Sa isang masaklaw at pangkasaysayang pagsusuri ng sensura sa Pilipinas, mula kay Marcos (Senior) hanggang kay Marcos (Junior), inilalatag ni Katrina Stuart Santiago ang mito ng kalayaang pansining sa Pilipinas. Sa proseso, tinutukoy niya ang lumalaking konserbatismo, at panibagong mga paraan ng pagsesensura.
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Indonesia has one of the most prolific film industries in Southeast Asia, yet, local filmmakers have to contend with different kinds of pressure and actions that impact their creative free expression. The real losers are the public, whose choice of what film, local or international, they might watch is decided by those in power
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Katrina Stuart Santiago demonstrates how recent incidents of artistic censorship in the Philippines have focused on the silencing of female and LGBTQIA+ voices.
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While Papuan cinema takes its place on the world stage, it is still viewed with distrust in Indonesia. Adrian Jonathan Pasaribu traces how and why Papua’s people continue to be excluded from the national narrative.
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Linh Le speaks to Dat Vu, a Ho Chi Minh City-based artist who works mainly with photography, about his experience with censorship.
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Artist Ngo Dinh Bao Chau shares her experience with the ambiguous censorship guidelines in Vietnam with curator Linh Le.
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In Cambodia, most cases of arts censorship are linked to the notion of protecting and preserving culture. Kai Brennert examines how different generations of civil servants and policymakers are shaped by their lived experiences, which in turn influence their view of “cultural preservation”.
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Nutcha Tantivitayapitak and Sudarat Musikawong travel to Chiang Mai, Thailand to shine a light on the artn’t Collective, who are currently facing numerous legal charges for works that are viewed as critiquing the state.
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In a country with opaque requirements for what can and cannot be shown, Linh Le highlights how something as seemingly straightforward as obtaining an exhibition licence may be used to control artistic expression in Vietnam.
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Tại một đất nước như Việt Nam, nơi có những yêu cầu không rõ ràng về việc trưng bày, Linh Lê nhấn mạnh rằng chỉ cần một thứ tưởng chừng đơn giản như xin giấy phép triển lãm có thể trở thành một cách kiểm duyệt biểu đạt nghệ thuật.
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