GALLERY EXHIBITIONS: SOLO SHOW PHYOE KYI: THE OTHER SIDE 5 APRIL 2014 ~ 25 MAY 2014

PHYOE KYI: THE OTHER SIDE Text by Nathalie Johnston

TS1 ’s frst contemporary art exhibition featured work by accomplished artist Phyoe Kyi, a resident of Taunggyi in Shan State and one of few contemporary artists in the country who work with new media such as video, design, and silkscreen. His work reflects part of the energy TS1 wants to embrace in Yangon and Myanmar in general: a devotion to the future possibilities of a place and the artists who look beyond traditional ways of seeing to create innovative responses to the present.

This was Phyoe Kyi’s frst solo exhibition in Yangon since 2001. His work invites the viewer not only into the physical space where his work was displayed, but also into the story of how he came to this place in time. This series I Never Sleep Without takes the viewer from Phyoe Kyi’s own childhood through to adulthood, touching on all the dreams of meditation, envy, greed, sympathy and more. It is a complex journey through the life of artist and nature, mother and son, performance and print. Phyoe Kyi struggled to arrive at this conceptual place: his other side.

The title The Other Side was inspired by a Burmese song about a boy who never chose the right path. Nurtured to be what our elders perceive to be good, we are raised in a nest of perfect moments, meant to make us great. And yet, inside each of us is the uncontrollable desire for the sin: the admiration of what the world around us perceives to be evil. We fnd strength in the villain; inspiration in jealousy; honor in betrayal. We hide these needs and wants while embracing the impulse to belong. Train yourselves PHYOE KYI to understand that right and wrong always come / together. Ask for forgiveness. Find the right moments SILK SCREEN for yourself. And never sleep without... ON SHAN PAPER PHYOE KYI PHYOE KYI / / SILK SCREEN SILK SCREEN ON SHAN PAPER ON SHAN PAPER GROUP SHOW I T ’ S A L O N G W A Y : 7 ARTISTS FROM MYANMAR 30 MAY 2014 ~ 5 JULY 2014

WAI MAR NYUNT / VIDEO INSTALLATION FROM LEFT / L W I N O O M A U N G PAINTING / MAY PHUE THET

INSTALLATION / C H A W E I T H E I N PAINTING IT’S A LONG WAY: The title was chosen after the artists’ concepts were 7 ARTISTS FROM MYANMAR shared. Ko So explores the environmental impact Text by Nathalie Johnston of consumption and Waimar similarly addresses changing cityscapes as it relates to social gatherings; This punctuating phrase can be heard on the streets Chaw Ei Thein paints the struggles of those living on of Yangon. It is a culminating sentiment that has the borders and Zoncy is interested in the conditions origins stretching back into the pages of Myanmar’s of women working in the city; May Phue Thet reveals history. It’s a Long Way is a common English phrase the loss of tradition amongst a young generation; Zar spoken in colloquial conversation amongst the Min Htike and Lwin Oo Maung invite the viewer to people of Myanmar. Exactly where it originated from closely scrutinize the contradictions of political and or when people started using it, no one is able to religious systems, respectively. say one way or another. However, one story helps to place it in context. The artists choose to wade through the reflections on change, whether or not that change is occurring, Simultaneously referencing a colonial past and a and why one might feel trepidation about the future. future infamous for its protests, a children’s story Never exhibited before, their work intimates their describes it best: the story of Myanmar’s most disappointments and expectations. This exhibition famous student Bo Aung Kyaw. He was the frst of is a statement: where Myanmar is now and where it many students to sacrifce his life for his belief in an hopes to go. independent Burma. It was 1938, and Bo Aung Kyaw and his classmates marched to the Secretariat to stage a demonstration against the occupying British Imperial police. Many were beaten by the mounted policemen and several died, including Bo Aung Kyaw. It is said that as the police forces beat the students from atop their horses, they yelled “It’s a long way to independence!” Ten years and World War later, Burma became independent from the United Kingdom.

Myanmar has experienced dozens of transition periods and sure to experience many more. Despite experiencing censorship and numerous limitations, contemporary artwork in Myanmar often explores the largely misunderstood narratives around the country’s history, present circumstances and future challenges. It’s a Long Way reflects these sentiments, but it is not meant to be tragic. Its sentiment is hopeful yet cautious about the long road to stability, ZAR MIN HTIKE equality, and peace. / INSTALLATION L W I N O O M A U N G / PAINTING SOLO SHOW NEW WORKS BY SOE NAING 12 JULY 2014 ~ 5 AUGUST 2014 NEW WORKS BY SOE NAING Text by Nathalie Johnston

TS1 Gallery was proud to host the new works of Soe Naing, an internationally acclaimed painter and respected mentor from Myanmar. After studying under Master painters such as U Lun Gwye and U Aung Myint, he created his own style when he abandoned the standard notions of beauty and pursued his fascination with the irregular, the contorted and the playful.

Art critic Aung Min refers to Soe Naing’s charcters as “quasi-human and animal-like.” Though they may appear unfnished, there is nothing amateur about the artist’s brushstrokes. He has perfected these painted actions for over twenty years. Whether working through clay, acrylic, pen or oil, his quick brush and mature color palette allow his fgures to dance on canvas.

SOE NAING / OIL ON CANVAS SOE NAING SOE NAING / / OIL ON CANVAS OIL ON CANVAS SOLO SHOW AUNG MYINT: 14 A.M. 15 AUGUST 2014 ~ 20 SEPTEMBER 2014 AUNG MYINT: unflinching, and he is often credited with hosting 14 A.M. and participating in the frst exhibitions where this Text by Nathalie Johnston kind of experimentation - performance art, curating, installation - took place. In addition, he never lost Aung Myint is a living legend. Aung Myint played an focus on his own work; that combination of pursuing integral role in the foundation of art in Myanmar and his own style, and all the while uplifting several the transition from a Occidental-influenced Modern generations of other artists, is what helped make Period, to an adaptation of what could now be Myanmar art matter and what makes Aung Myint a considered Contemporary methodology specifc to fgure worth celebrating. the region of Southeast Asia and Myanmar, thereby catapulting Myanmar artists into a self-defning future.

Myanmar’s Modern period brought abstract painting and sculpture, batik, weaving, and the reinvention of Buddhist imagery and symbolism. Art Historian Ma Thanegi writes in an essay titled, A Bridge to the Future, that Aung Myint began to participate in this movement as early as 1969, and made a choice to experiment with different themes. Aung Min, art critic and flmmaker, writes about the styles of painting Aung Myint adopted in his early works, such as Abstract Expressionism, which later led him to several series of paintings, sculptures, conceptual artworks and even performance art.

In 1989, Aung Myint along with San Minn and other artist friends, opened Inya Art Gallery, and changed the course of art in Myanmar forever. Well-known locally and internationally, artists such as Htein Lin, Aye Ko, and Nge Lay all credit Aung Myint as a teacher and inspiration - an older, more experienced artist who encouraged them to try new concepts and challenge traditional ways of creating art. This must have been no easy task, as art education in the country provided limited access to new information, focusing instead on Western portraiture and landscape along with Buddhist temple-painting or the traditional skills of an artisan. AUNG MYINT

Aung Myint moved artists to see the world differently / and challenge the status quo. His support was ACRYLIC ON CANVAS

AUNG MYINT / ACRYLIC ON CANVAS GROUP SHOW THE MIRROR: REFLECTING SOCIETY 26 SEPTEMBER 2014 ~ 31 OCTOBER 2014

MYAT KYAWT

/ INSTALLATION AND PAINTING THE MIRROR: REFLECTING SOCIETY Co-Cureted by Moe Satt Text by Nathalie Johnston

If we hold up a mirror and walk around the city, what kind of images would be reflected in the mirror? I am sure, whatever the images, they would be reflections of our society. Therefore, we decided to title our exhibition “The Mirror: Reflecting Society”. The artwork reflects, or mirrors, the nature of our society. Can we say our society is an “open society” or a “semi-open society?” In any case, we are no longer the “closed society”. In the transition period, a more relaxed condition than before, artists are now more willing to tackle issues around the socio-political that were previously considered untouchable.

In this event we feature four contemporary artists - Myat Kyawt / Zun Ei Phyu / Wahlone and Thurein - who work in painting, sculpture, installation, and paper-cutting.

WAHLONE / ACRYLIC ON CANVAS KAUNG SU: RENOVATIO PLAN Text by Nathalie Johnston SOLO SHOW KAUNG SU: RENOVATIO PLAN The overriding theme of the exhibition was ecological damage. To carry the weight of the message, Kaung 22 NOVEMBER 2014 ~ 1 JANUARY 2015 Su explores the interplay of mass extinction, crisis of post-normal science, climate affairs, and global threats with epic proportions. In the wood painting of “Poor Soil’, the primary motif is devastated farmland. On a mud colored and smoky grey landscape with unborn or dead seeds to confront changing climates; standing wood among in an orange-yellow light gives the sense that the world is still breathing. Human activities are responsible for global deforestation.

“Human Sucks” is an expression of the way Kaung Su confronts the problem of “vanishing wood” because of human impacts on virgin land. The theme moves between two poles: artistic autonomy on broken wooden sign and a linguistic concept. The motif of ‘Rebirth with Wing” is some kind of alarm for the last stand of primitive nature and endangered species. The vision of the work clearly belong to the standing fgure with the limb of a wolf, wood symbols and wings. The cut wood with the wing symbolize the rebirth of nature, which has to fly somewhere between a promised land and a climate free of toxins. Underneath it all is a spiritual philosophy.

KAUNG SU / MIXED MEDIA ON CANVAS KAUNG SU KAUNG SU / / MIXED MEDIA ON CANVAS MIXED MEDIA ON CANVAS GROUP SHOW I’M PROUD: A COLLATERAL EVENT OF THE &PROUD LGBT FILM FESTIVAL 8 NOVEMBER 2015 ~ 18 NOVEMBER 2015 I’M PROUD: Pauk Pauk - a transgender hairdresser who is open where participants were seated in front of a mirror A COLLATERAL EVENT OF THE and in living and working in Yangon. and listened to Baudh’s melodic voice whispering &PROUD LGBT FILM FESTIVAL about how beautiful, and what a marvelous person Text by Co-Curetor Jose Abad Lorente May Phue Thet‘s work “The Burden of Being A you are. Bride” was a hand- embroidered Burmese-style The I Am Proud exhibition followed the &Proud LGBT dress exploring the artist’s concerns about rapidly José Abad Lorente (Spain) showed “Billy and the Film festival concept, which was to demonstrate the changing fashion leaving behind traditional style. In Butterfly” a mixed media work that represents diversity of LGBT lives across Asia. the exhibition context, the dress raised the question “The Butterfly Dream”, one of the fables from the of gender roles and dress among Myanmar people. Daoist Zhuang Zi. The poem is written in Chinese The art exhibition acted as a visual dialogue about It was exhibited between photographs from Hongsar on western gay magazines and the name of Zhuan tolerance, respect and acceptance for the LGBT Wadee, a participant in the &Proud LGBT Photo Zhou is changed for Billy, Jose’s partner’s name: community by wider society. The conversation Competition in May 2014, of the ever frst same sex “Once upon a time, Billy dreamed he was a butterfly, started from the collaborative efforts between marriage celebration in Myanmar. a butterfly flitting about happily enjoying himself. He Nathalie Johnston (TS1 Gallery curator) and artist/ did not know that he was Billy. Suddenly he awoke, curator Jose Abad Lorente. The different views, Zar Min Htike’s selected paintings “In Front Of The and was palpably Billy. He did not know whether he sexual identities and experiences of the two curators Throne” and “In Front Of The Mirror” were about was Billy, who had dreamed of being a butterfly, or a formed the point of departure. fears, ghosts and haunting experiences. Between butterfly dreaming that he was Billy.” these two ghostly, colourful and satirical paintings The collaborative process began with TS1 Gallery was placed Min Thwe Aung’s photographic portrait Together Baudh and Abad presented “Yo no soy opening their doors to the LGBT community to host of two young men kissing in a public park. The el / I am not him” a work which searches for a self the exhibition. As curators we brought together juxtaposition refuted the surreal fears depicted in the through denial. Denial here (I am not) is a tool for artists from Myanmar and beyond, to bring into paintings and suggested what could be possible in unwrapping, undressing and looking at oneself. conversation LGBT topics, lifestyles and gender and out the closet. The photographic performance is around issues of roles. The exhibition mixed queer and non-queer marginalized individuals and communities. artists projecting an understanding of a society Other invited artists included Ko Latt, one of the few moving towards openness and tolerance. Myanmar artists who openly addresses queer issues and sexual politics in his work. The works shown As Nathalie Johnson says “The artists represented here were the fnal outcome of a year’s scholarship in by TS1 Gallery in the I’m Proud exhibition do not Zurich. In two photographs, he portrayed himself as directly address LGBT issues, but they do begin a an edible body, creating metaphors about food, desire conversation about how we regard the human spirit and pleasure. In a video installation, he is eating an and its placement by society in assigned masculine apple in various ways with chopsticks, knife and fork or feminine roles. This in turn has a profound and hands, representing cultural differences. The effect on the development of LGBT rights and the exhibition also included work painted in Yangon soon development of Queer theory. Myanmar is entering a after the year study in Zurich. In this mixed media new era, and artistic practice addressing such issues painting he painted Andy Warhol in a double fgure is integral to the development and discussion.” and dressed as clowns. This interpretation is how he feels Myanmar people looks at the LGBT community Works represented by TS1 Gallery included as clowns, comedians and spirit mediums. photographs of performance artist Ma Ei where her face is covered with red ribbons hiding her identity, International artist Sumit Baudh () presented placed alongside reportage by Vincenzo Floramo of “FLTR…You Are” an interactive sound installation FROM LEFT / SUMIT BAUDH

MIXED MEDIA ON CANVAS / JOSE ABAND LORENTE MIXED MEDIA ON CANVAS ARCHIVAL SHOW THE FIFTIES: MUTED CONSCIOUSNESS 21 JANUARY 2014 ~ 1 FEBRUARY 2015 THE FIFTIES: inspiration, the possibility to rewrite collective history MUTED CONSCIOUSNESS through personal memories, freedom of arts in the Text by Co-Curetor Kalman Borbala 1950s, and so many more topics. The more details explored, the more possible to see the evolution of The idea to create the exhibition Muted Burmese art history unfold. Consciousness, organized in January 2015 at TS1 Yangon, emerged from the simple intention to share the signifcance that an archive can be a window into A short background story of the ‘real’ outcome of the present and the future of an emerging art scene; this exhibition: during the days when the curators to manifest the advantage of letting vintage material were installing the exhibition, two kids around 6 ‘breathe’ in a white cube space – quite unusual in and 8, living probably somewhere around the jetty, Yangon – in order to emphasize the history and the enjoyed coming in and out the space playing the memories everyday objects can carry; to curate a fools, running around, climbing on ladders and show where old photographs, original artist copies of rolling on the floor, laughing their heads off about advertisements and posters, antique furniture may how wild they could be. After a few rounds and a earn a new life and meaning when brought together few occasions, they were reminded not to touch the with art works of the same epoch; to draw a specifc surface of the paintings while eating their samosas. picture of an outstanding era uncovering a side of it This caused them to look more closely. They were invisible, until now. curious of the ‘forbidden’. They began to spend long minutes looking at the photographs, mistaking some The show was meant to revive an important decade women with Aung San Suu Kyi, probably one of the of Burmese art and design history through the ‘eyes’ only portraits they knew. They told stories about the of only one collection: the Pansodan Gallery Archives. scenes they discovered. They carefully inspected For decades, its owner, Aung Soe Min, collected a wide each piece displayed. The next day, one of them spectrum of arts, objects and documents with varied brought two friends and showed them around and dates. Within this material, even the smallest movie told them about his exploration. The same afternoon, flyer or simplest regional map gains a different status the other came back with some of his own buddies. when embedded in an adequate context. Hence, Who knows when they will encounter this type of through the exhibition, a specifcally assembled art again, but surely this short event contributed to group of objects revealed hidden senses of an change, even the smallest part of, their vision of the almost forgotten time, as well as new approaches world and gave them a colourful experience, one helping to understand the visual history of a country from beyond the jetty and which will stay with them so long out of touch of the international art scene. forever. By confronting early still-lifes of Bagyi Aung Soe, with his late black and red drawings, or authentic traditional magazine covers with surrealist vintage amateur photographs, the exhibition presented different layers of a same period and brought back to the surface some buried aspects of Burmese art. Muted Consciousness allowed visitors to dive into a chapter of arts so rarely researched and unravel its content. It raised questions about sources of