The art world is buzzing with a long-overdue phenomenon: the triumph of Asia-Pacific art in Britain. This narrative is not just about exhibitions; it's a story of cultural recognition and a challenge to historical hierarchies. Imagine walking into the Victoria and Albert Museum and being greeted by a Māori bouncer sculpture, a symbolic guardian for the 'Rising Voices' exhibition. This exhibition, a collaboration between the V&A and Queensland Art Gallery, is a significant milestone, showcasing over 70 works from 25 countries, many of which have never been seen in the UK before.
What makes this particularly fascinating is the journey these artworks have taken. For years, the responsibility of bringing Asian and Pacific art to the forefront in Britain was overlooked. Daniel Slater, the V&A's exhibition director, acknowledges this oversight. The Asia Pacific Triennial of Contemporary Art (APT), established in 1993, has been a powerhouse in Asia and Australia, launching the careers of renowned artists like Cai Guo-Qiang and Lee Bul. Yet, it's only now that a comprehensive survey of this triennial is making its way around the world, starting with London.
The logistical challenges of transporting these delicate and monumental pieces are immense. From Thai artist Montien Boonma's terracotta bell installation to Japanese sculptor Takahiro Iwasaki's wooden model of the Phoenix Pavilion, each piece tells a story of cultural heritage and artistic expression. But the real magic lies in the curation and the narrative it weaves.
The exhibition is divided into four parts, with the first offering a subtle introduction to the diversity of Asia-Pacific art. This is where the political, material, and spiritual themes begin to unfold. The inclusion of Aboriginal artist Judy Watson's paintings, like 'Memory Bones', is a powerful statement. Watson's work serves as a grieving process, reflecting on colonial violence and the ongoing struggles of Indigenous people in Australia. It's a stark reminder of the dark chapters in history that many would rather forget.
The exhibition also features Filipino artist Brenda V Fajardo, who uses tarot cards to narrate Filipino history under Spanish and American rule, and Sri Lankan artist Pala Pothupitiye, who reclaims colonial maps to illustrate the impact of imperialism on Sri Lankan art and society. These artworks, hanging in a museum filled with British historical masterpieces, create a compelling dialogue.
One thing that immediately stands out is the juxtaposition of these colonial narratives with the British monarchy's treasures. The curators, Slater and Tarun Nagesh, aim to provoke thought and challenge historical perspectives. They want visitors to draw connections between the artworks and the museum's permanent collection, like the sapphires in Queen Victoria's coronet and the shell necklaces by Tasmanian Aboriginal artist Lola Greeno.
In my opinion, 'Rising Voices' is more than an exhibition; it's a cultural exchange that invites viewers to question and reflect. It's a platform for artists from former British colonies to reclaim their narratives and for audiences to discover the richness and complexity of Asia-Pacific art. This exhibition is a step towards rewriting the global art history narrative, placing Asia and the Pacific at its core, where they rightfully belong.
