# A woodcut looks beyond the tropical view / 雨林之外，木刻中的社会生活 — Hu Chao 胡超

Source: https://www.huchaocurator.com/exhibitions/bali-island/research/woodcuts-and-social-life/

## English

[Selected curatorial projects](https://www.huchaocurator.com/exhibitions/) / [Bali Island](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

# A woodcut looks beyond the tropical view

Begging, a fan dancer and a fishing village bring different social histories into the exhibition’s tropical imagery.

See Cheen Tee · woodcuts · public memory

## 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

See Cheen Tee’s Begging, made in 1954, brings poverty into view through the direct language of woodcut. His colour prints of dancers and Sentosa’s fishing village extend that attention to cultural life and everyday surroundings. The catalogue relates his practice to the influence of China’s modern woodcut movement in Singapore and Malaya.

The works span years of political and social change, but their subjects resist a single picturesque account of the region. Sentosa Island, dated 1966, records a fishing settlement before the island’s later development as a resort. Seen together, the prints preserve aspects of public life that can disappear from a landscape’s familiar contemporary image.

[

Image: See Cheen Tee, Sentosa Island, 1966 / 许振第，圣淘沙岛，1966

](https://www.huchaocurator.com/assets/bali-exhibition/see-sentosa.webp)

See Cheen Tee, Sentosa Island, 1966Colour woodcutImage / collection: Collection of See Yee Wah

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)

CATALOGUE SOURCE

Bali Island: Art and the World Beyond the Rainforest, 2026. Catalogue text by Hu Chao. PDF pages 54, 55, 56.

[About the catalogue and sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

CONNECTED RESEARCH

[Why is there no goose meat in Singapore?](https://www.huchaocurator.com/exhibitions/bali-island/research/goose-and-archives/)[A fish bred for an aquarium enters ink painting](https://www.huchaocurator.com/exhibitions/bali-island/research/tropical-ornamental-fish/)

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/)

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## 中文

[主要策展](https://www.huchaocurator.com/exhibitions/) / [巴厘岛](https://www.huchaocurator.com/exhibitions/bali-island/)

[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

# 雨林之外，木刻中的社会生活

乞丐、舞者与渔村，使不同的社会历史进入展览中的热带图像。

许振第 · 木刻 · 公共记忆

## 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

许振第1954年的《乞丐》，以木刻直接有力的语言把贫困带入观看。他的舞者与圣淘沙渔村套色木刻，又将目光延伸至文化生活与日常环境。图册联系中国新兴木刻运动在新马地区的影响，讨论其艺术实践的历史语境。

这些作品跨越社会与政治变化的年代，也使东南亚无法被一种如画的风景概括。1966年的《圣淘沙岛》，记录了岛屿成为现代度假胜地之前的渔村生活。将作品放在一起，可以看见那些容易从今天的熟悉景观中消失的公共记忆。

[

Image: See Cheen Tee, Sentosa Island, 1966 / 许振第，圣淘沙岛，1966

](https://www.huchaocurator.com/assets/bali-exhibition/see-sentosa.webp)

许振第，圣淘沙岛，1966纸本套色木刻图片／收藏：许一华收藏

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)

图册来源

《巴厘岛：雨林外的艺术与世界》，2026年。图册撰文：胡超。PDF第54, 55, 56页。

[关于图册与资料来源](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

继续探索

[为什么新加坡吃不到鹅肉？](https://www.huchaocurator.com/exhibitions/bali-island/research/goose-and-archives/)[为水族箱繁育的鱼，如何进入水墨画？](https://www.huchaocurator.com/exhibitions/bali-island/research/tropical-ornamental-fish/)

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/)

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