Supporting Myanmar contemporary art
By Ian Tee

Nathalie Johnston is a researcher, curator and gallery director based in Yangon. In 2016, she founded Myanm/art which serves as an exhibition space, commercial gallery and library dedicated to promoting contemporary art in Myanmar. However, her engagement with the local art scene began seven years earlier, during a research trip for her thesis in performance art. Nathalie has since been involved in numerous independent projects and initiatives, including the Myanmar Art Resource Centre and Archive (MARCA), TS1 Yangon, and the Pyinsa Rasa art collective, among others.

In this conversation, we discuss a few of her key projects, the challenges of working in Yangon, and her views on the future of contemporary art in Myanmar.

Po Po, 'Out of Myth, Onto_Logical, 1982-1997', 2015, exhibition installation view at Yavuz Gallery. Image courtesy of the artist and Yavuz Gallery.

We first met in 2015 at the opening of Po Po's solo exhibition 'Out of Myth, Onto_Logical, 1982-1997' which you curated. The show focused on the artist's early works which were part of his first two exhibitions in Yangon, made at a time when Myanmar had little contact with other countries. Could you speak about this period in the country's art history?
As far as I understand, contact between Myanmar and the outside world during the 1980s and 1990s was extremely limited. The country was closed, the economy had tanked due to some policies implemented by the military, and the general population was getting by on very little. Art historically speaking, it was most notably a time of strict censorship, propaganda art commissioned by the military, school and university closures. Art educational materials and art supplies were scarce. As such, art books and magazines were hard to come by, but the ones that did end up in the hands of artists had a great deal of influence.

Yet in spite of these challenges, there are many prolific and successful artists that came out of that period. It was not only an evolution of aesthetic values, but an integration of the core values surrounding culture. For example, there's a lovely mixture of abstract expressionist influence with Burmese script that started to happen with artists such as Aung Myint. Meanwhile, San Minn used a structure found in Socialist propaganda art to critique the militaristic atmosphere in Yangon at the time.

What is so unique about Po Po is that while he has elements of Buddhism and other cultural infusions, his work has a conceptual nature that is unmatched among his peers.

Po Po and Nathalie Johnston next to his work 'Red Cube' (1986). Image courtesy of the artist and Yavuz Gallery.

One of the works from this show 'Red Cube' (1986) was featured in the National Gallery Singapore's section of 'Minimalism: Space. Light. Object.' (2018-19). What are your thoughts about its inclusion? And do you think it might have an impact in broadening the ways Myanmar's art history is being discussed?
I was very happy to see Po Po’s work included in the show. It was the first time I had seen a Myanmar artist included in a major international show charting the history of a global art movement. National Gallery Singapore plays a role in integrating artists from Asia into the art historical conversation, where they should be. Having artists from Myanmar in conversations around Asian modernism, minimalism and other movements is a step towards inclusivity and a more fully represented picture of Asian art histories.

Myanmar has not been a priority among the Southeast Asian nations’ institutions for some years. Previously, it was because of difficulty in traveling and connecting with the art scene, but more recently, it is due to boycotts and sanctions. Hence, there are a few selected Myanmar artists who are chosen over and over again to represent their peers and predecessors in institutions abroad.

In the documentary 'Silence is Golden, Contemporary Myanmar Art', you spoke about artists from Myanmar being pigeonholed by the international gaze. However, the interview ends with an optimistic projection that in the future, they will be "able to express themselves more as individuals and less as Myanmar nationals". What do you think are the factors contributing to this change?
With all that is in the news these days, being optimistic is a survival tactic! I hope the international gaze will begin to focus less on the headlines and more on learning about the artists as artists, rather than defining them by their country. Myanmar is more than the sum of its parts, and those parts need to be explored in depth. Only then will individuals be able to expand their scope, and institutions and curators be willing to engage on a deeper level.

It is also very much the responsibility of artists to extend their processes, beyond how they have been working for the last decades. Myanmar is only at the beginning of a very messy, complex socio-political transition. This directly affects the information and opportunities that are available to artists. I believe they will strengthen their own voices and representation in the future, and therefore be better understood internationally.

Nathalie Johnston photographed in 1997 in Bagan (left) and in 2009 in Yangon (right). Image courtesy of Nathalie Johnston.

I'd like to take us ten years back to your first return visit to Yangon. At that time, you were pursuing a Masters in Southeast Asian Contemporary Art History at Sotheby's Institute and wanted to write your thesis on Myanmar contemporary art. What were the challenges you faced conducting this research and how did you overcome them?
There were obvious barriers, with the greatest being my lack of proficiency in Burmese and the lack of academic resources. However, it was easy to connect with artists from Myanmar and the people who worked with them. Buying the ticket, getting a visa, visiting their homes and studios turned out to be a very straightforward and wonderfully welcoming experience.

My challenge was to create research that came from their perspectives and had an understanding of their past and present circumstances. I was adamant that the research should not be comparative in terms of countries, for example to compare Myanmar’s art scene with Thailand’s. But of course, this is not a very academic way to pursue research. I was finding my own way and wrote what I believed to be true at the time. If I were to start the thesis again today, I think I would approach it very differently. Perhaps this is because I overcame many of those initial challenges that were present 10 years ago…

What would you say are essential skills or attitude for a foreigner entering a new field?
I can only speak for the art field and my first piece of advice would be to show up. It is not enough to read, write and reference. The human interaction is essential, especially in a place where resources are not readily available to foreigners. Lastly, appreciate the context and environment that you are walking into, and respect what is already there.

Myanmar Contemporary Art 1 was printed in Burmese language in 2009 (left), covering Myanmar art history between 1960 and 1990. The translated edition was published in 2017 (right) in a redesigned, uncensored version of the original book. Image courtesy of Nathalie Johnston.

Staying on the topic of research and scholarship, you were the lead editor for the English translation of 'Myanmar Contemporary Art I' (2016). The project was crowd funded on Kickstarter and interestingly, Myanmart first existed as a blog where you shared exhibitions and information about the local art scene. In both instances, the Internet is a powerful tool for communication and accessing resources. Can you talk more about the internet's impact on the visibility and reception of Myanmar contemporary art?
There was barely any internet 10 years ago. SIM cards were USD500, there were only expensive hotels and internet cafes. Many websites were also blocked. Myanmart’s blog was meant to reach the international community first, and help expand the conversation outside Myanmar. There was certainly a curiosity and a gap in access to information about the country, never mind the art scene. I think it succeeded in building a network, which in turn assisted in introducing artists and curators to each other.

The internet has played a crucial role in engagement. It is a way for artists to personally communicate their activities and work. We still aren’t at the point where artists have their own websites, but many have their own Facebook profiles or Instagram accounts. They are increasingly using the internet to promote themselves. Resources on Myanmar’s diverse art scene have doubled over the past 10 years with the rise in internet adoption.

Do you see the function of the Internet changing in the future?
I believe artists will start to use the internet to market themselves more, and commissions and sales are done increasingly via online platforms. Social media is a powerful tool for them to extend their reach and gain recognition in other countries. Artists are also increasing their digital output and even airing political commentary on the internet. It’s a fast and easy way to share their ideas through art and get feedback.

One of your first major roles was being the Director of TS1. It was a privately funded initiative which sought to foster dialogues between local and international artists. How did you get to know TS1's founder Ivan Pun? And could you talk about the role of such foundations in Myanmar?
Ivan and I had several mutual friends who lived in Beijing and Hong Kong. However, it was Claire Hsu and Asia Art Archive that introduced me to Ivan in a collaborative capacity. Ivan and TS1 revealed what was possible for the art scene in Yangon, and also what was not. His ambitions to put Yangon’s art scene on the regional map succeeded in that he brought his network to Yangon. It also gave the city more than a peripheral role in the conversation about contemporary art in Southeast Asia.

Private foundations are not common in Myanmar, especially ones supporting arts and culture. They play a vital role offering funding for art festivals, publishing, and marketing. There is no government support for artists. Larger international foundations such as Japan Foundation, Goethe Institut, American Centre, and Institut Francais provide space and support.

TS1 recently announced a partnership with The Secretariat, which secures the platform a permanent space. What are your thoughts?
As far as I know, this project is on hold indefinitely. But I think it’s absolutely essential for the Secretariat to have a permanent art and cultural space to support the city and its development.

The first Myanm/art space located on Bogalay Zay street in downtown Yangon, from April 2016 to April 2019. Photo by Nathalie Johnston.

Your most recent project is a group exhibition titled 'Everyday Justice' at the Old Tourist Burma building. How did it come about and what is the curatorial premise?
My Justice is a four-year-old organisation which operates in partnership with the British Council. Its goal is to increase the understanding of and access to justice in Myanmar, in addition to their work training lawyers and judges. Myanm/art was commissioned to curate an exhibition that would engage with the general public on issues around justice found today in Myanmar. It was up to the artists to choose their areas of focus. We had six artists addressing topics such as small city politics in the south, internally displaced persons (IDP) camps in the north, corruption in the courts, violence against women and their barriers to justice.

The exhibition made news before it opened when one of the artists, Sawangwongse Yawnghwe, withdrew his participation in protest at the EU's continued decision to rent its official ambassador's residence from the family of General Ne Win. What was the local community's reaction to his gesture?
Many supported it by sharing his letter on Facebook. The artists respected his protest and they understand the power of this kind of action. In some ways, it was an introduction to an artist they do not know personally, but whose work and history is deeply tied to the country. So it was a meeting of mutual respect in the end.

However, it is not a common way to publicly protest here in Yangon. For those of us who work in the arts, funding comes around so infrequently that it is hard to say no purely on moral grounds. As one of the participating artists put it: "I respect his decision, but I’ll still dance with the devil." Sometimes when you have a chance to communicate with the public, you take it.

This is a good case study about the politics of art and exhibition-making, at a time when artists are becoming increasingly critical of the funding sources. As a curator, how do you manage these expectations while continuing to engage with artists and the public?
Working in a country with little to no funding for artists, we do not have the luxury of picking and choosing very often. We compromise on the basis that the artists get the support they need. In a climate of sanctioning and boycott, funding is reduced now more than ever before. Personally, my priority is the artists and to support them in every capacity, even if that means they withdraw from the exhibition.

I try to be as transparent as possible in my work as a curator. I also deeply desire a public who engages with art by reacting, critiquing, and in some cases provoking an artist to respond. I am more interested in how the public reacts to a work or exhibition than how it is funded.

Myanm/art is now three and a half years old. Looking back at the impetus for you to open the space, how would you assess its efficacy? What insights could you share about running a gallery in Yangon?
The impetus to open the space was threefold: firstly, to create a platform for under-represented, young, emerging Myanmar artists who work in more alternative mediums like performance, photography and installation. Secondly, to house a publicly accessible library and build programming around that research collection. Third, to foster exchange with international art scenes.

We have certainly achieved all we set out to do, but there is always more opportunity for growth. In the coming years, I would like to focus more on education and research.

Yangon is a city in constant flux so there are many challenges with regards to running a space here. We sell artwork to support operational costs but there are few who collect the kind of contemporary, alternative art we work hard to promote. Other galleries and spaces rarely collaborate, so there is no association to address common interests.

Most would say that if you want to run a commercially successful gallery in Yangon, you have to sell the paintings featuring pagodas, monks, tropical landscapes or portraits. However, Myanm/art's goal is to support freer, less conservative forms of expression, and shift the commercial interests toward myriad practices.

The new Myanm/art space located on 48th street in downtown Yangon. Photo by Nathalie Johnston.

Which are the galleries, independent spaces or curators in Myanmar that people should know about?
The arrival of Dawei Art Space in the southern city of Dawei is a real game-changer. Art spaces outside of Yangon are rare, so Dawei Art Space will bring a whole new perspective on the arts in the country, while also allowing Yangon artists to travel and exhibit down south. Within Yangon, British Council and the Goethe Institut have both established new Heads of Arts and Culture. This will certainly have an impact on the type of artistic projects being funded.

There are very few curators working full time as exhibition organisers. Aung Myat Htay (SOCA), Thyitar (New Zero), Emily Phyo (Womyn Now) and Thuma Collective are all artists-curators and are bringing exciting changes to the scene.

Are there upcoming personal projects or Myanm/art exhibitions you'd like to share?
We have several exhibitions coming up, featuring works by Zun Ei Phyu, Richie Htet and Soe Yu Nwe. We are also working to establish better educational programming with partners in Yangon, so keep watching our social media platforms to see what we get up to!