TS1 is a creative concept project, founded by Ivan Pun in Yangon, Myanmar in 2013. Started as pop-up space for contemporary arts in a transitioning city, it has now widened its scope to include more than physical space for artistic expression. TS1 is now a fundraiser for the arts, with aim to encourage the art scene in cities throughout Myanmar and enable international exchanges with artists, curators and institutions. TS1’s platform also encourages the diversity of mediums, acting as an advisory body for the development of contemporary art in Myanmar – a cultural catalyst for future generations of creative thinkers. In a country where there are no public art institutions, TS1 hopes to engage the public through the arts by collaborating with the numerous independent organizations throughout the country and the region.

Since 2013, TS1 collaborated with over 25 collectives, institutions, artists and organizations in order to enrich and encourage the art scene in Yangon. These include: JAMIT! an independent music, Myanmar-run organization; Contemporary Dialogues, events for artistic scholarship; Mobile Library Myanmar in cooperation with Asia Art Archive (AAA) and the Foundation for the Arts Initiative (FFAI); Beyond Pressure performance art festival and its founder Moe Satt; Goethe Institut Myanmar; Inya Art Gallery, Yangon’s oldest contemporary art gallery; NNCL Studio, a video art and filmmaking studio in Myanmar; Dhaka Art Summit in Bangladesh; New Urban Topologies, a conference on art and architecture in developing cities, in cooperation with Fargfabriken (Stockholm); My Yangon My Home Art and Heritage Festival in collaboration with the British Embassy in Yangon; Yangon Photo Festival in cooperation with the French Institute; Pansodan Art Gallery and Archive; and the list continues.

Funding for TS1 projects are made possible by the generous support of its patrons, fundraising and grant applications from varied institutions, and the efforts of the artistic communities of Myanmar.


We are delighted to welcome you to the third edition of A Beast, a god and a line, curated by Cosmin Costinas and brought to Yangon by TS.1, an organization founded by Ivan Pun supporting the arts in Myanmar.

The exhibition will open at the Pyinsa Rasa Art Space in the Secretariat AND Myanm/art Gallery on 6 June 2018 at 10 am. We are thrilled to be bringing this, the largest international contemporary art exhibition ever to show in Myanmar.

Please join us on 6 June 2018 for this historic event.

a beast a god and a line
by Cosmin Costinas

A beast, a god, and a line was woven by connections and circulations of ideas across a geography with Asia at its core. This geography is commonly called the Asia-Pacific, but it could also be defined by several other definitions, which this exhibition explored and untangled.

Western hegemony was challenged from a fundamentally different premise, that of unfinished processes of decolonisation and resurgent Indigenous identities, which were reflected both in the subject matter and in the aesthetic choices of several exhibited artists. Throughout the exhibition, artists investigated traces of colonial domination, as well as the different ramifications of that hegemony today, when cultural and environmental degradation continue to unravel landscapes, communities, and worlds.

These broad stories circulate across South and Southeast Asia on routes going back several historical eras, the first being the early Austronesian world that has woven a maritime universe surpassed in scale only by European colonialism, from the Pacific to Madagascar, with Taiwan as its origin and Indonesia, Malaysia, and Philippines at its core – which was taken as the speculative and approximate geographical perimeter of this exhibition. These historical journeys also served as an introduction to a major political reality that defines many contexts today and is often manipulated by the rising nationalist discourses.

This exhibition questioned how we should negotiate common ground in the context of the overall political and ideological fragmentation discussed above. How can an aesthetic basis for the language of contemporary art be maintained if the ideological bases of contemporary art are questioned? How can positions that claim disparate and conflicting genealogies sit together in a shared exhibition space? One tenuous leading line across the different aspects of this exhibition were textiles. A material and language common to different cultural spaces, textiles also have a firmly routed history in art, being possible sites for parallel processes of historiography. Moreover, textiles hold a different position in negotiating relationships with places and contexts, in ways that the individual agency of artists escapes.

While this exhibition included artists and practices of various historical, cultural, and geographical contexts, it was not based on an ethos of discovering or introducing artists from presumably marginalised regions, but worked within the premise of an already fragmentary and decentralised art world.

Artists featured:

Brang Li | Maung Day | Emily Phyo | Aung Myint | More to Come

Ampannee Satoh | Anand Patwardhan | Anida Yoeu Ali | Apichatpong Weerasethakul | Simon Soon (with RJ Camacho and Celestine Fadul)

Charles Lim Yi Yong | Cian Dayrit | Dilara Begum Jolly | Garima Gupta | Idas Losin | Ines Doujak | Nabil Ahmed | Jimmy Ong | Joël Andrianomearisoa | Joydeb Roaja | Lavanya Mani | Malala Andrialavidrazana | Ming Wong | Munem Wasif | Nontawat Numbenchapol | Norberto Roldan | Paul Pfeiffer |

| Sarat Mala Chakma | Sawangwongse Yawnghwe | Sheela Gowda | Sheelasha Rajbhandari | Simryn Gill | Su Yu Hsien | Taloi Havini Than Sok | Trevor Yeung

Truong Công Tùng | Tuguldur Yondonjamts | Zamthingla Rivah

ေတာေကာင္တစ္ေကာင္၊ နတ္ဘုရားတစ္ပါး၊ မ်ဥ္းေႀကာင္းတစ္ေႀကာင္း

လက္ရာမ်ားကိုေရြးခ်ယ္စုစည္းတင္ဆက္သူ – ေကာ့စမင္န္ ေကာ့စတီးနာ့စ္

ပြဲျဖစ္ေျမာက္ေရးအတြက္ ပံ့ပိုးကူညီသူမ်ား-

Samdani Art Foundation, Para/Site ႏွင့္ MOMA Warsaw

ရန္ကုန္တြင္ပြဲတင္ဆက္သူ – TS.1

ျပပြဲကာလ – ၂၀၁၈ ခုႏွစ္၊ ဇြန္လ ၆ ရက္ေန႕မွ ၂၂ ရက္ေန႕အထိ

ေနရာ – ပဥၥရသ အႏုပညာျပခန္း၊ ရန္ကုန္အတြင္း၀န္မ်ားရံုး

ေတာေကာင္တစ္ေကာင္၊ နတ္ဘုရားတစ္ပါး၊ မ်ဥ္းေႀကာင္းတစ္ေႀကာင္း

ေရးသားသူ – ေကာ့စမင္န္ ေကာ့စတီးနာ့စ္

ေတာေကာင္တစ္ေကာင္၊ နတ္ဘုရားတစ္ပါး၊ မ်ဥ္းေႀကာင္းတစ္ေႀကာင္း ဆိုတဲ့ပံုကားခ်ပ္ကို ရက္ယွယ္ျပဳလုပ္ရာမွာ အာရွကိုဗဟိုမွာထားရွိျပီး ပထ၀ီအေနအထားတခုအတြင္းက ဆက္ႏြယ္မႈေတြ၊ စိတ္ကူးျဖန္႕ေ၀ကူးလူးမႉေတြကို အေျခခံကာ ရက္လုပ္ထားတာျဖစ္ပါတယ္။ ၄င္းပထ၀ီအေနအထားကို အာရွ-ပစိဖိတ္လို႕ လူသိမ်ားပါတယ္။ အျခားအဓိပၸါယ္သတ္မွတ္ခ်က္ေတြလည္း ရွိႏိုင္ပါတယ္။ ဒီျပပြဲကုိယ္တိုင္ကလည္း ျဖစ္ႏိုင္ဖြယ္ရွိတဲ့အဓိပၸါယ္သတ္မွတ္ခ်က္ေတြကို စူးစမ္းေဖာ္ထုတ္ဖို႕၊ ဖ်ဥ္ထုတ္ယူဖို႕ ရည္ရြယ္ပါတယ္။

အေနာက္ကမာၻရဲ႕ ဗိုလ္က်ႀကီးစိုးမႈကို စိန္ေခၚတဲ့ေနရာမွာ အေျခခံအားျဖင့္မတူညီတဲ့ အေနအထားေတြကေန စိန္ေခၚခဲ့ႀကပါတယ္။ ယခုတိုင္မျပီးဆံုးႏိုင္ေသးတဲ့ ကိုလိုနီဘ၀ကေန လြတ္ေျမာက္ေအာင္အားထုတ္မႈျဖစ္စဥ္ေတြ၊ ဌာေနတိင္းရင္းသားအမွတ္လကၡဏာေတြကို ႏိုးႀကားရွင္သန္လာေအာင္ျပဳလုပ္တာေတြ စတဲ့ အေနအထားေတြျဖစ္ပါတယ္ ဒီအေနအထားေတြဟာ ယခုျပပြဲမွာ ပါ၀င္တဲ့ အနုပညာရွင္အခ်ိဳ႕အတြက္ အဓိကအေႀကာင္းအရာျဖစ္သလို၊ ရသလမ္းေႀကာင္းေရြးခ်ယ္မႈလည္းျဖစ္တယ္။ ျပပြဲတစ္ခုလံုးအေနနဲ႕ႀကည့္မယ္ဆိုရင္လည္း အႏုပညာရွင္ေတြဟာ ကိုလိုနီျပဳက်င့္ဗိုလ္က်ျခင္းရဲ႕ လက္စလက္နေတြကို ဆန္းစစ္ေလ့လာတာမ်ိဳး၊ အဆိုပါဗိုလ္က်စိုးမိုးမႈရဲ႕ ေနာက္ဆက္တြဲအက်ိဳးဆက္ေတြကို စူးစမ္းတမ်ိဳးေတြ ျပဳလုပ္ထားႀကပါတယ္။ တစ္ခ်ိန္တည္းမွာပဲ ယဥ္ေက်းမႈနဲ႕ သဘာ၀ပတ္၀န္းက်င္တို႕ရဲ႕ ယုတ္ေလ်ာ့ပ်က္စီးျခင္းဟာ ရႉေမွ်ာ္ခင္းေတြ၊ ရပ္ရြာေတြ၊ ေလာကနယ္ပယ္ေတြကို ျပိဳကြဲပ်က္စီးေအာင္ ဆက္လက္လုပ္ေဆာင္ေနတယ္ဆိုတဲ့ ကိစၥကိုလည္း ေလ့လာေဖာ္ထုတ္ထားတယ္ဆိုတာေတြ႕ရမယ္။

အဆိုပါျဖစ္ရပ္ဇာတ္လမ္းေတြဟာ ေတာင္အာရွနဲ႕ အေရွ႕ေတာင္အာရွေဒသတို႕မွာ ဟိုးေရွးယခင္ ေခတ္အဆက္ဆက္မွာကတည္းက တည္ရွိေန၊ ၀ဲလွည့္ေနခဲ့တာျဖစ္တယ္။ သမိုင္းမွာ အေစာဆံုးဥပမာအေနနဲ႕ဆိုရင္ေတာ့ ႀသစထရိုေနရွန္းနယ္နမိတ္ေပ့ါ။ အဲဒီေရေႀကာင္းနယ္နမိတ္ဟာ ပစိဖိတ္ကေန မာဒါဂတ္စကာအထိပါ၀င္ျပီး ထိုင္၀မ္မွာအစတည္ပါတယ္။ ထို႕အတူ အင္ဒိုနီးရွား၊ မေလးရွားနဲ႕ ဖိလစ္ပိုင္ႏိုင္ငံတို႕ကို နယ္နမိတ္ရဲ႕ ဗဟိုခ်က္မွာထားရွိပါတယ္။ အရြယ္အစားႀကီးမားတဲ့ အဆိုပါေရေႀကာင္းနယ္နမိတ္ဟာ ေရေႀကာင္းစႀက၀ဠာတစ္ခုလိုျဖစ္ျပီး သူ႕ထက္အရြယ္အစားႀကီးတာဆိုလို႕ ဥေရာပကိုလိုနီအင္ပါယာပဲရွိပါတယ္။ အခုေျပာသြားတဲ့ေရေႀကာင္းနယ္နမိတ္ဟာ ယခုျပပြဲရဲ႕ ပထ၀ီနယ္နမိတ္လည္းျဖစ္တယ္။ အခုေဆြးေႏြးသြားတဲ့ သမိုင္းခရီးစဥ္ေတြဟာ ကေန႕ေခတ္ရဲ႕ ႏိုင္ငံေရးအရွိတရားကို ပံုေဖာ္တာျဖစ္ျပီး၊ ကေန႕ေခတ္မွာ အျပိဳင္းအရိုင္းေပၚေပါက္လာတဲ့ အမ်ိဳးသားေရး၀ါဒပို႕ခ်ခ်က္ေတြ၊ အယူအဆေတြကဆိုတာကလည္း အဆိုပါကိုလိုနီသမိုင္းကို အျမတ္ထုတ္သံုးစြဲျပီး လူေတြကို စည္းရံုးပို႕ခ်တာျဖစ္တယ္။

အထက္မွာေျပာခဲ့သလို ႏိုင္ငံေရးအရ၊ အယူ၀ါဒေရးရာအရ အမ်ိဳးမ်ိဳးအဖံုဖံုျဖစ္ေနတဲ့ အေျခအေနတစ္ရပ္အတြင္းမွာ ဘံုတူညီမႉတစ္ရ႔္ကို ဘယ္လိုညွိႏွိဳင္းရွာေဖြယူႏိုင္မလဲဆိုတဲ့ေမးခြန္းကို ဒီျပပြဲကေမးထားတာျဖစ္ပါတယ္။ ေခတ္ျပိဳင္အႏုပညာရဲ႕ အယူ၀ါဒအေျခခံကိစၥေတြကို ေမးခြန္းထုတ္ႀကရင္းနဲ႕ပဲ ေခတ္ျပိဳင္အႏုပညာရဲ႕ ရသအေျခခံတစ္ခုကို ဘယ္လိုဆက္ျပီးထိန္းသိမ္းမလဲဆိုတာက ေနာက္ထပ္ေမးခြန္းတစ္ခုျဖစ္ပါတယ္။ ျပီးေတာ့ မတူညီႀကရံုသာမက တစ္ခုနဲ႕ တစ္ခုဖီလာဆန္႕က်င္တဲ့ မ်ိဳးရိုးစဥ္ဆက္အလိုက္ျဖစ္စဥ္ေတြဟာ ျပပြဲေနရာတစ္ခုတည္းမွာ ဘယ္လိုေနရာယူႀကမလဲ။ ျပပြဲရဲ႕ မတူညီတဲ့ကဏၰေတြမွာ အခိုင္အမာမဟုတ္ေပမယ့္ ျပပြဲတစ္ခုလံုးကိုတြဲသီထားတာကေတာ့ အထည္အလိပ္လက္ရာေတြပဲျဖစ္ပါတယ္။ ယဥ္ေက်းမႉအေျခခံမတူညီႀကေပမယ့္ အထည္အလိပ္ဆိုတာကေတာ့ တူညီတဲ့ ဘံုဘာသာစကား၊ တူညီတဲ့ကုန္ႀကမ္းပစၥည္းျဖစ္ပါတယ္။ အထည္အလိပ္လက္ရာေတြဟာ အျပိဳင္ျဖစ္ထြန္းေပၚေပါက္မႈေတြကို ေလ့လာႏိုင္တဲ့အရာေတြလည္းျဖစ္တယ္။ ဒါ့အျပင္သီးျခားအေနအထားတစ္ခုျဖစ္ပါတယ္။ အႏုပညာရွင္တစ္ဦးခ်င္းရဲ႕ ပါ၀င္စြက္ဖက္မႈကင္းပတဲ့ အေနအထားမ်ိဳးပါ။

ဒီျပပြဲမွာပါ၀င္တဲ့ အႏုပညာရွင္ေတြနဲ႕ အႏုပညာဖန္တီးမႉပံုစံေတြမွာ အမ်ိဳးမ်ိဳးအဖံုဖံုေသာ သမိုင္းေနာက္ခံ၊ ယဥ္ေက်းမႈေနာက္ခံနဲ႕ ပထ၀ီေနာက္ခံအေနအထားေတြ ရွိႀကပါတယ္။ ဒါေပမယ့္လည္း ေဘးဖယ္ထုတ္ခံထားရတယ္လို႕ ႀကိဳတင္သတ္မွတ္ထားတဲ့ေဒသေတြမွာရွိတဲ့ အနုပညာရွင္ေတြကို ရွာေဖြမယ္၊ မိတ္ဆက္ေပးမယ္ဆိုတဲ့ ရည္ရြယ္ခ်က္မ်ိဳးအေပၚ အေျခခံမထားပါဘူး မည္သို႕ပင္ဆိုေစ အစိတ္စိတ္အမႊာမႊာျဖစ္ေနျပီး၊ ဗဟိုခ်ဳပ္ကိုင္မႈမရွိတဲ့ အႏုပညာနယ္ပယ္တစ္ခုကို အေျခခံကာ ဒီျပပြဲကို တင္ဆက္ထားတာျဖစ္ပါတယ္။