Singapore has been centred around the market and the museum,involvement in the public.""
In the "Nokia Singapore Art 1999,"

and to a lesser extent the art schools, NAFA and LaSalle." Seeanother innovative

Lee, Weng Choy, "Jump Start Art" in ART AsiaPacific, Vol. 3 No.

feature being introduced is the affiliate exhibition programs

4, 1996.

that generate initiatives by independent curators or art groups
to organize exhibitions.

3.

It effectively will widen the range of

Building and Citizenship in Singapore , Routledge, London, 1995,

pp.236 - 241.

curatorial approaches outside of the official events. PKW is

4. Quoted by Sabapathy, T.K., in Introduction: The Space, Artists

one such group whose energy is being tapped for this purpose.
Collaboration

between establishment

Village, 1992.

and artist groups is

5. Quoted by Lee, Weng Choy in "Alternative Spaces" in ART

consciously seen here as being necessary to demonstrate the

AsiaPacific, Issue 22, 1999.

many curatorial and artistic approaches operating incontemporary

6. Chua, Beng Huat, "Culture, Multiculturalism , and Nationalart. I am by no means idealizing the structure

being adopted "Nokia by Singapore Art 1999"

Hill, Michael and Fee, Lian Kwen, The Politics of National

Identity in Singapore", in Chen, Kuan-Hsing (Ed.), Trajectories:

as all of theseInter-Asia Cultural Studies , Routledge, London and New York,devices (open category, awardee category, curated section

1998, p.186.

and affiliated exhibitions) will also serve also to undermine the7.

For a discussion on the performance and ensuing events, seelucidity and clarity of delivery if curatorship is one such

Langenbach, Ray, "Looking Back at Brother Cane: Performanceenterprise. What I had try to reclaim from a quotation by

Art and State Performance" in Space , Spaces and Spacing : The

Sabapathy is to highlight the complexities

in the engagements

and collaborations

artists and groups,

between contemporary

Substation Conference 1995, The Substation , Singapore,1996,

pp.132-147.
8. The term "ARXS organizers" was defined as the participating

and national institutions and suggest some degree ofcurators from Australia, Singapore and Hong Kong along with

optimism. However, as an institution that mediates between

Chair of ARX, Margaret Moore. See the joint declaration in

the state and contemporary

answer to correspondence and Hong Kong questionaire issued

nature of power-relations,practitioners

and mindful about the

the Museum acknowledges

by ARX dated November 17, 1998. The Singapore Art Museum

therelation to the ARXS was as a host venue that holds theunevenness of such relations. As such, the act ofaccommodating

contemporary

responsibility in advising the organizers on local matters including

art is to be tempered by aproviding views on what is deemed to be "defamatory , offensive

pragmatic outlook through, if need be an emphasize of anor contravene" under the laws of Singapore. "The participating

imagined and shared objectives achieved by managing theartists were required to be sensitive to the local cultural context
as a condition for participation in the project."meanings derived from the propositions of the participating
9.

artists as well as the aspirations of the state, thus encouraging
works that are conceptuallycomplex, multi-levelled

For some critical commentary on the event, see Lenzi, Iola,"Process and Politics, ARXS: The Fifth Artists' Regionaland multi-

Exchange," and Lee, Weng Choy, "Misunderstanding Art" incoded. It is also important to place the "Nokia Singapore Art

ART AsiaPacific. While the ARX letter of November 17, 1998 had

1999" as part of an evolving process of mediation between

disclosed the nature and results of the negotiations involving thestate-control and artistic-freedom

ARXS organizers (inclusive of Hong Kong curator Oscar Ho), theand space, thus being

Museum and artist concerned, in quoting Ho, Lee may not haveneither a corrective measure that asserts the removal of all
boundaries, nor demonstrating

the knowledge of this letter.

th.e continuing imposition of

10. Further to footnote 8, the joint statement of the organizers

state held values over cultural production.
The appropriationof the "alternative"

recorded in the dated November 17, 1999 letter reads "Organisers
in this instance is

and Zunzi Wong mediated and agreed on the non-incorporation

arbitrary power, but ratherof identity of personalities in the artwork as this was deemed tohopefully, a process of enabling the emergence of a larger

be unacceptable in the Singaporean cultural context. Ongoing

not a gesture of establishment's

mediation on the specific components of the work to be

proposition of art as a constructive cultural currency

incorporated began one day before the completion of the work for

responsive to the wider public discourse.

the same day opening of the exhibition . The organizers' final
suggestion conveyed to the artist if something could be done on
the words 'elder statesman' was refused by the artist. A

Notes:

decision was taken not to include Zunzi Wong's work for the ARX

1. Apinan Posyananda,opening remarks to "Session I: Issues for

exhibition."

the Museums" in Symposium: Asian Contemporary Art

11. Chua, op. cit., pp.200-201.

Reconsidered Report, the Japan Foundation Asia Center 1998,

12. The challenge for artists working under such circumstances it

p.137.

seems is in devising strategies and developing codes to be

2. Kwok Kian Chow remarks: "The history of art in Singapore canapplied into their works, allowing for multiple meanings as well as

be narrated through the development of art events anddifferentiating and managing the readings made by differing

exhibitions since much of its stimulus can be attributed to theaudiences.

emergence of an infrastructure," see Kwok Kian Chow, Channels

13. Sabapathy, T.K., "Trimurti: Contemporary Art in Singapore" inand Confluences: A History of Singapore Art, Singapore Art

ART and Asia Pacific, Sample Issue, 1993.

Museum, Singapore, 1996, p.133. Responding to the remarks
and exhibition, Lee Weng Choy writes: "What SAM's (Singapore
Art Museum's) narrative demonstrates is that arts discourse in

149

t

One reason for this is that the introduction of Asian art in

Session II Presentation #4

Japan has not been a response to spontaneous demand from

Who "Introduces" What to Whom and Why?

within the Japanese art world. Government organizations andpublic art museums have taken the lead in presenting Asianart to the public, a fact that needs to be considered carefully.
Neither Japanese artists nor the general public have been

Nakamura Hideki

strongly motivated to understand the tendencies or structures

Professor, Nagoya Zokei University of Art and Designof Asian art as a way of breaking out of their own present
situation or achieving greater progress in Japanese art.

Starting around the end of the 1980s , exhibitions introducing

I do not mean to imply that it is inappropriate forcontemporary art from the countries and regions of Asia havegovernment organizations or museums to take the lead inbeen held with increasing frequency in Japan. There were a

educating the public in certain areas. In fact, without theirfew earlier examples of these presentations of the work ofactive involvement, the eye-opening changes that we areartists who either live in Asia or have Asian origins , especiallywitnessing today would never have taken place. However, it isthose organized by the Fukuoka Art Museum, but it was notnecessary for government organizations and public museums

until the early 1990s that the trend really began developing

to go beyond simply gathering knowledge and mounting

momentum. I would like to reflect on this phenomenon from theintroductory exhibitions of the art of Asian countries. They

Japanese point of view, examining some of the factors that led

need to find connections between inner motivations of Asian

to it and some of the problems that it entails .

art and the inner motivation of art practitioners in Japan. When

Since Fukuoka is geographically close to Korea and China,

Europeans organize exhibitions of non-European material,

it was perhaps natural for the Fukuoka Art Museum to be one

they often show a concern with using the foreign culture toof the first Japanese institutions to seriously undertake culturaleffect change or renewal in the spiritual condition of their own

exchange programs involving other Asian nations. It deservesculture.

praise for its pioneering role in "introducing"

Asian art in thisWith this in mind, I would like to go back and reexamine

country. The Japan Foundation ASEAN Culture Center

the fundamental question of who introduces what to whom and(renamed the Asia Center) also made us more familiar with thewhy. First , the "What?"contemporary art scene in Southeast Asia through its researchin a general and superficial way, it is necessary to focus on theInstead of introducing the art of Asiaand exhibitions commencing in the late 1980s.

fundamental qualities of specific works. I am convinced that a

The exhibitions sponsored by the Fukuoka Art Museum

greater awareness of these essential qualities can lead to an

and the Japan Foundation were mounted on a large scale andimprovement of the spiritual condition of Japan in the future, apresented a broader range of art than was possible in shows ofmore global point of view and a greater understanding of theindividual artists organized by private galleries, so they

other within.

produced a dramatic change in the situation of contemporary

The next question is "Who?" and "To Whom?" The art

art in Japan. Eventually the ASEAN Culture Center changedof Asia should be presented by people who are actively

its name to the Asia Center, and the range of its programs was

engaged in improving the spiritual condition of Japan and they

expanded to cover a much wider region. Also , many publicshould do it for themselves. To go further into the "What?"

Japanese museums began to plan Asia-related shows,they should focus on the spiritual similarities and differences

partially stimulated by the growing interest in non-Western

between Japan and other Asian countries and how they can beculture in Europe, North America , and Australia. At present,

used to gain a perspective on the spiritual condition of Japan.

this flurry of "introducing"

The "Why?" for this enterprise is to eliminate the self-

activity seems to have leveled off tosome extent , and I believe it is a good time to look more

righteousness and complacency of Japan and achieve a global

carefully at some of the problems that have emerged.

perspective in our own local context by coming to understand

There is no denying the tremendous increase in thethe spiritual qualities of Asia as the "other" within us.

number of Asia-related exhibitions during the decade of theGovernment organizations and public museums must strive to

1990s, and there has been a corresponding growth ofrepresent the people who are "actively engaged" in cultural

coverage of the contemporary Asian scene in the art media.

improvement when they present exhibitions of Asian art.

Cultural exchanges between Japan and other Asian countries

It is not appropriate, however, to make excessive demands

have definitely expanded. However, this extra attention paid toon government institutions and museums. Fundamentally, theAsian art in exhibitions and art magazines does not seem todemand for greater knowledge of Asian art must comehave attracted a great deal of interest among the general

spontaneously from Japanese artists and critics. The "What"public and it has not made a signifi cant impact on the domestic

must be examined more critically and be more carefully

art world. The art of other Asian count ries has yet to affect thedefined. In fact, these concerns are relevant to any large-scale

Japanese on a deep level.

international exhibition in Japan, not just those connected with150

Discussion

not have the answers, but he seems to have asked himself ,and answered , the question raised by Asian countries otherthan Japan of whether or not Japanese and Australianorganizers have specific aims in putting together exhibitions.

MC (Nanjo Fumio ) : During Session I , we heard presentations

Since we are finished with the presentations , I would like toon the domestic art scene and conditions of countries thathave been introduced through exhibitions in the past decade.

ask our commentators to give their comments or ask"Who introduces them?" is the underlying issue , as we started

questions . May we have Mr. Shioda first , please?

to discuss yesterday. In other words , who are the curators or
the institutions that present them? What are their

Shioda Junichi: May I first begin by saying how much I

perspectives? Some points have been raised by speakers fromalways enjoy Mr. Elliott's presentations in which he uses

countries being presented on the various intentions andmetaphors very effectively. I understand that the term , "Black
Hole" was used as a metaphor to describe the situation of

motivations of these museums and institutions.

stereotyping Asia.

For Session II , we had four presentations on the theme ,My museum held an exhibition this spring by Araki"Examining Asian Contemporary Art of the 1990s , Part 2:

Nobuyoshi' s exhibition entitled , "Araki Nobuyoshi :Perspectives of the Presenters ."I think our first speaker , David Elliott , used the word ,Sentimental Photography , Sentimental Life ." Perhaps the"Black Hole ," to explain the situation in which Asia is still

space we created in our museum with Araki' s photographs

stereotyped by the contemporary art curators and institutions.

would be regarded as a "Black Hole" in Europe or the United

The exhibition , " Cities on the Move ," that was mentioned inStates .
Mr. Elliott has clearly pointed out the danger of cu ration

the last half of his presentation has attracted much attention
since last year . The concept of this exhibition , which is touring

falling into the trap of stereotyping, and this is probably not

around the world at the moment , is to portray Asian cities andlimited to Asian contemporary art shows. I think there were two

their culture through works of various artists and architects.

important issues raised in his presentation .

Mr. Elliott's opinion seems to be that such an exhibition

The first is the issue of the region. In looking at thereinforces the stereotype . I would like to come back to thisexhibitions that present art from the Asian region , we notice

point later on and ask the opinions of others who have seenthat there are countries such as Myanmar , Laos , andthe show .

Cambodia that usually do not take part in these events ;however , I believe these countries were covered in the

We had Ms. Devenport as our second speaker . As she
indeed represents a multicultural society , I felt that her

Fukuoka Asian Art Triennale . I cannot help noticing the fact

perspective included that of diverse "others ." I was alsothat the art from these countries represents a slightly different

impressed by the process used to organize the Asia-Pacifictrend from others in the same region.

Triennial of Contemporary Art (APT). There are many curators

There is also the problem of the Islamic regions. This area

and researchers involved in collecting the information throughwas not represented in either of the exhibitions in Fukuoka ordifferent sources , visiting and staying in the country , andBrisbane. This has to do with how far we extend thebuilding a network of people. I think that the APT represents

geographical boundary , the categorization , of Asia. The art

one way in which institutions can promote and organize Asianfrom Islamic countries other than Indonesia and Pakistan iscontemporary art exhibitions . The institution has a well-defined

unfamiliar to us in Japan.
The second issue is the curatorial approach . In one

aim of making APT into a venue where intimate
communication in multiple languages with multiple views isapproach, works can be selected according to their qualities as

possible. APT' s stance is different from that of "Cities on theworks of art or by giving consideration to their cultural

Move ," which is based on a very strong concept created bybackground and context. I believe each approach has its
inherent problems, as given in the example of the "Cities on

the curator , Hans-Ulrich Obrist.

the Move" exhibition , which took the latter approach andOur third speaker was Mr. Mashadi from Singapore Art
Museum . I believe that every country and society is restrictedpresented the situation of the Asian cities. Mr. Elliott pointed

in some ways , and there is not one that allows total freedom ofout the risk in this approach of creating something like a new

expression , but Singapore seems to present a case in whichanthropological museum. Historically , in Europe , Asian andexpression can be indeed a sensitive matter. Working in a

African art have been collected and exhibited incontemporary art museum may be particularly difficult inanthropological museums , rather than fine arts museum.
My question to Mr. Elliott is, if you were to organize an

Singapore . The presentation described the tension
experienced by a curator who has to directly face the problem

exhibition in your museum , which of the two approaches wouldof freedom of expression . I was impressed by the way Mr.

you choose, giving priority to the work of art or to its cultural

Mashadi was trying to look at the positive side of the situation.

background? Also , what is the best way to avoid stereotyping?

Mr. Nakamura said , in presenting his paper , that he does

152

David Elliott: I think that from the Western perspective, whichsuch as Brisbane, Kwangju, Istanbul, and Johannesburg .

is the only perspective I can talk from , whatever is shown has

In the case of Brisbane , I understood that the Triennial was

to be shown exactly the same way as anything else in theprompted by the increased number of ethnic minorities andspace. You should not have to make any allowances for it.

people rooted in different cultures in Australian society .

That does not mean to say that it gives up all its meanings

Australia was dominantly a white society for a long time . In

immediately as the context is different. That is certainly also

taking a hint from Mr. Elliott's phrase , "Black Hole ," tothe case with a painting by Barnett Newman, for instance. I

describe Asia, I would describe Australia as a "White Hole." Itmean there are many references in seemingly simple abstract

was almost non-existent from the viewpoint of Asia. Now thepaintings by Newman which one needs to become aware of.

situation has changed with the presence of APT , in which

But still, regardless of those references , you can experience

many artists from Asia participate and exchange ideas. Local

the work in the same open way with all the richness of your

Australians are perhaps the biggest beneficiaries of this. APT

own experience.

attracts as many as 400 ,000 people so it has a large impact.

Then there is the second stage of mediating this work andI organize exhibitions introducing artists from Asia andopening up its meanings . This would be exactly the same

Africa to the Japanese audience , but I often find the

problem in mediating contemporary Swedish art to a similar

communication to be one-sided . In other words , Japan is on

audience. Frankly , it is just as unfamiliar to them as anything,

the receiving end in the various cultural exchanges . I think thatsay, from Japan. If they were not coming from an environment

Australia today is in a very similar position . Australia invites

in which contemporary art was an important part of culture ,artists to bring traditions , food culture , etc . that are notthey would probably need some additional information. So I

available locally and the Australians benefit from thisthink really the answer is treat art from other cultures as you

exchange.

would do anything else . Because it is from another part of the

I find this one-way communication to be a problem, andworld , you should not treat it in any other way. Certainly do not

feel the need to change the direction somehow. Queensland

exoticize it. You also should not treat it as some kind of poor

Art Gallery's effort to create a network was mentioned , but I

cousin who needs helping because if it is any good , it should

wonder if there are any efforts in bringing things from Australia

not need any help . It should be there and have a right to be

to other countries , or sending things out from Australia?

there. It was made to be there by artists . And that has to dowith quality. Quality is a cultural construct , I agree. There are

Rhana Devenport: Thank you. Yes , very interesting

different aesthetic systems which operate in different parts ofcomments. I really do like the "White Hole" analogy. I think it

the world . But if we are talking about modern art , there may besays much about Australia and yes-different constructs . But here is a single polyvalent discourse.

perceived as a "White Hole" by much of the rest of the world

And that discourse is very wide . That is why I said that

as well. For some we are certainly still in that "White Hole ," Isomeone has to take an active decision about what is shown.

suspect.

Work from outside really needs to at least fit in within theYes-

I imagine we have been

there are two points I wanted to discuss and they

discourse in the country where it is shown . It is no goodare both important within the two-way exchange-

showing it if not. Anything else is anthropology , purely

exchange , any discourse that involves two entities engaging .

examples of the taste of other cultures . Does that answer youranyFirstly , I did not have time in my presentation to speakquestion?

more about the involvement of painter N. S. Harsha from
Mysore , India within the APT3. At the moment he is winging

MC (F. Nanjo ) : This issue needs to be discussed in greater

his way around "the outback" of Queensland in a tiny four-

depth. The question is: "How can we break away fromseater plane. He is leading a series of painting workshops instereotyping?" There are different approaches taken byregional Queensland as part of the Visitors Outreach Program

different curators and institutions , each with different

for APT3. After his time in Brisbane during the opening of theadvantages and disadvantages .

Triennial , and a residency at a local junior school , he will

But before we get into that discussion , I would like to invite

undertake a teaching residency with a local university

the next comment from Mr. Shimizu on Ms. Devenport' s

concentrating on Internet art (as Harsha is also a web

presentation.

designer). So I think this is one way that we can enhance andstrengthen the potential for exchange.

Shimizu Toshia: Ms. Devenport' s presentation was on APT.

To explain the Visitors Outreach Program further , theIt is interesting to compare the trend of international exhibitions

Gallery plays a facilitation role to connect about fifty-fivein the 1990s , in which international exhibitions oforganizations and universities across Australia with APTcontemporary art flourished, to that of the nineteenth century

artists, curators and conference speakers through residencies ,when many industrial expositions were held. These exhibitions

workshops and projects. I started my written paper with Ben

have been held in places where cultural currents flow together

Vautier' s declaration , "Am I or is Australia too far away?" -153

questions in some way . Thank you.

we realized that coming to Australia is a long journey and so ,what we have tried to do is to engage those artists who travel
to Brisbane for APT , in substantial programs throughout

MC (F. Nanjo) : Can I now invite Mr. Ushiroshoji to comment

Australia including Perth , Darwin , Cairns etc. This is a longon Mr. Mashadi ' s presentation?

term program offered to Australian arts communities-theGallery receives nothing financially or directly from theUshirosho ji Masahiro: I understand that Singapore in the

Program , but rather we feel that the Outreach Program does

1990s , after spending thirty years in building the nation , hadinitiate and support sincere long term international

laid the foundation for arts activities with a solid underlying

relationships . The alternative situation is quite a dangerous

economic strength. Mr. Mashadi described the Singapore Art

one with artists being " brought in," "looked at ," andMuseum as a national museum that was built as an apparatus"shipped out." I think we really do try to avoid that problem as

to tell the stories of the nation-state . He also explained how

we are aware of that inherent danger .

contemporary artists are now interested in deconstructing or

My second point is on the idea of exhibitions curated in

destroying those stories . Examples of the conflict between theAustralia and presented in Asia. Actually the firstmuseum and the artists in a working relationship were

contemporary Asian exchange project undertaken by thepresented . I am personally interested in the incident in which

Gallery was with the Museum of Modern Art , Saitama over a

one of the works was withdrawn from the exhibition , and am

decade ago. This project involved two exhibitions , both co-

tempted to ask more questions about this incident , but since

curated by Queensland Art Gallery and Saitama curators-

the subject would divert us from the main focus of ourwith one exhibition in Brisbane of Japanese work , and one indiscussion , I will leave it for the moment.

Saitama of Australian work .

I sensed that you were trying to find a model for solving

An Australian-initiated project that I found very interestingsuch problems in Singapore through organizing the "Nokia

was the " Fire and Life" project coordinated by Asialink . This

Singapore Art 1999" festival. Although you mentioned thatinvolved ten artists (five of whom were Indian , five of whom

you are trying not to be idealistic , I think you are trying to findwere Australian) , there were ten locations (five in India , five insome kind of a solution in this festival. Since I could not digest

Australia) , and involved five "arranged"

marriage s between

all the information and do not yet to fully understand how thisthe Indian and Australian artists . I showed an image before of

festival could potentially become a suitable model , can you

a collaboration between N. S. Harsha and Joan Grounds (theelaborate on it, not in a general way but from a museum

youngest and the oldest artists within the project) who worked

curator's point of view? What solutions are you looking for in

together very successfully . Now , marriages , as is often thethis festival?

case, do not always end up with children , and do not always
end up in joy , and some of those relationships were not

Ahmad Mas had i: Thank you , Mr. Ushiroshoji. I think what I

entirely successful. However, there were huge shifts andhave tried to do is to actually look into the specificities of art

changes in the perceptions and understandings of participating

curatorship , the relationship between the various elements that

artists . "Fire and Life" also involved five-week residencies formake the art event possible , which is, here in this case, theeach artist in the city of the "matched"artist. This was an

museum's involvement with contemporary art with , of course ,enormous logistical project , but one I think that has prompted

the state being the host of the museum . In my written paper I

some interesting shifts in processes of art making and also of

have actually quoted from Dr. Poshyananda , who is interested

artist and audience interactions .

in the process of cultural arbitration and how it relates to the

So what the Gallery tries to do with the Triennial , I

systems of value. What I have tried here is to present the

suppose , is work with those people who have been involved in

Singaporean perspective as to how arbitration can take placethese kinds of exchanges and who are very supportive ofand how arbitration can present problems. So in that sense ,significant "process"what I am trying to say is that there are perhaps someengagement. Of course the Triennial isinvolved with about twenty countries and involves about fifty-

prob lems that museums face when it comes to dealing with art

five Australian and international curators , so the scale of thethat can be sensitive or that can be problematic in relation to a

APT project means that we cannot take the project out ofcertain set of values held by society at large .

Brisbane or off-shore . We tour the artists not the show . It is a

I have given two examples , and those two examples

project located in Brisbane , but we really do hope that throughactually deal with two specific areas which are sensitive inthose networks of curators-

international curators traveling

Singapore . The first is the notion of censorship. The second is

to Australia and the Australian curators (including many

the notion of political commentary in art . I do not wish to passcurators from outside the Queensland Art Gallery) traveling tojudgement on how these two issues have been handled , but

the Asia-Pacific region - and through these processes many

what I am trying to say is that they are a reality within theother ideas are spawned and many other exhibitions andcontext and history of our museum . A museum starts toprojects may be given birth . I hope this answers youractually develop museological practices, mindful of the history ,154

mindful of the context, and, of course, observant of a particularsetting that attracts so much attention and requires such

vision that a museum has. So, in that sense, where "Nokia"

seriousness. In this light, the history of introducing Asian art inisconcerned, what it can do for us is to provide some idea as toJapan is now at a "turning point," using Mr. Nakamura's

how we can continue to manage contemporary art and present

words.

it in a way which is both supportive of the interest of the host ,Mr. Nakamura was quite specific in discussing "who" andthat is the state, as well as the interest of the contemporary"to whom." His presentation aimed to propose a certain way

artists' community. So in that sense, there is little idealismof dealing with our issue .
His fundamental concept , key phrase is the "inner other."here, but in fact , a formal pragmatism where we have tocontinuously observe how society responds to certain things

I wish to ask Mr. Nakamura to elaborate on the "inner other."and in response make sure that we can continue to promote

One way of looking at the "inner other" is Mr. Nakamura's

our interest in performance art. We want to make sure thatanswer to the "why." The answer being, "to eliminate thewhen we are five years old, ten years old , we are able toself-righteousness and complacency of Japan and achieve a

actually secure more space, both physical space andglobal perspective in our own local context by coming toconceptual space for contemporary artists to operate in. Of

understand the spiritual qualities of Asia as the 'other' withincourse, at the same time, we want to nurture and maintainus

good relations and achieve an understanding with the state as

In discussing the "inner other ," let me draw an example

to what the museum's objectives are and how the museum willfrom Ozawa Tsuyoshi' s work that was presented at the First

actually get its objectives.

Fukuoka Asian Art Triennale . Like that of ium of Korea , it dealt

What is interesting for us about "Nokia" is that it is very

with ambiguity. If the concept of Ozawa' s work is thought of asmuch in our interest to change a particular model of exhibition

Ozawa' s relationship with Japan , then Ozawa was looking at

which is quickly becoming non-operative, a series which isJapan as the "other ," the absolute "other."losing the interest of the public. The public is no longer

category without the "inner."interested in the Singapore art series. The last exhibit held in

the relationship between self and other, between Ozawa and1997 only obtained 8,000 visitors. That is very low. What weJapan. His work is like a spiritual thread that runs throughout

are intending to do is to improve the event , revitalize it by

the historical process right up to the contemporary age. Can I

absorbing the event into the museum's programming. Then byhave Mr. Nakamura comment on this?

It exists in a

I felt there was a basic switch indoing some very heavy curatorial work on it, we can nurture
key artists who may come up through these exhibitions.

MC (F. Nanjo ) : Before Mr. Nakamura answers, I would like toAnother key feature which I want to mention is the fact that wesay something about the "inner other." The English text

are trying to bring in independent curators to hold special

speaks of " ...the spiritual qualities of Asia as the 'other' within

exhibitions aside from the official ones. And these exhibitionsus." This may sound a little different from the "inner other" towill help to provide a dialogue with or contextualize the main

the English-speaking panelists and audience .

exhibition. Therefore, we also hope to develop diversity in

Mr. Nakamura, please continue.

curatorial approaches in Singapore. In this way we are alsoable to actually bring critical thinking into contemporary art.

Nakamura Hideki: The term "inner other" might be abstract

Why do we say this? I think it is largely because we must be

and difficult to understand . If we take the example of Japan ,seen as very , very active in terms of performing a function to ,we Japanese are not as aware of the gaze of "others," orfirstly , help the artists gain more space for contemporary art tothose who are not our fellow countrymen , because Japan is an

educate the public contemporary art , and also to educate theisland surrounded by water .
What I mean by "inner" or "within"state about the value and possibilities of contemporary art.

is not about insideand outside Japan, but rather about personal experiences in
MC (F. Nanjo ) : Last of all , I would like to invite Mr. Tani to

becoming conscious of how others look at us. A person who
has the experience of living abroad might sense this gaze of

speak.

others. Without such an experience , it may be difficult tounderstand this feeling. Given such conditions, I wondered

Tani Arata: I believe the ASEAN Culture Center, theforerunner of the Asia Center , was founded in 1990. I think it

how audiences could become conscious of the gaze of others

was in December of 1989 that I met with Mr. Ushiroshoji , thethrough an experience such as an exhibition .
As for Ozawa Tsuyoshi , he sees within himself anotherdirector of Fukuoka Art Museum at the time, and the staff of
the ASEAN Culture Center in Shibuya.

part of himself of which he cannot fully comprehend. His work

So this year marks the tenth anniversary of thisalso seems to imply that there is a time lag occurring between

organization, and as Mr. Nakamura has commented, quite

the two selves , giving him the opportunity to look at his own

some time has passed since then. At that time we were notexistence from a distance.

able to discuss things , whether exhibitions or symposiums , in a155

MC (F. Nanjo ) : I hope that this answer s your question . Mr.

By the way , I plan to propose a "third discourse " in my

Tani.

presentation tomorrow. But for now , I would like to ask Mr.

A. Tani: Yes . There is an issue , raised today by Mr. Elliott , ofcontemporary art discourse , and the other , based on the idea

the viewpoint of organizers of exhibitions of Asian art. There iswhich Mr. Supangkat calls the process of "discoursing,"

also the problem of how Asia is defined . And there are relatedshould be mutually exclusive? Should we not proceed by

Elliott if the two approaches , one that is based on the

problems of what kind of curatorhip is best and what points

looking at both approaches? Or should the approach bemust be considered in thinking about Asian art , transcending

selected depending on the subject? I would like to hear yourthe categories of nationalistic art or art based on national

opinion on how we should distinguish the two in our curatorial

identity . These issues need further attention in tomorrow' spractice .

discussion.
D. Elliott: Yes. As I see it and as I understood what Mr.
MC (F. Nanjo ) : I think one of the topics raised concerning theSupangkat was saying , and I have heard him in otherpresenters was how art should be presented . Getting back tosituations developing similar ideas , there are absolutely no

the first discussion with Mr. Elliott , a major point was raised

conflicts between the two ideas. The discourse to which I was

about seeing Asia in term s of cliche or stereotype , whether

referring to was , whatever word you want to use, theconsidering old things or new things , and what we can be doneinternational or globalized discourse. Many different people

to overcome this .

discourse about what constitutes contemporary art. Of course ,This specific ally refers to methods of making an exhibition .

it is a discourse which is alway s changing because as eachBut before getting into the practical side of the issue , I think

generation or group of different artists grow up wherever theythat we must first think about how we can understand different

may be they contribute to this . Art changes . It is a bit like ancultures , not just those of Asia. Can we really under stand theamoebae . It is always moving on different fronts at different

meaning of a work that was created in an unfamiliar cultural

times . That is the big or meta-discour se.
Whatever is dropped into this, for example , an exhibition (itcontext?

need not be of the art of Asia) , may sink or swim and have an

Although Mr. Elliott pointed out that regionalism doe s notnecess arily conflict with intern ationalism or universalism , in

impact on the overall shape. If it is well done it changes thepractice we often experience a conflict. For example , if you do

overall shape of this small animal.

not know the cultural background of a country , it can be

But there is also a proces s of discour sing which Mr.

difficult to understand the meaning of the work that comes

Supangkat may well like to elaborate on , which is really afrom that country. So then , should somebody explain theprocess which I understood as being something much more

context ? Furthermore , how can a curator grasp the realinternal to the situation within Asia , within a region , within ameaning of art by visiting the country for just a week or two?

locality , a way of developing ideas and clarifying what the

Mr. Elliott has already shared with us his views on this point ,issues are for contemporary art and for contemporary artists .

so I wonder if there is anybody else that might comment ? Mr.

At a time of considerable social change-

Tatehata , please .

political, economic , ideological change-thisI mean social ,is more like acomputer crunching numbers , trying to work it all out and get
Tatehata Akira : I think the point that you just raised is verysome kind of sense , consensus and agreement about what

important.

direction art is going and where the points of pressure are .

For one thing , in the context of understanding Asian art,

Again it is not a linear thing , and there is no single answer.

Mr. Supangkat , Mr. Elliott , and Mr. Hoskote , used the word ,There is no answer rising to the surface. It is actually most like"discourse."

a series of realizations . "This is what we have been doing .""This is what we are doing now ." "We think it is right."

Mr. Elliott's opinion was quite clear. To avoid falling into

" We

the "Black Hole" when organizing regional exhibitions , one

like doing it." "It is necessary to do this as artists." I mean

must take one of two approache s. One is to bring an unknown

that is what I understand by the process of discoursing.

work from an unfamiliar region and fit it into the contemporary

Whatever you do has to be necessary , which sounds likeart discourse , given that contemporary art is an international

Kandinsky , doesn't it, who wrote about "inner necessity"?

discourse that is commonly shared in the world . Second is an

I believe that there may be an inner necessity, which is not

approach in which one explores a common history ,purely inner or spiritual , but something much broader than thatexperience, spiritual quality , or attitude in the works . Mr.

intervenes in some way within the social fabric . Such ideas

Supangkat' s idea of "discour sing," the process of creating a

focus artists' attention. They may change from time to time ,discourse around Asian art where one does not yet exist , isfrom year to year , sometimes .

close to Mr. Elliott's second approach . I believe they are
MC (F. Nanjo ) : Dr. Poshyananda , you often make a clear-cut

saying the same thing .

156