Censorship in Cambodia is often tied to upholding a certain image of the country. Reaksmey Yean highlights how this sort of action can come both from the authorities as well as citizens.
Sa isang masaklaw at pangkasaysayang pagsusuri ng sensura sa Pilipinas, mula kay Marcos (Senior) hanggang kay Marcos (Junior), inilalatag ni Katrina Stuart Santiago ang mito ng kalayaang pansining sa Pilipinas. Sa proseso, tinutukoy niya ang lumalaking konserbatismo, at panibagong mga paraan ng pagsesensura.
The key findings and analysis of violations of artistic freedom in Malaysia, Thailand, Indonesia, Vietnam, Cambodia and The Philippines from the Southeast Asian Arts Censorship Database Project, 2010-2022.
Striving to experience Natasha on their own terms, Xiao Ting Teo runs through the gamut of emotions, from exhaustion to uncertainty, to amusement, to moments of connection at the Singapore Biennale 2022.
Revisiting a favourite Singaporean band, Plainsunset, Diana Rahim fleetingly captures her youthful self and recalls the creativity of the local music scene in the early 2000s.
Artists from the region created a virtual time capsule to capture the objects and memories of the past two years.
In a country with opaque requirements for what can and cannot be shown, Linh Le highlights how something as seemingly straightforward as obtaining an exhibition licence may be used to control artistic expression in Vietnam.
Tại một đất nước như Việt Nam, nơi có những yêu cầu không rõ ràng về việc trưng bày, Linh Lê nhấn mạnh rằng chỉ cần một thứ tưởng chừng đơn giản như xin giấy phép triển lãm có thể trở thành một cách kiểm duyệt biểu đạt nghệ thuật.
When a film taps on emotions to distort historical facts, criticism that uses a rational, adversarial voice, above the work and the audiences who enjoy it may fail to dislodge the emotive power of the work’s narrative. Pristine De Leon looks for a path forward as a critic in this tricky landscape in her review of Maid in Malacañang’, a fictionalised retelling of the last days of the first Marcos presidency.
Jean Baptise Phou’s work My Mother’s Tongue began as a way for the artist to examine his relationship with his Teochew-speaking mother. Through collocations with other artists and audiences, the work has undergone different manifestations, but remains an “an exploration of the barriers to connection that transcend language” writes Deborah Augustine.
The tale of a pioneering woman Indonesian filmmaker converges with the mission of a group of women film researchers, as Adrian Jonathan Pasaribu highlights how archives and historical records often render some stories invisible.
Azrin Fauzi mengulas “Two Lines in A Square”, persembahan yang dilancar di Taipei dan Kuala Lumpur dari dua perspektif berbeza.
In this visual essay, puppet maker and designer Daniel Sim, begins with a set of rejected stage chairs, and ends up on a lyrical journey through Singapore’s theatre history.
“Make Hantus Great Again”, Teatre Ekamatra’s latest production, combines kooky supernatural characters with social commentary this Halloween.
SMU students Caitlin Leong and Joy Lo interview Isabella Chiam about her gardening workshop, ‘The Last Gardener’, gaining insights into the risks and challenges that artists face in the creative sector.
Corey Koh began with a simple question about the early days of opera in Singapore. Trawling through newspaper archives and scholarly articles, Corey, a young classical tenor who has performed widely in Singapore and abroad, uncovers a fascinating story of Singapore’s place within a larger transcontinental touring circuit, and gives us a glimpse into early performance criticism in Singapore.