PUBLISHED January 20th, 2014 03:54 am | UPDATED May 9th, 2018 03:13 am
Presenting a slice of diversity in Lao art today, We are Lao! is a bold declaration by seven emerging artists, responding to changing social and economic conditions. It speaks of their claims of identity tied strongly to the self, tradition, and ethnicity.
The exhibition introduces the first video works produced in Laos. Time Never Comes Back (2011) by Souliya Phoumivong underlines the anxiety and anticipation of a young Lao artist who had just graduated from the School of Fine Arts. It speaks of the disquiet of the young generation where understandably, the future has yet to be written. The work is complemented by a series of oneminute videos, a recent collaborative work between Souliya and his students. Scream from the Wild (2007) is an earlier work by Bounpaul Phothyzan that questions the extent of destruction and irreversible damages that the environment must sustain for the sake of economic progress and improved quality of life.
Ole Viravong Scovill investigates the self in She’s Gone (2012). She attempts to remove the persona shaped by her upbringing and social dictates. The violent process of erasure ‘wiping’ away the cosmetics applied on her face is deliberate, to draw attention to the vulnerability and pain accompanying the introspection. Even then, the title begs the question as to how much of her true self can she really expose and at the same time be accepted by the highly conservative Lao society.
The exhibition also presents familiar names – Marisa Darasavath, Mick Saylom, Sivilay Souvannasing – but offers to examine their works against the theme of identity. Mick Saylom ventures into the realm of humour to deal with difficult issues and concerns. Three works based on Lao idioms – The Coconut, Basket Ball and Putting on Cosmetics (2013) – take their cue from local subjects and yet, hold universal truths in human behaviour. A prolific painter, Marisa Darasavath goes beyond decorating the canvas with an explosion of colours and efficaciously integrated elements of Lao culture and heritage into contemporary painting practice. Sivilay Souvannasing, a painter of Hmong Culture, documents a way of life, which is being transformed by economic development. Also featured is painter Somphet Chanthala whose subjects give an indication of changing times.
We are Lao! attempts to give a sense of anticipation that can be felt in the art scene in Laos. These emerging artists, the present generation of teachers and mentors, signal the possibilities for further development of artistic practice in the country as well as artistic changes to be fostered.