Shalini Amerasinghe Ganendra
Shalini Amerasinghe Ganendra DSG, is an internationally recognized cultural innovator and seasoned advisor with nearly three decades of experience in advancing cultural engagement and transformative projects across diverse sectors. A distinguished practitioner and scholar, she has organized a portfolio of world-class exhibitions, founded the landmark Gallery Weekend Kuala Lumpur, and spearheaded groundbreaking initiatives that have reshaped the cultural landscape in Southeast Asia and beyond.
As a dynamic leader and strategist, Ganendra is renowned for her ability to bridge disciplines, industries, and borders. She is the visionary behind the award winning Gallery Residence (Ganendra Art House), Malaysia's first certified "green" cultural space, and the Vision Culture Lectures, an influential series endorsed by UNESCO. Through her work, she has demonstrated an exceptional capacity to drive cultural, environmental, and social impact, positioning her as a thought leader in the creative economy.
Ganendra’s broad expertise also spans the legal, financial, and academic sectors, enabling her to provide strategic guidance in high-level governance roles. She currently serves on the Advisory Board of the Heong Gallery at Cambridge University and has held influential positions such as a committee member of the Tate Gallery Acquisitions Committee. She combines her legal acumen, strategic insight, and deal-making capabilities to create lasting value for stakeholders, fostering cross-sector collaborations that drive innovation and growth.
Her commitment to diversity, inclusion, and sustainability is evident in her pioneering work, including award-winning projects that address both the environmental and cultural challenges of our time. As an accomplished negotiator and problem solver, Ganendra is adept at navigating complex organizational dynamics and building impactful partnerships that advance both commercial and societal objectives. Awarded the prestigious Papal Knighthood of St. Gregory the Great (DSG) for her inclusive community service, Dame Shalini Amerasinghe Ganendra is a proven leader with a reputation for excellence in driving cultural transformation and delivering value.
Address: Malaysia
As a dynamic leader and strategist, Ganendra is renowned for her ability to bridge disciplines, industries, and borders. She is the visionary behind the award winning Gallery Residence (Ganendra Art House), Malaysia's first certified "green" cultural space, and the Vision Culture Lectures, an influential series endorsed by UNESCO. Through her work, she has demonstrated an exceptional capacity to drive cultural, environmental, and social impact, positioning her as a thought leader in the creative economy.
Ganendra’s broad expertise also spans the legal, financial, and academic sectors, enabling her to provide strategic guidance in high-level governance roles. She currently serves on the Advisory Board of the Heong Gallery at Cambridge University and has held influential positions such as a committee member of the Tate Gallery Acquisitions Committee. She combines her legal acumen, strategic insight, and deal-making capabilities to create lasting value for stakeholders, fostering cross-sector collaborations that drive innovation and growth.
Her commitment to diversity, inclusion, and sustainability is evident in her pioneering work, including award-winning projects that address both the environmental and cultural challenges of our time. As an accomplished negotiator and problem solver, Ganendra is adept at navigating complex organizational dynamics and building impactful partnerships that advance both commercial and societal objectives. Awarded the prestigious Papal Knighthood of St. Gregory the Great (DSG) for her inclusive community service, Dame Shalini Amerasinghe Ganendra is a proven leader with a reputation for excellence in driving cultural transformation and delivering value.
Address: Malaysia
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Papers by Shalini Amerasinghe Ganendra
(NKEA) initiative, aimed to modernize rice farming in the Kelabit Highlands of Sarawak, Malaysia, to
boost agricultural productivity and improve farmers' livelihoods. The project sought to address challenges
such as labour shortages, declining rice yields, and competition from misrepresented rice products, while
introducing mechanized farming methods to increase efficiency. This paper provides an evaluation of the
project based on field research conducted in 2017 that culminated in a brief report, and focusses on that
report’s original objectives, implementation challenges, and the socio-economic implications for the local
Kelabit community. Despite significant investment, including approximately RM30 million in government
funding, and a joint venture with a private company, the project faced considerable obstacles. These
included, critically, a lack of transparency regarding key performance indicators (KPIs) and failed
engagement with the local Kelabit community. The 2017 report recorded farmers concerns over the quality
of rice produced, as well as the economic viability of the new farming methods. The project's failure to
achieve its ambitious goals, coupled with limited community involvement in decision-making processes,
raises questions about the sustainability of such initiatives in traditional communities. The fact that there
has been no detailed follow up case study of this six year project, which involved government, community
and private sector interests, is further indication of a regrettable attitude of neglect that side-steps important
learnings.
The British Museum holds around 2,200 artefacts donated by the Seligmans mainly from Oceania, China and Africa, as well as a similar number of photographs, including over 400 glass negatives and prints documenting the Seligmans’ 1908 field research in Sri Lanka. Although the glass slides are yet to be fully catalogued, many of their photographs were reproduced in their seminal publication, The Veddas, two copies of which are held in the British Library (Seligmann 1911; note the different spelling of the surname). The publication’s images were produced in an era devoid of any standardised ethical guidance, whether in the taking or in the publication of such images.
This article delves into the ethical implications and legal considerations surrounding these early photographs and reflects on the biases embedded in them. It also calls for and outlines potential frameworks for ‘fair and responsible’ representation of these images in contemporary settings, emphasizing the need for sensitivity in handling such cultural artifacts.
early twentieth centuries to understand Uyghur cultural life and
identity. It links the doppa to Uyghur history and the evolving
sense of ‘Uyghurness’, reflecting its cultural significance today,
both in Xinjiang and through the diaspora. The limited scholarly
work on the doppa, spanning 150 years, suggests a gender bias
in documenting female-associated crafts. Ironically, at a time
when the doppa holds increasing importance, especially with the
creation of Doppa Day (5 May), this lack of resources opens up
space for creative discourse on Uyghur identity. The study also
reveals a tendency to adapt through cultural experiences while
maintaining a deep connection to the homeland. Ultimately, this
research demonstrates how a small cultural object can provide
profound insights into community sensibilities and material culture.
This article is an abbreviated form of a presentation at the workshop at the National Portrait Gallery, London, “The British Empire in the Art Gallery: Practises, Discourses and Publics”, September 27, 2024.
with the endorsement of the UNESCO Observatory. Over this short and enriching period, the VC Lectures have developed an informing presence in the region, fostering meaningful global discourse and cultural encounter, to inform the Contemporary.
SGFA is a pioneering cultural organization, embracing an eclectic and quality sensibility for collecting, consideration, capacity building and place making. We value new visuals – whether for materiality, concept or culture – and multidisciplinary processes in their creation. In addition to the VC Lectures and exhibition program, SGFA has: an artist residency program (the ‘Vision Culture Art Residency’); an arts management residency for university students (the ‘Exploring East Residency’); and the Pavilion NOW project which celebrates local architects, contemporary design and materiality. Through these programs and a growing interest in emerging regions, we delight
in the increasing international engagement with our represented areas of South East Asia and Sri Lanka.
Over twenty three speakers have participated in the VC Lectures since their inception, each invited because of eminent reputations and notable contributions within respective fields. The lecture module involves free public talks at the SGFA’s award winning green space (designed by Ken Yeang), Gallery Residence, with external lectures often hosted by other local institutions and organized by SGFA. Participating curators generally conduct portfolio reviews with local artists, learningmore about regional geopolitics and art practices. Strong press coverage enables outreach beyond the urban populace, as does active social and digital media. Speakers stay at the Gallery Residence and enjoy vernacular space that embraces natural ventilation and cooling systems, elegant aesthetic andgreening philosophies. The VC Lecture program is as much about cross-cultural and multi-disciplinary encounters as it is about content – all defining platforms for SGFA’s exhibition progamming as well.
The eleven luminaries published in this peer-reviewed UNESCO Observatory journal were selected for a variety of reasons including expertise. They are: Sir Roy Calne (award winning surgeon and artist, UK);Christopher Phillips (Curator, International Center of Photography, NYC); Anoma Pieris (Associate Professor at the Department of Architecture, University of Melbourne); Susan Cochrane (curator and authority on Pacific Art); Volker Albus (Professor of Product Design at the University of Arts and Design Karlsruhe, Germany); Michiko Kasahara (Chief Curator at the Tokyo Metropolitan Museum of Photography, Japan); Matt Golden (Artist/Curator); Gregory Burgess (Architect, Order of Australia); Beth Citron (Curator, Rubin Museum NYC); Oscar Ho (curator and academic, HK); and Brian Robinson (Torres Island artist and curator, Australia).
Sir Roy Calne speaks of personal experiences using art to nurture empathy in his medical practice and his own passion for creating. Christopher Phillips, the pioneering curator credited with introducing Chinese contemporary photography to the United States, writes about an important exhibition that he curated at the International Center of Photography. Anoma Pieris considers the impact of modernism on architecture in South Asia, and analyses supportive political and social ideologies, while Gregory Burgess tackles the place of architecture in creating a sense of individual and community belonging. Volker Albus, playfully but seriously asks us to consider the role of designers as technical and social mediators. Michiko Kasahara adeptly reviews challenges faced by successful contemporary Japanese photographers in addressing and reflecting Japanese culture, real and perceived. Susan Cochrane explores cultural ownership of Pacific Art through the use of terminology and context. Brian Robinson writes about his personal cultural narrative as a Torres Island artist. Beth Citron shares insights on Francesco Clemente’sacclaimed ‘Inspired by India’ exhibition which opened at the Rubin Museum in 2014. Oscar Ho speaks to the challenges of curatorship and requirements to sharpen its impact and discipline. Matt Golden shares the visual journey of his art alter-ego, Juan Carlos, with special focus on experiences in Malaysia. We bring to you a wonderful mix of multi-disciplinary and cultural discussions that show the exhilarating impact of this program.
The Vision Culture Program enters its sixth year and we look forward to its continuing impact as a pivotal program to foster meaningful global discourse. We have forged strong friendships and benefitted from cross cultural discovery thereby building platforms for more informed understanding and appreciation of our world.
Many thanks to Lindy Joubert, Editor-in-Chief of theUNESCO Observatory journal, and her marvelous team, for supporting this project from its inception; to SGFA’s Exploring East Residents who assisted with editing these texts and most importantly, the amazing Vision Culture Lecture participantswho have fostered knowledge, encounter and consequently, the Contemporary.
In these pages, Ganendra surveys more than 450 early photographs of colonial Sri Lanka, from important collections, most of which have never been published or otherwise come into the public view, until now. Her focus on the collecting dynamic provides novel perspectives that humanize the image through the nature of their collectors and their related journeys.
Images featured are from the: Royal Collection Trust; Pitt Rivers Museum, University of Oxford; Royal Commonwealth Society, Cambridge University Library; Royal Asiatic Society of Great Britain and Ireland; Royal Botanic Gardens, Kew; Trustees of the Rothschild Archives. In addition to these UK collections, the publication includes early photographs from important local family collections and period publications and works by Julia Margaret Cameron. The collections are mainly those of ‘influencers’ and the writing considers images by both studio photographers and hobbyists, for commercial and non-commercial purposes.
(NKEA) initiative, aimed to modernize rice farming in the Kelabit Highlands of Sarawak, Malaysia, to
boost agricultural productivity and improve farmers' livelihoods. The project sought to address challenges
such as labour shortages, declining rice yields, and competition from misrepresented rice products, while
introducing mechanized farming methods to increase efficiency. This paper provides an evaluation of the
project based on field research conducted in 2017 that culminated in a brief report, and focusses on that
report’s original objectives, implementation challenges, and the socio-economic implications for the local
Kelabit community. Despite significant investment, including approximately RM30 million in government
funding, and a joint venture with a private company, the project faced considerable obstacles. These
included, critically, a lack of transparency regarding key performance indicators (KPIs) and failed
engagement with the local Kelabit community. The 2017 report recorded farmers concerns over the quality
of rice produced, as well as the economic viability of the new farming methods. The project's failure to
achieve its ambitious goals, coupled with limited community involvement in decision-making processes,
raises questions about the sustainability of such initiatives in traditional communities. The fact that there
has been no detailed follow up case study of this six year project, which involved government, community
and private sector interests, is further indication of a regrettable attitude of neglect that side-steps important
learnings.
The British Museum holds around 2,200 artefacts donated by the Seligmans mainly from Oceania, China and Africa, as well as a similar number of photographs, including over 400 glass negatives and prints documenting the Seligmans’ 1908 field research in Sri Lanka. Although the glass slides are yet to be fully catalogued, many of their photographs were reproduced in their seminal publication, The Veddas, two copies of which are held in the British Library (Seligmann 1911; note the different spelling of the surname). The publication’s images were produced in an era devoid of any standardised ethical guidance, whether in the taking or in the publication of such images.
This article delves into the ethical implications and legal considerations surrounding these early photographs and reflects on the biases embedded in them. It also calls for and outlines potential frameworks for ‘fair and responsible’ representation of these images in contemporary settings, emphasizing the need for sensitivity in handling such cultural artifacts.
early twentieth centuries to understand Uyghur cultural life and
identity. It links the doppa to Uyghur history and the evolving
sense of ‘Uyghurness’, reflecting its cultural significance today,
both in Xinjiang and through the diaspora. The limited scholarly
work on the doppa, spanning 150 years, suggests a gender bias
in documenting female-associated crafts. Ironically, at a time
when the doppa holds increasing importance, especially with the
creation of Doppa Day (5 May), this lack of resources opens up
space for creative discourse on Uyghur identity. The study also
reveals a tendency to adapt through cultural experiences while
maintaining a deep connection to the homeland. Ultimately, this
research demonstrates how a small cultural object can provide
profound insights into community sensibilities and material culture.
This article is an abbreviated form of a presentation at the workshop at the National Portrait Gallery, London, “The British Empire in the Art Gallery: Practises, Discourses and Publics”, September 27, 2024.
with the endorsement of the UNESCO Observatory. Over this short and enriching period, the VC Lectures have developed an informing presence in the region, fostering meaningful global discourse and cultural encounter, to inform the Contemporary.
SGFA is a pioneering cultural organization, embracing an eclectic and quality sensibility for collecting, consideration, capacity building and place making. We value new visuals – whether for materiality, concept or culture – and multidisciplinary processes in their creation. In addition to the VC Lectures and exhibition program, SGFA has: an artist residency program (the ‘Vision Culture Art Residency’); an arts management residency for university students (the ‘Exploring East Residency’); and the Pavilion NOW project which celebrates local architects, contemporary design and materiality. Through these programs and a growing interest in emerging regions, we delight
in the increasing international engagement with our represented areas of South East Asia and Sri Lanka.
Over twenty three speakers have participated in the VC Lectures since their inception, each invited because of eminent reputations and notable contributions within respective fields. The lecture module involves free public talks at the SGFA’s award winning green space (designed by Ken Yeang), Gallery Residence, with external lectures often hosted by other local institutions and organized by SGFA. Participating curators generally conduct portfolio reviews with local artists, learningmore about regional geopolitics and art practices. Strong press coverage enables outreach beyond the urban populace, as does active social and digital media. Speakers stay at the Gallery Residence and enjoy vernacular space that embraces natural ventilation and cooling systems, elegant aesthetic andgreening philosophies. The VC Lecture program is as much about cross-cultural and multi-disciplinary encounters as it is about content – all defining platforms for SGFA’s exhibition progamming as well.
The eleven luminaries published in this peer-reviewed UNESCO Observatory journal were selected for a variety of reasons including expertise. They are: Sir Roy Calne (award winning surgeon and artist, UK);Christopher Phillips (Curator, International Center of Photography, NYC); Anoma Pieris (Associate Professor at the Department of Architecture, University of Melbourne); Susan Cochrane (curator and authority on Pacific Art); Volker Albus (Professor of Product Design at the University of Arts and Design Karlsruhe, Germany); Michiko Kasahara (Chief Curator at the Tokyo Metropolitan Museum of Photography, Japan); Matt Golden (Artist/Curator); Gregory Burgess (Architect, Order of Australia); Beth Citron (Curator, Rubin Museum NYC); Oscar Ho (curator and academic, HK); and Brian Robinson (Torres Island artist and curator, Australia).
Sir Roy Calne speaks of personal experiences using art to nurture empathy in his medical practice and his own passion for creating. Christopher Phillips, the pioneering curator credited with introducing Chinese contemporary photography to the United States, writes about an important exhibition that he curated at the International Center of Photography. Anoma Pieris considers the impact of modernism on architecture in South Asia, and analyses supportive political and social ideologies, while Gregory Burgess tackles the place of architecture in creating a sense of individual and community belonging. Volker Albus, playfully but seriously asks us to consider the role of designers as technical and social mediators. Michiko Kasahara adeptly reviews challenges faced by successful contemporary Japanese photographers in addressing and reflecting Japanese culture, real and perceived. Susan Cochrane explores cultural ownership of Pacific Art through the use of terminology and context. Brian Robinson writes about his personal cultural narrative as a Torres Island artist. Beth Citron shares insights on Francesco Clemente’sacclaimed ‘Inspired by India’ exhibition which opened at the Rubin Museum in 2014. Oscar Ho speaks to the challenges of curatorship and requirements to sharpen its impact and discipline. Matt Golden shares the visual journey of his art alter-ego, Juan Carlos, with special focus on experiences in Malaysia. We bring to you a wonderful mix of multi-disciplinary and cultural discussions that show the exhilarating impact of this program.
The Vision Culture Program enters its sixth year and we look forward to its continuing impact as a pivotal program to foster meaningful global discourse. We have forged strong friendships and benefitted from cross cultural discovery thereby building platforms for more informed understanding and appreciation of our world.
Many thanks to Lindy Joubert, Editor-in-Chief of theUNESCO Observatory journal, and her marvelous team, for supporting this project from its inception; to SGFA’s Exploring East Residents who assisted with editing these texts and most importantly, the amazing Vision Culture Lecture participantswho have fostered knowledge, encounter and consequently, the Contemporary.
In these pages, Ganendra surveys more than 450 early photographs of colonial Sri Lanka, from important collections, most of which have never been published or otherwise come into the public view, until now. Her focus on the collecting dynamic provides novel perspectives that humanize the image through the nature of their collectors and their related journeys.
Images featured are from the: Royal Collection Trust; Pitt Rivers Museum, University of Oxford; Royal Commonwealth Society, Cambridge University Library; Royal Asiatic Society of Great Britain and Ireland; Royal Botanic Gardens, Kew; Trustees of the Rothschild Archives. In addition to these UK collections, the publication includes early photographs from important local family collections and period publications and works by Julia Margaret Cameron. The collections are mainly those of ‘influencers’ and the writing considers images by both studio photographers and hobbyists, for commercial and non-commercial purposes.