A Comparison Between Thai, Vietnamese and Burmese Contemporary Art (17 Jan 2007)

Thavibu Gallery is in a unique position to make comparisons between contemporary art from three South East Asian countries since the Gallery displays, promotes and sells contemporary paintings from Thailand, Vietnam and Burma.  Based on observations during the near seven year period 1998 - 2006, we have noticed how the markets for contemporary paintings from the three countries are developing.   

The graph shows the number of paintings sold from Thavibu Gallery, either through the Internet or directly to clients  in Bangkok.  Most of the paintings that were sold in 2006 were Thai (37 %), followed closely by Burmese (34 %) and Vietnamese (29 %).   This is the first time since the gallery started in 1998 that Thai art works sold more than Vietnamese and Burmese.  Looking at the graphs, it is evident that the sale of Vietnamese works has declined while Burmese and Thai have increased slowly, but steadily.  Many factors are involved, but the large numbers of copies and fakes in the Vietnamese market may be a factor, as well as a certain lack of innovation.  The Burmese works may have an immediate, "fresh" appeal coming from a country that has been isolated for a long time.  Also, a group of young, talented Thai artists produces interesting and original works that appeal to an international audience.

Vietnamese paintings have been among the most popular in South East Asia which may be due to several reasons, such as the French influence and the establishment of the Fine Art University, Ecole des Beaux-Arts d’Indochine in Hanoi in the 1920s, active local collectors and connoisseurs, and a vibrant contemporary art scene.  The demand is being reflected in the price level.  Manpower, education, inspiration and economic success - for the few perhaps – are in place.  The challenge is not to be complacent and rest on current successes, but to continuously strive for new areas of expression.  It should be noted that there has not been much innovation lately, and some of the artists have a rather large production. A major concern is authenticity since copies and fakes have become prevalent in Vietnam, not only of old masters, but also of some of the best-selling modern artists. There are still good pieces to be found in Vietnam, but they have become harder to find, and it is ever more important to choose carefully the best quality works. A special mention should be made of lacquer paintings, such as by Trinh Tuan, Dinh Quan, and Cong Kim Hoa.  They are uniquely Vietnamese and truly innovative.  The synthesis of traditional lacquer techniques and modern paintings has been very successful, and the art of lacquer painting is surely an important contribution from Vietnam to the global contemporary art scene.

Burmese paintings are mostly traditional which can be expected from a country which is still rather isolated from the rest of the world.   There is nothing wrong with traditional paintings as long as they are well executed, and Thavibu Gallery strives to show the best contemporary art coming out of Burma.  Works by the top artists such as U Lun Gywe and Aung Kyaw Htet are still quite reasonable in price.  Only 15 % of the population has more or less regular access to electricity, a much lesser percentage has access to TV and Internet.  I cannot agree with those who say that Burma is now opening up, although there is more activity in the art scene than before.  Due to censorship and isolation, the focus is still mostly on Buddhist subjects in this highly religious country.  Canvas and paint are often in short supply. 

Thailand has the most diverse art scene in terms of style, media and subject matter, and the interest in Thai art works is increasing.   Neo-traditionalist art often featuring Buddhist subject matters still plays a prominent role on the domestic scene, though this style is probably not so interesting for the international audience, and Thavibu Gallery does not feature much of this style.   There is a high degree of freedom of expression in Thailand, hence the censorship which plagues many other countries in the region does not limit what Thai artists can show.   This often leads to expression of issues related to social awareness and social criticism, which is refreshing.  After the coup in September 2006, the situation is a bit more uncertain, though. The diversity of media and techniques can be exemplified by “oil on aluminum sheets” by Therdkiat Wangwatcharakul, “oil on carved plywood and vinyl tiles” by Kritsana Chaikitwattana.  Two other young Thai artists who create interesting 'pop-art' works are Jirapat Tatsanasomboon and Thaweesak Srithongdee.   These four young and up-coming artists breath new life and quality into the Thai art scene.  Another interesting area of contemporary Thai art can be found in three-dimensional works, such as installations.  A book on Thai Contemporary Art is an excellent introduction to the art scene in Thailand. 

The Internet is clearly making the art scene more global. It does not matter much anymore where the artist is, where the art work is or where the viewer is. An indication of the increasing importance of the Internet is that Thavibu Gallery now sells more than half the art works through the Internet.

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