The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

These paintings are replicas of the 'Siamese Smile'. It's a kind of smile that has evolved from the original. A smile without much substance. A smile without meaning. An ugly smile. A smile that ignores the poor, the rich and the ruined environment. It's a deceptive smile. These paintings aren't very good reproduction. The real ones are much more heart-rending. Note: These are only reproductions. For your own sake, please don't imitate. If you have any questions, consult a monk. RAJA Shahriman Raja Aziddin The role of sharp objects was originally to meet the need and simplify the work processes in life; now it is misinter– preted as a destructive object and is condemned as a weapon. The creation of the weapon has widened to meet the growing need due to its increased usage. The increased destructive nature of man is obvious; man who uses the weapon as a means to achieve his objectives. The tool that motivates man to do good or to destroy is in actuality his own mind which in turn is driven by good or bad intentions. The human anatomy merely functions as soldier to carry out orders to destroy or to preserve peace and harmony. Navin RAWANCHAIKUL A Dialogue With Oneself is a work I would like to create with the purpose of hopefully changing the habit of people in terms of what they expect when looking at a piece of art. It is also directed towards so called admirers, who search for a particular meaning while looking at art. In reference to this work I would like those admirers to observe the chosen objects for what they actually are. Do not question the meaning or search for different meanings in an art work ... When facing objects we are familiar with, such as an egg, we acknowledge this instantly, without any doubt, as being an egg. We accept as a consensus to call this an egg, using man-made language. From the outside, through other senses, we see and acknowledge the shape of it and together with our memory and experience we determine its value and its meaning. All this gives rise to a 'mental appearance' that is in constant dispute and related with the object's 'physical appearance'. Jose Tence RUIZ The Pabitin is a festive event. A bamboo grid, suspended at least 8 feet above– ground from makeshift scaffolding and dangling on a pulley by means of a strong rope, is festooned with plastic, wooden and papier-mache toys, candies, bisquits and sweetbreads. Children normally play this game by standing under the 1-metre square grid. The grid, with all its bait, is lowered to just above their reach, then abruptly pulled up causing the children to jump in an attempt to grab some of the goodies there attached by thin strings. The process is repeated continuously with variations to the lowering and raising meant to further agitate participants into leapfrog frenzy. An adult or teenager is usually tasked with the lowering and raising ... The Pabitin is a stylistic cousin of the Mexican Pinata, and is redolent with readings about ambition, aspiration, colonialism, migration, treachery and manipulation and the sheer grit of physically exerting to attain a goal. I will use mechanics parallel to the actual festive practice as well as the visual splendour of 25-30 varied personal reflections and a matching grid. I will ask strangers to make a leap, not without a reward. I hope for fun and insight, unlikely as this pair may seem. Hasnul Jamal SAIDDN The intrinsic significance of certain values within the mental and spiritual structures of my native society are constantly being challenged by the rapid growth of media and information technology. The seemingly democratis– ing nature of the information technology may be highly deceptive indeed. The fragmented and marginalised presence of certain traditional and spiritual values has been greatly felt by those who still stand on a holistic view of life. The trivialisation and inconsiderate capitalisation of almost all aspects of life including nature are not in agreement with most of the values that I inherit from my tradition. The society, in its most beautiful form, stands on a very integral presence of visual and acoustic environment. It acknowledges the position of humans as the trustees who are supposed to maintain balance and peace between all created beings. Can technology be made compatible with such a spiritual maintenance? This question demands critical knowledge, understanding, proficiency, experience and awareness of spirituality as well as high technologies. SANGGAWA It [SANGGAWA] seeks to address a Filipino audience which has grown wary of politics. Its work talks about the dilemmas of Pinoy [Filipino] life without taking away the local colour and flavour, and more importantly, the humour ... Religion and entertainment then became the prevalent theme for the works that followed. Whatever was happening in Manila back in 1994 and early 1995-the Miss Universe brouhaha; the Pope's recordbreaking crowd on his second visit; the EDSA anniversary celebration which preceded a fraud- laden election; the rise to power of Mike Velarde's El Shaddai, a religious organisation that says liking money is not at all a sin; and through it all sin, sin and more Sin with the good Cardinal hogging the political limelight as usual-these events became fodder for more gawang editoryal (editorial artworks). The murals intend to hold up a mirror to Philippine society, asking the people to confront and laugh at their demigods, that they may discover their real voice from within. Nilima SHEIKH I have claimed for myself a lineage that engages with 'tradition' and history -a lineage born of pre-Independence Indian nationalism but fostered in a climate of 'progressive' internationalism and Asian bonding. Entering the art world in the late sixties I learnt from my guru K. G. Subramanyan of the polyvalence and plurality of art practice, of the interdependence of plastic and other arts, of a non– hierarchical interweave of craft and folk practice with art, and of the linguistic structures of different systems of painting, their surface and form, mediated by the societal and anthropological contexts. From my mentor Gulammohammed Sheikh I learnt to share his passionate relationship with the art of the world and their histories, and to look for the 'alternative'-in modes of perception hence visual structures and the narrativisation of time and space– outside the inevitability of linearity, in the eclectic, and the multiple. The birth of my children changed my life and world-view as nothing else had, precipitating a recognition of my femininity and of intimacy as a structural principle of my new life. And I looked to alternative readings of the painting traditions-of Asia, particularly -to transcribe this cognisance into my work. Marintan SIRAIT Menbangun rumah (Building a house) the land is invisible enter .......... you hear me? is that your pulse? how far does it go? find the windows .......... validate the land over, under, amongst, up and down smell the sky distant shorten facing the ground with my breath I built the house the land is wet exploring the corners spread the lanterns could you see the world above also the one under in the middle we found ourselves speaking in tongues the land is round tremors in the chest cavity warmth, moist, smoke, flicker, fever, flood, flow, drain the land is disowned wide open windows dust finding ways to the sky entering the earth speaking in different languages with every body with every one Vivan SUNDARAM The boat has a new avatar at Brisbane, marking the culmination of many voyages. The archaeological find has been salvaged from the depths of the dark ocean to now lie on the land. The object presented as museum artefact has signs and marks of conquest and adventure. In what category this reconstructed object can be placed, is intentionally blurred. The container is a vessel (hauling cargo) but it can also be described as a mysterious mammal (with a voice). Marooned and dysfunctional, this vessel/mammal is placed ceremoniously. For every act of retrieval is followed by the need to revive a memory, resuscitate the body, to look into the belly of the whale or the great (mother) boat ... Depending from what point of view you look at it, this is an object for embarkation, its shingled structure made for rough weather; but it is also a shelter, lined with melody. The act of circumambulation eases out the memory, circulates desire. As the viewer departs from this liminal space, the carrier is left behind, the sound remains in the body. AgusSUWAGE Human, as a creature with the highest intelligence, is a predator with the greatest potential towards others or nature or animal. • Expert knowledge is used as the tool of deception ... Intelligence is worshipped in order to lessen the meaning of the deepest feeling of the heart. • Human being is the 'Sun king' for himself, where he is a creature free to express himself, his rights, and his creativities. • For me myself, to create a work of art is a medicine for a sick soul. Kind of a self-therapy. It will be better, and will be even better again, if these works of art have the opportunity to give a splash of inspiration to all human beings. Jakapan VILASINEEKUL Hope seller is similar to Cleaner. The feeling of uselessness is still the main idea but the condition of the work is changed from one status to another. The idea comes to me as I see a man with an artificial leg on the street selling lotteries. There are many of them in the Bangkok Metropolitan area. To buy a lottery is a kind of gambling. One can win or lose. It is an unreliable activity. Should there be a hope for the seller, 'The handicaps'? This issue has raised a question of hope to me. In this particular work, I set up a stand as a real selling stand. The cement cast legs hanging down are like pieces of meat that are ready for sale in the Thai fresh market and the top of those legs appearing through the top of the stand look as if they are meaningless souvenirs.