Do We Unlearn? A Path to Repair

Revisiting the impacts of modern developmentalism located in Asia, curator Jo Ying Peng, guest editor for the second part of this issue, reflects on artist Kao Jun Honn’s socially engaged practices and invites curator Arlette Quynh-Anh Tran to talk about how Art Labor’s project “Jrai Drew” was made in the Central Highlands of Vietnam.

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  1. This line has been extracted from the title of Jiahui Zeng’s essay Naoki SakaixGe Sun: Europe is responsible for the production of theory and Asia is responsible for the production of experience? The essay is written and published in Chinese and based on the discussions from the lecture by Naoki Sakai and Ge Sun. The event is organized by Inside-Out Art Museum as the program of the exhibition Discordant Harmony (2018).

  2. Is a Vietnamese idiom that honors the country’s treasure of natural resources from the mountains to the coastal regions. During his lifetime, Ho Chi Minh often used this phrase to appeal to national pride.

  3. Modern factors such as electricity—especially hydropower plants and industrial plantations—are considered as science applied in socio-economic development and reform. Therefore, in general education, especially in geography, this kind of information is disseminated at the same time describing bias the indigenous community.

  4. Bruno Latour, We Have Never Been Modern, trans. by Catherine Porter (Cambridge, Massachusetts: Harvard University Press, 1993), p. 99.


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