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Papers by Leonor Veiga

Panggil Saya Bokap, 2020

This paper shows how family relations can emerge from respect, curiosity and companionship. It ce... more This paper shows how family relations can emerge from respect, curiosity and companionship. It celebrates my relationship with the legendary Aristides Katoppo, whom I cam to refer to as "My Indonesian Father".

Arteriais - Revista do Programa de Pós-Gradução em Artes

The exhibition Mecarõ, Amazonia in the Petitgas Collection should have run in MO.CO. Hôtel des Co... more The exhibition Mecarõ, Amazonia in the Petitgas Collection should have run in MO.CO. Hôtel des Collections (HC) in Montpellier, France, from March 3, 2020 to May 31, 2020. As the coronavirus pandemic altered the programing of the institution, Mecarõ ran through September 30, 2020.

Cadernos de arte e antropologia, Apr 1, 2015

Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders o... more Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders of what came to be termed as the 'Movimentu Kultura'-a group of contemporary artistic practices that engages 'fragments of traditions' and involves the entire artistic community of Timor-Leste. Madeira's artistic activity has always been inspired and sustained by the culture of Timor-Leste. Initially a voice of resistance in exile, Madeira's contemporary approach is aimed at her fellow citizens, especially Timorese women.

Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia, 2018

This is an open access article distributed under the terms of the prevailing cc-by-nc license at ... more This is an open access article distributed under the terms of the prevailing cc-by-nc license at the time of publication.

Arteriais, 2021

Review of Mecarõ, MO.CO. Montpellier (March to September 2020)

MODOS Art Journal, no. 14, 2021

This text aims to give an overview of existing biennials in Southeast Asia. By adopting a nationa... more This text aims to give an overview of existing biennials in Southeast Asia. By adopting a national perspective, it describes the genesis, the continuation (or not) and the programmatic character of regional biennials. The text proposes that the idea of perennial exhibition can be traced to the 1970s, when the ASEAN started to promote regional events, in an attempt to create unicity through culture. As this project lost vitality, it was substituted for biennials in Southeast Asia and in the Asia-Pacific region. According to the reasons behind their genesis, some biennials that were established in Southeast Asia follow the biennale model while others follow the model of resistance biennales. This shows variety and regional independence toward the global world.

Convocarte, 2019

Tempo, Cultura e Criação Artística

Migration processes and artistic practices in a time of war: from the 20th century to the present, Dec 2017

With this paper, I propose to frame certain contemporary art practices from 1990s Indonesia and T... more With this paper, I propose to frame certain contemporary art practices from 1990s Indonesia and Timor-Leste as avant-garde. The focus resides on a selection of artworks made during the repressive New Order regime of General Suharto (1967-1998). These avant-garde works, which are born out of the political conjecture, have as their most striking feature the presence of fragments of traditional arts. I have suggested terming the conflation of traditional arts and the discourses of the contemporary as the ‘Third Avant-garde’. These practices emerged mostly in the 1990s, the quasi-inaugural decade for the international showcase of ‘non-Western’ art. Probably due to reception problems, since the 2000s these artworks were generally regarded and theorized within the spectrum of political art, an aspect that relegated the presence of traditional arts
to a secondary realm, of a lesser importance. And while I concur that these works constitute extremely political
and politicized practices, I argue that it is precisely the use of traditional arts that makes them so. This is an aspect
that remains undertheorized in regards to the region’s ‘political art’: the primacy of “traditional arts”.

The Third Avant-garde: messages of discontent proposes and defines the occurrence of an avant-gar... more The Third Avant-garde: messages of discontent proposes and defines the occurrence of an avant-garde event in 1990s Southeast Asia. This occurrence primarily focuses on art’s social functions and is characterized by the inclusion of fragments of traditional arts within contemporary expressions. I argue that in this unorthodox employment of the traditional resides the avant-garde stance of these artworks, which defy established notions of art and the avant-garde. Third Avant-garde manifestations not only do not comply with the status quo promoted by local intelligentsia, they simultaneously combat the inherited taxonomical division that divided the fields of art and culture as two separate entities. The essay proposes examples of Southeast Asian artists that have contributed for the establishment of Third Avant-garde works while it equally indicates curators and at historians involved in the process of their institutionalization.

Cadernos de Arte e Antropologia, 2015

Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders o... more Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders of what came to be termed as the ‘Movimentu Kultura’ – a group of contemporary artistic practices that engages ‘fragments of traditions’ and involves the entire artistic community of Timor-Leste. Madeira’s artistic activity has always been inspired and sustained by the culture of Timor-Leste. Initially a voice of resistance in exile, Madeira’s contemporary approach is aimed at her fellow citizens, especially Timorese women.

6th Conference Event «Art and Gender», Faculty of Fine Arts of Lisbon University of Lisbon / Research and Studies Center for Fine-Arts, Francisco de Holanda Section, Lisbon, Oct 2012

5th Conference Event «Art and Society», Faculty of Fine Arts of Lisbon University of Lisbon / Research and Studies Center for Fine-Arts, Francisco de Holanda Section, Lisbon, Oct 2010

Second Skin: Peeling Back the Layers Solo Exhibition by Entang Wiharso (September 10-November 6, 2011), Curated by Dr. Mary-Louise Totton KIA (Kalamazoo Institute of Arts) Kalamazoo, MI - USA, Sep 2011

"Second Skin: Peeling Back the Layers Solo Exhibition by Entang Wiharso September 10-November 6... more "Second Skin: Peeling Back the Layers
Solo Exhibition by Entang Wiharso
September 10-November 6, 2011
Curated by Dr. Mary-Louise Totton
KIA (Kalamazoo Institute of Arts)
Kalamazoo, MI - USA

To see a description of the show, visit:
http://www.kiarts.org/page.php?menu_id=257

The Kalamazoo Institute of Arts is both a museum and community art school. Since 1924 the mission has been to cultivate both the creation and appreciation of the visual arts."

Dissertação de Mestrado em Estudos Curatoriais, Faculdade de Belas Artes, Universidade de Lisboa ... more Dissertação de Mestrado em Estudos Curatoriais, Faculdade de Belas Artes, Universidade de Lisboa (2010)

Comunicação no Seminário Oriente/Ocidente: Miscigenações, Faculdade de Belas Artes da Universidad... more Comunicação no Seminário Oriente/Ocidente: Miscigenações, Faculdade de Belas Artes da Universidade de Lisboa, Fevereiro de 2010.

In this interview, the curator explains his intentions with the exhibition theme, Tough Love and ... more In this interview, the curator explains his intentions with the exhibition theme, Tough Love and talks about the Portuguese contemporary art scene.

Tough Love (exhibition catalogue), Sep 2010

Arahmaini is one artist that has been included in the thesis Memory and Contemporaneity. Her vide... more Arahmaini is one artist that has been included in the thesis Memory and Contemporaneity. Her video "I Don't Want to be Part of Your Legend" has been included in the exhibition Tough Love, in Lisbon.

Panggil Saya Bokap, 2020

Arteriais - Revista do Programa de Pós-Gradução em Artes

Cadernos de arte e antropologia, Apr 1, 2015

Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia, 2018

Arteriais, 2021

Review of Mecarõ, MO.CO. Montpellier (March to September 2020)

MODOS Art Journal, no. 14, 2021

Convocarte, 2019

Tempo, Cultura e Criação Artística

Migration processes and artistic practices in a time of war: from the 20th century to the present, Dec 2017

Cadernos de Arte e Antropologia, 2015

Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders o... more Maria Madeira, who was born in Timor-Leste in 1969, can be considered to be one of the founders of what came to be termed as the ‘Movimentu Kultura’ – a group of contemporary artistic practices that engages ‘fragments of traditions’ and involves the entire artistic community of Timor-Leste. Madeira’s artistic activity has always been inspired and sustained by the culture of Timor-Leste. Initially a voice of resistance in exile, Madeira’s contemporary approach is aimed at her fellow citizens, especially Timorese women.

6th Conference Event «Art and Gender», Faculty of Fine Arts of Lisbon University of Lisbon / Research and Studies Center for Fine-Arts, Francisco de Holanda Section, Lisbon, Oct 2012

5th Conference Event «Art and Society», Faculty of Fine Arts of Lisbon University of Lisbon / Research and Studies Center for Fine-Arts, Francisco de Holanda Section, Lisbon, Oct 2010

To see a description of the show, visit:
http://www.kiarts.org/page.php?menu_id=257

The Kalamazoo Institute of Arts is both a museum and community art school. Since 1924 the mission has been to cultivate both the creation and appreciation of the visual arts."

Tough Love (exhibition catalogue), Sep 2010

School of Arts, Social Sciences and Humanities / Swinburne Institute for Social Research - Semina... more School of Arts, Social Sciences and Humanities / Swinburne Institute for Social Research - Seminar Series

Presenter: Leonor Veiga, Leiden University
Title: Contemporary Art from 1990s Indonesia and Timor-Leste: A Space of Convergence
Date: Friday, 8 July 2016
Time: 12:00 - 1:00pm
Venue: Penang Room, Level 3, Library Conference Room

This talk aims to address similarities in content and form of art practices in 1990s Indonesia and Timor-Leste. While differences are notorious, finding common ground proves to be a harder task. Yet I affirm that artists from both countries, especially those considered second class citizens – the ethnic Chinese and women in Indonesia and the Timorese – were equally repressed, silenced and fought against by the New Order totalitarian regime of Suharto (1965-1998).

In Indonesia, Fx Harsono was making political installations against human rights abuses such as the banishment of media opposition to the regime. Indonesian artist Arahmaiani emerged in this decade as a controversial figure that disrupted the status quo that the regime tried to maintain orderly through force. Her performance work was direct and brutal. Her political ideas lead to the regime sentencing her to death.

In Australia, Maria Madeira from Timor-Leste was exiled when she learned about human rights abuses in her country, that she feared would be lost forever due to the cultural genocide propagated by the Indonesian military. Similarly, Dadang Christanto was exiled in Australia, due to the extreme political message against human rights abuses in Indonesia.

"A ideia de arte enquanto forma de expressão visual em Timor-Leste está intimamente ligada à ques... more "A ideia de arte enquanto forma de expressão visual em Timor-Leste está intimamente ligada à questão da independência. Antes da independência, algumas das mais relevantes expressões artísticas apareceram em locais, como prisões e paredes, e em cartazes, todos contendo fortes mensagens políticas. Só em meados dos anos 90 foram estas expressões reconhecidas como arte contemporânea de Timor-Leste.

Neste período surgiram nomes dentro e fora do país: o artista Yahya Lambert e o espaço que coordenava, o Sanggar Masin, foram reconhecidos como participantes activos na luta pela independência; Maria Madeira, exilada na Austrália, relatava o ‘genocídio cultural’ a que o povo de Timor-Leste estava a ser sujeito. Ao reconhecimento da sua reputação artística, seguiu-se o reconhecimento político pela defesa dos direitos humanos, começando a comunidade internacional a dar sinais de que estava atenta.

A partir de 2002, os artistas no exílio regressam ao país independente. Em 2003, a escola Arte Moris, a primeira escola livre de artes visuais, abre em Díli. Os estudantes da escola começam a apresentar os seus trabalhos a uma audiência internacional, tanto dentro como fora do país, os quais reflectem o período difícil da história do país e o novo tempo que começa.

Dentro das várias tendências artísticas que foram surgindo depois da independência, tem-se destacado aquela que César, coordenador do espaço Sanggar Dejudil, chamou de ‘Movimento Kultura’ (2013). Esta tendência artística, que se pode relacionar com a vontade da nação em encontrar consenso em torno da sua identidade, consiste num estilo criado localmente, que procura revitalizar o legado da tradição anterior ao período da colonização portuguesa, a cultura Lulik. A população reconhece nessa expressão cultural a essência da identidade do povo timorense.

As raízes deste movimento remontam aos anos 90, quando os artistas, com falta de tela disponível, começam a pintar sobre tais, o têxtil nacional. É interessante constatar o facto de Maria Madeira ter também ela própria usado, no exílio, o tais, numa tentativa de dar a conhecer a arte do seu povo fora de portas.

Esta comunicação visa dar a conhecer a tendência do ‘Movimento Kultura’ de Timor-Leste e apresentar a arte contemporânea como espaço privilegiado de preservação do legado histórico e cultural do povo timorense.

Palavras Chave: tradição, arte contemporânea, tais, lulik
"

The Third Avant-garde: contemporary art from Southeast Asia recalling tradition, 2018

The Third Avant-garde investigates radical art manifestations in Southeast Asia, which took place... more The Third Avant-garde investigates radical art manifestations in Southeast Asia, which took place around the mid-1980s when postmodernism started to gain force in the region. It proposes that the advent of postmodernism in Southeast Asia is anchored in the materiality of traditional arts, an aspect that renders it different from its Western equivalent. The dissertation distinguishes two sets of postmodern manifestations: first, practices that use traditions in a celebratory way, and second, a set of works that use traditional arts radically. This study proposes that the second possibility manifests a double dismantle—first, against local patronizing forces that were enforcing artists to practice academic art and Western media (such as painting and sculpture), and second, a distancing attitude from Western art intelligentsia, who acted as ‘owners of the discourse’, and regarded ‘non-Western’ practitioners as followers rather than as trendsetters. For this investigation, the discipline of anthropology was called in, as was the art historical category of the avant-garde. The two approaches combined reveal how contemporary art from Southeast Asia that reprocesses traditional arts can be regarded as avant-garde. These gestures are novel, and result from practicing art in a certain location, and which is bound to a specific socio-political context.

Keywords for Library Repository

Avant-garde
Tradition
Southeast Asia
Art History
Anthropology
Postmodernism
Agency
Multi-temporality

UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES ANEXOS MEMÓRIA E CONTEMPORANEIDADE: arte contempo... more UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES ANEXOS MEMÓRIA E CONTEMPORANEIDADE: arte contemporânea indonésia – um projecto curatorial MESTRADO EM ESTUDOS CURATORIAIS

The Santa Cruz Massacre, 1991 - Thirty Years On , 2023

The world found out about the Santa Cruz Massacre shortly after the events. Footage of the massac... more The world found out about the Santa Cruz Massacre shortly after the events. Footage of the massacre was streamed on news channels all over the world. The atrocity committed by the Indonesian military and the event’s mediatisation are considered to have been game-changers for the country’s history, precipitating the referendum that would give Timor-Leste the sovereignty it so aspired for.
The Santa Cruz massacre is equally relevant due to its relationship to the Youth Generation – the Indonesian-speaking one, largely constituted by urban resistance. After the referendum, the massacre became a source of inspiration for several contemporary artists who expressed it in various registers including the ready-made, as memory, as painting of history, or as a symbol of identity. This talk aims to explore these expressions within the context of art history, to enable a wider understanding of the massacre and in comparison, with other important art historical events and their respective artistic manifestations.

The Third Avant-garde investigates radical art manifestations in Southeast Asia since the mid-197... more The Third Avant-garde investigates radical art manifestations in Southeast Asia since the mid-1970s to this day. It argues that contemporary art which employs traditional arts exists in the interstices of art and ethnography to contest both national conservatisms and Western art hegemony. Its theoretical approach is multidisciplinary, combining the disciplines of Art History and Anthropology. It suggests that contemporary art from Southeast Asia that reprocesses traditional arts can be regarded as avant-garde. These gestures are novel and result from practicing art in a certain location and bound to a specific socio-political context. https://scholarlypublications.universiteitleiden.nl/handle/1887/62200

Keywords for Library Repository:
Avant-garde
Tradition
Southeast Asia
Art History
Anthropology
Postmodernism
Agency
Multi-temporality

"Embrace of Diversity", 3rd Annual Arts Exhibition Between China and Portuguese-Sepaking Countries of MACAU, SAR, 2021

Mix and Stir: New Outlooks on Contemporary Art From Global Perspectives, 2021

This text aims to guide a viewer facing a Cultural Avant-garde work. The Cultural Avant-garde is ... more This text aims to guide a viewer facing a Cultural Avant-garde work. The Cultural Avant-garde is principally identified by its materiality, one which includes fragments of traditional and classical arts from the elsewhere. This materiality is frequently associated with classical and ethnographic museum collections’ which were regarded outside of the sphere of art. As such, these works call for new theorization.
The avant-garde, the most reputed art historical category, is apt to explain the works’ existence while it enables their theorization and understanding. Through avant-garde’s features – the blurring of high and low cultures (that permit a wider audience), its attack on the art institution (which also relates to modern art’s historical appreciation for the ethnographic other, which it appropriates); and its liaison with life (which it comments) – these works are given a status within the field of World Art Studies. Not only they introduce radical discourses within the field, they do so through cultural constructs that were regarded as devoid of critical agency.

"Natura", 2020 ARTFEM Women Artists International Biennial of Macau , 2020

The word Nature derives from the Latin natura, which etymologically signifies the “course of thin... more The word Nature derives from the Latin natura, which etymologically signifies the “course of things; natural character, constitution, quality; the universe”, and in ancient times, literally meant “birth”.1 In the Western world, from the 14th century onwards, nature began to be perceived in personified forms like “Mother Nature”. The fact that nature was understood as feminine has always resulted from women’s capacity to generate life and give birth. Thus, when the exhibition Natura was launched in 2019, the ARTFEM 2020 organization aimed to celebrate the innate relationship of women with life, as well as investigate their discursive contributions to the current global climate crisis through art practice.

Text available in English, Chinese and Portuguese.

The second edition of ARTFEM, Women Artists International Biennial of Art of Macau SAR revolved around the theme "Natura". The show comprised 98 artists from 23 countries and showcased 103 works of art.

Curators: Angela Li, Carlos Marreiros (President of ARTFEM), Alice Kok & James Chu and Leonor Veiga

The exhibition took place in 4 venues in Macau Peninsula and ran from September 30, 2020, through December 13, 2020.

For more information, please check the website https://artfem.org

Routledge Handbook of Contemporary Timor-Leste, 2019

The contribution of contemporary art practices for Timor-Leste’s national building is highly sign... more The contribution of contemporary art practices for Timor-Leste’s national building is highly significant. Especially since the restoration of independence in 2002, both the authorities and the population have been promoting the consolidation of national identity. The change of political landscape has provided the artistic community with a valuable opportunity to identify and propose values, trends, and community symbols of the new nation. Artists have successfully forged a space of artistic and political intervention, but their input has largely been segregated from broader nation-building efforts that characterize those promoted by the official authorities. This ghettoization has enabled artists to maintain a free discourse, imbued with notions of the avant-garde. Yet, their critical messages have not reached local authorities. Instead, their impact remained mostly confined to the attention granted by the international community residing in the country as well as the artist community itself.

2nd Skin: Peeling Back the Layers, 2011

Cadernos Arte e Antropologia, 2024

Resenha de SCHNEIDER, Arnd, "Expanded Visions. A New Anthropology of the Moving Image" (2021) par... more Resenha de SCHNEIDER, Arnd, "Expanded Visions. A New Anthropology of the Moving Image" (2021) para o dossier "Mundos especulativos: Narrativas etnográficas para além do julgamento", sob a direcção de Michael B MacDonald, http://journals.openedition.org/cadernosaa/5241

Expanded Visions, a new anthropology of the moving image, 2021

In Expanded Visions: A New Anthropology of the Moving Image, Arnd Schneider espouses the producti... more In Expanded Visions: A New Anthropology of the Moving Image, Arnd Schneider espouses the productive relationship between “moving image” and the discipline of anthropology. Link to text http://thirdtext.org/veiga-expandedvisions

SEHEPUNKTE, 2023

SEHEPUNKTE Rezension von Essential Desires Ausgabe 23 2023 Nr 5 Bitte geben Sie beim Zitieren di... more SEHEPUNKTE Rezension von Essential Desires Ausgabe 23 2023 Nr 5

Bitte geben Sie beim Zitieren dieser Rezension die exakte URL und das Datum Ihres Besuchs dieser Online-Adresse an.

BKI, Bijdragen tot de Taal-, Land- en Volkenkunde 174 (2018) 81–139, 2018

Third Text, 2024

Exhibition Review of the Timor-Leste pavilion at the 2024 Venice Biennial, which presented the ar... more Exhibition Review of the Timor-Leste pavilion at the 2024 Venice Biennial, which presented the artwork of Timorese artist Maria Madeira and was curated by Natalie King OAM.