The Ninth Asia Pacific Triennial of Contemporary Art

201 ESSAYS 24 Kathy Jetñil-Kijiner, ‘“Butterfly Thief” and the complex narratives of disappearing islands’, Kathy Jetñil-Kijiner , <https://www.kathyjetnilkijiner . com/butterfly-thief-and-complex-narratives-of-disappearing-islands/>, viewed January 2018. 25 Boedi Widjaja’s Black—Hut, Black—Hut 2108 is a co-commission with Singapore Art Museum as a project for Singapore Biennale 2019. 26 Florina H Capistrano-Baker, ‘Whither art history in the non-Western world: Exploring the other(‘s) art histories’, Art Bulletin , vol.97, no.3, September 2015, pp.246–57. 27 For example, Ly Hoàng Ly accentuates the bodily and cultural affect of the severing of personal associations of home and culture, while Nguy n Trinh Thi’s film engages with the question of the possibility of indigenous filmmaking in Vietnam. June Yap has recently explored the important paradigm of artists engaging with their history; see June Yap, Retrospective: A Historiographical Aesthetic in Contemporary Singapore and Malaysia , Lexington Books, London, 2016. 28 Donna Haraway is perhaps best known for her provocations regarding our relationships with the earth and its inhabitants; see Donna Haraway, Staying with the Trouble, Making Kin in the Chthulucene , Duke University Press, Durham, NC, 2016. Other writers from the region are equally provocative; see Amitav Ghosh, The Great Derangement, Climate Change and the Unthinkable , University of Chicago Press, Chicago, 2016. 29 Patrick D Flores, ‘Art history and the global challenge: A critical perspective’, Artl@s Bulletin , vol.6, no.1, 2017, article 6; and Kapur, ‘Proposition Avant-Garde: A view from the south’.