Research-Based Art Practices in Southeast Asia: The Artist as Producer of Knowledge

Contents
Chapter 1: Introduction
Chapter 2: Research-based Art Practices: Context and Framework
	2.1 Open-ended Definitions and Local Specificities
	2.2 Challenging Established Systems of Knowledge
	2.3 A Singular Form of Knowledge
Chapter 3: Birth of a New Art Language
	3.1 Heritage and Early Developments
		Research and Traditions
		Documenting Reality
		A Fresh Wave Within Contemporary Practices
	3.2 Generative Possibilities
		A Relative Freedom
		The Question of Funding and Support
		Education and Artists’ Discourse
		The Building of Memory: Zeitgeist, Archives and Historiography Fever
		A Global Trend
Chapter 4: The Artist-Researcher
	4.1 Research Methodologies: The Case of the Artist-Historian
	4.2 Research as Material
Chapter 5: The Artist as a Producer of Knowledge: Cultural Activism in Tiffany Chung’s The Vietnam Exodus Project (2009–)
	5.1 The Vietnamese Refugee Crisis in Hong Kong
		The Vietnamese Context: A History Officially Denied
		The Hong Kong Context
	5.2 The Artist-Researcher
		The Artist Working as an Archivist
		The Artist Working as a Historian
		The Artist Working as a Cartographer
		The Artist Working as an Ethnographer
	5.3 Cultural Activism and Knowledge Production
		Research and Cultural Activism
		Building a Collective Memory and Reclaiming an Identity
		Objectivising and Mending a Traumatic History
		Escaping Authoritarian Frameworks
		Building Knowledge from Fragmentations
Chapter 6: Research as Strategy: Reactivating Mythologies in Wah Nu and Tun Win Aung’s The Name Series (2008–)
	6.1 The Artists Working as Historians
		Against the Humiliations
		A Systematic Process of Work
		In Search for “Truth”
	6.2 From Representation to Interpretation and the Construction of a Myth
		From Archival Materials to Representation
		From Representation to Interpretation
		The Building of a Monument
		The Creation of a Myth?
	6.3 Research as a Strategy
		Countering Ignorance and the Official Narratives
		Building a Legitimacy
		Activating Debates
Chapter 7: Beyond the Artist’s Discourse: Implicit and Sensuous Knowledge in Khvay Samnang’s Preah Kunlong (2017)
	7.1 A Thirst for Knowledge
	7.2 The Artist-Researcher: Working Freely as an Ethnographer
	7.3 Discourse and Cultural Appropriation
		A Cultural and Social Otherness
		A Confusing Discourse
	7.4 An Anthropology of Nature: Implicit and Sensory Knowledge Production
		Consubstantiality
		An Anthropology of Nature
		An Implicit and Sensuous Knowledge
Chapter 8: Emancipatory modes of knowledge production in Ho Tzu Nyen’s The Critical Dictionary of Southeast Asia (2003/2012–ongoing)
	8.1 What Is Southeast Asia?
	8.2 The Artist-Researcher
		Extensive Academic Research
		Expanding the Singaporean Context
	8.3 Emancipatory Modes of Knowledge Production
		A Rhizomatic Approach
		Experiencing Southeast Asia
Chapter 9: Conclusion
Bibliography
Index