The art world is abuzz with a new exhibition at the Victoria and Albert Museum (V&A) in London, titled 'Rising Voices: Contemporary Art from Asia, Australia and the Pacific'. This groundbreaking showcase, in collaboration with the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), presents a unique opportunity to explore the diverse and vibrant artistic landscape of the Asia-Pacific region.
What makes this exhibition particularly fascinating is its symbolic guardian, a sculpture named Kapa Haka (Whero) by Michael Parekōwhai, which stands proudly at the entrance. This piece, with its Māori influence, sets the tone for an exploration of cultural identities and artistic expressions from a region that has often been overlooked by mainstream art institutions.
In my opinion, the exhibition's significance lies not only in the art itself but also in the story behind its creation. Daniel Slater, the director of exhibitions at V&A, emphasizes the museum's responsibility to bring these incredible works to a wider audience. He believes that the art world has been remiss in not showcasing the talent and diversity of the Asia-Pacific region sooner.
The Asia Pacific Triennial of Contemporary Art (APT), established in 1993, has been a trailblazer, introducing the world to some of the biggest names in art, such as Cai Guo-Qiang and Lee Bul. Despite its influence, QAGOMA has only toured a selection of works from one triennial before, making this exhibition a truly special and unprecedented event.
The practical challenges of transporting and curating such a diverse range of works are immense. Conservation specialists have navigated the safe journey of pieces like Montien Boonma's Lotus Sound, a monumental installation of terracotta bells, and Takahiro Iwasaki's intricate wooden model of the Phoenix Pavilion. The delicate works made from natural materials, such as feathers and shark's teeth, add an extra layer of complexity to the exhibition's logistics.
Curators Tarun Nagesh and Daniel Slater have devised a four-part exhibition, offering a subtle introduction to the diversity of the region's art, followed by thematic sections exploring politics, materiality, and spirituality. One of the standout pieces in the introductory space is Memory Bones by Judy Watson, an Aboriginal artist. This painting, with its powerful symbolism, reflects on the ongoing colonial violence and the overincarceration of Indigenous people in Australia. Watson's work serves as a stark reminder of the social and political issues that continue to shape the region.
Other artists, like Brenda V Fajardo from the Philippines and Pala Pothupitiye from Sri Lanka, also explore themes of colonialism and resilience. Fajardo's vibrant paintings, framed by tarot cards, offer a unique perspective on Filipino history, while Pothupitiye reappropriates colonial maps to showcase the impact of European imperialism on Sri Lanka's art and society.
The exhibition's location in London, a city steeped in British history and monarchy, adds an intriguing layer of complexity. Having works from former British colonies hanging alongside British masterpieces challenges historical hierarchies and invites visitors to draw their own connections. Slater suggests that visitors might reflect on the blue shell necklaces by Tasmanian Aboriginal artist Lola Greeno and compare them to the sapphires in Queen Victoria's coronet, on display upstairs.
Personally, I find this exhibition to be a powerful statement, not just about art, but about the importance of cultural representation and the need to challenge traditional power structures. It is a chance for visitors to experience a sense of discovery and to recognize the central role that Asian and Pacific art plays in the global art narrative.
'Rising Voices' is a testament to the power of art to transcend borders, challenge perceptions, and inspire meaningful conversations about our shared human experience.
