Heritage of the golden land: Mother’s Embrace: Gwangju Biennale 2024 Myanmar Pavilion

The Myanmar Pavilion at the 2024 Gwangju Biennale encapsulates the essence of Myanmar’s ethnic identity through artistic works that celebrate the nation’s profound connection with its natural environment, traditional culture, and evolving national ethos towards freedom. Central to this representation is the profound metaphor of ‘mother’ – symbolic of life’s origin and nurturing spirit. The pavilion is designed to explore the distinctive values and meanings of Myanmar art within the context of contemporary art. From the vast plains and dynamic mountains to the coastal lines embracing the entire southwest territory, Myanmar's nature mirrors the embrace of a generous and bountiful mother. Rooted deeply within this land, Myanmar’s Buddhist heritage, spanning over 2500 years in the Theravada tradition, imbues daily life with meditation, prayer, and contemplation – a source of enduring peace and hope. The cultural tapestry finds expression in diverse art forms, including craftsmanship and architecture, much like the golden pagodas meticulously erected by their hands. In the landscape paintings of Zaw Win Pe, the distinctive features of Myanmar's 14 regions and the beauty of nature are vividly expressed through a balanced interplay of abstraction and figuration, rich colors, and thick textures. These elements are intertwined with the artist's personal emotions, allowing for a pure artistic expression. In the works of Htoo Aung Kyaw, Buddha’s serene presence is portrayed alongside abstract color representations, capturing the essence of Buddhist philosophy and principles as a guiding force in life. Through their artworks, the artists show respect for the teachings and philosophy of Buddha while using their own visual language to present the inherent principles of Buddhism as a way of life. Contemporary Myanmar art serves as a mirror to these realities, offering nuanced societal commentary while embracing global artistic movements like conceptualism and minimalism. Chan Aye, who works extensively in sculpture, installation art, and painting, constructs a unique artistic language by referencing murals from Myanmar temples and cave iconography. Rather than providing direct answers, his works encourage viewers to pose questions. He explores intangible themes such as religious contemplation, concepts, time, and human emotions. By materializing these themes through materials like wood, marble, glass, and sandstone, he creates original and aesthetically meaningful artworks. 

 

Comprising 135 ethnic minorities, Myanmar stands as a nation rich in diverse cultural heritages and regional distinctions, akin to a treasure trove of charm and potential. However, these characteristics have also contributed to persistent ethnic conflicts. Amid these complex realities, Myanmar's contemporary art uniquely reflects the country’s natural and cultural attributes, often providing sharp societal insights and embracing broader postmodern movements such as conceptual art and minimalism and draws upon Myanmar's distinctiveness while also embracing global trends. Artists Htein Lin, who explores experimental and sensory art across various mediums including painting, sculpture, installation, and performance, has continued his creative activities using everyday objects. He deftly addresses profound themes of freedom of thought, creativity, dedication towards society, individual will, perspectives and critiques, and reciprocity. Through his work, Htein Lin skillfully and wittily tackles profound narratives that offer metaphorical glimpses into Myanmar’s societal fabric. Through the photographic materials provided by the Myanmar Photo Archive Association included in this exhibition, viewers can understand the preservation and transmission of culture as an art form through the dynamic ethnic communities’ “Dance”, which embodies various cultural values. They can also grasp the value of unity and cohesion among different communities. Khin Maung Yin, a key artist who led the second generation of the modern art movement in Myanmar, showcased a new direction in Myanmar's contemporary art through his abstract paintings. His work is characterized by natural brushstrokes and expressive use of colors that reflect his mood and state of mind, embodying a sense of freedom through art, as if painting were as natural to him as breathing. Despite confronting harsh realities, contemporary art in Myanmar reflects its unique natural, religious, and cultural characteristics, sharply encapsulating societal insights while weaving in broader currents of contemporary art history like conceptual art and minimalism and thus presents Myanmar’s distinct personality within the global art scene.

 

At the beginning of everything lies the sublime earth and nature, akin to the embrace of a noble mother. It is within this nurturing environment that the seeds of the nation have taken root, shaping its rich heritage over generations. Art, carrying the weight of deep time, has been a steadfast companion to the people of Myanmar, reflecting their resilience in the face of life's challenges and tragedies. The nurturing presence of the mother figure symbolizes inclusivity and acts as a silent guardian, offering hope amidst adversity and safeguarding the home. Through Aung Myint's "Mother and Child" series, emotions of loss, longing, love, and peace are evoked by the embracing figure of the nurturing mother cradling her child. As the origin of life in Myanmar, the maternal embrace symbolizes Myanmar’s desire to overcome conflicts and cultivate a harmonious environment, strengthening solidarity among its people.