About this Event
Talk outline
What happens when artists face state-imposed restrictions that disrupt intellectual and cultural circuits? Much of Burma/Myanmar’s modern art history unfolded under authoritarianism, isolationism and censorship during Socialist Burma (1962–88). Its avant-garde artists remained outside Southeast Asian regional cultural circuits of art exchanges and exhibitions, yet artistic production persisted within the country. By forging creative means to counter isolationism, artists absorbed intellectual currents that permeated Burma’s borders to communicate shared injustices with viewers. This talk explores how Burma’s art history can be linked to South Asia and the former Eastern Bloc through proximity, multiculturalism and socialist cultural networks.
Through an examination of individual avant-garde artist histories, I trace the shifting constraints that the state imposed on artists in pursuing nation-building and the motivations driving the statist goals of censorship. In exploring the government’s preferred visual markers for nationhood, I discuss the ways in which avant-garde artists, often drawing on developments in poetry and literature, devised creative strategies of subversion, resistance and subterfuge, both in the realm of representation and in terms of political participation. Burma’s avant-garde embraced realism as a vehicle for resistance, embedding protest within state-sanctioned forms. Artists also leveraged Buddhist terminology to theorise radical formal innovations without Western art historical vocabulary. Furthermore, I trace how modes of resistance to state authoritarianism were transferred across creative genres rather than geographic borders through artistic practices, such as writing, poetry or painting. Burma’s modernism was generated through translations, book covers, Buddhist terminology and secret communities rather than museums, manifestos or classrooms, demonstrating how modernism persists in the absence of its canonical institutions. Taken together, these artists offer a manual for resistance: how to create coded visual language when direct speech is censored, how to sustain creative communities when institutions are dismantled and how to transform latent cultural material into tools of defiance.
Speaker Biography
Melissa Carlson, PhD, researches the development of Southeast Asian modernism in the late twentieth and early twenty-first centuries and is currently a senior teaching fellow at SOAS, University of London. She holds a PhD in South and Southeast Asian Studies from Berkeley where she focused on the cultural flows that influenced Southeast Asian modern and contemporary art. Select publications include chapters in Burma to Myanmar (The British Museum, 2024), March Meeting 2021: Unravelling the Present (Sharjah Art Museum, 2021) and Ambitious Alignments: New Histories of Southeast Asian Art 1945–1990 (National Gallery of Singapore, 2018). She received a Paul Mellon Centre (PMC) Postdoctoral Fellowship (2025–26) to support the development of her monograph, Painting Protest, which examines the development of modernism in socialist Burma (1962–88), with a focus on the role of experimental literature in opening new forms of visual language for artists.
Event format
13.00: Welcome and talk start
13.40: Talk finishes
13.40-14.00: Q&A
Please note that a light lunch and refreshments are provided at the event.
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✔ One accessible toilet on the ground floor
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✖ Livestreamed
✖ Recorded
✖ BSL
✖ Live captioning
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Image credit: Khin Swe Win, Sleeping Lady, oil on canvas, 91.4 x 121.9 cm, 1981. Collection of the artist. Photo by the author.
Event Venue & Nearby Stays
Paul Mellon Centre, 16 Bedford Square, London, United Kingdom
GBP 0.00
