Our partners in India - the Calcutta Arts Club - have mounted "From Myanmar with Love", a show featuring five leading Myanmar artists from River Gallery: Zaw WIn Pe, Maung Aw, K. Kyaw, Than Kyaw Htay and Aung Myint. Pls visit the following links to review the journalist's delighted reactions of the show.
A lot has happened in Burma, also known as Myanmar, since the East Gallery first introduced Burmese contemporary art to Canadians in 2011. After five decades of censorship, Burmese artists are relishing a somewhat greater freedom of expression and the increased international attention being paid to the country’s vibrant art scene. "Wonder in the Land", the East Gallery’s third group show of contemporary Burmese artists, features new work by 5 leading artists, all of whom have had considerable international exposure and success. Visitors will experience a range of styles and themes from abstract to expressionistic, and from landscapes to street scenes.https://rivergallerymyanmar.com/images/stories/rv.pdf
Thura Swiss, a business consultancy based in Yangon, has turned its attention to the Myanmar art market, describing the current situation, and outlining necessary measures for the sector to progress. Read the report for an interesting assessment of the investment potential of Myanmar art - a nice change from electricity, oil and gas and banking. The report concludes, "Myanmar's art business has potential to grow exponentially, not only because of its small start, but simply because of the wealth of skills and talent of its artists." Hear hear!https://rivergallerymyanmar.com/images/stories/myanmar_art_market%20-%20thura%20swiss%20-%20aug%202013.pdf
This article addresses the impact of the Myanmar Spring on the the country's art scene and artists.http://www.scmp.com/lifestyle/arts-culture/article/1286271/open-sesame
Last week Yan Naing Tun brought in a new series of paintings featuring lines of photo-realistic monks on a blue contemporary background. Nothing new in painting monks in Myanmar, but these works were immediately arresting as the focal point of the works were the faces of the monks, depicted with angry or determined expressions. Yan Naing Tun explained to me that since the country opened up the Sangha (the monkhood) has become a political force, with some monks playing an activist role in the debates about the issues the country is facing. This strong series of works graphically show that tranquil contentment is not the only face of the Myanmar monk these days.