Founder of Mekong Art Initiative
By Ian Tee

This article is a preview of the content that will be published in Check-In 2023. Click here to pre-order your copy of the limited print run.

Misouda Heuangsoukkhoun’s involvement in the arts began at an early age when her parents opened Lao Gallery in 1985, the country’s first commercial gallery after its independence a decade prior. Despite having a passion for art, she did not study it and instead earned degrees in law, disability studies and public policy. Misouda brings this administrative expertise and grassroots connections into her activities as a curator and organiser. She was in the curatorial team for the Mekong Art and Culture Project (2007) as well as Singapore Biennale 2013. She was also a nominator for the Signature Art Prize (2010-14) and NTU CCA Singapore and SEA AIR Studio Residencies for Southeast Asian Artists in the European Union (2021).

Misouda founded Mekong Art Initiative (MAI) in 2018, a platform that aims to foster the creation, appreciation and understanding of the arts. MAI’s programmes span the gamut, ranging from photography exhibitions, workshops on contemporary art to fashion shows. In this interview, Misouda speaks about the history of Lao Gallery as well as the challenges faced by Lao artists today.

Misouda and her parents (in the middle) in front of Lao Gallery, 1985. Image courtesy of Lao Gallery.

Lao Gallery in the 1990s, located at Nokeokuman Road, Vientiane, Laos. Image courtesy of Lao Gallery.

Could you describe the types of artworks exhibited in Lao Gallery as well as the profile of gallery visitors and clients in the early days?

Before they opened Lao Gallery in 1985, my parents had a furniture shop which sold lacquer furniture from Vietnam. One day, one of their friends who was an artist asked if he could leave his paintings at the shop for sale. From then, the furniture shop became the place where the artist would drop off their paintings and Lao Gallery began.

Among the first group of Lao artists to join Lao Gallery was Savay, who was known as the king of watercolour at the time. His paintings capture the Lao landscape with bright colours, and his style was influenced by the great French artist Marc Leguay. His paintings were popular and bought by many tourists from around the world. The other artists were May Chandavong whose nickname was Mr Blue, named after the colour theme of his artwork; Kongphad Luangrath, Kanha Sikounnavong and Khamsouk Keomingmeuang. We also had one self-taught artist from Vietnam named Mr Tuan or Kham Tuan in Laos.

In the early 1990s, Lao Gallery started to work with more Vietnamese artists such as Truong Dinh Hao, Xuan Thu, Tran Van Tho, Tran Hoang Son, Phan Thiet, and Nguyen Thanh Binh. Then, the paintings exhibited at the gallery were selected based on my parents’ preference. Some of the artists might not have been famous but their styles were very good. Market demand was another consideration and we took into account collectors’ orders. We did not organise the “formal” exhibitions, but instead privately invited diplomats and expatriates to view the works when we had a new collection. In 1997, we sent two paintings by Kanha Sikounnavong and Kham Tuan to Malaysia for a Southeast Asian art exhibition.

Kham Tuan, ‘Portrait of Prince Souphanouvong’, year unknown, pastel on paper, 39 x 52cm. Image courtesy of Lao Gallery.

What were major shifts in the gallery’s programme or operations? Were they caused by economic factors, changes in the type of artistic production, or other reasons?

From 2004, Lao Gallery was no longer open for public view. One of the reasons was because I received a scholarship to study in Australia which meant that there was no one looking after the gallery. It was only open with private bookings.

Consumer behaviour was the main cause affecting the business. Many foreigners who worked in Laos began to buy artworks directly from the artists rather than through the gallery, because it was cheaper. Some of the artists did not understand the business and were reluctant to give the gallery commission. As a result, most of the other galleries and art shops closed down one by one.

Group photo taken at the opening of Lao Art Season 2018 at Mercure Hotel, Vientiane, Laos. Image courtesy of Mekong Art Initiative.

Lao Art Season 2018, visitor in front of works by Souliya Phoumivong at National Institute of Fine Art (NIFA), Vientiane, Laos. Image courtesy of Mekong Art Initiative.

You have participated in numerous curatorial projects since 2006, such as the Mekong Art and Culture Project as well as the Singapore Biennale 2013. What was the biggest challenge you faced in your curatorial work? And is it an issue that has become resolved with time?

My biggest challenge is not having a background in art. I hold different degrees but none of them are related to art. When I was first selected to be the curator from Laos under the Mekong Art and Culture Project, I was so nervous. However, the project team was very supportive and I learnt a lot from their help. In 2013 when I joined the Singapore Biennale team, what I found most challenging was selecting Lao artists to join the show as so few of them work in the context of “contemporary art”.

Workshop on conceptual art organised as part of Lao Art Season 2020, at Lab de Lines, Vientiane, Laos. Image courtesy of JPEG

Group photo taken at the exhibition opening of ‘6+9=8 Beyond Infinitive’, 2020, Mandala Boutique Hotel, Vientiane, Laos. Image courtesy of JPEG.

Could you share two projects organised through MAI that are particularly meaningful for you?

As I noted earlier, there are limited opportunities for Lao artists especially those from the young generation. Two projects that I initiated under MAI are Lao Art Season which happens every two years, and ‘6+9=8 Beyond Infinitive’ which is a platform for photographers in Laos to showcase their work.

Student with autism attending an art class in preparation for the ‘Art for Autism’ exhibition, 2016. Image courtesy of Misouda Heuangsoukkhoun.

In addition to your work in arts and culture, you also have extensive experience in the fields of disability and legislation. Examples include legal work for the Lao Disabled People’s Association, and being the Secretary General at the Association for Autism. What are key lessons or skills you have learnt? Are there similarities among these different causes?

Art and disabilities are two very challenging fields to work in. I have learned to be flexible and understanding of my team’s situation.

Are there any projects in 2023 you would like to share?

This year, I am focusing on research into the art scenes in provinces such as Luangprabang and Savanakhet.

This interview has been edited.

The author also wishes to express his appreciation to Roger Nelson for making the introduction with Misouda

This article is a preview of the content that will be published in Check-In 2023. Click here to pre-order your copy of the limited print run.