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Southeast Asia at the Venice Biennale

The Venice Biennale returns this year after a pandemic-induced postponement. The 59th edition of the world's oldest and largest art biennale will run from 23 April to 27 November 2022, with Cecilia Alemani helming the curated International Art Exhibition titled "The Milk of Dreams". ART SG looks back at some highlights from previous editions of the Biennale, featuring art and artists from Singapore and Southeast Asia.

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‘Islandwide Coverage’ is a roving project that looks at the circulation of bodies and data, and explores the possibilities of getting lost in an age of conveniences and mobility. Anchored by a large graphic print by AWKNDAFFR on the hoardings around the Singapore Art Museum, ‘Islandwide Coverage’ will activate various vantage points across the island, presenting works by several artists and creatives. Brought together through a large-scale vinyl print by AWKNDAFFR on the hoardings around the Singapore Art Museum’s building on 71 Bras Basah Road, ‘Islandwide Coverage’ is a multi-site, multi-authored project that investigates the circulation of bodies and data and explores the possibilities of getting lost in an age of conveniences and mobility. The project activates various vantage points across the island and presents works by Areumnari Ee, Extended Asia, ila and Ang Kia Yee, and Ranu Mukherjee. The project is also staged as exhibition consisting of a series of trailers and work- in-progress materials such as photographs and sketches of the presented works that will move across regional libraries in Singapore’s heartland during the period of the Biennale. AWKNDAFFR (initiated in 2018) is an artistic operation situated at the intersection of art, theory and praxis. The operative logic of AWKNDAFFR revolves around relationality, agency and cooperation between peoples and practices, through different modes of gathering. AWKNDAFFR was initiated by Wayne WJ. Lim and Soh Kay Min.
‘Islandwide Coverage’ is a roving project that looks at the circulation of bodies and data, and explores the possibilities of getting lost in an age of conveniences and mobility. Anchored by a large graphic print by AWKNDAFFR on the hoardings around the Singapore Art Museum, ‘Islandwide Coverage’ will activate various vantage points across the island, presenting works by several artists and creatives. Brought together through a large-scale vinyl print by AWKNDAFFR on the hoardings around the Singapore Art Museum’s building on 71 Bras Basah Road, ‘Islandwide Coverage’ is a multi-site, multi-authored project that investigates the circulation of bodies and data and explores the possibilities of getting lost in an age of conveniences and mobility. The project activates various vantage points across the island and presents works by Areumnari Ee, Extended Asia, ila and Ang Kia Yee, and Ranu Mukherjee. The project is also staged as exhibition consisting of a series of trailers and work- in-progress materials such as photographs and sketches of the presented works that will move across regional libraries in Singapore’s heartland during the period of the Biennale. AWKNDAFFR (initiated in 2018) is an artistic operation situated at the intersection of art, theory and praxis. The operative logic of AWKNDAFFR revolves around relationality, agency and cooperation between peoples and practices, through different modes of gathering. AWKNDAFFR was initiated by Wayne WJ. Lim and Soh Kay Min.
Manit Sriwanichpoom at Thailand’s inaugural Pavilion in 2003. Pink Man at the Venice Biennale, 2003, Manit Sriwanichpoom. Image courtesy of the artist.
Manit Sriwanichpoom at Thailand’s inaugural Pavilion in 2003. Pink Man at the Venice Biennale, 2003, Manit Sriwanichpoom. Image courtesy of the artist.
Manit Sriwanichpoom at Thailand’s inaugural Pavilion in 2003. Exhibition View of 'Hungry Ghost', 2003, Manit Sriwanichpoom. Image courtesy of the artist.
Manit Sriwanichpoom at Thailand’s inaugural Pavilion in 2003. Exhibition View of 'Hungry Ghost', 2003, Manit Sriwanichpoom. Image courtesy of the artist.
'In Love for the Mood', 3 channel video installation, Ming Wong, the Singapore Pavilion at Venice in 2009. Wong’s presentation was awarded a Special Mention. Image by Melanie Choi. Image courtesy of the National Arts Council.
'In Love for the Mood', 3 channel video installation, Ming Wong, the Singapore Pavilion at Venice in 2009. Wong’s presentation was awarded a Special Mention. Image by Melanie Choi. Image courtesy of the National Arts Council.
'Paradiso di Navin', Navin Rawanchaikul’s immersive presentation for the Thai Pavilion at the Venice Biennale in 2011. Image Courtesy of the European Council of Art (Concilio Europeo dell’Arte).
'Paradiso di Navin', Navin Rawanchaikul’s immersive presentation for the Thai Pavilion at the Venice Biennale in 2011. Image Courtesy of the European Council of Art (Concilio Europeo dell’Arte).
The return of the Indonesian Pavilion, titled “Sakti”, at the Venice Biennale 2013 after an absence of 8 years. Featuring works by participating artists, Albert Yonathan Setyawan, Entang Wiharso, Titarubi, Eko Nugroho.
The return of the Indonesian Pavilion, titled “Sakti”, at the Venice Biennale 2013 after an absence of 8 years. Featuring works by participating artists, Albert Yonathan Setyawan, Entang Wiharso, Titarubi, Eko Nugroho.
Arin Rungjang’s 'Golden Teardrop' at the Thai Pavilion in 2013. Image courtesy of the artist.
Arin Rungjang’s 'Golden Teardrop' at the Thai Pavilion in 2013. Image courtesy of the artist.
Tiffany Chung at the 2015 Venice Biennale, “All The World’s Futures” curated by Okwui Enwezor. Tiffany Chung, ‘Syrian Project’ (2011–15), drawings.
Tiffany Chung at the 2015 Venice Biennale, “All The World’s Futures” curated by Okwui Enwezor. Tiffany Chung, ‘Syrian Project’ (2011–15), drawings.
Heri Dono’s 'Voyage – Trokomod' at the Indonesian Pavilion, 2015. Image by Luciano Romano.
Heri Dono’s 'Voyage – Trokomod' at the Indonesian Pavilion, 2015. Image by Luciano Romano.
Heri Dono’s 'Voyage – Trokomod' at the Indonesian Pavilion, 2015. Image by Luciano Romano.
Heri Dono’s 'Voyage – Trokomod' at the Indonesian Pavilion, 2015. Image by Luciano Romano.
The artist Jose Tence Ruiz with his massive installation, Shoal, Jose Tence Ruiz in collaboration with Danilo Ilag-Ilag and Jeremy Guiab et al, 2015. Shown at the Philippines Pavilion in 2015. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
The artist Jose Tence Ruiz with his massive installation, Shoal, Jose Tence Ruiz in collaboration with Danilo Ilag-Ilag and Jeremy Guiab et al, 2015. Shown at the Philippines Pavilion in 2015. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Details of Shoal, Jose Tence Ruiz in collaboration with Danilo Ilag-Ilag and Jeremy Guiab et al., 2015. Shown at the Philippines Pavilion in 2015. The collective presentation was titled “Tie a String Around the World” and curated by Patrick Flores. Photo by MM Yu, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Details of Shoal, Jose Tence Ruiz in collaboration with Danilo Ilag-Ilag and Jeremy Guiab et al., 2015. Shown at the Philippines Pavilion in 2015. The collective presentation was titled “Tie a String Around the World” and curated by Patrick Flores. Photo by MM Yu, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Zai Kuning at the Singapore Pavilion, 2017. Artist Zai Kuning represents Singapore at the 57th Venice Biennale. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. Artist Zai Kuning represents Singapore at the 57th Venice Biennale. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning at the Singapore Pavilion in the Arsenale. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning at the Singapore Pavilion in the Arsenale. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. A visitor to the Singapore Pavilion looking at the 17-metres long ship central to the exhibition titled 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. A visitor to the Singapore Pavilion looking at the 17-metres long ship central to the exhibition titled 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. A closer look at the books sealed in beeswax that form part of the exhibition titled 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning. Image courtesy of the National Arts Council.
Zai Kuning at the Singapore Pavilion, 2017. A closer look at the books sealed in beeswax that form part of the exhibition titled 'Dapunta Hyang Transmission of Knowledge' by Zai Kuning. Image courtesy of the National Arts Council.
Lani Maestro and Manuel Ocampo at the Philippine Pavilion in 2017. Images of Lani Maestro's neon works 'No Pain Like This Body' and 'these Hands', and meronmeron benches. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Lani Maestro and Manuel Ocampo at the Philippine Pavilion in 2017. Images of Lani Maestro's neon works 'No Pain Like This Body' and 'these Hands', and meronmeron benches. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Lani Maestro and Manuel Ocampo at the Philippine Pavilion in 2017. Lani Maestro's 'these Hands' and Manuel Ocampo's 'Torta Imperiales'. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Lani Maestro and Manuel Ocampo at the Philippine Pavilion in 2017. Lani Maestro's 'these Hands' and Manuel Ocampo's 'Torta Imperiales'. Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. H.H. Lim 'Timeframes'. Mixed media installation Variable dimensions 2019. Image courtesy of Zoo Zone Art Forum
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. H.H. Lim 'Timeframes'. Mixed media installation Variable dimensions 2019. Image courtesy of Zoo Zone Art Forum
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. Zulkifli Yusoff, 'Kebun Pak Awang', Wood, Resin, Aluminium, Acrylic Variable dimensions 2010 Image courtesy of the artist.
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. Zulkifli Yusoff, 'Kebun Pak Awang', Wood, Resin, Aluminium, Acrylic Variable dimensions 2010 Image courtesy of the artist.
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. Anurendra Jegadeva, 'Yesterday, in a Padded Room' (2015); PVC cushions with printed and painted canvas, 2 painted thrones with perspex boxes, painted inserts and LED lights, printed floor covering on wood; Variable dimensions; Image courtesy of the artist.
“Holding Up A Mirror”, the first Malaysian Pavilion at the Venice Biennale in 2019. Anurendra Jegadeva, 'Yesterday, in a Padded Room' (2015); PVC cushions with printed and painted canvas, 2 painted thrones with perspex boxes, painted inserts and LED lights, printed floor covering on wood; Variable dimensions; Image courtesy of the artist.
Danh Vo at the 58th Venice Biennale 2019, titled “May You Live In Interesting Times” and curated by Ralph Rugoff. Danh Vo, Installation of several works and artefacts by different authors. 2019. Photo by Haupt & Binder.
Danh Vo at the 58th Venice Biennale 2019, titled “May You Live In Interesting Times” and curated by Ralph Rugoff. Danh Vo, Installation of several works and artefacts by different authors. 2019. Photo by Haupt & Binder.
Mark Justiniani at the Philippine Pavilion in 2019. 'Arkipelago', Mark Justiniani, 2019, Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Mark Justiniani at the Philippine Pavilion in 2019. 'Arkipelago', Mark Justiniani, 2019, Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Mark Justiniani at the Philippine Pavilion in 2019. 'Arkipelago', Mark Justiniani, 2019, Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).
Mark Justiniani at the Philippine Pavilion in 2019. 'Arkipelago', Mark Justiniani, 2019, Photos by Andrea D'Altoé, courtesy of the Philippine Arts in Venice Biennale (PAVB).

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ABOUT THE AUTHOR: TAN SIULI

Tan Siuli is an independent curator with over a decade of experience encompassing the research, presentation and commissioning of contemporary art from Southeast Asia. Major exhibition projects include two editions of the Singapore Biennale (2013 and 2016), inter-institutional traveling exhibitions, as well as mentoring and commissioning platforms such as the President’s Young Talents exhibition series. She has also lectured on Museum-based learning and Southeast Asian art history at institutes of higher learning in Singapore. Her recent speaking engagements include presentations on Southeast Asian contemporary art at Frieze Academy London and Bloomberg’s Brilliant Ideas series.

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