{"id":217,"date":"2013-04-08T02:56:39","date_gmt":"2013-04-08T02:56:39","guid":{"rendered":"http:\/\/www.asianarthistories.com\/site\/?p=217"},"modified":"2013-04-16T06:15:55","modified_gmt":"2013-04-16T06:15:55","slug":"the-primacy-of-exhibitionary-discourses-contemporaneity-in-southeast-asian-art-1992-2002","status":"publish","type":"post","link":"https:\/\/www.asianarthistories.com\/site\/the-primacy-of-exhibitionary-discourses-contemporaneity-in-southeast-asian-art-1992-2002\/","title":{"rendered":"The Primacy of Exhibitionary Discourses: Contemporaneity in Southeast Asian Art, 1992 \u2013 2002"},"content":{"rendered":"by Seng Yu Jin - \r\n\r\nAttempts to locate contemporary art within historical frames have gained urgency in the past decade. This is especially so as we behold contemporary art making its way into institutions such as museums and their collections, auction houses, and the academia as a subject of study. Yet our understanding of what contemporary art is, when aligned along historical perspectives propelled <a href=\"https:\/\/www.asianarthistories.com\/site\/the-primacy-of-exhibitionary-discourses-contemporaneity-in-southeast-asian-art-1992-2002\/\" class=\"more-link\">Read more....<\/a>","protected":false},"excerpt":{"rendered":"<p>by Seng Yu Jin &#8211; Attempts to locate contemporary art within historical frames have gained urgency in the past decade. This is especially so as we behold contemporary art making its way into institutions such as museums and their collections, &hellip; <a href=\"https:\/\/www.asianarthistories.com\/site\/the-primacy-of-exhibitionary-discourses-contemporaneity-in-southeast-asian-art-1992-2002\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-217","post","type-post","status-publish","format-standard","hentry","category-essays-and-articles"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6nnKk-3v","_links":{"self":[{"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/posts\/217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/comments?post=217"}],"version-history":[{"count":15,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/posts\/217\/revisions"}],"predecessor-version":[{"id":392,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/posts\/217\/revisions\/392"}],"wp:attachment":[{"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/media?parent=217"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/categories?post=217"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.asianarthistories.com\/site\/wp-json\/wp\/v2\/tags?post=217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}