Regionality and contemporaneity
Bibliographic Data
| ID | 13036148 |
|---|---|
| Authors | David Teh (0000-0003-3131-964X, National University of Singapore, corresponding author) |
| Year | 2020 |
| Volume | 10 |
| Issue | 2-3 |
| Pages | 351-370 |
| Publication date | 2020-09-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | World Art (JOURNAL) |
| Journal identifiers | ISSN: 2150-0894 • E-ISSN: 2150-0908 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/21500894.2020.1802331 |
| OpenAlex | W3104335649 |
| Language | EN |
| Citations received | 2 |
| References cited | 17 |
In the last two decades, Southeast Asian contemporary art has secured its place in the global art world, becoming a fixture on the latter’s expanded exhibition circuits and a promising ‘emerging market’ for investors. This consolidation has engendered a burst of scholarly activity, in line with the improving prospects of Asian art history generally and notwithstanding a lack of dedicated academic structures where the region is concerned. But if Southeast Asia has firmed as a framework for organising contemporary art, it has not been favoured as a basis for interpreting or historicising it. As knowledge production in the region has surged, regionalism has waned. In this article, I review the historiography of Southeast Asian contemporary art to reveal a discontinuity between its pioneers, who were regionalists, and a new historicism whose premises are basically nationalist. Reflexive consciousness of region – and of contemporaneity as a regional phenomenon – is advanced as an under-utilised interpretive device and a bulwark against hegemonic and monolithic art histories
Asian Studies and History · Computer Science · History · Philippine History and Culture · Southeast Asian Sociopolitical Studies
| Citations per year | 0.4 |
|---|---|
| Citation span | 2021 - 2025 (5) |
| Highly cited | No |