Values of MyanmarMyanmar values
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Myanmar's art value
Assessing the value of an artwork is nothing more than an estimation on the basis of the function of the markets in it. These include the origin (who possessed it), who gathered it (museums and collector private), who has written about it (magazines, book, periodicals), and of course the name of the artists, the costs and accessibility of material, the historic background, history and marketing/advertising.
Let us be clear that the "market" in Myanmar has only just taken root, which means that the most important factors for the value of work in the years to come are the already established PE and PPPs. Myanmar is unbalanced in relation to its population. Whilst high-ranking painters such as U Lun Gywe and Paw Oo Thet are worshipped, their works of art and sculpture are not necessarily valuable, even in the countryside.
Myanmar has a very high value of cash. Fact: a practically sealed off store, which had been under the control of the army for decade-long, with the value of the indigenous economy falling over night and high ranking officers paying billions of US Dollar for houses constructed under open sewerage in a dilapidated Yangon. What values could be compared if the global economy ignored the raw material-rich nation because of its lack of compliance with global norms?
There is great esthetic value and profound significance in many of Myanmar's modern work. Myanmar Modern Fine Arts consists of the alternate media and experiential condition of works of fine arts that address topical and delicate ?whether and refer to the state of the state of the work' s creator in the state of the earth, the land or the people.
There is a difference between the diversity of works of art that question the current situation and the art of art and art that embody the cultural and artistic values of Myanmar using the techniques of the West. It is in this differentiation that the marked wall - wall 4- how we appreciate the fine images of Bagan, the Shan State hills, the faces of Myanmar's many tribal groups, the friars and the churches that were all created by contemporary people?
In addition, how does the current website art, such as: ?compete, performances-documentary, photographs, sculptures, videos, paintings, cartoons, blended medias, textiles, streets etc. work with the conventional and fashionable arts markets? Lately I have been in a bizarre www - position in the material of the artist and then working with the artist to set the sale of work.
I' m always amazed (and impressed) by the artists' expectation of the fee and the point in the prize money of their work. Most of the artist have never been selling works, they have no information about their works or ideas on-line or in printed form (in Burma or English), and they have never taken part in an exhibition internationally.
Yet Myanmar's artist are underrated in a world that often doesn't have them on the worldmap. One of the most frequent reactions from purchasers is that the work of art is "not as valuable", "inferior" or does not meet "international standards". "Either this addresses the buyer's inexpertness and ignorance of Myanmar's artist, or it is a game.
At the moment, not all the problems of these performers will be solved by means of cash, and purchasers have a right to their opinion of the work that comes from Myanmar, but it is very delicate to address "valuable". Does it pay off for purchasers to know that many of these performers have been working on the perfection of their concept and experiment with new media for 10-30 years?
The fact that there are only a few material and only 10 years ago to earn a living was out of the question except in the case of a monk (and sometimes even then)? Most of them did not have the luxuries of attending college to study the arts; they worked on it out of a sense of passions and alternate communications that made it possible, as against the desire to enter a world?
There was something to say to modern 80' and 90' China artist, and these early works in Beijing and Shanghai were often transient. Few collectibles allowed the thriving of China's art, and even more so those who took their work and messages seriously enough to compose and read them, translating their meanings and spreading this messages.
Collectibles also have an important part to play in persuading a federal agency to build a state-sponsored facility that is urgently needed in Myanmar. It' not about involving Myanmar's artisans in a truly international arena. It is a company. They often make fun of the mythical artist and creatives who were influenced by the situation and used their work to communicate politically, scientifically and emotionally at experience? experience.
It' s about embracing the Myanmar originating artwork and the experimentation as naturally precious, respecting them enough to bring them into dialogue, instead of feeling sorry for them as "inferior". "Despite criticism, Myanmar and Yangon have inevitably been supporting the fine art.
It raises its own standing as an institutional promoter of modern artwork (or whatever), and the artists' standing is enhanced by an exhibit, a catalogue, a newspaper and hopefully also by selling. So how many free shows and fundraising events have we seen coming from Myanmar?
Outstanding, non-profit work created by artist for artist who involve and send out internationally acclaimed Myanmarists. What's wrong with the arts fair? How do Myanmar performers differ from those in the Philippines, Indonesia, Singapore, Thailand and Vietnam? It is the internationally accepted standards for value, qualitiy and importance and gives the buyer the feeling of security to "invest" in works of work.
If you consider fine arts as an asset to be turned around later, you should buy Picasso and ignore the subtle historic issues of Asian modernism.