In the last decade of the nineteenth century, the English seaside and health resort of Torquay abandoned its old practice of municipal waste tipping and invested in a destructor, or incinerator. Technical, legal and financial considerations lay behind this decision. The ensuing protests against the operation of the destructor highlight the tensions between nascent technocrats and the affected residents. At a time when pollution was most often displaced or dispersed, topography conspired against the residents of Torquay, and challenged the accepted spatial and social relationships of waste.
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Preceded by a short disquisition on what is the "Asian" and the "Southeast Asian", I go on to examine the works of artists F.X. Harsono, Dacchi Dang and Dinh Q. Lê, historicising their work in relation to their predecessors including Sudjojono and Nguyen Tu Nghiem, as well as mentioning their peers Araya Rasdjarmrearnsook and Roberto Bulatao Feleo. I examine what unites these disparate practices in their nimble negotiation of personal and collective identities and histories, and discuss the insertion of a notion of resistance to political power or ideology into their artistic practice. Southeast Asian Regional Identity This article considers the works of artists F.X. Harsono, Dacchi Dang and Dinh Q Lê, historicising their work in relation to their predecessors, including Sudjojono and Nguyen Tu Nghiem, as well as their peers. What unites these disparate practices, in my analysis, is their nimble negotiation of personal and collective identities and histories, and their insertion of a notion of resistance to political power or ideology, into their artistic practice. To begin with, it is worth noting that the question of what is "Asian" and how it may be approached seems to have preoccupied earlier geo-biologists, 2
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