Art Beyond the Map

Reading time: 3 min

We all know that data, rendered effectively, can be art.  Art is usually less empirical, so what it tells you about a person or place can’t always be measured. No Country: Contemporary Art for South and Southeast Asia, which ended its run at the Guggenheim this week, attempts to convey information about those regions beyond the sheer numbers of its history. 

Vincent Leong Keeping Up With the Abdullahs 1, 2012 Digital chromogenic print in artist's frame, 65 x 99 cm, edition 2/8 Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund © Vincent Leong Photo: Kristopher McKay © Solomon R. Guggenheim Museum, New York
In the Guggenheim’s first UBS MAP Global Art Initiative exhibition, artists from Bangladesh, India, Indonesia, Malaysia, Myanmar, Pakistan, the Philippines, Singapore, Thailand, and Vietnam deliver nuanced approaches to their complicated histories and contemporary realities. Shilpa Gupta’s “1:14.9” perhaps best illustrates the strange joining of data and art. The work is a hand-wound ball made of 79.55 miles of thread, which represents, in a 1:14.9 ratio, the 1185-mile fenced border between India and Pakistan. It’s an abstracted number wound into something meaningful: a reminder of the families split and borders created after British rule, as well as the continual divisiveness of a line.
Poklong Anading Counter Acts, 2004 (production detail) Chromogenic transparency in light box, 228.6 x 365.8 cm, edition 3/3 Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund © Poklong Anading Photo: Courtesy the artist
Having been colonized by both the United States and Spain, as well as tracing ancestry from around the region, The Philippines have a varied population with complicated identities. “Counter Acts,” by Poklong Anading, highlights Filipinos’ search for identity amid varied backgrounds and allegiances by having his subjects obscure their identities with circular mirrors placed in front of their faces. The viewer is less sure than the viewed, making identity severely personal. 
Navin Rawanchaikul Places of Rebirth, 2009 Acrylic on canvas, 220 x 720 cm Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund © Navin Rawanchaikul and Navin Production Co. Ltd. Photo: Courtesy the artist
Navin Rawanchaikul investigates Pakistan, the birthplace of the Thai artist’s ancestors, in “Places of Rebirth,” a mural that looks Bollywood-type movie poster. It humorously examines about the politics that made his family leave as well as the historical and present relationship between the Pakistan and Thailand.

Television Commercial For Communism – The Commercial from TPG on Vimeo.

The Propeller Group Television Commercial for Communism, 2011-12 Color video, with sound, 1 min., edition 1/5 Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund © The Propeller Group

In a fanciful, yet believable, take on how communism could look, The Propeller Group had an advertising company create a TV commercial to rebrand communism among the remaining five communist nations. It’s an idealic view of a much-maligned governance and certainly a departure from old perceptions. The entire exhibition, through its very personal and divergent expressions by South and Southeast Asian artists, is a reminder that there is much more to history than its numbers. Data tells a story, but it’s only a vehicle to understanding a more human one. Behind every statistic is a person affected, and every border, a person who has to cross. The exhibition will show again in Hong Kong this fall. No Country: Contemporary Art for South and Southeast Asia  Asia Society Hong Kong Center October 2013-February 2014 Rani Molla has a digital media master’s degree from Columbia Journalism School. She’s a journalism reader, writer, photographer, videographer, data visualizer and general doer. Follow her on Twitter.

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