1983 in Yangon, Myanmar; lives and works in Yangon, Myanmar
Si Thu Tan Naing of Yangon carried on the tradition of Burmese artists and adopted for himself a unique artist name, Moe Satt. Born to a country which suffered from the dictatorship of the military junta and is now undergoing a rapid democratic reform, Moe Satt became a leading figure in his generation of artists after the millennium for his persistent concern for and criticism of the socio-political conditions that his people are subjected to, as well as his unprecedented artistic ideas and practice.
The body is Moe Satt’s foremost medium. He places actions and performances in the intersection of public spaces and the wider public, thereby eliciting both the acts of witnessing and participation necessary for a sense of co-immunity and alterity. It becomes evident that Moe Satt’s pursuit is in de-hierarchizing order via choreographic structures that propose a disruption of normative public spheres and engagement in order to allow the spectators to perceive time, movement, and exchange in a renewed sense.
Hand gestures and symbols are essential to Moe Satt’s practice. He uses the patterns derived from religion, social history, and even popular culture as a citational tool to communicate, express attitudes and information, raise questions, and provoke. He entails the hands as means of productivity, and the embodiment of multitudinous strength and mentality, which generates a sense of mission and revolution.