# Bali Island: Art and the World Beyond the Rainforest — Hu Chao 胡超 Source: https://www.huchaocurator.com/exhibitions/bali-island/ ## English [Selected curatorial projects](https://www.huchaocurator.com/exhibitions/) / Bali Island [Exhibition](https://www.huchaocurator.com/exhibitions/bali-island/)[Research notes](https://www.huchaocurator.com/exhibitions/bali-island/research/)[International symposium](https://www.huchaocurator.com/exhibitions/bali-island/symposium/)[Selected works](https://www.huchaocurator.com/exhibitions/bali-island/works/)[Installation views](https://www.huchaocurator.com/exhibitions/bali-island/gallery/)[Full introduction](https://www.huchaocurator.com/exhibitions/bali-island/introduction/)[Catalogue & sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/) BALI ISLAND / CURATORIAL RESEARCH # Bali Island: Art and the World Beyond the Rainforest SECOND TRANS-SOUTHEAST ASIA TRIENNIAL GAFA Art Museum, University City, Guangzhou 20 March–8 May 2026 Curators: Hu Chao & Lim Chengtju Catalogue text: Hu Chao [Exhibition announcement on e-flux ↗](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest) [ Image: Robert Zhao Renhui, Singapore, Very Old Tree, 2015 / 赵仁辉，新加坡，古老的树，2015 ](https://www.huchaocurator.com/assets/bali-very-old-tree.jpg) Robert Zhao Renhui, Singapore, Very Old Tree, 2015Photographic series; installation view, 2026Image / collection: GAFA Art Museum ## What do we see beyond the rainforest? The exhibition follows artists, images and materials between China, Southeast Asia and the Americas. Historical documents and contemporary works make these connections visible—from Covarrubias’s encounters with China to the changing subjects of ink painting, and from journeys to Bali to artworks made for Guangzhou. [Read the full exhibition introduction](https://www.huchaocurator.com/exhibitions/bali-island/introduction/) RELATED INTERNATIONAL SYMPOSIUM ## Global Perspectives ### Global Perspectives: Imagining and Representing Southeast Asia in Art 21 March 2026 · GAFA Art Museum Conceived, organised and chaired by Hu Chao [Explore the symposium, photographs and film →](https://www.huchaocurator.com/exhibitions/bali-island/symposium/) CURATORIAL RESEARCH / LOOKING TOGETHER ## Three comparisons, three research questions [View all nine research notes →](https://www.huchaocurator.com/exhibitions/bali-island/research/) [From an opera sketch to an illustrated classic](https://www.huchaocurator.com/exhibitions/bali-island/#compare-covarrubias)[Three paintings, a modern ornamental fish](https://www.huchaocurator.com/exhibitions/bali-island/#compare-tropical-fish)[Begging and a dancer: two views of society](https://www.huchaocurator.com/exhibitions/bali-island/#compare-see-cheen-tee) ### From an opera sketch to an illustrated classic [ Image: Miguel Covarrubias, Chinese Opera Characters, 1930s / 珂佛罗皮斯，中国戏曲人物，1930年代 ](https://www.huchaocurator.com/assets/bali-exhibition/covarrubias-opera.webp) Miguel Covarrubias, Chinese Opera Characters, 1930sPen on paperImage / collection: Zhang Guangyu Documentation and Art Center, Beijing [ Image: Miguel Covarrubias, Illustration for All Men Are Brothers, 1948 / 珂佛罗皮斯，《水浒传》插图，1948 ](https://www.huchaocurator.com/assets/bali-exhibition/covarrubias-water-margin.webp) Miguel Covarrubias, Illustration for All Men Are Brothers, 1948Book illustration, Limited Editions Club edition; translated by Pearl S. BuckImage / collection: Exhibition catalogue An opera sketch from Covarrubias’s travels in China sits beside a later illustration for Pearl S. Buck’s translation of All Men Are Brothers. The comparison follows Chinese subjects from theatrical observation into an English-language publication, placing Covarrubias’s engagement with China alongside his better-known Bali work. [Explore the works and research →](https://www.huchaocurator.com/exhibitions/bali-island/research/covarrubias-china/) ### Three paintings, a modern ornamental fish [ Image: Wang Lanruo, I Love Tropical Fish in Clear Springs, 1986 / 王兰若，我爱清泉热带鱼，1986 ](https://www.huchaocurator.com/assets/bali-exhibition/wang-tropical-fish.webp) Wang Lanruo, I Love Tropical Fish in Clear Springs, 1986Ink and colour on paperImage / collection: Collection of Yang Xiaohong [ Image: Huang Dufeng, Carefree Wandering / 黄独峰，逍遥游 ](https://www.huchaocurator.com/assets/bali-exhibition/huang-tropical-fish.webp) Huang Dufeng, Carefree WanderingInk and colour on paperImage / collection: Collection of Yang Xiaohong [ Image: See Cheen Tee, Forging Ahead, 1990 / 许振第，奋勇向前，1990 ](https://www.huchaocurator.com/assets/bali-exhibition/see-fish.webp) See Cheen Tee, Forging Ahead, 1990Ink and colour on paperImage / collection: Collection of See Yee Wah Wang Lanruo, Huang Dufeng and See Cheen Tee paint tropical ornamental fish bred for aquariums. Placing the works together raises a question about how a modern animal category became an ink-painting subject across southern China and Singapore. See’s 1990 inscription brings the fish into a national celebration. [Explore the works and research →](https://www.huchaocurator.com/exhibitions/bali-island/research/tropical-ornamental-fish/) ### Begging and a dancer: two views of society [ Image: See Cheen Tee, Begging, 1954 / 许振第，乞丐，1954 ](https://www.huchaocurator.com/assets/bali-exhibition/see-begging.webp) See Cheen Tee, Begging, 1954WoodcutImage / collection: Collection of See Yee Wah [ Image: See Cheen Tee, Malay Fan Dancer, 1960s / 许振第，马来西亚扇子舞者，1960年代 ](https://www.huchaocurator.com/assets/bali-exhibition/see-dancers.webp) See Cheen Tee, Malay Fan Dancer, 1960sColour woodcutImage / collection: Collection of See Yee Wah Begging (1954) and Malay Fan Dancer (1960s) turn the same print medium toward poverty and cultural life. Read across the years around Singapore’s independence, the pairing asks how an artist’s account of society changes with the public images of a new nation. [Explore the works and research →](https://www.huchaocurator.com/exhibitions/bali-island/research/woodcuts-and-social-life/) These groupings follow the image comparisons in GAFA Art Museum’s e-flux announcement. Images, dates and collection credits are checked against the exhibition catalogue. [View the e-flux announcement ↗](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest) ANOTHER CONNECTION / LUO MING [A painting and a photograph connect the journeys of 1947 and 1952 →](https://www.huchaocurator.com/exhibitions/bali-island/research/luo-ming-two-journeys/) ## The contemporary gallery [View installation images →](https://www.huchaocurator.com/exhibitions/bali-island/gallery/) [ Image: Ines Katamso, Post Rimbun, 2026 / 伊内斯·卡塔姆索，繁茂之后，2026 ](https://www.huchaocurator.com/assets/bali-post-rimbun.webp) Ines Katamso, Post Rimbun, 2026Commissioned installationImage / collection: GAFA Art Museum [ Image: Rirkrit Tiravanija, Untitled, 2010 / 里克力·提拉瓦尼，无题，2010 ](https://www.huchaocurator.com/assets/bali-exhibition/rirkrit-installation.webp) Rirkrit Tiravanija, Untitled, 2010Bamboo and steel; installation view, 2026Image / collection: GAFA Art Museum ## Selected works [View all selected works →](https://www.huchaocurator.com/exhibitions/bali-island/works/) [ Image: The Artists Village, Two by the Waterfall, 2001 / 艺术家村，瀑布旁的两人，2001 ](https://www.huchaocurator.com/assets/bali-exhibition/tav-waterfall.webp) The Artists Village, Two by the Waterfall, 2001Photographic work from The Bali ProjectImage / collection: The Artists Village [ Image: Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975 / 戴懋龙，《石头花纹》系列 SF1–3，1975 ](https://www.huchaocurator.com/assets/bali-exhibition/tay-stone-pattern.webp) Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975BatikImage / collection: Collection of Lee Khai [ Image: Koh Nguang How, Why There Is No Goose Meat in Singapore?, 2026 / 许元豪，为什么新加坡吃不到鹅肉？，2026 ](https://www.huchaocurator.com/assets/bali-exhibition/koh-goose.webp) Koh Nguang How, Why There Is No Goose Meat in Singapore?, 2026Photographs, documents and mixed media on canvasImage / collection: Exhibition catalogue [ Image: John Clang, The Land of My Heart, 2014 / John Clang，The Land of My Heart，2014 ](https://www.huchaocurator.com/assets/bali-exhibition/john-clang-heart.webp) John Clang, The Land of My Heart, 2014PhotographyImage / collection: Courtesy of the artist EXHIBITION RECORD & RELATED CHANNELS [GAFA Art Museum · official exhibition page](https://artmuseum.gzarts.edu.cn/info/1249/9719.htm)[GAFA Art Museum · e-flux announcement](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest)[Catalogue, credits & sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/) × --- ## 中文 [主要策展](https://www.huchaocurator.com/exhibitions/) / 巴厘岛 [展览详情](https://www.huchaocurator.com/exhibitions/bali-island/)[图册中的研究线索](https://www.huchaocurator.com/exhibitions/bali-island/research/)[国际研讨会](https://www.huchaocurator.com/exhibitions/bali-island/symposium/)[精选作品](https://www.huchaocurator.com/exhibitions/bali-island/works/)[展览现场](https://www.huchaocurator.com/exhibitions/bali-island/gallery/)[完整介绍](https://www.huchaocurator.com/exhibitions/bali-island/introduction/)[图册与相关发布](https://www.huchaocurator.com/exhibitions/bali-island/resources/) 巴厘岛 / 策展研究 # 巴厘岛： 雨林外的艺术与世界 第二届泛东南亚三年展 广州美术学院大学城美术馆 2026年3月20日—5月8日 共同策展：胡超、林增如 图册撰文：胡超 [e-flux 国际发布 ↗](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest) [ Image: Robert Zhao Renhui, Singapore, Very Old Tree, 2015 / 赵仁辉，新加坡，古老的树，2015 ](https://www.huchaocurator.com/assets/bali-very-old-tree.jpg) 赵仁辉，新加坡，古老的树，2015摄影系列；2026年展览现场图片／收藏：广州美术学院美术馆 ## 走出“雨林”， 我们看见什么？ 展览追踪艺术家、图像与材料在中国、东南亚和美洲之间的移动。从珂佛罗皮斯与中国的接触，到水墨画题材的变化；从前往巴厘岛的行旅，到为广州展览创作的作品，历史文献与当代艺术让这些联系变得可见。 [阅读完整展览介绍](https://www.huchaocurator.com/exhibitions/bali-island/introduction/) 展览相关国际研讨会 ## 东南亚艺术与图像的 世界视角 ### 东南亚艺术与图像的世界视角 2026年3月21日 · 广州美术学院大学城美术馆 学术策划、会议组织及主持：胡超 [阅读会议内容，观看现场图集与影像 →](https://www.huchaocurator.com/exhibitions/bali-island/symposium/) 策展研究 / 把作品放在一起看 ## 三组并置， 三个研究问题 [查看全部九条研究线索 →](https://www.huchaocurator.com/exhibitions/bali-island/research/) [从戏曲速写，到《水浒传》插图](https://www.huchaocurator.com/exhibitions/bali-island/#compare-covarrubias)[三幅水墨画，一种现代观赏鱼](https://www.huchaocurator.com/exhibitions/bali-island/#compare-tropical-fish)[从乞丐到舞者：木刻中的社会如何变化？](https://www.huchaocurator.com/exhibitions/bali-island/#compare-see-cheen-tee) ### 从戏曲速写，到《水浒传》插图 [ Image: Miguel Covarrubias, Chinese Opera Characters, 1930s / 珂佛罗皮斯，中国戏曲人物，1930年代 ](https://www.huchaocurator.com/assets/bali-exhibition/covarrubias-opera.webp) 珂佛罗皮斯，中国戏曲人物，1930年代纸本钢笔图片／收藏：北京张光宇文献艺术中心 [ Image: Miguel Covarrubias, Illustration for All Men Are Brothers, 1948 / 珂佛罗皮斯，《水浒传》插图，1948 ](https://www.huchaocurator.com/assets/bali-exhibition/covarrubias-water-margin.webp) 珂佛罗皮斯，《水浒传》插图，1948纽约限量发行俱乐部版书籍插图；赛珍珠译图片／收藏：展览图册 珂佛罗皮斯在中国旅行时绘制的戏曲速写，与他后来为赛珍珠英译《水浒传》绘制的插图并置。中国题材从现场观察进入英文出版物：这条线索，让我们在他广为人知的巴厘岛创作之外，看见中国文化在其艺术实践中的位置。 [展开作品与研究 →](https://www.huchaocurator.com/exhibitions/bali-island/research/covarrubias-china/) ### 三幅水墨画，一种现代观赏鱼 [ Image: Wang Lanruo, I Love Tropical Fish in Clear Springs, 1986 / 王兰若，我爱清泉热带鱼，1986 ](https://www.huchaocurator.com/assets/bali-exhibition/wang-tropical-fish.webp) 王兰若，我爱清泉热带鱼，1986纸本彩墨图片／收藏：杨晓鸿（杨家园）收藏 [ Image: Huang Dufeng, Carefree Wandering / 黄独峰，逍遥游 ](https://www.huchaocurator.com/assets/bali-exhibition/huang-tropical-fish.webp) 黄独峰，逍遥游纸本设色图片／收藏：杨晓鸿（杨家园）收藏 [ Image: See Cheen Tee, Forging Ahead, 1990 / 许振第，奋勇向前，1990 ](https://www.huchaocurator.com/assets/bali-exhibition/see-fish.webp) 许振第，奋勇向前，1990纸本设色图片／收藏：许一华收藏 王兰若、黄独峰与许振第画中的对象，是为水族箱人工繁育的热带观赏鱼。将三幅画放在一起，我们可以追问：这种现代动物类别，怎样成为华南与新加坡艺术家的水墨题材？许振第1990年的题识，又使观赏鱼进入新加坡建国二十五周年的庆典表达。 [展开作品与研究 →](https://www.huchaocurator.com/exhibitions/bali-island/research/tropical-ornamental-fish/) ### 从乞丐到舞者：木刻中的社会如何变化？ [ Image: See Cheen Tee, Begging, 1954 / 许振第，乞丐，1954 ](https://www.huchaocurator.com/assets/bali-exhibition/see-begging.webp) 许振第，乞丐，1954纸本木刻图片／收藏：许一华收藏 [ Image: See Cheen Tee, Malay Fan Dancer, 1960s / 许振第，马来西亚扇子舞者，1960年代 ](https://www.huchaocurator.com/assets/bali-exhibition/see-dancers.webp) 许振第，马来西亚扇子舞者，1960年代套色木刻图片／收藏：许一华收藏 1954年的《乞丐》与1960年代的《马来西亚扇子舞者》，分别以木刻呈现贫困与文化生活。把两件作品放回新加坡独立前后的历史，可以进一步追问：艺术家记录社会的方式，如何与新国家公共图像的形成相互关联？ [展开作品与研究 →](https://www.huchaocurator.com/exhibitions/bali-island/research/woodcuts-and-social-life/) 参考美术馆在e-flux发布中的作品并置，图片、年代与收藏信息依据展览图册核对。 [查看e-flux发布 ↗](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest) 另一条联系 / 罗铭 [一幅合作画与一张合影，连接1947与1952年的两次行旅 →](https://www.huchaocurator.com/exhibitions/bali-island/research/luo-ming-two-journeys/) ## 当代艺术在展厅中 [查看展厅照片 →](https://www.huchaocurator.com/exhibitions/bali-island/gallery/) [ Image: Ines Katamso, Post Rimbun, 2026 / 伊内斯·卡塔姆索，繁茂之后，2026 ](https://www.huchaocurator.com/assets/bali-post-rimbun.webp) 伊内斯·卡塔姆索，繁茂之后，2026为本展览创作的装置图片／收藏：广州美术学院美术馆 [ Image: Rirkrit Tiravanija, Untitled, 2010 / 里克力·提拉瓦尼，无题，2010 ](https://www.huchaocurator.com/assets/bali-exhibition/rirkrit-installation.webp) 里克力·提拉瓦尼，无题，2010竹子、钢筋；2026年展览现场图片／收藏：广州美术学院美术馆 ## 精选作品 [查看精选作品 →](https://www.huchaocurator.com/exhibitions/bali-island/works/) [ Image: The Artists Village, Two by the Waterfall, 2001 / 艺术家村，瀑布旁的两人，2001 ](https://www.huchaocurator.com/assets/bali-exhibition/tav-waterfall.webp) 艺术家村，瀑布旁的两人，2001“巴厘岛计划”系列摄影作品图片／收藏：艺术家村 [ Image: Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975 / 戴懋龙，《石头花纹》系列 SF1–3，1975 ](https://www.huchaocurator.com/assets/bali-exhibition/tay-stone-pattern.webp) 戴懋龙，《石头花纹》系列 SF1–3，1975蜡染布匹图片／收藏：Lee Khai 收藏 [ Image: Koh Nguang How, Why There Is No Goose Meat in Singapore?, 2026 / 许元豪，为什么新加坡吃不到鹅肉？，2026 ](https://www.huchaocurator.com/assets/bali-exhibition/koh-goose.webp) 许元豪，为什么新加坡吃不到鹅肉？，2026摄影、文献与帆布综合装置图片／收藏：展览图册 [ Image: John Clang, The Land of My Heart, 2014 / John Clang，The Land of My Heart，2014 ](https://www.huchaocurator.com/assets/bali-exhibition/john-clang-heart.webp) John Clang，The Land of My Heart，2014摄影图片／收藏：艺术家提供 展览记录与相关发布 [广州美术学院美术馆 · 官方展览页](https://artmuseum.gzarts.edu.cn/info/1249/9719.htm)[广州美术学院美术馆 · e-flux发布](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest)[图册、致谢与资料来源](https://www.huchaocurator.com/exhibitions/bali-island/resources/) ×