Moving Objects: Learning from Local and Global Communities

November 12, 2024 San Francisco — This fall, the Asian Art Museum will present Moving Objects: Learning from Local and Global Communities, an exhibition that examines complex questions of cultural heritage, ownership, and restitution. On view from Nov. 15, 2024, to Mar. 10, 2025, Moving Objects features a case study in the form of four ancient bronze sculptures originating from northeastern Thailand and currently in the process of being repatriated. It also presents the perspectives of local community members on their feelings and reactions relative to culturally specific art in museum settings. The exhibition brings to the foreground a crucial dialogue unfolding inside and outside of cultural institutions worldwide: the need to responsibly address questions of provenance, and the evolving role of museums as stewards of art and artifacts.

“Art museums have long been defined by the collections they hold and the artworks they exhibit, but today, we recognize that the communities we build and serve are of equal importance,” says the Asian Art Museum’s Chief Curatorial Director, Dr. Robert Mintz. “This exhibition brings together the voices of community members — reflecting on their encounters with art on display in this museum — with a group of artworks that, as a result of voices from a distant community, are in the process of being returned to their rightful owners.”

“This exhibition is one entry in our ongoing efforts to inspire thoughtful consideration of cultural heritage and the ethical responsibilities surrounding collection in the present day,” says Dr. Jay Xu, The Barbara Bass Bakar Director and CEO of the Asian Art Museum. “As a culturally specific institution with significant ties to the communities of Asia and the Asian diaspora, these conversations are especially meaningful for us. We are uniquely positioned to facilitate dialogues with the communities we represent, and we’re committed to presenting these ongoing inquiries in a forthright and open way.”

In addition to learning about the history and path forward for these four objects, audiences can engage with stories from local communities and reflect on the evolving role of museums as cultural stewards. Visitors are invited to share their perspectives on the future of museum collections via an in-gallery community response wall, with the aim of further inviting visitors into dialogue about the nuances of collections and cultural stewardship. Moving Objects paves the way for deeper collaboration with local and international communities, opening avenues for exchanging knowledge and fostering equitable relationships.

The Journey of the Four Bronze Sculptures and the Path to Repatriation

The four bronze sculptures featured in Moving Objects were acquired by the museum between 1965 and 1968 and have been linked to the Khmer temple complex Prasat Hin Khao Plai Bat II, located in northeastern Thailand. Likely created between the 7th and 9th centuries, the sculptures depict Buddhist deities and were part of a larger collection of artifacts discovered near Prasat Hin Khao Plai Bat II in the 1960s. Thai scholars and local advocates have worked tirelessly to uncover the networks that removed these bronzes; evidence suggests that the temple site was systematically looted, with the statues then being sold into international art markets. This scholarship and an investigation by U.S. authorities laid the groundwork for a formal repatriation request from the Fine Arts Department of Thailand.

The exhibition delves into the troubling aspects of illicit art trafficking, detailing how these statues ended up in the museum’s collection. The bronzes have been linked to Douglas Latchford, a British art dealer and convicted smuggler known for his role in the illegal trafficking of Southeast Asian artifacts. While these works have been admired in the museum for over five decades, their display came at a cost to the people of Thailand, who were deprived of access to these important parts of their cultural heritage.

As part of a two-step process, the Asian Art Museum’s Acquisitions Committee has recommended deaccessioning the sculptures; a final vote by the Asian Art Commission, the city of San Francisco governing body responsible for oversight of the city’s collection of Asian art, is expected in the spring of 2025.

Looking Ahead: Building Collaborative Futures

“The information we have on an artwork’s path from its place of origin to the museum is often incomplete,” says Associate Curator of Southeast Asian Art, Dr. Natasha Reichle. “Communities in Southeast Asia can provide vital information that help us understand the often fraught and sometimes illicit movement of art through international networks.” As scholarship progresses and momentum builds, institutions are tasked with thoughtfully reassessing their collections and acquisition history — even when these efforts ultimately yield more questions than answers, or require confronting difficult pasts.

“Museums are recognizing that they are part of larger communities, both locally and globally,” says the Asian Art Museum’s Deputy Director and Chief Experience Officer, Emiko Usui. “We take our role as a community member very seriously and we continue to learn from these communities. We aim to open the museum to diverse perspectives on human history as we also strive to support ethical practices in art stewardship.”

Exhibition OrganizationMoving Objects: Learning from Local and Global Communities is organized by the Asian Art Museum. Presentation is made possible with the generous support of Target.  Additional support provided is by Monica Yeung Arima and Adrian Arima.   

Sustained support generously provided by the Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions.   

About the Asian Art Museum

Located in the heart of San Francisco, the museum is home to one of the world’s finest collections of Asian art, with more than 20,000 awe-inspiring artworks ranging from ancient jades and ceramics to contemporary video installations. Dynamic special exhibitions, cultural celebrations and public programs for all ages provide rich art experiences that unlock the past and spark questions about the future.

For more information visit www.asianart.org

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