PanSuriya Art Post


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.

 

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In Memoriam Eain Aye Kyaw (1981-2014)
25 November 2014, 00:38
Filed under: info | Tags: ,

One of the last paintings of Eain Aye Kyaw

One of the last paintings of Eain Aye Kyaw


‘Eain Aye Kyaw does not paint by theory. He paints freely as he desires, influenced by the tempest of his emotions, not thinking of how his work might be analysed,’ states the long cover story article published in one of the Pansodan Journals of October 2013, a little more than a year ago.
‘When I come across pieces made by my favourite artists, I look at them until I get my fill. I like them so much. If I am painting something, I stay away from other people’s pictures; I am afraid of my own style disappearing’, said Eain Aye Kyaw at that time. The young artist who graduated at the beginning of the millennium from the State School of Fine Art had his first solo show at Lokanat Galleries in 2005.
Eain Aye Kyaw joined Pansodan’s Team in 2009, his second solo exhibition was held at there in 2011. ‘He came to the Gallery to show his works to me. I recognized his talent at first sight, his use of intensive colours to shade and nuance his compositions created a fascinating contrast,’ remembers Aung Soe Min, owner of Pansodan Gallery.
Eain Aye Kyaw passed away at the age of 33, suddenly, unexpectedly on November 12, 2014. The attention around his work was strongly growing these days, he was looking ahead a promising future. As a painter, the works he left behind, his enchanting colour and shape palette will help us remember his talent, and through them, visualize the unusual artist he was.



Parties resume 7 January
23 December 2013, 12:36
Filed under: info

The Pansodan Tuesday parties will be suspended for the 24th and 31st, as Pansodan staff take the chance to go to somebody else’s parties. The gallery will remain open every day 10:00–6:00 as usual. See you all on the 7 January, if you are not partied out.



Southeast Asia Movie Theater Project
30 June 2012, 01:19
Filed under: info | Tags: , ,

The Southeast Asia Movie Theater Project is an initiative by Phil Jablon to document the architecture and atmostphere of stand-alone movie theaters throughout Southeast Asia. Through photography, observation, research and interviews, he has built a visual archive of the architecture, spatial typology and cultural life that the stand-alone theaters embody.

He has conducted fieldwork in more than half of Thailand’s provinces, most of Laos and more than a dozen cities in Myanmar.  For the next phase, he will take the project into Cambodia to document what remains of its once-vibrant movie-going culture. Click to help fund him through Kickstarter.

The rapid economic development currently being experienced in Cambodia is causing a perceived redevelopment imperative. As such, many older buildings considered out-of-date or outmoded are in danger of being demolished, and stand-alone movie theaters are high on that list.
The goal of this project is to document, in detail, each of Cambodia’s stand-alone movie theaters while they are still standing. The time to start is immediate.

Pansodan Books will be publishing a book of Phil Jablon’s work on Burmese cinemas… and maybe on the Cambodian ones too, if this project can get going. Only one week left to fund this interesting research on a popular art and its rôle in Southeast Asian towns.



New developments

A recent article in The Guardian included Pansodan co-owner Aung Soe Min’s comments. He is in there as one of the ‘winners’ in the changing business environment.

Here’s to hopes that almost all the winners are Burmese, or at least that benefits are fairly divided among those who sincerely work hard for the success of an enterprise — and not ‘fairly’ in the sense of ‘they are poor so they get only a poor share and should be glad of it; we are rich so we are the ones who get the money’.

There has been plenty of research on quality of life that shows that it depends on the perception of having a meaning or purpose to one’s life, and a warm social life with friends and family. Yet, when it comes to development, it is all about money. There is even a new trend to look at migration as something entirely positive as a development process — people migrate to Dubai or Australia or wherever, earn vastly more (i.e., are vastly more productive in economics terms), send remittances home, and thus are creators of development. True enough in pure economics terms, but this ignores the sacrifices that the migrants are making in non-economic factors, and the loss of social capital in their home community. (I am a migrant myself, so obviously not against migration, but I do not like to see it portrayed in black-and-white terms.) We know migrants who are important artists in various fields in Burma, but as migrants work in factories or do other work entirely unrelated to their talents. Those of us remaining behind, who appreciated their art regret this change in the meaning of their lives.

Pansodan’s contribution to improve the life or artists in their own country is the Independent Myanmar Artist Alliance, mentioned in the Guardian article. It was the idea of Aung Soe Min, and is hosted by Pansodan Gallery. It is a new model of professional association — somewhat like a union, but without most of the bureaucracy and positions that, no matter how noble the initial ideas, later tend to be used for obstruction and gain, or simply to lose their dynamism.

A few new drawings of the Lokanat, spirit of peace through art, by Eikaza Cho.



The ways people get here

Pansodan Gallery has been open for over three years now, and most of the people who have found us have done so through their friends, or through web searches — under their own steam, in other words. Here are some search terms from this morning:

Search terms which brought people to Pansuriya Art PostOne of our Than Myint Aung paintings ranks very high in generic image searches for paintings of nature.

Word of mouth has reached the ear of travel writers, and now we expect floods of tourists driving up prices, and our artists buying ever bigger canvases and using ever thicker paint with their new prosperity. But you, you knew us way back when. And you brought your friends. And we all had a great time with the artists.

P.S. Don’t believe it? Buy Lonely Planet here.

P.P.S. Read much, much more about Burmese art, from Andrew Ranard’s book.

P.P.P.S. I don’t even know what NPADC is, do you?



Bagyi Aung Soe’s Legacy

Bagyi Aung Soe left this life twenty years ago, but every time we come across his illustrations for poems, his magazine cartoons, or, much more rarely, one of his paintings, he springs to life in our minds.

ဗဂျီအောင်စိုး ​ကွယ်လွန်ခြင်း နှစ်၂၀ ပြည့် အမှတ်​တရ   (The legacy of Bagyi Aung Soe, on the 20th anniversary of his death) has been put online. All articles are in Burmese, but for those who love Bagyi Aung Soe but don’t read Burmese (yet — contact me for lessons) there are quite a few good reproductions of his work in black-and-white and colour. Download it from the Bagyi Aung Soe website, under Selected Texts.

See the entry on his show at Pansodan last December for more links, information, and quotations, including a link to his book.

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