PanSuriya Art Post


Artists Beyond Boundaries
19 June 2017, 20:27
Filed under: art and ideas, exhibit, workshop

From June 20-29 there will be a series of free workshops and lectures at Pansodan Scene, through Artists Beyond Boundaries. All are welcome to join. Check the website for exact schedule. The closing exhibition will be on Thursday 29 June.

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Celebration Friday

Zwe Yan Naing’s work was chosen from over 4000 entries to win the championship in the 2017 International Artist Grand Prize Competition of Art Revolution Taipei.

We have been impressed by his work for years, and to congratulate him on the international recognition — and exhibition in Taipei in 2018 — Pansodan is throwing a party in his honour. All art lovers are welcome to join in Friday evening, 26 May 2017, at Pansodan Scene, from 5:00-8:00.

There will be new works on show at the celebration.

 



Art Aid at Pansodan Scene

We would like to invite everyone to the art auction “No One Left Behind”, an event to gather support and raise funds for people living with HIV. The auction will take place from 18:30 to 20:30 at Pansodan Scene.

The auction will feature works from 13 Myanmar artists including Ko Ko Naing, Zwe Yan Naing, Aung Ko, Aung Htoo, Aye Nyein Myint, Ma Zaw, Min Zaw, Han Tin Swe, Hla Htay, Maung Myint Aung, Min Kyaw Swar, Zaw Nyunt Pe and Zwe Mon.

See more details at the facebook invitation page.

Pansodan Scene, ၁၁၄ ပန်းဆိုးတန်း ဒုတိယထပ် (ငါးဘာသာကျောင်းနှင်မျက်နှာချင်းဆိုင်)
144 Pansodan, second floor, across from the gate of the Ganesh Temple.

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David Richards in Yangon
21 January 2017, 18:16
Filed under: exhibit | Tags: , , , ,

David Richards Solo Exhibition, 15-23 February 2017 at Pansodan Scene, corner of Maha Bandula and Pansodan, second floor. All are welcome to the opening on 15 February, from 18:00.

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David Richards 2016

David Richards has another watercolour exhibition coming up in February, featuring mainly paintings from the new direction he has been exploring in the past half year. He is including more abstraction in his recent paintings, though some are still colourful, some use a very restricted colour palette. Many of them still revolve around his favoured themes: the design of architecture, the beauty of women, the conviviality of cafe scenes, the landscapes of South-east Asia.

He likes to play the fluidity of watercolour off the rigidity of the lines and patterns of buildings, windows, leaves, or graphic elements he inserts. He is afraid that older buildings may be erased from Yangon, and would like to increase appreciation for them, by making portraits of them. When painting the buildings, he does not reproduce their current state, but enters into an imaginative collaboration with the architect and the city, painting them as he would like to see them, in their prime, whether somewhat battered or freshly painted, though not sterilised.

David Richards’ work is clean-lined and carefully composed. Only recently has been been trying to expand his boundaries into directions more experimental for him. This show will feature a mix of his established style and his new explorations.

Pansodan Scene is on the second floor; the entrance to the staircase is just opposite the gate to the temple. There is nothing on the ground floor, a bookshop on the first floor, and the gallery on the second floor. After the opening night, the exhibition will be open from 10:00 – 18:00.

David Richards was interviewed for this article 13 January 2017 by Lilly Seiler

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Pamaa, art video at Pansodan Scene

Clémence B. T. D. Barret is a wiry, dark-haired French woman with strikingly large eyes and a quiet manner. She came to Pansodan Gallery to talk about art and her art video ‘Pamaa’ in particular. The video will be screened at Pansodan Scene on Friday 23 September 2016

The nine pieces of Pamaa are pieces of a puzzle. Each features a different young Shan migrant in Chiang Mai — some anonymised with a false name or face covered — who tells about what it means to be them there now. The work began three years ago, when she first went to Thailand. ‘The process is very slow. I get to know them first. With one, we had a good understanding in one month, that was the fastest. Some to five months of getting to know each other before I started,’ she explained. ‘I got to know many more who declined to participate. They were not comfortable that the video would be shown in Myanmar someday.’

There are no words. They explain the elements of their life as migrants through body language. ‘The body does not lie. Cannot lie. You can learn much more watching someone’s body than listening to their words,’ she says. The lack of words also reflects the voicelessness of the participants. They are invisible in Thai society, in their lives, as well. Clémence described how she was fascinated by watching how becoming visible through this project — being at screenings, having their pictures in magazines — also affected the participants. ‘It was the first time they had shared their story with a stranger. They had time to sit and reflect. Some of them found it liberating.’

Clémence has chosen the medium of video, in which she developed her skills by making documentaries for years before her feeling that she needed more freedom led her to turn her video to art. She has used it, like any artist, to explore something originating in her own experience: Otherness. Living in India, despite being deeply into the community, she also way always unmistakably the other.

‘I use art as a tool to confront viewers with an issue I find important. A possibility to approach it in a alternate way. When you are a migrant or a refugee you experience otherness…. The anti-refugee and anti-migrant rhetoric is the same all over the world. If I did this work in Europe, it would not be much different. Only the appearance of the people would be different. I hope to open some people. It’s a drop in the ocean — but it is very important for me to do work that is meaningful.’

‘The soundtrack is disturbing, on purpose. Some audience members may react badly to it,’ she warned. ‘I am curious to see what happens on Friday.’

Pamaa is part of a series on migrants, 18-12, after the International Migrants Day. You can see more about Clémence Barret on her website at www.clemencebarret.com.

Interview 21 September 2016, with Nance Cunningham.

Pansodan Scene is at the corner of Maha Bandula and Pansodan, 144 Pansodan, on the second floor. Go up the staircase opposite the entrance to the temple. Admission s free, and all are welcome. Screening begins at 19:30, and the director Clémence Barret will be available for questions after the showing.

 



“Pamaa”
11 September 2016, 04:52
Filed under: exhibit

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Asia- based French artist Clémence B. T. D. Barret presents Pamaa, a series of 9 videos, which are a collaboration with nine young refugees from Shan State all living in Chiang Mai in Northern Thailand. Pamaa means ‘Burmese’ in Thai .

The videos express fragments of the migratory life of young people who have escaped political persecution, oppression, and bloody ethnic conflict, hoping to find a better life in Thailand. Pamaa questions the notion of survival, but also of discrimination, exploitation, fear, freedom, otherness, and culture shock.

She will be showing at Pansodan Scene on Friday 23 September at 7:30pm

Pansodan Scene

144, 2nd Floor, Pansodan Street (Corner of Mahabandoola Street), Kyauktada Township, Yangon, Myanmar

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Full steam ahead
4 July 2016, 13:38
Filed under: exhibit

If no news is good news, then these latest news are great news!

Pansodan Scene has opened up again after a couple of months of renovation.

The month of July also comes with novelty and activity:

1. The first of many more Open History exhibitions kicks off with Kyauktada township.

It takes one small area in the heart of Yangon and traces the passage of time on its streets; from the events, architecture and commerce of daily life in its public spaces, to more personal reflections of changing hopes and dreams through fashions and family life.

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The Open History Project creates experiences of local history through the photographs, memories, stories, documents, and ephemera such as flyers, tickets, maps. Together we can look through the layers of unhidden history and discover connections, insights, new questions. In this way, people participate in their own history by revealing their part in society.

Myanmar’s people had little opportunity to dwell on their own history for many years. While stories have been handed down from generation to generation, propaganda clouded the picture of the past and public memory was forced into hiding.

Change can sometimes move so subtly that you can only see it from a great distance. At other times a flash of transformation can leave the landscape utterly altered overnight.

We hope to show these patterns developing through contemporary photographs and artifacts to give people a richer understanding of their own heritage.

Current and former residents and visitors to Kyauktada are the most important element in this effort and we hope that your memories, photographs and documents can help us paint a vibrant picture of the history of this area.

 

2. Analyzing moments in history rather than just learning about them

Rosalie Metro holds a Ph.D. in Education from Cornell University, and she currently works as an adjunct professor at the University of Missouri in the USA. She will be having an interesting talk at the Scene on July 9th.

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3. A certain Wabi-Sabi influence in photo-art.

“Some Eyesores Are Sights For Sore Eyes”

There is a lot of photojournalism and photo reportage to see in Yangon but photo art is less explored. As a change, Kwena Chokoe will be putting up roughly 45 analogue photographs taken over a period of 1.5 years in Myanmar. It is both concept and execution that make this body of work artistic.

Show runs from the 15th to the 19th of July. 10am to 6pm from the 16th

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4. Artist feature

One of our most unique resident artist gets compared to one of the most influential, living female artist. Zaw Nyunt Pe’s work can be found at Pansodan Gallery starting from $80 a piece.

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5. Furthering our reach
Pansodan Gallery and Aung Soe Min have been featured in the Dutch newspaper
“De Volkstad” under the “Future Cities” initiative of Stephanie Bakker and Yvonne Brandewijk. Word has gotten around and we have had Dutch visitors come into the gallery after reading the lengthy feature.
Yangon and its most interesting residents are studied to find out what makes it the heart of Burmese art, and what makes them the best channels to propagate and spread the art gospel.
Follow the link below:
6. Signing out
For those that live in Yangon, don’t forget about our Tuesday nights, we are open at Pansodan Gallery every week without fail.
See you with the next batch of good news!