Nguyen Trinh Thi’s “Fifth Cinema” imagines a new kind of film for people between bordered nations who defy neat dichotomies.
The crashes of an automatic gong become a dire melody and meditation on the horrors and loss defining the Anthropocene.
While the majority of the artists of Patani Semasa deal with the contentious politics of the region, they don’t propose solutions, or lean on simplistic answers.
An exhibition in Chiang Mai, Thailand contends with the pain and despair of life washed in economic disparity, genocide, war, and the complexities of nationhood.
Tith Kanitha is known for her sculptures of steel wire that read like artifacts from some forgotten, ancient civilization, but she also stages performances and works in film.
After a Thai mogul was arrested for allegedly hunting in a wildlife sanctuary, artists started painting panther murals to keep the story in the public consciousness.
Connecting the humanities — especially the arts — with current scientific research relating to ecology and non-human life is direly needed.
Albert Samreth examines the fading legacy of New Khmer Architecture, which wanted to represent recently independent Cambodia as authentically Khmer, but also legibly modern.
In Vietnam, networks of artist friends have built thriving communities of discourse and collaboration outside official structures.
Weng-Choy Lee, president of the Singapore section of the International Association of Art Critics, discusses the country’s complexities, the evils of capitalism, and the relevance of Foucault.
If art is to be relevant to the environment, it needs to move beyond an art context to engage with the land itself.
In John Gerrard’s new series, he digitally renders polluted bodies of water from around the world.