri Lanka, September 2001). Image courtesy of
the artist. 219
47: Lee Wen. Untitled (Lee Wen & System HM2T, “Selling the Yellow
Man,” Chengdu, China, 16 August 2001). Image courtesy of the
artist. 220
48: Lee Wen. Strange Fruit (series of 12 pieces), 2003. Lamda print
(edition no: 1 of 3 [+2 A P ]), 100 cm x 80 cm. Image courtesy of the
artist. 220
½¾ List of Illustrations xix
49: “Under Construction” exhibition project: “Sorry for the Inconve-

nience” in Bangkok, Thailand, at Project 304, Bangkok University
Gallery, Si-Am Art Space, 23 February–30 March 2002. Image
courtesy of The Japan Foundation. 224
50: “Under Construction” exhibition project: Alfredo Juan and Maria
Isabel Aquilizan. Habitation Project: Picking Up, 2002. Sea debris,
bamboo, leaves, video. Photograph: Kioku Keizo. Image courtesy of
the Tokyo Opera City Art Gallery. 224
51: Heri Dono. Flying in a Cocoon (Terbang di dalam Kepompong),
2001. Fibreglass, paper, metal, fabric, bulb, paint, acrylic, mechani-
cal system, 3 pieces, 200 x 125 x 125 cm each (approx.). Repro-
duced by courtesy of the artist. 239
52: Alfredo & Isabel Aquilizan. In-flight (Project: Another Country),
2009. Photograph: Michelle Antoinette. Reproduced by courtesy of
the artists. 240
53: Heri Dono. Flying angels, 2006. Polyester resin, clock parts, elec-
tronic components, paint, wood, cotton gauze, each approx. 59 x 140
x 15 cm. National Gallery of Australia, Canberra. Gift of Gene and
Brian Sherman, 2008. © The artist. Collection: National Gallery of
Australia. Image courtesy of the National Gallery of Australia. 248
54: Heri Dono. Angels caught in a trap, 1996 (detail). Mixed media. 60
x 135 x 19 cm each. © Heri Dono. Reproduced by courtesy of the
Cemeti Art House, Yogyakarta, and the artist. 249
55: Heri Dono. The King Who Is Afraid of the Approaching Barong
(Sang Raja yang Takut Ketika Barong Datang), 2000. Acrylic, col-
lage on canvas, 153 x 205 cm. Reproduced by courtesy of the artist. 251
56: Heri Dono. Flower Diplomacy (Diplomasi Bunga), 2000. Acrylic,
collage on canvas, 154 x 207 cm. Reproduced by courtesy of the
artist. 251
57: Heri Dono. Kuda Binal (Wild Horse) (performance, Yogyakarta,
1992). Reproduced by courtesy of the artist. 252
58: Heri Dono. Talking of Nothing, 1991. Oil and paper on canvas, 149.8
x 150.1 cm. Collection: Fukuoka Asian Art Museum. © Heri Dono.
Image courtesy of the Fukuoka Asian Art Museum. 258
59: Heri Dono. Makan pelor (Eating bullets), 1992. Synthetic polymer
paint and collage on cardboard, 66 x 77 cm. Purchased 1995.
Queensland Art Gallery Foundation. Collection: Queensland Art
Gallery. © Heri Dono. Image courtesy of the Queensland Art Gallery
| Gallery of Modern Art. 258
xx REWORLDING ART HISTORY ½¾
60: Heri Dono. Badman, 1991. Fibreglass, electronic circuit, coin, etc.,
58 x 64 x 8 cm each. Collection: Fukuoka Asian Art Museum.
Photograph: Fujimoto Kenpachi. © Heri Dono. Image courtesy of
the Fukuoka Asian Art Museum. 259
61: Heri Dono. Political Clowns (Badut-Badut Politik), 1999. Fibreglass,
bulb, bottle of jar, metal, cable, tape-recorder, tin-can, acrylic, plastic
pipe, vegetable oil, 15 pieces, 120 x 50 x 50 cm each (approx.). Re-
produced by courtesy of the artist. 259
62: Heri Dono. A Magician Who Never Killed (Tukang Sulap yang Tidak
Pernah Bisa Dibunuh), 2000. Acrylic, collage on canvas, 154 x 207
cm. Reproduced by courtesy of the artist. 260
63: Heri Dono. Superman Still Learning How to Wear Underwear (Super-
man Baru Belajar Memakai Celana Dalam), 2000. Acrylic, collage
on canvas, 148 x 98 cm. Reproduced by courtesy of the artist. 260
64: Heri Dono. Fermentation of Mind (Peragian Pikiran), 1994. 9 pieces
of wooden desks, 18 pieces of nodding heads with mechanical sys-
tem, 9 pieces of loop tape-recorder, cable, adaptor, 500 x 500 cm
(approx.). Reproduced by courtesy of the artist. 262
65: Heri Dono. Ceremony of the Soul, 1995. Stone, fibreglass, plastic,
radio and tape player, lamps, fans, wood (9 figures), 70 x 60 x 50
cm each. Collection: The artist. Image courtesy of the artist. 262
66: Heri Dono. Glass Vehicles, 1995 (detail). Glass, fibreglass, cloth,
lamps, cable, iron, toy carriages. 15 units: 125 x 40 x 40 cm each.
Purchased 2002. The Queensland Government’s Gallery of Modern
Art Acquisitions Fund. Collection: Queensland Art Gallery. © Heri
Dono. Image courtesy of the artist and Queensland Art Gallery |
Gallery of Modern Art. 263
67: Heri Dono. Animal Journey (Perjalanan Binatang) (performance,
Harima Science Garden City, Japan, 1997). 25 bicycles with electro-
nic radio / tape-machines, 1 becak/cycle, 5 traffic-lights, 30 players,
sound system, etc. Reproduced by courtesy of the artist. 267
68: tsunamii.net. alpha 3.8: translocation, 2003. ‘Visual traceroute.’
© The artists. Reproduced by courtesy of the artists. 272
69: tsunamii.net. alpha 3.4, 2002 (installation view). © The artists.
Reproduced by courtesy of the artists. 273
70: tsunamii.net. alpha 3.4, 2002 (performance view). © The artists. 273
71: Judy Freya Sibayan. Scapular Gallery Nomad, 1997–2002 (S G N in
the streets of Paris, 1999). Photograph: Marian Pastor Roces. Image
courtesy of the artist. 280
½¾ List of Illustrations xxi
72: Judy Freya Sibayan. Scapular Gallery Nomad, 1997–2002 (Scapular

Gallery Nomad Portable Archive-in-Progress for the 2002 Gwangju
Biennale). Installation view. Image courtesy of the artist. 280
73: Judy Freya Sibayan. Scapular Gallery Nomad, 1997–2002. 281
74: Simryn Gill. Roadkill (installation, Art Gallery of New South Wales,
Sydney, 2000; detail). Found run-over objects, toy wheels, installa-
tion dimensions variable. Collection: Art Gallery of New South
Wales. Purchased with funds provided by the Contemporary Collec-
tion Benefactors Programme, 2001. Photo credit: Jenni Carter.
75: Simryn Gill. Self-seeds (installation). Seeds, pods, cones, toy wheels,
installation dimensions variable. Collection: Kiasma Museum of
Contemporary Art. Photo credit: Michele Bruet. Image courtesy of
the artist. 289
76: Simryn Gill. Self-seeds (installation, Kiasma Museum of Contem-
porary Art, Helsinki, 1998; detail). Photo credit: Petri Lagus. 289
77: Simryn Gill. Wonderlust (detail of installation, Artspace, Sydney,
1996). Coconut bark, coconuts, shoes, banana skins engraved with
text, torn books, damar resin, miscellaneous personal effects of Lee
Weng Choy, silk, installation dimensions variable. Collection: Art
Gallery of New South Wales. Gift of the artist 2003 (coconut-bark
suit, coconuts, shoes and instructions for engraving banana skins).
Remainder of work dispersed and/or destroyed. Photo credit:
Michele Bruet. Image courtesy of the artist. 290
78: Lee Weng Choy on Mass Rapid Transit train, Singapore, wearing
coconut-bark suit from Simryn Gill’s Wonderlust 1996. Photo credit:
Nicholas Leong. Image courtesy of Simryn Gill. 290
79: Simryn Gill. Washed Up (installation, Institute of Modern Art, Bris-
bane, 1993). From Washed Up, 1993–95. Engraved sea-washed
glass, installation dimensions variable. Collection: Singapore Art
Museum. Image courtesy of the artist. 292
80: Simryn Gill. Washed Up (detail of installation, Institute of Modern
Art, Brisbane, 1993). Photo credit: Hiram To. Image courtesy of the
artist. 293
81: Simryn Gill. A small town at the turn of the century, #1, 1999–2000.
Type-C photograph, from a series of 40, 91.5 x 91.5 cm each
(image). Photo credit: Hiram To. Image courtesy of the artist. 299
82: Simryn Gill. A small town at the turn of the century, #34, 1999–
2000. 300
xxii REWORLDING ART HISTORY ½¾
83: Simryn Gill. A small town at the turn of the century, #2, 1999–2000. 300
84: Simryn Gill. A small town at the turn of the century, #28, 1999–
2000. 301
85: Simryn Gill. Dalam, 2001. Type-C photographs, from a series of
260, 23.5 x 23.5 cm each (image). Image courtesy of the artist. 302
86: Simryn Gill. Dalam, 2001. 302
89: Wong Hoy Cheong. In Search of Faraway Places (from “Migrants”
series), 1996. Charcoal, photocopy transfer and collage on paper
scroll. Three panels: 204.5 x 151 cm (each); 204.5 x 453 cm
(overall). Purchased 1996 with funds from Michael Sidney Myer
through and with the assistance of the Queensland Art Gallery. Col-
lection: Queensland Art Gallery. The Kenneth and Yasuko Myer
Collection of Contemporary Asian Art. © The artist. Image courtesy
of the artist. 309
90: Wong Hoy Cheong. In Search of Faraway Places, 1996 (detail).
Image courtesy of the Queensland Art Gallery | Gallery of Modern
Art. 310
91: Alfredo J.D. Aquilizan. Presences and Absences, 1999. Tooth-
brushes. Collection: Fukuoka Asian Art Museum. Photograph:
Shinomiya Yuji. © The artist. Image courtesy of the Fukuoka Asian
Art Museum. 317
92: Alfredo J.D. Aquilizan. Presences and Absences, 1999. 317
93: Alfredo & Isabel Aquilizan. Wings, 2009. Used rubber slippers (col-
lected from Singapore prisons), fibreglass, stainless steel; variable
dimensions. Singapore Art Museum collection. © The artists. Image
courtesy of the artists. 319
94: Alfredo & Isabel Aquilizan. Project Be-longing #2, 1999 (installa-
tion view, The Third Asia–Pacific Triennial of Contemporary Art,
Queensland Art Gallery, Brisbane, 1999). Image courtesy of the
artists. 322
95: Alfredo & Isabel Aquilizan. Project Be-longing #2, 1999 (installa-
tion detail). 322
96: Alfredo & Isabel Aquilizan. Address, 2008 (installation view).
Image courtesy of the artists. 326
97: Alfredo & Isabel Aquilizan. Address, 2008 (detail). 326
½¾ List of Illustrations xxiii

2009 (installation view; The Sixth Asia–Pacific Triennial of Con-
temporary Art, 2009). © The artists. Image courtesy of the artists. 327
2009 (detail of installation view). Photograph: Michelle Antoinette.
© The artists. Reproduced by courtesy of the artists. 327
2009 (detail of installation view). © The artists. 328
101: Santiago Bose. Remapping the Colonized Subject, 1996. Oil on
canvas, 122 x 122 cm. Singapore Art Museum collection. Acc. 1997–
03474. © The artist. Reproduced by courtesy of the Singapore Art
Museum and the artist’s estate. 329
102: Santiago Bose. Of Martyrs and Nationhood, 1997. Acrylic on
canvas, 122 x 44 cm each. Singapore Art Museum collection. Acc.
1997–03475. © The artist. Reproduced by courtesy of the Singapore
Art Museum and the artist’s estate. 329
103: Wong Hoy Cheong. Some Dreamt of Malaya, Some Dreamt of Great
Britain, 1994. Charcoal on paper, 190 x 150 cm. Image courtesy of
the artist. 332
104: Wong Hoy Cheong. She Was Married at 14 and Had 14 Children,
1994. Charcoal and photocopy collage on paper, 190 x 150 cm.
105: Wong Hoy Cheong. Marriage of a Rubber Tapper to a Girl Dressed
as Virgin Mary in a School Play, 1994. Charcoal on paper, 190 x 150
106: Wong Hoy Cheong. Aspirations of the Working Class, 1995. Char-
coal and photocopy collage on paper, 190 x 150 cm. Image courtesy
of the artist. 336
107: Dadang Christanto. Bureaucracy, 1991–92. Oil on plywood and
canvas, 151.9 x 563.5 x 93 cm. Collection: Fukuoka Asian Art
Museum. Photograph: Fujimoto Kenpachi. © The artist. Image cour-
tesy of the Fukuoka Asian Art Museum. 345
108: Dadang Christanto. For those: Who are poor, Who are suffer(ing),
Who are oppressed, Who are voiceless, Who are powerless, Who are
burdened, Who are victims of violence, Who are victims of a dupe,
Who are victims of injustice, 1993. Bamboo, cane. 37 pieces of vary-
ing lengths. Purchased 1993 with funds from the Myer Foundation
and Michael Sidney Myer through the Queensland Art Gallery Foun-
dation. Collection: Queensland Art Gallery. The Kenneth and
xxiv REWORLDING ART HISTORY ½¾
Yasuko Myer Collection of Contemporary Asian Art. © The artist.

Image courtesy of the Queensland Art Gallery | Gallery of Modern
Art. 346
109: Dadang Christanto. For those: Who are poor, Who are suffer(ing),
Who are oppressed, Who are voiceless, Who are powerless, Who are
burdened, Who are victims of violence, Who are victims of a dupe,
Who are victims of injustice, 1993. 346
110: Dadang Christanto. Kekerasan I (Violence I), undated (installation
view). Terracotta, 300 x 300 x 300 cm. Singapore Art Museum col-
lection. Acc. 2012–00028. Image courtesy of the Singapore Art
Museum. 350
111: Dadang Christanto. Kekerasan I (Violence I), undated (detail). 351
112: Dadang Christanto. Mereka Memberi Kesaksian (They Give Evi-
dence), 1996–97; installation detail, Bentara Budaya gallery, Jakarta,
2002. Standing figures holding clothes; terracotta powder mixed
with resin / fibreglass, cloth and resin, height 200 cm (male) 190 cm
(female), width and depth c.100 x 150 cm, weight c.90 kg. each.
Collection: Museum of Contemporary Art, Tokyo and the Art Gal-
lery of New South Wales, Sydney. Image courtesy of the artist. 353
dence), 1996–97; installation view, Bentara Budaya gallery, Jakarta,
2002. 354
dence), 1996–97; installation view, Art Gallery of New South Wales,
Sydney, 2003. Image courtesy of the artist. 354
115: Dadang Christanto. Api di Bulan Mei 1998 (Fire in May 1998),
1998–99. Performance on 10 September 1999 in association with
installation comprising 47 burnt papier-mâché figures at The Third
Asia–Pacific Triennial of Contemporary Art, Queensland Art Gal-
lery, Brisbane, Australia, 1999. Photograph: Andrea Higgins. Image
courtesy of the Queensland Art Gallery | Gallery of Modern Art and
the artist. 357
116: Dadang Christanto. Red rain (Hujan merah), 2003. Mixed media,
including wool, paper, gold, ink, pigments, 400 x 900 x 500 cm.
National Gallery of Australia, Canberra. Gift of Gene and Brian
Sherman, 2003. Yarn generously supplied by Cleckheaton. Hand
Knitting Yarns, Australia. © The artist. Collection: National Gallery
of Australia. Image courtesy of the National Gallery of Australia. 362
117: Dadang Christanto. Red rain (Hujan merah), 1999–2000 (installa-
tion ceiling detail). Mixed media, including wool, paper, gold, ink,
½¾ List of Illustrations xxv
pigments. 400 x 900 x 500 cm. © The artist. Collection: National

Gallery of Australia. Image courtesy of the artist. 363
118: José Legaspi. Lovers, 1997. © The artist. Image courtesy of the
Hiraya Gallery, Manila. All rights reserved. 369
119: José Legaspi. On Suicide, 2000. © The artist. Image courtesy of the
Hiraya Gallery, Manila. All rights reserved. 370
120: José Legaspi. Dog eating a woman, 1997. © The artist. Image cour-
tesy of the artist. All rights reserved. 372
121: José Legaspi. The Crucifixion, 1999. © The artist. Image courtesy of
the Hiraya Gallery, Manila. All rights reserved. 373
122: José Legaspi. Crucifixion, 1998. Oil pastel on paper, 92 x 61 cm. ©
The artist. Image courtesy of the Hiraya Gallery, Manila. All rights
reserved. 373
123: José Legaspi. La Muerte de Justo [The Death of the Just], c.1998. ©
The artist. Image courtesy of the artist. All rights reserved. 376
124: José Legaspi. Phlegm, 2000–2002. Charcoal and chalk on paper
(1007 sheets), 22.9 x 30.5 cm (each, approx.); installed size variable.
Purchased 2002. Queensland Art Gallery Functions Reserve Fund.
Collection: Queensland Art Gallery. © The artist. Image courtesy of
the Queensland Art Gallery | Gallery of Modern Art. 377
125: José Legaspi. Untitled (12), 2009. Charcoal and pastel on paper (set
of 20 pasted on board), 30 x 23 cm. © José Legaspi. Image courtesy
of the Drawing Room Gallery, Manila. All rights reserved. 377
126: José Legaspi. Untitled (13), 2009. 378
127: José Legaspi. Untitled, 2011. 381
128: José Legaspi. Untitled (9), 2010. © José Legaspi. Collection: Singa-
pore Art Museum. Image courtesy of the Drawing Room Gallery,
Manila. 382
129: Lim Tzay Chuen. A L T E R #1 (unrealized proposal visual, United
Overseas Bank, Singapore, 1999–2003). Image courtesy of the
artist. 385
130: Lim Tzay Chuen. A L T E R #7 (The Substation Gallery, Singapore,
2001). Image courtesy of the artist. 388
131: Lim Tzay Chuen. A L T E R #10 (Gwangju Biennale, South Korea,
2002). Image courtesy of the artist. 394
132: Amanda Heng Liang Ngim. Another Woman, 1996. Mixed media.
Singapore Art Museum collection. Acc. 1998–00151. Image cour-
tesy of the Singapore Art Museum. 403
xxvi REWORLDING ART HISTORY ½¾
133: Bayu Utomo B. Radjikin. Lang Kachang, 1991 (partner sculpture to

Lang Ngindang). Ceramic, cement, and metal. 141 x 104 x 120 cm.
Singapore Art Museum collection. Acc.1993–01658. © The artist.
Photograph: Khairuddin Hori. Image courtesy of the Singapore Art
Museum. 405
134: Bayu Utomo B. Radjikin. Lang Kachang, 1991 (detail). 405
135: Wong Hoy Cheong. The Nouveau Riche, the Elephant, the Foreign
Maid, or the Discreet Charm of the Bourgeoisie, 1991. Mixed media
(oil on gunny sack, mirrors and artificial flowers), dimensions vari-
able. Singapore Art Museum collection. Acc. 1993–01669. Image
courtesy of the Singapore Art Museum. 407
136: Redza Piyadasa. The Haji’s Family, 1990. Mixed media, 51 x 80 cm.
Singapore Art Museum collection. Acc. 1991–00281. © The artist.
137: Taring Padi. Land and Farmers are Free when United, undated.
Print on cloth, 240 x 121 cm. Singapore Art Museum collection.
Acc. 2009–02222. Image courtesy of the Singapore Art Museum. 412
138: Apotik Komik. Under Estimate, 1999. Ink drums, cardboard, paint,
dimensions variable. Singapore Art Museum collection. Acc. 2011–
01608. Image courtesy of the Singapore Art Museum. 413
139: Sanggawa. The Second Coming, 1994. Oil on canvas, 207 x 619 cm.
Singapore Art Museum collection. Acc. 2008–06174. Image cour-
tesy of the Singapore Art Museum. 415
140: Sanggawa. Palo-sebo, 1995. Oil on canvas, 197 x 305 cm. Purchased
1995 with a special allocation from the Queensland Government.
Celebrating the Queensland Art Gallery’s Centenary 1895–1995.
Collection: Queensland Art Gallery. © The artists. Image courtesy of
the Queensland Art Gallery | Gallery of Modern Art. 415
141: Mella Jaarsma. Hi Inlander (Hello Native), 1999 (The Third Asia–
Pacific Triennial of Contemporary Art, Queensland Art Gallery,
Brisbane, 1999). Image courtesy of the artist. 419
142: Mella Jaarsma. Hi Inlander (Hello Native), 1999 (face detail). 419
143: Mella Jaarsma. S A R A -swati, 2000. Dried banana tree trunks, fiber
glass, photographs. From a series of two costumes (S A R A -swati I ,
I I ). Image courtesy of the artist. 421
144: Mella Jaarsma. The Warrior, The Healer, The Feeder, 2003. Mili-
tary outfits, seaweed, miso soup, squids, fish soup, traditional medi-
cines. 3 D V D s. Image courtesy of the artist. 421
½¾ List of Illustrations xxvii
145: Mella Jaarsma. Bule Bull, 2002. Buffalo horn. Image courtesy of the
artist. 424
146: Mella Jaarsma. Shelter Me, 2005. Four one-person shelters: a
Chinese shrine, a movable shelter with tattoo images, a shelter made
out of flexible bark, wood and zinc, a curtain shelter with digital
images from Iran. Image courtesy of the artist. 425
147: Mella Jaarsma. The Trophy (Animals have no religion), 2011. Wood,
antlers, silkscreen on cotton, embroidered emblems. Image courtesy
of the artist. 425
148: Mella Jaarsma. Pribumi – Pribumi (performance, Marlioboro Street,
Yogyakarta, 3 July 1998). Frying frog legs, a Chinese food, by seven
Westerners, opening up a dialogue about the racial riots. Image cour-
149: Mella Jaarsma. Pribumi – Pribumi (performance, Marlioboro Street,
Yogyakarta, 3 July 1998). 429
150: Mella Jaarsma. Hi Inlander (performance, The Third Asia–Pacific
Triennial of Contemporary Art, Queensland Art Gallery, Brisbane,
1999). Frog legs, chicken feet, kangaroo leather, fish skin, photo-
graphs, 3 kitchen tables, spices. Image courtesy of the artist. 430
151: Mella Jaarsma. Hi Inlander (performance, The Third Asia–Pacific
Triennial of Contemporary Art, Queensland Art Gallery, Brisbane,
1999). 430
152: Mella Jaarsma. Hi Inlander (Hello Native) (A P T 3, Queensland Art
Gallery, Brisbane, 1999). Treated skins (kangaroo, frog, fish and
chicken), 244 x 97 cm (kangaroo); 140 x 84 cm (frog); 150 x 100 cm
(fish); 152 x 95 cm (chicken). Image courtesy of the artist. 433
153: Mella Jaarsma. Hi Inlander (Hello Native) (A P T 3, Queensland Art
Gallery, Brisbane, 1999; face detail). 433
154: Suzann Victor. Still Waters (between estrangement & reconciliation)
(site-specific performance installation; drain on second floor of the
Singapore Art Museum, for A R X 5, 1998). Glass panels, glass
dams, water, photographs. Photograph: Jason Lim. Image courtesy of
the artist. 434
155: Suzann Victor. Still Waters (between estrangement & reconcilia-
tion), 1998. 435
tion), 1998. 437
tion), 1998. 437
xxviii REWORLDING ART HISTORY ½¾

tion), 1998. 438
159: Suzann Victor. His Mother is a Theatre (site-specific installation,
For Surrogate Desires 1996, 5th Passage, at Pacific Plaza, Singapore,
1996). Human hair, bread, velvet, woks, baby rocker, buttons. Singa-
pore Art Museum collection. Installation view. Photograph: Chua
Chye Teck. Image courtesy of the artist. 444
160: Suzann Victor. His Mother is a Theatre, 1996 (site-specific installa-
tion, front view: words written with human hair). Photograph:
Suzann Victor. Image courtesy of the artist. 444
161: Suzann Victor. Third World Extra Virgin Dreams (detail of site-
specific installation, 6th Havana Biennale, Cabania Fortress, Havana,
Cuba, 1997). Blood drops and shadow cast on floor; human blood,
magnifying squares, glass slides, metal clips, metal bed, cable, paper.
Singapore Art Museum collection. Photograph: Alwin Reamillo.
162: Suzann Victor. Third World Extra Virgin Dreams (detail). 450
163: Suzann Victor. Expense of Spirit in a Waste of Shame, 1994. Light
bulbs, cables, control unit, broken glass, motors, aluminum rods,
mirrors, dimensions variable. Singapore Art Museum collection.
164: Vincent Leow. Money Suit, 1992. Paper collage and cotton, dimen-
sions variable. Singapore Art Museum collection. Acc. 1993–00012.
165: Melati Suryodarmo. Exergie – Butter Dance (São Paolo), undated.
Lambda print (edition 1 of 5), 34 x 51 cm (each). Singapore Art
Museum collection. Acc. 2011–02053. Image courtesy of the Singa-
pore Art Museum. 459
166: Nindityo Adipurnomo. Portraits of Javanese Men, 2001. Photo-
graphs (set of 6), 25.5 x 37 cm each. Collection: Fukuoka Asian Art
Museum. © The artist. Image courtesy of the Fukuoka Asian Art
Museum. 461
167: Nindityo Adipurnomo. Introversion (April the twenty-first), 1995–96
(detail). Carved wooden objects, photographs, mirrors, cast resin,
found objects, gauze curtain, paper, glass, hair, nylon and fibreglass
(21 parts), 365 x 600 cm diam. (installed); 75 x 45 x 15 cm (each).
Purchased 1996. Queensland Art Gallery Foundation. Collection:
Queensland Art Gallery. © The artist. Image courtesy of the Queens-
land Art Gallery | Gallery of Modern Art. 465
½¾ List of Illustrations xxix
168: Nindityo Adipurnomo. Beban Eksotika Jawa, 1993. Mixed media,

dimensions variable. Singapore Art Museum collection. Acc. 1994–
05552. Image courtesy of the Singapore Art Museum. 465
169: Nindityo Adipurnomo. Step on Heirloom, 2007. Carved granite
stones, dimensions variable. Image courtesy of the artist. 467
170: Nindityo Adipurnomo. My Ancestors were Traders, 2010. Gouache
on paper, 49 cm x 39 cm. Image courtesy of the artist. 467
171: Nindityo Adipurnomo. Portraits of Javanese Men, 2001. Photo-
graphs (set of 6), 25.5 x 37 cm each. © The artist. Collection: Fuku-
oka Asian Art Museum. Image courtesy of the Fukuoka Asian Art
Museum. 469
172: Nindityo Adipurnomo. Hiding Rituals and the Mass Production I I ,
1997/1998. Rattan, human hair, plastic bag, paper, string, 250 x 300
x 90 cm. Singapore Art Museum collection. Acc. 2000–01009.
173: Nindityo Adipurnomo. Dzikir, 2008. Rattan, cow’s horn, mechani-
cal fan, beads, iron springs, 140 cm x 140 cm x 120 cm. Image
courtesy of the artist. 470
174: Nindityo Adipurnomo. Boom Out of the Ground, 2008. Rattan, 135
x 135 x 100 cm. Image courtesy of the artist. 470
175: Roberto Villanueva. Ego’s Grave, 1993 (installation and associated
performance at ‘The First Asia Pacific Triennial of Contemporary
Art’, Queensland Art Gallery, Brisbane, Australia, September 1993).
Carved earth figure in outdoor pit, glazed terracotta, wood; pit: 600
x 250 x 150 cm). Photograph: Richard Stringer. Reproduced by
courtesy of the Queensland Art Gallery | Gallery of Modern Art and
Napoleon Abundo Villanueva (the latter with the additional kind
assistance of the Fukuoka Asian Art Museum). 474
176: Susyilawati Sulaiman. A wall with 8 hours air filled from a living
room, 2003 (installation, Florence Biennale / Biennale Internazionale
dell’Arte Contemporanea, Fortezza da Basso, Florence, Italy, 2003).
Photograph: Brent Hallard 2003/04 (brenthallard.com). Reproduced
by courtesy of the artist and photographer Brent Hallard. 477
room, 2003 (preparations in Malaysia, before travel to Italy for
Florence Biennale 2003). Image courtesy of the artist. 479
Florence Biennale 2003). 479
xxx REWORLDING ART HISTORY ½¾
181: Ho Tzu Nyen. 4 x 4 – Episodes of Singapore Art, Episode 1: “Cheong
Soo Pieng – A Dream of Tropical Life,” H D V , 23 min., broadcast
on Arts Central, Singapore, 2005. Image courtesy of the artist. 491
182: Ho Tzu Nyen. 4 x 4 – Episodes of Singapore Art, Episode 2: “Cheo
Chai Hiang – A Thousand Singapore Rivers,” H D V , 23 min, broad-
cast on Arts Central, Singapore, 2005. Image courtesy of the artist. 492
183: Ho Tzu Nyen. 4 x 4 – Episodes of Singapore Art, Episode 3: “Tang
Da Wu – The Most Radical Gesture,” H D V , 23 min, broadcast on
Arts Central, Singapore, 2005. Image courtesy of the artist. 492
184: Ho Tzu Nyen. 4 x 4 – Episodes of Singapore Art, Episode 3: “Tang
Da Wu – The Most Radical Gesture.” 493
185: Ho Tzu Nyen. Every Name in History is I: Film and Paintings about
the Other Founder of Singapore, 2003 (video stills selection, Sang
Nila Utama, on a voyage of discovery). Video, 23:00 min. Collec-
tion: Fukuoka Asian Art Museum. © The artist. Image courtesy of
the artist. 493
186: Lee Wen. Splash! (Series #1 and #2), 2003. Digital print on archival
paper (edition: 3/5 +1 artist proof), 60.96 cm x 76.2 cm (24 inches x
30 inches). Image courtesy of the artist. 502
187: Lee Wen. Splash! (Series #1 and #2), 2003. 502
188: Lani Maestro. a book thick of ocean, 1993 (installation). Hardbound
book with linen cover, title stamped in silver, duotone reproduction,
600 pages, oak table. Dimensions: book: 61 x 48.2 x 3.8 cm; table:
182.8 x 91.4 x 78.5 cm. © Lani Maestro. Photograph: Lincoln Mul-
cahy. Image courtesy of the artist. 506
½¾
Preface
Departures
T HE LANDSCAPE OF CONTEMPORARY S O U T H E A S T A S I A N A R T has

changed dramatically since I first embarked on the research for this
book, and certainly since my earliest encounters with contemporary
Southeast Asian art in the early 1990s. The present book has its genesis in
research undertaken in 2002–2005 during my postgraduate degree at the
Australian National University, culminating in a doctoral thesis. It should,
then, be seen as an exploration of beginnings and an offering of glimpses. The
artists I explore in the book have greatly extended their oeuvres since I first
came by their artworks, some continuing earlier themes in different ways,
others taking entirely new approaches to their art. They are now highly suc-
cessful, established artists, well-known throughout the international art com-
munity, and new generations of contemporary artists from Southeast Asia
have joined their company, their artworks addressing new themes and issues
of ‘contemporary’ currency.
As will become clear, the entry points I offer in engaging with contempo-
rary Southeast Asian art have necessarily been shaped by my position in the
Australian context. From my own geo-cultural coordinates in Australia, the
region of Southeast Asia has been both foreign and familiar territory. From
where I have viewed the region, Southeast Asia has always occupied the
maps of my cultural imagination and travel experiences as a ‘northern’, rather
than ‘southern’ or ‘south-eastern’, neighbour. There are some fairly straight-
forward reasons for why this region has become the focal point of this book
and which go some way towards explaining my relationship with the region.
In the early 1990s, as Australia sought to redefine its political and eco-
nomic place in the world under the policies of Prime Minister Paul Keating, it
also attempted to realign itself within its own local geographical nexus – no
xxxii REWORLDING ART HISTORY ½¾
longer on the edge of Asia, but as a constituent part of the ‘Asia-Pacific’. As

Australians contemplated monumental national issues such as native title,
multiculturalism, and republicanism, they were also prompted to focus afresh
on their nearest neighbours and to become less dependent on long-standing
partnerships with geographically distant Euro-American nations.1 Indeed,
many Australians, including myself, were grappling with the multiple defini-
tions and implications of their place in Australia, the region, and the world.
I was fortunate to first come to know Southeast Asia at a time of dynamic
cultural relations between Asia and Australia, including the growth of new art
partnerships, collaborations, and exchanges – especially through the Artists’
Regional Exchange (A R X , formerly Australia and Regions Exchange, 1987–
99),2 Asialink, Multimedia Art Asia–Pacific (M A A P ) (now Media Art Asia–
Pacific), and the Queensland Art Gallery’s groundbreaking Asia–Pacific Tri-
ennial of Contemporary Art (hereafter cited as A P T ) exhibition with its
pioneering conferences forging new connections and debates among arts pro-
fessionals engaged with Asian and/or Pacific art.
Studying art history in Australia was a quick way to discover how little
Australians then knew about the modern and contemporary cultures of their
1
Nevertheless, throughout this book I include Australia in the geo-political short-
hand of ‘Euro-America’ because the discourses which emanate from Europe and the
U S A are often ones that have been influential in shaping Australian histories, in-
cluding Australian art history. Moreover, Australia has played its own role in adminis-
tering and disseminating Euro-American knowledge. This situation is changing to
some degree as Australia explores the relevance of its Indigenous art histories, and
those of its neighbouring Asian and Pacific countries, to Australian and world-wide
practices and discourses of modern and contemporary art.
2
A R X was a biennial artist exchange project established in Perth, Western Australia
in 1987 involving ‘Asia–Pacific’ artists, including a sizeable number of Southeast
Asian artists. Pamela Zeplin has argued that A R X is an important precedent for sub-
sequent Australian artistic engagements with Asia, especially Southeast Asia. Zeplin
reports that the change of nomenclature was a direct result of the participation of
Southeast Asian artists, who sought to shift the emphasis on an Australian ‘centre’ to a
broader regional dialogue. See Zeplin, “The A R X Experiment 1987–1999: Commu-
nities, controversy & regionality,” Australian Council of University Art & Design
Schools, annual conference papers, 2005, http://acuads.com.au /static/files /assets
/06ff15eb/zeplin.pdf (accessed 15 May 2013). See also Senga Peckham, “A R X to A -
P T : The Museification of Contemporary Asian Art in Australia” (M A thesis, Material
Culture & Museum Studies, Monash University, Melbourne, 1995).
½¾ Preface: Departures xxxiii
Asian neighbours. There was little offered in studies of Asian art in Australian
tertiary centres at the time. Instead, my travels to Asia, combined with my
studies of politics of the region, led me to concentrate my long-time passion
for art in the vast landscape of Asia. I was fortunate to encounter some of this
art first-hand during my travels to Southeast Asia, but I also gradually came
upon more in reproductions. My scholarly confidence grew as I discovered
that at least one Australia-based journal, then called A R T and AsiaPacific,3
was taking this art seriously, as were a few scholars scattered in different
corners of the world who gathered in Australia in 1991 for the momentous
conference on ‘Modernism and Post-Modernism in Asian Art’ – convened by
the eminent historian of Asian art, Professor John Clark – to discuss the dif-
ferently situated and long-neglected modern and contemporary art of Asia.4
These were key platforms and conferences that provide an early if developing
critical mass of knowledge shaping both Australian and broader international
perceptions of the art of the region.
What has followed since that time is a veritable explosion of international
interest in contemporary Asian art, showing that while Australia has for some
time undertaken an active role in developing its knowledge of Asian art, the
rest of the world has likewise also shown great interest in the remarkable
contemporary art developments in Asia. Accordingly, I suggest that if what I
present in this book is viewed through an Australian lens, it should also, I
hope, have relevance to all interested in contemporary art and, more speci-
fically, contemporary Southeast Asian art.
½¾
3
The journal I refer to is now known as ArtAsiaPacific, the renowned quarterly art
magazine focusing on contemporary art of Asia and the Pacific, first published in
Sydney, Australia, 1993 as A R T and AsiaPacific. Since 2004, the periodical has
undergone several changes of ownership and publishing location. In 2007 Elaine Ng
became the sole publisher and editor-in-chief and, in 2011, moved the magazine’s
office from the U S A to Hong Kong.
4
‘Modernism and Post-Modernism in Asian Art’ was held at the Australian National
University, Canberra, March 1991. Papers from the conference were revised and pub-
lished in Modernity in Asian Art, ed. John Clark (Sydney: Wild Peony, 1993).
Prologue
Points of Entry
T HIS BOOK ENDEAVOURS to flesh out significant beginnings for con-

temporary Southeast Asian art history within globalizing currents of
art practice and scholarship since the 1990s. As a story of beginnings,
it does not pretend to encompass the vast and myriad histories and trajectories
of contemporary Southeast Asian art development from the 1990s (or earlier)
until now, nor the wide array of artists and artworks, or the proliferating cul-
tural institutions and art-learning centres in Southeast Asia that have emerged
over the last two to three decades in support of art practice and exhibition. It
does not seek to provide a detailed or comprehensive survey of Southeast
Asian art as a region or to provide a set of nationalist art histories or even a set
of artist biographies. In short, it does not claim to capture or serve as a defini-
tive history of contemporary Southeast Asian art thus far.
Rather, Reworlding Art History: Encounters with Contemporary Southeast
Asian Art after 1990 traces the significance of contemporary Southeast Asian
art and artists and their place within the newly globalized art world and the
internationalizing field of ‘contemporary art’ history, enfolded in and refrac-
ted through the wider global visibility of contemporary Asian art since the
late-twentieth century. It explores the significant ‘entry points’ – the
‘contexts’, ‘positionalities’, or ‘perspectives’ – for our engagements with and
understanding of contemporary Southeast Asian art since the 1990s, by
examining the prevailing discursive and representational paradigms offered in
art scholarship, exhibition and collecting practices, and art practice itself. In
so doing, Reworlding Art History sees contemporary Southeast Asian art as a
fertile field for critically examining how today’s art relates to specific spaces
and temporalities – Southeast Asian art that draws on both local and wider
world contexts, intersecting and conversing with them. From this perspective,
xxxvi REWORLDING ART HISTORY ½¾
contemporary Southeast Asian art practice, representation, and reception are

necessarily proposed as creative projects possessing their very own situated-
ness and dynamism, and thereby reflecting cultural and temporal specificity.
Moreover, they reflect crosscultural intersection and historical continuities,
generating ‘contemporary art’ as a shared field of practice and knowledge in
the global art sphere.
Frames, Axes: Art History’s Temporalities and Spatialities
Figure 1: Redza Piyadasa, Masa Penerimaan – Entry Points (1978). Image courtesy
of the National Visual Arts Gallery, Malaysia (Balai Seni Lukis Negara).
½¾ Prologue: Points of Entry xxxvii
It is precisely a concern with our points of entry into art and the contingencies
of context that the late Malaysian artist and art theorist Redza Piyadasa once
expressed in his artwork Entry Points of 1978 (Figure 1 above) – essentially a
conceptually driven sculptural artwork consisting of a frame within a frame.1
Stencilled in bold, colourful print along the bottom edge of the outer frame is
the statement: “Artworks never exist in time, they have ‘entry points’.” The
statement lies beneath the inner frame of an oil painting entitled Riverside
Scene executed in 1958 by the Malaysian artist Chia Yu-Chian (an influential
figure from the Southeast Asian ‘Nanyang’ or ‘Southern Seas’ School of
painting; see Chapter 2 below). By absorbing the earlier 1958 painting into
his own 1978 conceptual artwork, Piyadasa acknowledges art-historical pre-
cedents for his own practice from within the Malaysian and even Southeast
Asian ‘Nanyang’ context. In so doing, he sets up a localized, dialectical story
of art-historical relation between art practitioners of his generation and those
working two decades earlier in the regionally inflected styles of the Nanyang
School of modern art. As the eminent historian of Southeast Asian art, T.K.
Sabapathy, observes of the artwork, Piyadasa makes the point that works of
art are “no longer imprisoned in immutable time-frames.”2 Piyadasa instead
draws temporal relations between a localized art modernity, signalled by the
Nanyang School of art, and the generations of art practice which have come
after it (including ‘contemporary art’), deliberately (re-)tracing an art-histori-
cal narrative. Moreover, Entry Points encourages us to see that artworks do
not exist in frozen time but may be read as dynamic sites for the interplay of
1
Entry Points, first produced in 1978, has more recently been exhibited for its sig-
nificance to a developing contemporary Southeast Asian art history, including in the
exhibitions Telah Terbit (Out Now): South East Asian Art Practices During the 1970s,
curated by Ahmad Mashadi for the Singapore Art Museum in 2006, and Turns in
Tropics, curated by Patrick Flores for the “Position Papers” component of Okwui En-
wezor’s 2008 Gwangju Biennale, “On the Road/Position Papers/Insertions,” which
explored four Southeast Asian artists-turned-curators, including Piyadasa.
2
T.K. Sabapathy explains in his monograph on Redza Piyadasa that the statement
included in the artwork is a reference to George Kubler’s The Shape of Time, in which
Kubler “summarises a lifetime devoted to the study of art history and proposes ways
by which the history of art can be conceptualised dynamically.” See Sabapathy,
P I Y A D A S A – An Overview, 1962–2000 (Retrospective Exhibition) (exh. cat.; Kuala
Lumpur: Balai Seni Lukis Negara/National Art Gallery, 2001): 77. Cf. George Kubler,
The Shape of Time: Remarks on the History of Things (New Haven C T : Yale U P ,
1962).
xxxviii REWORLDING ART HISTORY ½¾
specific temporalities and spatialities – that is, artworks exist in time, but also
in space.3
Entry Points was created in Malaysia upon Piyadasa’s return from art
studies in Hawai‘i (Master in Fine Arts, University of Hawai‘i, 1977) and,
prior to this, England (Diploma in Art & Design, Hornsey College of Art,
1963), by which time he had developed a deep fascination with conceptual
investigations into the very constitution, premises, and value of art. This,
along with other conceptual artwork produced by Piyadasa on his return home
to Malaysia, registered an exploration of the relevance of modern art for
Malaysians, and a concern for a developing modern Malaysian art history,
situated within larger Southeast Asian currents of modern art. Given this con-
ceptual interest by Piyadasa, it is not surprising that he later pursued a more
active role in curating Southeast Asian art4 and, together with Sabapathy, con-
tributed to the development of an art historiography for modern and contem-
porary Southeast Asian art, with particular attention to the pictorial styles and
visual vocabulary of the Nanyang School.5
Entry Points suggests Piyadasa’s awareness not only of the situatedness of
his practice within a chronology of art history but also of its locally situated
contexts of production, its geo-cultural points of entry, and their contingent
historical effect. The work, I would argue, is emblematic of some of the ear-
liest instances of ‘contemporary art’ emanating from the region with its self-
reflexive investigation into the constitution and form of art, especially in
dialogue with ‘the modern’. This self-reflexivity, I suggest, gives rise to an
ambivalence in Entry Points which stems from the artist’s conflicting desires:
on the one hand, his political will to recall localized but peripheralized
3
See also Francis Maravillas’ arguments on the intersections of temporality and
spatiality suggested by this artwork in “Constellations of the contemporary: Art /Asia /
Australia,” Journal of Australian Studies 32.4 (2008): 433–44.
4
Notably, Patrick Flores regards this turn – from artist to curator (and, by extension,
to art historian) – as an emblematic marking of a shift from ‘the modern’ to ‘the
contemporary’ in Southeast Asia. See Flores, “Position Papers: Turns in Tropics:
Artist–Curator,” in The 7th Gwangju Biennale: Annual Report: A Year in Exhibitions,
ed. Okwui Enwezor (Gwangju: Gwangju Biennale Foundation, 2008): 262–85.
5
See Redza Piyadasa, “Introduction” and “The Nanyang Academy of Fine Arts,” in
Pameran retrospektif pelukis-pelukis Nanyang (Kuala Lumpur: Muzium Seni Negara
Malaysia, 1979): 6–7, 24–35, and T.K. Sabapathy, “The Nanyang artists: some general
remarks,” in Pameran retrospektif pelukis-pelukis Nanyang (Kuala Lumpur: Muzium
Seni Negara Malaysia, 1979): 43–48.
½¾ Prologue: Points of Entry xxxix
(Malaysian /Southeast Asian /Nanyang) art histories so as to illuminate and

carve a space for them within world art histories; and, on the other, revealing
the process /project of art’s canonization, only to recognize his own participa-
tion in this. Indeed, Entry Points is in this sense ironic, given the artwork’s
subsequent importance in the narratives of contemporary art history for
Malaysia6 and Southeast Asia.
Echoing Piyadasa, Reworlding Art History hopes to elucidate the estab-
lished socio-cultural ‘points of entry’ that have shaped the production and
reception of contemporary Southeast Asian art history since the 1990s, but
also to consider the shape of alternative art histories which might be pursued
by a more active engagement with aesthetic points of entry – more precisely,
the formalist and affective encounters with contemporary Southeast Asian art
which, I will argue, have too often been overlooked, especially in the interna-
tional context. So, too, Reworlding Art History explores as entry points the
major debates surrounding the emergence of contemporary Southeast Asian
art, to highlight some of the key artists, exhibitions, and theoretical discourses
that have helped shape contemporary Southeast Asian art histories, and to
point to the continuing development and significance of Southeast Asian art
to a developing contemporary art history within ‘world currents’.7 By explor-
ing these key themes, developments, and shifts in the interpretation and re-
presentation of contemporary Southeast Asian art, I am also investigating new
means of theorizing contemporary Southeast Asian art and, more broadly,
contemporary art in the world (that is, contemporary art as it is situated in dif-
ferent contexts of the world and, further, what that means for an art history
that attempts to encompass the world’s contemporary art). The Southeast
Asian regional frame – understood and applied as “critical [colonial] inheri-
tance,” “critical regionalism,” and “contingent device”8 – offers another
6
Among other writings on Malaysian art history, see the four-volume publication
project Narratives in Malaysian Art, ed. Nur Hanim Khairuddin & Beverly Yong, with
T.K. Sabapathy (Kuala Lumpur: RogueArt, 2012—).
7
The notion of contemporary art within “world currents” is developed in the work
of Terry Smith. See, for instance, Contemporary Art: World Currents (London: Lau-
rence King, 2011).
8
“critical [colonial] inheritance”: Patrick Flores, “Homespun, Worldwide: Colo-
nialism as Critical Inheritance,” in 36 Ideas from Asia: Contemporary South-East
Asian Art, ed. A S E A N Committee on Culture and Information & Singapore Art
Museum (Singapore: Singapore Art Museum, 2002): 16–25; “critical regionalism”:
Ismail Mohd Zain, “Towards an Utopian Paradigm: A Matter of Contingencies and
xl REWORLDING ART HISTORY ½¾
productive point of entry and even intervention into the developing (world /
global) histories of contemporary art.
‘Worlding’ from the Region

Recent investigations into critical processes of ‘worlding’9 provide important
theoretical motivation for the book, opening up possibilities for reconstructing
imaginaries of the world and its art histories, with less dependency on Euro-
American frameworks and subject-matter. Particularly germane here is the
notion of “place-based imaginaries”, in which localization and globalization
are taken to be mutually constitutive processes both in constructions of sub-
jectivity10 and in shaping contemporary art histories at the intersection of
national, regional, and global contexts. By situating my discussion within the
overarching concept of a ‘reworlding’ of art history, I seek to position con-
temporary Southeast Asian art and its histories in the growing theoretical field
of ‘worlding’, as well as ‘world art’ or ‘global art’ studies, and their attendant
forms of ‘reworlding’ as praxis: that is, to borrow from Aihwa Ong, “situated
everyday practices […] that creatively imagine and shape alternative social
visions and configurations – that is, worlds – than what already exists in a
given context.”11 I am highlighting current processes in the field of contem-
porary art, which stem from previously peripheralized locales such as South-
east Asia, and which call for the recognition of differently situated art prac-
Displacement,” in First A S E A N Symposium on Aesthetics: proceedings of Symposium

held in Kuala Lumpur, Malaysia, National Art Gallery, October 24–27 1989, ed. Delia
Paul & Sharifah Fatimah Zubir (Kuala Lumpur: A S E A N C O C I , 1989): 20–25;
“contingent device”: Heather Sutherland, “Contingent Devices,” in Locating South-
east Asia: Geographies of Knowledge and Politics of Space, ed. Paul H. Kratoska,
Remco Raben & Henk Schulte Nordholt (Singapore: Singapore U P , National Uni-
versity of Singapore, 2005): 20–59.
9
See Aihwa Ong, “Introduction: Worlding Cities: The Art of Being Global,” in
Worlding Cities: Asian Experiments and the Art of Being Global, ed. Ananya Roy &
Aihwa Ong (Chichester & Malden M A : Wiley–Blackwell, 2001): 1–26; The Worlding
Project: Doing Cultural Studies in the Era of Globalization, ed. Rob Wilson & Chris-
topher Leigh Connery (Santa Cruz C A : New Pacific Press, 2007).
10
On “place-based imaginaries,” see Arif Dirlik, “Place-Based Imagination: Global-
ism and the Politics of Place,” in Places and Politics in an Age of Globalization, ed.
Roxann Prazniak & Arif Dirlik (Lanham M D : Rowman & Littlefield, 2001): 15–51.
11
Aihwa Ong, “Introduction: Worlding Cities: The Art of Being Global,” 1–26.
½¾ Prologue: Points of Entry xli
tices and their histories in an increasingly globalized, even homogenizing, ‘art

world’ context. To draw on Rob Wilson’s concept of worlding as “tactic,”12 I
argue for the potential of contemporary Southeast Asian art to contribute to an
art-historical reworlding: as a counter-worlding tactic, contemporary South-
east Asian art offers possibilities for contesting and unsettling Western-centric
narratives of art history and their static, singular views of the world. In short, I
am investigating how contemporary Southeast Asian art, as ‘worlding’ or,
more precisely, ‘reworlding’ projects, invites alternative art-historical imagi-
naries – situated within Southeast Asia but also within the region’s diasporas
and global networks – with consequences for our shared understanding of
‘contemporary art’ in the global milieu. These are imaginaries that assist in
decentering Euro-America but also in disrupting homogenizing and essen-
tializing narratives of Southeast Asia itself.13
In short, Reworlding Art History argues for a differentiated view of art’s
histories in the plural, prompted by the emerging field of contemporary art.
Contemporary art, I contend, emerges from particular contexts of production
but is necessarily attuned to and in dialogue with world currents in the in-
tensely globalized conditions of its production and reception since the late-
twentieth century. These distinctive conditions have effected new positional-
ities and practices of being in the world encompassing diverse, contingent,
and coeval perspectives. Thus, Reworlding Art History is concerned with the
cross-currents of dialogues on globalization, decolonizing projects, and art-
historical reworldings, which have been key concerns in debates informing a
developing contemporary art history since the late-twentieth century. It high-
lights the new kinds of art-making and patterns of increased international
movement that contemporary Southeast Asian artists undergo for their art,
especially on the expanding biennale circuit in which their art has become
most visible and as Southeast Asian artists increasingly participate in dias-
poric and migratory networks. In so doing, Reworlding Art History empha-
sizes the cross-currents of local, regional, transnational, and international
identities that are imaged and imagined by artists in new globalizing art con-
texts, exploring the tendency to move across and between locations, both in
12
Rob Wilson, “Afterword: Worlding as Future Tactic,” in The Worlding Project:
Doing Cultural Studies in the Era of Globalization, 209–23.
13
See Kumar Sree & Sharon Siddique, Southeast Asia: The Diversity Dilemma:
How Intra-Regional Contradictions and External Forces are Shaping Southeast Asia
Today (Singapore: Select Publishing, 2008).
xlii REWORLDING ART HISTORY ½¾
the subject-matter of art and through art practice, as part of both regional and
global dynamics. It also draws attention to the imaginative and critical possi-
bilities of art in reconfiguring contemporary subjectivities and cartographies
of Southeast Asia in an increasingly globalized world. However, as I argue
throughout this book, contemporary art not only signals new geographies of
art practice but also brings into proximity the differences and similitudes of
aesthetic encounters as they emerge from differently situated contexts in the
world. This, in turn, recognizes that the encounter with art is also an affective
one. What is often forgotten in the competing meta-narratives documenting
contemporary art is precisely the aesthetic fact of art and its affective capacity
to move us – its ‘moving’ effect. These aesthetic considerations of contempo-
rary Southeast Asian art are thus foregrounded in Reworlding Art History as a
key argumentative thread.
The Southeast Asian Regional Frame: A Critical Mapping

My explorations are rooted primarily in art-historical inquiry, inflected by the
methods, scope, and insights of visual-culture studies, and form part of a
wider recognition of Asian art contributions in the making of modern and
contemporary art history. They are pursued in conjunction with changes in the
thinking and constitution of ‘Southeast Asia’ itself, particularly apropos of the
shifting fields of area studies (namely, Asian studies and Southeast Asian
studies) and the new inter-Asia projects of cultural studies which seek to
transform the colonial and imperial legacies of knowledge-production by ad-
vancing inter-Asia methods for the development of ‘Asian studies in Asia’.14
Further underpinning my inquiry is the relationship between the disciplines of
art and anthropology and the different ways in which contemporary art has
been foregrounded in and affected by each, particularly their converging
methodologies for research and interpretation of non-Western art (evidenced
14
Chen Kuan-Hsing has proposed a programme of ‘Asia as Method’ and ‘Asian
Studies in Asia’, in order to continue decolonizing and de-imperializing projects in
Asia that are proposed to activate new modes of knowledge-production, not based
exclusively on Euro-American frames of theoretical reference. See Chen Kuan-Hsing,
Asia as Method: Toward Deimperialization (Durham N C : Duke U P , 2010); Trajec-
tories: Inter-Asia Cultural Studies, ed. Chen Kuan-Hsing, with Kuo Hsiu-Ling, Hans
Hang & Hsu Ming-Chu (London: Routledge, 1998); Chen Kuan-Hsing & Chua Beng
Huat, The Inter-Asia Cultural Studies Reader (Abingdon: Routledge, 2007); and the
journal Inter-Asia Cultural Studies: Movements.
½¾ Prologue: Points of Entry xliii
especially across the transformed representational spaces of the art gallery and
the ethnographic or historical museum at the close of the twentieth century).
With regard to the methods and approach foregrounded in Reworlding Art
History, the interpretative frames – of art scholarship, criticism, and cura-
torship – form the argumentational impetus for the book, while the art anal-
yses offered suggest converging modes of interdisciplinary research.
The contemporary artists discussed in the book are internationally re-
nowned, with significant international experience in major exhibitions; they
include Nindityo Adipurnomo, Alfredo & Isabel Aquilizan, Dadang Chris-
tanto, Heri Dono, Simryn Gill, Ho Tzu Nyen, Mella Jaarsma, Lee Wen, José
Legaspi, Lim Tzay Chuen, Lani Maestro, the Sanggawa Group, Judy Freya
Sibayan, Susyilawati Sulaiman, tsunamii.net, Suzann Victor, Roberto Villa-
nueva, Wong Hoy Cheong, and Yee I-Lann. Reworlding Art History analyses
major works by these seminal artists, featured in important regional and inter-
national exhibitions over the past two decades.
The artists I discuss have been chosen not only for their captivating and
affecting contemporary art practices, but also on the basis of their recurring
representation in international art exhibitions since the 1990s and their sub-
sequent international reputation. Given the varied exhibition contexts in-
volved, I have been motivated by the prospect of gaining insights from inves-
tigating these artists’ comparative international, regional, and national spaces
of artistic production and reception. Their trajectories of exhibition participa-
tion and related representation, as well as the particular kinds of art practice
they engage in, provide important contexts for my concerns in this book. In
gathering artists from various parts of Southeast Asia, I mark the affinities
between contemporary art practitioners from the region – specifically, Indo-
nesia, Malaysia, the Philippines, and Singapore – in order to reflect critically
on the generative possibilities of Southeast Asian regionalism for crafting
more complex interpretations of the conditions and constitution of contem-
porary art and its developing critique and history, beyond prevailing centre–
periphery models (e.g., West–the Rest; East Asia–Southeast Asia), but also in
contrast to those national and regional cultural agendas which prioritize the
political usefulness of art and culture for diplomatic ends. In these latter pro-
jects, art is often essentialized to reflect a sense of homogeneous culture.
My comparative framework obviously does not reflect the full geographic
compass of Southeast Asia, which is commonly understood today to span the
eleven countries of Brunei, Cambodia, Indonesia, Laos, Malaysia, Burma /
Myanmar, Singapore, Thailand, the Philippines, Vietnam, and Timor-Leste
xliv REWORLDING ART HISTORY ½¾
(the only non-A S E A N 15 member). Rather, it is an intentionally limited and

fractured view of a region which continues to be debated for its design, sig-
nificance, and critical possibilities. While the case studies of art presented
refer to artists with connection to Indonesia, Malaysia, the Philippines, and
Singapore, the art histories I engage with throughout the book emerge from a
wider context of Southeast Asia (and Southeast Asia in the world). This con-
figuration of Southeast Asia intends to force a recognition of the impossibility
of fixing the region’s boundaries and coordinates and the impracticality of
totalizing perspectives. At the same time, it is hoped that advancing compara-
tive perspectives between specific art practices across the region within
broader art-historical work on contemporary Southeast Asian art will encour-
age a focus on particular currents of contemporary art, particularly in their
intersections and entanglements with regional and global dynamics.
Thus, Reworlding Art History conceptualizes Southeast Asia as a space and
place of multiplicities rather than essentialized cultural structures, a complex
and differentiated organism constituted by mixture and interpenetration, an
entity of dynamic interconnections rather than rigid identities. Totalizing and
fixed categories of ‘nation’ and ‘Southeast Asia’ which seek to homogenize
and essentialize art from the region through discursively produced geo-poli-
tical constructs16 are instead critically reconfigured in the context of dynamic
temporal and spatial contingencies which mark Southeast Asia as a site of
continuous remapping through acts of ‘(re-/de-)territorialization’.17 Southeast
Asian-ness itself does not exist as a given entity, but is always an adaptable
and inherently manifold description of transitory and transforming connec-
tions.
15
A S E A N refers to the Association of Southeast Asian Nations, the postcolonial
political and economic grouping of Southeast Asian nations, originally formed in 1967
with the membership of Indonesia, Malaysia, the Philippines, Singapore, and Thailand.
It has since expanded to include Brunei, Myanmar (Burma), Cambodia, Laos, and
Vietnam. See “About A S E A N : Overview”, at the official website of the A S E A N ,
http://www.aseansec.org/about_A S E A N .html (accessed 26 March 2012).
16
This is what the Thai scholar Thongchai Winichakul defines as the spatially en-
coded “geo-body.” See Winichakul, Siam Mapped: A History of the Geo-Body of a
Nation (Honolulu: U of Hawai‘i P , 1994).
17
See Gilles Deleuze & Félix Guattari, A Thousand Plateaus: Capitalism and
Schizophrenia, tr. Brian Massumi (Capitalisme et Schizophrénie 2: Mille plateaux,
1980; Minneapolis: U of Minnesota P , 1987).
½¾ Prologue: Points of Entry xlv
Indeed, the need to acknowledge the fluidity of Southeast Asia’s borders

has in no small measure to do with the migratory and diasporic currents of
Southeast Asian belonging, currents that flow beyond the region’s physical
geography. Reworlding Art History accordingly includes discussion of artists
who have featured in exhibitions as representatives of their respective South-
east Asian countries of origin but who work and/or live mainly outside them,
whether permanently (as part of diasporic or cosmopolitan communities) or as
peripatetic international artists. Within this frame we can identify a further set
of classifications: those who base themselves for the most part within their
Southeast Asian country of origin; those who reside mainly outside them; and
those who regularly move among multiple locales, especially for their inter-
national art practice, suggesting the varied and plural experiences of contem-
porary Southeast Asian artists worldwide since late-twentieth-century global
capitalism.
Cosmopolitan Intersections
More often than not, the term ‘cosmopolitanism’ has been applied to describe
the kind of lifestyle that is associated with a thriving European or American
modern-day metropolis such as New York, Paris, or London; these days, how-
ever, their cosmopolitan characteristics make Asian locales such as Tokyo,
Shanghai, Hong Kong, Jakarta, Kuala Lumpur, Manila, and Singapore un-
ignorable.18 It was rare until recently to have an Indonesian artist such as Heri
Dono described as cosmopolitan – a ‘patriot’, yes, but seldom ‘cosmopolitan.’
By contrast, recent theories of cosmopolitanism acknowledge its relevance
beyond the Euro-American context and extend beyond the discipline of West-
ern philosophy to include forms of cosmopolitan art practice in Asia. As
Pollock et al. have argued,
What the new archives, geographies, and practices of different histori-
cal cosmopolitanisms might reveal is […] that cosmopolitanism is not
a circle created by culture diffused from a centre, but instead, that
centers are everywhere and circumferences nowhere.”19
18
Cosmopatriots: On Distant Belongings and Close Encounters, ed. Edwin Jurriëns
& Jeroen de Kloet (Amsterdam & New York: Rodopi, 2007).
19
Sheldon Pollock, Homi K. Bhabha, Carol A. Breckenridge & Dipesh Chakrabarty.
“Cosmopolitanisms,” in Cosmopolitanism, ed. Breckenridge, Pollock, Bhabha &
Chakrabarty (Durham N C & London: Duke U P , 2002): 9–10, 12.
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The Project Gutenberg eBook of The Independent
Church of God of the Juda Tribe of Israel: The
Black Jews
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
Title: The Independent Church of God of the Juda Tribe of

Israel: The Black Jews
Author: Allan Wilson Cook
Contributor: Robert W. Winston
Release date: August 11, 2022 [eBook #68729]
Language: English
Original publication: United States: Lafayette Hall, 1925
Credits: Mary Glenn Krause, Thomas Frost and the Online

Distributed Proofreading Team at https://www.pgdp.net
(This file was produced from images generously made
available by The Internet Archive).
*** START OF THE PROJECT GUTENBERG EBOOK THE

INDEPENDENT CHURCH OF GOD OF THE JUDA TRIBE OF
ISRAEL: THE BLACK JEWS ***
The Independent Church of
God
of the
Juda Tribe of Israel
THE BLACK JEWS
As a fade
from black to pure white
By BISHOP A. W. COOK
Is RABBI HALING HANK LENHT
Copyright 1925
by
Bishop A. W. Cook is
Rabbi Haling Hank Lenht
The Black Jews
1. One God, One Aim, One Destiny. He created all nations of men
equal, of one blood, to dwell on the face of earth, Mother
Church.
2. The charter of the Independent Church of God, the Black Jews

of the Juda Tribe of Israel and the Constitution.
3. This book is the first that has ever been published in this country
or any other country, of this kind, for two thousand years.
4. It opens up Biblical History and turns the light on the whole

world. Its author is an inspired writer according to the Spirit of
God.
5. And a sketch of his life from boyhood up. It is interesting from

beginning to end.
Subjects
1. Black Jews.
2. Black Moon.
3. Negro Is Yet A Slave.
4. “Should the Color Line Go?” by Robert Winston, born

at Windsor, North Carolina. Mr. Winston is a leading
lawyer of his native state and was graduated from the
University of North Carolina and received the degree
of LL.D. from Wake Forest College. He was a judge of
the Supreme Court of North Carolina from 1889-1895,
when he resigned. He is a well-known orator and also
an authority on Southern problems. The destruction of
the Children of Israel, the Black Jews, and their many
names as they fade from black to pure white.
5. Will the Black Man Go Back to Africa?
6. The Unjust Treatment to Garvey.
7. Down on the Farm.
8. Defending the Honorable and Graceful Movements of

Dancing.
9. Proper Training.
10. Unveiling the Prince.
11. My First Sermon to the World.

This book will be sold for one dollar to help finance the
work of uplifting fallen humanity.
Kindly tell your neighbors to purchase a book.
All orders will be promptly attended to.
Headquarters: 135 Valley Road, Montclair, New Jersey

Tabernacle
Lafayette Hall, Room 1-2, 165 W. 131st Street, New York City
BISHOP A. W. COOK is
Rabbi Haling Hank Lenht
Tabernacle: Lafayette Hall, Room 1-2
165 West 131st Street, New York City
Headquarters: 135 Valley Road
Montclair, New Jersey
Charter
State of New York
Office of the Secretary of State
Albany, N. Y.
It is hereby certified that the Certificate of Incorporation

of “The Independent Church of God of the Juda Tribe
of Israel: The Black Jews,” with acknowledgment
thereto annexed, was filed and recorded in this office
on the fourth day of January, 1921.
Witness my hand and the seal of

office of the Secretary of State, at
the City of Albany, this 19th day of
March, 1921.
JOHN J. LYONS,
SECRETARY OF STATE.
CERTIFICATE OF INCORPORATION
OF
THE INDEPENDENT CHURCH OF GOD OF THE JUDA TRIBE OF
ISRAEL: THE BLACK JEWS
WHEREAS, we the undersigned, each being of full age, citizens of
the United States, a majority of us being residents of the State of
New York, have associated ourselves together for the purpose of
founding and continuing one or more free churches, therefore
KNOW ALL MEN BY THESE PRESENTS: That we, the
undersigned, each being of full age, and each being a citizen of the
United States and a resident of the State of New York, have mutually
associated ourselves together for the purpose of founding and
continuing a church, do hereby certify and declare that said church is
hereby incorporated, and that:
First: The name of said incorporated church is “The INDEPENDENT
CHURCH OF GOD OF THE JUDA TRIBE OF ISRAEL: THE BLACK
JEWS.”
Second: The principal place of worship of said incorporated church is
the City of New York, in the County of Westchester and the State of
New York.
Third: The purpose for which said church is organized is: (1) to build
up moral character so that more honest men and women may be
found among us who can be trusted in any home or business; (2) to
learn to live loyal to our God, our Country, ourselves and our
fellowmen; (3) to do charitable work among all people; (4) to learn to
refrain from taking part in any unlawful meetings against our country,
or allow such to be held in our churches or halls; (5) to study and
preach the truths found in the Holy Bible and live accordingly; and
(6) to create more love and unity among us and between all races of
men.
Fourth: The trustees who shall manage said incorporated church,
five of whom are persons who are not ministers of the gospel or
priests of any denomination, are seven (7) in number, whose names
and addresses are as follows: Rev. Allan Wilson Cook, 55 North
Broadway, Yonkers, N. Y.; Rev. Alexander Cook, 82 Linden Street,
Yonkers, N. Y.; Dr. David Rudy, 44 Riverdale Avenue, Yonkers, N. Y.;
Tony Benjamin Atkins, 84 Linden Street, Yonkers, N. Y.; Richard T.
Porter, 87 North Broadway, Yonkers, N. Y.; Nathan J. Johnson, 50
Wells Avenue, Yonkers, N. Y.; Mrs. Rosa Wilson Cook, 55 North
Broadway, Yonkers, N. Y.
Fifth: All of the foregoing trustees are citizens of the United States, of
full age, and residents of the State of New York.
Sixth: The term for which said incorporated church is to exist is
perpetual, from and after the date of its incorporation.
Seventh: The said church is incorporated under Article 9, of the
Religious Corporation Law of this State, and its seats and pews shall
be forever free for the use and occupation, during public worship, of
all persons choosing to occupy the same, and no rent, charge or
exaction shall ever be made or demanded for such occupation or
use.
In Witness Whereof, we have hereunto set our hands and affixed our
seals this 11th day of December 1920.
Allan Wilson Cook (L. S.)
Rev. Alexander Cook (L. S.)
Tony Benjamin Atkins (L. S.)
Richard T. Porter (L. S.)
Nathan J. Johnson (L. S.)
David Ruby (L. S.)
Rosa Wilson Cook (L. S.)
Mrs. A. W. Cook (L. S.)
State of New York, }
ss.
County of Westchester }
On this 11th day of December, 1920, before me personally appeared
Allan Wilson Cook, Tony Benjamin Atkins, Alexander Cook, Richard
T. Porter, Nathan J. Johnson, David Rudy and Rosa Wilson Cook,
also known as Mrs. A. W. Cook, each to me known and known to me
to be the individuals described in and who executed the foregoing
certificate of incorporation of The Independent Church of God of the
Juda Tribe of Israel: The Black Jews; with a principal place of
worship at the City of Yonkers, N. Y., and they each for himself and
herself acknowledged to me that they executed the same.
STEPHEN A. BENNETT,
Notary Public,
Westchester County, N. Y.
I hereby approve of the foregoing incorporation of The Independent
Church of God of the Juda Tribe of Israel: The Black Jews, both as
to its expressed objects, and as to its form.
Dated, White Plains, N. Y., December 13, 1920.
WILLIAM P. PLATT,
Justice of the Supreme Court of
New York
State of New York, }
ss.
County of Westchester }
I have compared the preceding with the original Certificate of
Incorporation filed and recommended in this office on the 13th day of
December 1920, and do HEREBY CERTIFY the same to be a
correct transcript therefrom and of the whole of such original.
IN WITNESS WHEREOF, I have hereunto set my hand and affixed
the seal of the office of the County Clerk of the County of
Westchester, this 25th day of August, 1921.
LOUIS N. ELLRODT,
County Clerk of Westchester County
CONSTITUTION
“One God; one aim; one Destiny”;
He created of one blood all nations of men to dwell on the
face of the earth:
We, the Independent Church of God, the Black Jews of the

Judean Tribe of Israel, of the United States, and its Jurisdiction, do
desire every person, members of the Church after having repented
of their sins and being baptized and by burial into water, upon
confession of faith in Christ Jesus, and received the unleaven bread
and water for Christ’s body and blood, and their feet washed by the
Elder as written in John 13; 1:23, having agreed to keep the ten
commandments, and having been breathed upon with a holy kiss
also being taught how to pray as written in Matt. 16; 9:13. We do try
to perpetuate a union among the Black Jews and maintain a
correspondence with all other Churches of God throughout the
United States and the whole world. We, therefore, propose to
maintain and keep the commandments of God and sayings of Jesus
Christ, according to the doctrine of the bible.
ARTICLE 1
Section I.
The district and General Assembly shall be composed of

Bishops, Elders, Evangelists and Deacons, and all
members of the church, who can furnish a credential by
authority from the church shall be entitled to a seat and
also the daughters of Jerusalem shall be represented by
their Sarahs, and Rachels of each tabernacle, and the
Sabbath Schools by their teachers and secretaries of the
tabernacle.
Section II.
The members when thus chosen, when convened, shall

be known as the general assembly of the Black Jews
Church of God. The Bishop or Bishops shall preside at
this assembly. The bible is to be used to settle all
questions. All differences to be settled by Matt. 5:8; 18:24.
The Bishop and all other officers shall continue to hold
their office as long as they maintain sound doctrine and
keep the ten commandments which will in no way permit
them to fulfill the lusts of the flesh. They must walk after
the spirit and not be a Lord over God’s heritage, or infringe
on any of the bible rights of the Churches; but shall be
merely considered as lights of advisory or counsel,
according to their position. All members of the assembly
must respect all bible truths.
Section III.
The Elder of each tabernacle will see that a record be

properly kept, giving a full account of all members
received into the Church, giving date received and when
baptized. In like manner of all sickness, death and
expenses of same. A full account of all money received
and how expended, always giving dates. Likewise must
the daughters of Jerusalem and the Sabbath Schools
keep a record done by them. The Elders will bring with
them, or caused to be sent to each assembly meeting, a
record from the preceding assembly meeting, same to be
signed by the Elders, a teacher and district mother of the
daughters of Jerusalem.
Section IV.
Every church in the United States and Africa shall be

entitled to three delegates from each tabernacle to
represent the church and should any tabernacle be unable
to represent herself with delegates, she shall state the
reason why in her first communication.
Section V.
Whenever a tabernacle is organized anywhere in the

United States it shall be subject to whatever rules the
assembly shall adopt, an Elder or Evangelist shall send a
copy of the names of the members and officers to the
secretary of the Independent Church of God the Black
Jews of the United States, and the secretary shall inform
the Bishop or Bishops of the same.
Section VI.
Each tabernacle shall have one Elder and one Deacon,

and the Elders shall appoint his own assistant. There shall
be three trustees to each tabernacle, their duty shall be to
look for a suitable place in which to hold meetings, and to
see after the money and property in general, count the
money at least every month and let the balances appear
on record.
Section VII.
The district assembly shall endeavor to furnish a copy of

the minutes of all proceedings from every assembly
meeting as soon as they are printed.
Section VIII.
When a question is brought before the assembly by any

tabernacle, it must be in writing and put in an envelope
thus addressed “The Church Communication,” and when it
has been considered and settled upon the word of God
satisfactorily, it must so appear in the minutes.
Section IX.
No Elder shall be allowed to interfere with any tabernacle,

but the one of which he is pastor. If he should interfere,
the Bishop shall silence him for three months except an
acknowledgment be made with the agreement not to be
guilty of the act any more.
Section X.
There shall no officer be removed from his station except

a lawful reason be given and the cause stated in writing.
Any tabernacle desiring to make a change in her pastor
must write to the assembly. In case the assembly is not in
session, the church must write to one of the Bishops.
Section XI.
Every member of each tabernacle shall bring his tithes if

possible on the first day of the week at the close of the
Sabbath, as it is written in, 1 Cor. 16; 1:2. Shall a man rob
God? Mal. 3; 8:10:11, and all the tithes Lev. 27; 20:32,
Jesus said, “If ye are Abraham’s children you will do the
works of Abraham.” St. John 8:39. Don’t forget God’s
tithes if you want to prosper in this life and in the life to
come. For we must support the Gospel from the store
house. Mal. 3; 10, and if you love God you will also love
his cause, and in this way you will help God’s ministers to
preach the gospel to every creature throughout the world.
Instructions to Ministers
All ministers shall follow these instructions when receiving
members into the Church of God; the members about to
be received must first make a confession of faith in the
Lord Jesus Christ, then be baptized by burial into water,
then receive the unleaven bread and water for Christ’s
body and blood, then have their feet washed by the
minister, taught how to pray, then breathed upon the
forehead, then saluted into the church with a holy kiss first
by the Elders and afterwards by the whole church.
Section XII.
We believe that every one that has confessed Jesus

Christ by regeneration of heart, who desires to eat of the
Lord’s body and drink of his blood, has a right to eat at the
Lord’s table. 1 Cor. 11:28, Mark 14:14.
Section XIII.
We believe that it is a sin for the righteous to help the

ungodly, to do anything in the name of the Synagogue of
Satan. Job 8:20, Acts 17; 23:26.
Section XIV.
We believe in the resurrection of the dead, and that none

go to heaven or to burning hell until after the resurrection
and general judgment. Job 13; 14:17, Psalms 115; 17.
Section XV.
The Bishops and Evangelists and the Presbytery when

assembled have the only rights to ordain an Elder.

Reworlding Art History Encounters With Contemporary Southeast Asian Art After 1990 1st Edition Michelle Antoinette

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Reworlding Art History Encounters With Contemporary Southeast Asian Art After 1990 1st Edition Michelle Antoinette

Uploaded by

Copyright:

Available Formats

Reworlding Art History Encounters with

Contemporary Southeast Asian Art

Spaces and Places for Art Making Art Institutions in

The History of Asian Art A Global View 1st Edition De-

Alternative Art and Anthropology Global Encounters 1st

History Culture and Region in Southeast Asian

World Forming and Contemporary Art 1st Edition Jessica

Religion and Contemporary Art 1st Edition Ronald R.

The Routledge Companion to Decolonizing Art History

Southeast Asian Affairs 2020 Malcolm Cook

Amsterdam - New York, NY 2014

ART WORKS NEVER EXIST

Stencilled text presented in the artwork Entry Points of 1978, by

Prologue: Points of Entry xxxv

3 Exhibiting Southeast Asian Difference:

5 Memoryscapes: Present Pasts Revisioned 309

6 Corporeographies: Locating Intimate Spaces of Art 401

Epilogue: Origins, Futures, Becomings 483

I for their support in making this book

Nathalie, Melissa (‘MD’), Sandra, Mar, Antonella, Yolanda, Nsangou, Sally,

1: Redza Piyadasa. Masa Penerimaan – Entry Points, 1978. Acrylic

7: Lani Maestro. a book thick of ocean, 1993. 60

Ruangrupa 2006 Artist in Residency Program. Participants / Artists:

Villette. Photograph: © Quentin Bertoux. Reproduced by courtesy of

49: “Under Construction” exhibition project: “Sorry for the Inconve-

72: Judy Freya Sibayan. Scapular Gallery Nomad, 1997–2002 (Scapular

98: Alfredo & Isabel Aquilizan. In-flight (Project: Another Country),

Yasuko Myer Collection of Contemporary Asian Art. © The artist.

pigments. 400 x 900 x 500 cm. © The artist. Collection: National

133: Bayu Utomo B. Radjikin. Lang Kachang, 1991 (partner sculpture to

158: Suzann Victor. Still Waters (between estrangement & reconcilia-

168: Nindityo Adipurnomo. Beban Eksotika Jawa, 1993. Mixed media,

T HE LANDSCAPE OF CONTEMPORARY S O U T H E A S T A S I A N A R T has

longer on the edge of Asia, but as a constituent part of the ‘Asia-Pacific’. As

T HIS BOOK ENDEAVOURS to flesh out significant beginnings for con-

contemporary Southeast Asian art practice, representation, and reception are

Frames, Axes: Art History’s Temporalities and Spatialities

(Malaysian /Southeast Asian /Nanyang) art histories so as to illuminate and

‘Worlding’ from the Region

Displacement,” in First A S E A N Symposium on Aesthetics: proceedings of Symposium

tices and their histories in an increasingly globalized, even homogenizing, ‘art

The Southeast Asian Regional Frame: A Critical Mapping

(the only non-A S E A N 15 member). Rather, it is an intentionally limited and

Indeed, the need to acknowledge the fluidity of Southeast Asia’s borders

Title: The Independent Church of God of the Juda Tribe of

Author: Allan Wilson Cook

Contributor: Robert W. Winston

Release date: August 11, 2022 [eBook #68729]

Original publication: United States: Lafayette Hall, 1925

Credits: Mary Glenn Krause, Thomas Frost and the Online

*** START OF THE PROJECT GUTENBERG EBOOK THE

2. The charter of the Independent Church of God, the Black Jews

4. It opens up Biblical History and turns the light on the whole

5. And a sketch of his life from boyhood up. It is interesting from

3. Negro Is Yet A Slave.

4. “Should the Color Line Go?” by Robert Winston, born

5. Will the Black Man Go Back to Africa?

6. The Unjust Treatment to Garvey.

7. Down on the Farm.

8. Defending the Honorable and Graceful Movements of

10. Unveiling the Prince.

11. My First Sermon to the World.

Headquarters: 135 Valley Road, Montclair, New Jersey