Titlebook: Research-Based Art Practices in Southeast Asia; The Artist as Produc Caroline Ha Thuc Book 2022 The Editor(s) (if applicable) and The Autho

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Caroline Ha ThucAnalyses the issues at stake behind research-based art practices in Southeast Asia.Approaches these art practices critically and clarifies their innovative combination of aesthetics and cognition.Shed

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Book 2022nt of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or

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Introduction,sts or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production, whether those knowledge systems consist of Western academic frameworks or of the local official narratives modelled on authoritarian ideologies. As artists, they are in a po

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Research-based Art Practices: Context and Framework,gies and in their artistic forms. This chapter identifies their main features and their specificities in the Southeast Asian context. As they derive from the artists’ desire to learn, generate and disseminate knowledge, these practices develop against the backdrop of the larger debate that questions

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The Artist-Researcher,the sociologist and other social scientists. As an example, this chapter focuses on the discipline of history. It highlights how the artistic methodology, while it challenges critically the academic sphere, also supplements its perspective. The artists are often active in breaking up the given chain

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,The Artist as a Producer of Knowledge: Cultural Activism in Tiffany Chung’s , (2009–),ative and complex integration of scholarly research in her long-term series .. Begun in 2009, the project consists of an assemblage of cartographic works, archival materials, collaborative watercolour paintings, videos and texts based on the artist’s extensive research relating to the massive flux o

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,Research as Strategy: Reactivating Mythologies in Wah Nu and Tun Win Aung’s , Series (2008–),aphs, this sound and image installation features 33 portraits of important Burmese figures who lived between the first Anglo-Burmese War (1824–1826) and the independence of the country (1948). Created as the outcome of the artists’ deep historical research on the colonial period, the series aims at