Independent Photography in Southeast Asia since 1980 by Zhuang Wubin
Since the 1980s, four external factors have given rise to independent photography in Southeast Asia.
Rapid economic growth within the region meant that local photographers have more avenues of finding work. The security of having commercial work or a teaching job has made it easier for some, including Nirmala Dutt Shanmughalingam (b. 1941; Penang) and Ismail Hashim (b. 1940; Penang), to explore photography as a medium of independent expression.
The fall of Marcos in 1986 took the lid off what has always been an energetic community of photographers in the Philippines and signalled the start of the gradual breakdown of the dictatorial structures within the region—something that has always influenced the production of documentary photography around the world. It allowed people like Alex Baluyut (b. 1956; Manila) who used to work underground to emerge and stake their claim on the historiography of Philippine photography.
The Asian Financial Crisis in 1997 and the ensuing Reformasi movements in Malaysia and Indonesia left a mark on local artists and informed the works of Erik Prasetya (b. 1958; Padang), Manit Sriwanichpoom (b. 1961; Bangkok) and Yee I-Lann (b. 1971; Kota Kinabalu).
Last but not least, the widespread proliferation of digital technology in the last decade has lowered the barrier of entry for younger photographers and made it easier for them to communicate their works to editors and curators across the world. This has led to the emergence of artists like Nge Lay (b. 1979; Pyin Oo Lwin, Myanmar), Souliya Phoumivong (b. 1983; Vientiane) and Khvay Samnang (b. 1982; Svay Rieng, Cambodia).
In this brief overview, Zhuang will highlight individuals within Southeast Asia who have seized upon these shifts to produce poignant works about their concerns and the societies where they come from. He will also contextualize and explain why their works stand out from the “typical” photographic productions within their respective countries.
zhuang wubin 庄吴斌
Wubin is a chamelon. Curator, educator, photographer, researcher and writer, he wears many hats yet blends seamlessly into each one of them. Well traveled and focused on the photographic practices within ASEAN, he documents with genuine interest of our heritage and identity. Fearless in his assessments, Wubin’s discussion will be a sumptuous spread for all attendees, especially those keen on the development of photography within SEA.
Date 21st April
Time 1030 - 1200
Location MIG; SAM@8Q
Capacity 50
Non Members and Public can Register here: http://21apr-1030-photography-in-sea.eventzilla.net/
Terms and Condition for All Talks
Since the 1980s, four external factors have given rise to independent photography in Southeast Asia.
Rapid economic growth within the region meant that local photographers have more avenues of finding work. The security of having commercial work or a teaching job has made it easier for some, including Nirmala Dutt Shanmughalingam (b. 1941; Penang) and Ismail Hashim (b. 1940; Penang), to explore photography as a medium of independent expression.
The fall of Marcos in 1986 took the lid off what has always been an energetic community of photographers in the Philippines and signalled the start of the gradual breakdown of the dictatorial structures within the region—something that has always influenced the production of documentary photography around the world. It allowed people like Alex Baluyut (b. 1956; Manila) who used to work underground to emerge and stake their claim on the historiography of Philippine photography.
The Asian Financial Crisis in 1997 and the ensuing Reformasi movements in Malaysia and Indonesia left a mark on local artists and informed the works of Erik Prasetya (b. 1958; Padang), Manit Sriwanichpoom (b. 1961; Bangkok) and Yee I-Lann (b. 1971; Kota Kinabalu).
Last but not least, the widespread proliferation of digital technology in the last decade has lowered the barrier of entry for younger photographers and made it easier for them to communicate their works to editors and curators across the world. This has led to the emergence of artists like Nge Lay (b. 1979; Pyin Oo Lwin, Myanmar), Souliya Phoumivong (b. 1983; Vientiane) and Khvay Samnang (b. 1982; Svay Rieng, Cambodia).
In this brief overview, Zhuang will highlight individuals within Southeast Asia who have seized upon these shifts to produce poignant works about their concerns and the societies where they come from. He will also contextualize and explain why their works stand out from the “typical” photographic productions within their respective countries.
zhuang wubin 庄吴斌
Wubin is a chamelon. Curator, educator, photographer, researcher and writer, he wears many hats yet blends seamlessly into each one of them. Well traveled and focused on the photographic practices within ASEAN, he documents with genuine interest of our heritage and identity. Fearless in his assessments, Wubin’s discussion will be a sumptuous spread for all attendees, especially those keen on the development of photography within SEA.
Date 21st April
Time 1030 - 1200
Location MIG; SAM@8Q
Capacity 50
Non Members and Public can Register here: http://21apr-1030-photography-in-sea.eventzilla.net/
Terms and Condition for All Talks
- The Organisers reserve the right to change any of these Terms & Conditions at any time without notice. On any matters arising whether covered by these Terms & Conditions or not, the decision of The Organisers will be final and non-negotiable.
- The Organisers will allow walk-ins, even from members of the public, if the workshop are not fully subscribed. We, however, strongly encourage registration to reserve your place.
- The Organisers reserves the right to refuse entry to anyone.
- Clubsnap Members can register for an unlimited number of talks but no double- or triple-booking of same time slots allowed. If discovered, an automatic ban from all talks.
- The Organisers seek cooperation from everyone to update the relevant threads or pm sebastiansong if they are unable to attend for any reason. Failure of which will result in an automatic ban from subsequent talks.
- No video filming of the talks is permitted. Permission can be sought with the Organisers prior to the talk.
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