In Myanmar, loneliness has no place

Moe Nyo's "Poetic Poem Series, 1" / Courtesy of Hansae Yes 24 Foundation

By Jin Yu-Young

In the wealthy West, loneliness is prevalent. But in Myanmar, one of the poorest countries in the world, there is no place for loneliness, the annual cultural exchange exhibition hosted by Hansae Yes24 Foundation finds.

Since 2015, the foundation has hosted annual international cultural exchange exhibitions to promote the art and culture of Asian countries and introduce them to South Korea. This year it focused on Myanmar in its latest exhibition “An Aspect of Myanmar,” which showcases the works of eight artists who have created pieces to represent the country's people and history.

Before this year's exhibition, the foundation showcased Vietnam in 2015, followed by Indonesia and Thailand in subsequent years.

Sim Sang-yong, the director of this year's exhibition, says loneliness is prevalent in the Western world.

“The West has discarded values such as the ability to act with a sense of resolve as well as dedication and spirit of self-sacrifice for the sake of liberty,” he says in his introductory statement. On the other hand, in Myanmar, a country in which 85 percent of the population relies on farming as their primary source of income and is considered one of the world's least developed countries, loneliness has no place in its rich and dynamic culture.

One of the artists featured is Moe Nyo, who was born in 1976 and began his career in 2003. Five of his paintings are featured in the “Poetic Poem Series.”

A Buddhist temple is the main subject of interest in all five works. His muted watercolors evoke an aura of serenity and his images put viewers in a meditative state.

In a world that places heavy emphasis on materialism and wealth, Moe Nyo shows us the tranquil beauty of a place in which these worldly desires do not exist.

Another artist in this exhibition is San Minn, who, born in 1957, is one of the founders of the Inya Gallery of Art. San Minn boldly expresses the darker sides of the country, such as gender inequality and the abuse of child soldiers, in his works, some of which were banned by the government and even led to his imprisonment in the late 1970s.

One of his paintings in the exhibition depicts a group of women in a flowered background. All appears well, except for a set of prison bars blocking the women from leaving the room. The painting is titled “They Lived in Prison.”

In another work, “The Devils,” San Minn paints soldiers with the faces of fantastic monsters. It is through these powerful paintings that he pushes the boundaries of what is deemed as appropriate as art subjects.

The other artists featured in this exhibition are Min Wae Aung, Lu Min, Tin Win, Aung Myint, Moat Thone, and Tin Htay Aung. By displaying the diverse works of these artists, we are able to gain eight perspectives and creative representations of Myanmar.

As the Hansae Yes24 Foundation strives in particular to highlight the artistic works of countries that are commonly overlooked by the more prominent art industries, such as those of the U.S. and European countries, it has successfully put Myanmar in the spotlight as a country with a rich art culture.

Jin Yu-young is a Korea Times intern.