A pioneer in Burmese contemporary art, working boldly as one of very few at the beginning of his career, Aung Myint’s experimentation with medium and form explore themes of cultural identity and personal memory . This will be one of the last times that a major international exhibition displays new works from this senior Myanmar artist (b.1946), who has been collected by the Guggenheim. Until 2008, the colours of the Burmese national flag - red and yellow - were censored in art and film. Aung Myint’s use of colour and reinterpretation and abstraction of traditional calligraphic and mural techniques act as a radical act of rebellion. (image courtesy of Karin Weber Gallery)
Perhaps most distinctive are his series of monochromatic drawings, Mother and Child (2002–2008), which turns single, unbroken lines of black acrylic into gestural forms loosely reminiscent of the pietà. The lines’ fluid continuity evokes the intimate physical connection of the two figures, but also the ‘one-line painting’, a technique used from the mural works of Bagan up until the Traditional painting of the early 20th century. They have further been read as a subtle comment on Burmese isolation.
Aung Myint has been collected by the Guggenheim (2012) as well as receiving the Juror’s Choice Award at the ASEAN Art Awards in Bali (2002). He has had notable solo exhibitions at Inya Gallery of Art, Yangon (1994), Lokanat Galleries, Yangon (1999, 2001, and 2005), Shinseido Hatanaka Art Gallery, Tokyo (1999), Kentler International Drawing Space, Brooklyn (2002), Karin Weber Gallery, Hong Kong (2003 and 2007), and Yavuz Fine Art, Singapore (2010).His important group exhibitions include: ‘Omnibus: Five Artists from Myanmar’, Voice Gallery, Kyoto (1995); 6th Nippon International Performance Art Festival, Japan (1999); Identity, Blue Space Contemporary Art Centre, Ho Chi Minh City (2006); and the Festival of Contemporary Theatre and Performance Art, Alliance Française, Yangon, organized by the Myanmar collective Theatre of the Disturbed (2008).