MYANMAR - COUP D'ETAT
2022 was a tough year for Myanmar artists. While trying to hold on strenuously after the February 1, 2021, military coup d’état and the government’s crackdown on its citizens, many artists eventually decided to leave the country, including the artist-couple Nge Lay and Aung Ko.
Nge Lay’s multimedia practice explores gender, time, and memory amid the socio-political backdrop of Myanmar, often involving communities. Aung Ko’s paintings, performances, and installations reflect on village life, geography, history, and customs. They stayed in Yangon for as long as they could, actively participating in the protests, until they eventually had to flee a few months ago to protect their daughter and themselves. While carrying on their battle for freedom through art abroad, they elaborated on the situation in the country before leaving for their residency at the Val-de-Marne Contemporary Art Museum (MAC VAL) outside of Paris, where their show “Mémoires” was on view until the end of December.
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Aung Ko, for your recent show “I am Ko Shwe” (9/23–10/28) at Primo Marella Gallery in Lugano, you chose the color gold to create statues. What does it represent?
AK The phrase “Golden Land Myanmar” was often seen in the propaganda produced by the military government after 1988. You hear it on the radio every morning, and you see the signboard once you land at the Yangon International Airport. We all hated it. So since 2010, I started creating these golden sculptures as an ironic reference to this slogan. Additionally, Myanmar people abroad address each other as “Ko Shwe,” which means “Mr. Gold,” as a way to recognize each other and acknowledge their inner value, even when we are doing, for example, very low-paid jobs.
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- From the newspaper article by Naima Morelli
