November. This is in the Philippines . There is also theinfrastructure, our personnel. We are not really a rural kind of a

Chiangmai Social Installation, which happens on and off every

grass-roots operation, getting online. This is the city; only it is

two years. And maybe the Yogyakarata Biennial and also thedispersed. Still we are working on various projects that will

Jakarta Biennial. We held the Bangkok Art Festival last year.

make reality, this kind of idea, that there need be no difference

But this was poorly funded. But so what? If artists are willing to

between the urban and the rural by Internet and satellite links.

come and cross over borders, and participate with the

But a lot of work , technical and infrastructure work , needs toneighboring countries, I think this is a good sign, and credit

be done before the Internet kind of thing can take off.

should be given, say , to the Japan Foundation and APT wherethese artists actually meet, meeting and creating their own

D. Elliott: It is just really making a point. Often when we are

networks.

talking about contemporary art , we are thinking about cities.

MC (T.Mizusawa ) : Thank you. Dr. Poshyananda has madeWhether it fits within what we think contemporary art is another

But a lot of contemporary art is not being made in cities.
some comments on how exhibitions should be. Some of his

matter , and one which is really out for this discussion. You

points were closely related to Mr. Tatehata' s presentation.

were talking about how distinctions have traditionally been
made between so-called craft and so-called art. Maybe , we

Mr. Nakamura, please.

are in a situation now where the need (for distinction) is not
Nakakamura Hideki: Listening to this discussion , and thebeing made any longer. But that's an open question. I've

comments of Mr. Shioda, I also think that it would be difficult inorganized exhibitions from both Europe and other places in thethe current system to take exhibitions organized by MOT toworld like South Africa , which included things that areoverseas venues.

described and regarded there as a craft work , but they haveAlso , not that I criticize the organization, but the Japan

been shown as art. These are the barriers which are moving all

Foundation's organizational structure is divided vertically, andover the world. They are kind of important, because they alsoorganizing exhibitions in the way Dr. Poshyananda or Mr.

have a geographical implication between city and half-city or

Shioda suggests, would be very difficult with the existing

suburb, township, and country.

structure. I think that the organization should have a more
flexible structure if it were to realize those ideas. This may be a

MC (T. Mizusawa ) : I think Ranjit Hoskote raised the issue ofsensitive point , but this is my suggestion in response to Dr.

craft and also the issue of urban culture in his presentation on

Poshyananda's statement.

India. Would you like to make any comments on Mr. Elliott's
point , Mr. Hoskote?

MC (T. Mizusawa ) : Let's set the domestic issue aside for the
moment. Yes, Mr. Elliott.

Ranjit Hoskote: Just to say that's precisely a conflict that canbe dramatized in the context of the exhibition and of scale andDavid Elliott: I would like to pick up one thing that ocurred todegree. Rather than seek consensus on what can constituteme and follows on from what Mr. Shioda was just saying. And I

the contemporary , maybe we need to bring in various versions

guess this has to do with the idea of the Mekong Biennale. Aof the contemporary and allow friction to take place there,

lot of the countries in which the Mekong flows arebecause that will be one way of acknowledging that artists are

predominantly rural. I think one of the problems we have in

differently located in any of these societies we are looking at.

talking about the art of Asia reflects what Mr. Mashadi was

Maybe it's the way of exposing the machinery of privilege thatsaying yesterday. The whole idea of modernity is connected

exists in the society. And I tend to think that sometimes

with urbanism. And somehow, although we no longer talk

exhibitions of this kind across borders tend to fall into a kind of

about modernity in the same sort of story we once did , thisessentialism, if you like. While we are concerned to try andheritage still continues. And we are now talking aboutlook at the best aspects of the society-contemporaniety. This term is much less loaded and moreunconscious, but it does happen - I think we should be

inclusive. You can be contemporary anywhere. It really doesn't

prepared to accept that many of the societies that we are

I think that it's largely

matter. You don't really have to be in a city to belooking at, also have negative aspects which are reflected incontemporary. I don't know, but Sarawak does not sound likethe arts that are produced there. But I am not too sure how thissuch an urban place , but you could be working there and you

can be done. But I think a certain neutrality should be put incould be working on the Internet.

place by which this too can be exposed.

N. Rajah: I am afraid there is a sort of illusion there, because

A. Poshyananda: Mr. Hoskote , I think that you mentioned

where I live in Sarawak is quite urban. It's an urban jungle

Jyotindra Jain (Director of the Crafts Museum , New Delhi). I

within a tropical jungle. The institution within which I worked isrecall that he gave a very good paper in New York regarding

a federal institution -thethe potentials of folk art and I have seen the kinds of art being

university manifesto, our176practiced in India. I would also like to mention the exhibitions

be in the tradition of Rothko , or in the tradition of Bacon if youof rickshaws at the Fukuoka Art Museum, and how rickshaws

like , and might well be repeating those examples uncritically .

are displayed as mobile art objects. In the context of crafts andIn fact , a number of contemporary artists might be , so totourist art, I would like to give an example of works by I Wayan

speak , using modernist skills , and not necessarily be

Bendi, who I selected for "Traditions / Tensions," where hepossessed of their own vision . While someone from a

actually created folk-like art for tourists. And we selected thisbackward site might well be very experimental in terms of skills

work in the context of this exhibition for a New York audience.

and also be possessed of vision. So it's really a questioning ,You can imagine how they reacted to that. It's low ... not low ..

or a repositioning , of the way in which we look at these things ,very low. But it's good that we could get that kind of reaction.

that we need.

N. Rajah: I would like to add this note on the unification of art

D. Elliott: Can I just throw in something on top of that? Whenand craft on the platform of contemporary art . Since

we talk about the so-called division between vision or a kind ofcontemporary art institutions have been, throughout thestrategic thinking about the total artwork on one side , and skills

twentieth century , looking at the artists who signed their work ,on the other , this is nothing new . I mean , in the history of

the process of absorption reflects or manifests a kind ofWestern art and pre-Renaissance and Renaissance art, thehierarchy for the appropriation of folk material. There are manymaster had many people who actually helped him paint theseexamples of projects in recent exhibitions , where the

frescoes that you see in Venice or Florence . There was acontemporary artists who sign their work and whose

system , almost a factory system . You do not think Henry

photographs appear in the back of catalogues , have so-called

Moore actually made all his sculptures . He had a team of"collaborated"with folk artists, panel painters , aboriginal

people who worked for him. This is an artist , like many

painters, whatever, to produce magnificent pieces.

traditional artists and modern artists, who have also been

Nevertheless, the people who get their picture in thebusinessmen , entrepreneurs , organizers and factory bosses .

catalogues and travel to Fukuoka, Australia usually are not the

So this is something which is quite implanted in the history offolk artists , but the mainstream artists who sign their names.

art , in Western art at least . This doesn't detract what you are

So what Dr. Poshyananda just mentioned is an example ofsaying at all. But it's just worth remembering , I think.

how a folk artist , along with his art , crosses over onto thisplatform. We should be careful to ensure that this will happen

N. Rajah: Sorry , I cannot resist this point on Henry Moore ,more and more , and less and less the other way , where a folk

because I went to a talk at the British Council in Kuala Lumpur

form is brought to this platform , without the person who mademany years ago given by Moore's chief technician. Basically ,the objects. So , I think this is really crucial if we really talkin terms of the distinction that Mr . Hoskote made , all Henry

about blending these areas-theelevation of craft. Some

Moore provided is a vision , and his technician was responsible

countries like Japan have a tradition of respecting theirfor the rest from the little marquettes to enormous marble

craftsmen even perhaps more than their upstart contemporary

sculptures. I felt I was in the presence of the true Henry Moore

artists. But in developing countries, this is not so . Crafts haveat the end of that talk . The other guy (Henry Moore) just had

been lost. You know modern artists are high up , and craftsmen

one good idea that fit into British foreign policy at the time anddon ' t exist any more because they have not been respected.

the British Council promoted him, but this guy (the chiefThis is one thing which is important in this context.

technician) made the works. So , he made the links between
the image and its form and material. But nobody knows him .

MC (T. Mizusawa ) : Mr . Hoskote spoke of neutrality , but we

So , to say that this is an invasion of a Western tradition isface the problem of urban and rural , as well as art and craft

correct. The distinction between craft and vision is the

being polarized and, although curation is the mediating

invasion. That's the distinction we are trying to break , I think .

process, the process itself is skewed because curation
remains as an element of urbanism. We need to resolve that

D. Elliott: There may be a distinction between skills andsomehow. Mr. Hoskote , could you elaborate on that point?

vision , but how does this stand up when you think about
Leonardo da Vinci , Sandro Botticelli , or artists like that?

R. Hoskote: I think we also need to look at the myths by which

modernism in art operates. And one of these pervasive myths

N. Rajah : The Renaissance was the beginning of thistakes the modernist artist as a visionary . He has a vision , ordegeneration. Look before that , to the Gothic cathedrals andshe has a vision , while the rural / folk / crafts people are skill-

you find no signatures .

driven . So , these collaborations are often seen as a marriageof contemporary vision and traditional skills. I think that is

MC (T. Mizusawa ) : Now we are getting into a debate of aslightly absurd at the best of times . And that's something welarger issue, related to the medieval revival , perhaps. How weneed to address. Contemporary urban Indian artists might wellregain our cultural depth of craftsmanship, as was manifested

177

by the anonymous craftsman movements, like the Mingei , is anentitled, "Artist as Director." The exhibition concept was toissue of medieval revival or medievalism spawned by our

explore the idea that the artist is a director, that he presents amodernist conscience. This issue continues into thevision and involves others to work for that vision. At the time,

contemporary age as it becomes entangled with the issues of

we discussed how such an exhibition might be interesting.

today.

This brings us back to the question on the definition of art.

But in talking about Asia , I think we are talking about a rich

Let's say the craftsman uses his skills to work with the artist.

tradition in crafts as our cultural background. I think many of us

Many of the people in Asia might think that craft is part of art.

are trying to find a circuit that can connect the crafts to

The problem we have in discussing this topic is that we do notcontemporary expression in a constructive way. Can I ask Mr.

share a common definition of art, and therefore, we cannot

Ushiroshoji to comment?

reach a conclusion.

M. Ushiroshoji: My discussion may be biased , but let me getmeaning. I think there is a meaning in discussing the meaning

But the solution is not to have a dictator define theback to the discussion on Henry Moore, since I have doneof art in a symposium like this, or through the process ofsome research on him. In Henry Moore's case, as Mr. Rajah"discoursing,"

described , Moore had strong control over the work. Moore, as

being so rhetorical, but we need some grass-root-type ofif he were God , instructed the technician and did not allow theexhibitions as well as international ones. Both of them aretechnician to add any creativity.

important, and one cannot be prioritized over the other. We

Comparing Henry Moore's approach and the collaborativeand exploring what art is in Asia. I apologize forneed different types of exhibitions to suit different contexts andprojects taken on by the Asian contemporary artist is probably

to meet various goals.

not appropriate. The most typical example of an approach

The fewer the number of exhibitions, the more importanttaken by an Asian contemporary artist would be the project ofeach one would become. I think it is important to organize an

the late Roberto Villanueva that took place during his

exhibition for a certain context, and to follow up on that withresidency in Fukuoka. We had arranged for college students toanother one, but from a different perspective. By continuing

come as assistants, but he preferred not to call themthis process and accumulating the experience, we can"assistants ," and insisted on calling them , "collaborators."

I

probably find a way for "discoursing."

As Mr. Supangkat said ,remember how he, from the beginning to the end of thethere is a context that could be developed through organizing

process , continued to take the same attitude towards his

various exhibitions. But can we actually develop this in Asia?

"collaborators,"

The problem we face in Asia is that we do not have enoughand included their ideas in his work.

This is why I think the Moore analogy is not appropriate .

financial resource and museums. But if we organize different
types of exhibitions, we should be able to weave a new context

MC (T. Mizusawa ) : I think in Villanueva' s case, his aim was to

as if we were weaving a big piece of cloth. It is as if we are

explore the skills and the potentials of the craftsmen fromweaving in the different threads to eventually create a bigger

Baguio , who were the anonymous technicians from a specificpicture. The image portrayed in the bigger picture may be very

locality , and take them into his work.

similar to that of the West, or perhaps, different, or may besomething that crosses with the West in some parts.

Nanjo Fumio: Listening to the discussion, I felt that the artist-

In any case , it is our responsibility as art professionals tocollaborator relationship must be defined individually, andorganize various exhibitions , form a discourse, and devise ourshould not be generalized as an Asian or a European thing.

own context.

There is no one correct relationship because it is somethingthat determined by the artist's style . In some cases, the

H. Nakamura: Related to Mr. Nanjo' s comment, I would like torelationship might be equal, and in others , one-sided.

comment on the issue of craft. I think that art and craft are put

Another point is that in the age of technology, the artists

into separate categories in Japan, too. For example , at thecannot work with high technology on their own. It is inevitable

Tokyo National University of Fine Arts and Music , arts andthat they collaborate with many people. The same could be

craft are divided into two separate faculties. Contemporary art

said for public art where the artist needs to place orders to a

may need to approach craft as a way to , perhaps , deconstructfactory and collaborate with different technicians. There are

the existing word, "craft."probably many of these cases , more than we actually know in

For example, even amongst those working in the field of

which artists involve technicians in the process of creating

craft in Japan , there are many of those who create works that

their work . I do not think that anything is wrong with suchare quite different from traditional ones. Also, there arearrangements and , since the practice has continued for a very

contemporary artists who take particular interest in the object ,long time, I do not find it to be any big issue.

for example, the Mono-ha artists. These artists are in a way

But if we were to focus on this specific point , I can recall an

dependent on anonymity and focus on both anonymity andidea that once came up, which was to plan an exhibitionindividuality. Therefore , I do not think that we need to178distinguish craft from art so completely . Instead of pushingcontemporary art and how it is part of the urban culture , forcraft aside under the category of traditional craft , we need to· example, is a very European concept. Also , the discussion on

deconstruct it. When I visited Roberto Villanueva and thethe relationship between craft and art and how the distance

Baguio Arts Guild in the Philippines , I saw an approach thatbetween them can be eliminated came up as a result of taking

cannot be categorized under art or craft and such an open

in the Western ideas.

approach can be potentially one direction to take. I think weI had an experience two years ago in which I had anshould overcome the dualism that distinguishes craft from art.

opportunity to speak to young curators in Bangkok and Jakarta

Mr. Nanjo , what do you think about this?

at a seminar on the theme , "What is Museology?" I asked
them to describe their image of an ideal museum . I asked thisF. Nanjo: Exactly so. If I may further comment , in Japan , wequestion both in Bangkok and Jakarta. I was struck by thehave the traditional type of Japanese painting called nihonga .

response particularly from the Thai curators because they

Nihonga artists use traditional pigments to paint , but some ofwere hardly concerned with any grand building or a collection.

them are very contemporary in their expression .

Their idea was to take the artists into a residence program in a

I have not researched this area thoroughly , but I think thisregional community or a rural village , and to have them createis also related to defining art. For example , if a person with aworks through their experiences living and working with thevision is to collaborate with another person who has the

local community.

necessary skills , I think that the person with the skills would

In understanding their thoughts , I realized that the idea ofrepresent craft .

contemporary art in the way we understand it is not valid.

If we were to tear down the wall between art and craft ,As Mr. Supangkat mentioned , we need to be more seriou s

whether or not a craftsman has a vision or a concept wouldin thinking what we are trying to achieve here in Asia , and todepend on the individual. By the same token, even if thequestion what it is that exists in Asia . Contemporary art

person claims to be a contemporary artist , without a vision , thetheories would probably not be able to provide all the answers

person could not be categorized as such . The premise of thiswe need in Asia. What is happening in Asia cannot be all

discussion is that we agree on the definition of an artist as a

explained by the Western theories. Unfortunately , any element

person with an insightful vision .

that does not fit the Western theory is often thrown away.

On the other hand , if we were to agree that a person withFor example , I once tried to hold an ikebana exhibition in

the skills , and not necessarily a vision , is an artist , anybody

Japan , but experienced a strong resistance . As in this case ,with the craftsmanship of creating beautiful objects would bethere are various forms of expressions in Asia that cannot be

defined as artist. Then , all craftsmen would be artists.

supported by contemporary art theories . We need to be awareThis is why we need to discuss what an artist is in theof this point , or else we fall into the trap of discussing whether

context of Asia.

or not craft is contemporary art . Once you fall into this trap , itis difficult to get out of it.

Shimizu Toshia: Mr. Nanjo' s opinion is based on theassumption that there is a concept for "art ," and , likewise , anidea of an "artist."

MC (T. Mizusawa ) : Mr. Tatehata , please.

It was only during the Meiji Era that thisconcept was introduced to Japan. I once organized an

Tatehata Akira: Related to the comments from Mr. Shimizu

exhibition that presented very old crafts from fourth and fifthand Mr. Rajah , I would like to get back to the issue on craft.

century China and contemporary art in the same space. In the

As sensed in Mr. Shimizu' s comment , when we discuss theexhibition beautifully crafted objects that were originallyissue of craft and contemporary art , our thought s seem to becreated for the dead in fourth and fifth century China and that

regulated by moral concerns in judging the fairness or thewere discovered in tombs were exhibited. By exhibiting these

unfairness of dividing the two . We must think about the reason

with contemporary art, I was trying to explore the quality of awhy it is inevitable for art and craft to become polarized. Mr.

craftsmanship that had been acquired through years ofNakamura used the word , "deconstruction ," to solve thistraining, and how contemporary art can actually come close to

problem , but the reality is that there is a clear distinctionthat quality . I strongly felt that such observation was very

between the two even if we do deconstruct craft .

important . In working with these Chinese objects, I understood

For example, in the "Art in Southeast Asia 1997: Glimpses

that some art would survive for a hundred or two hundred

into the Future" exhibition at the MOT , Moelyono exhibited ayears and some, very short-lived. This idea carries weightvery large work that consisted of batik and Islamic calligraphy .

today.

Although both of these materials were not created by him but

My point here is that although we , including myself , tend toby the craftsmen in his community , the credit was given to thecreate a category called "contemporary art in Asia," there is

artist. This may not have been what the artist had preferred ,no such concept in Asia. What Mr. Elliott said about Asianbut in the current museum system , he does not have control

179

over such things.

MC (T. Mizusawa ) : Thank you. Mr. Tani , please.

Furthermore , Moelyono was invited to Japan on thisoccasion . In taking Mr. Rajah's point, should not theTani Arata: Concerning art and craft, which we have beencollaborators also have been invited and given the same

discussing for some time , I would like to hear the opinions ofrecognition as Moelyono? I think such a question is based on

those of you from Asia. I am interested in finding out how art isgood morals. Let's say the collaborators' names were alsotranslated in each of your languages. For example, in Japan ,listed on the panel. Would that be the solution? I don't think

as pointed out by Mr. Nakamura and Mr. Nanjo, art is notthat that would provide any fundamental solution to the issue

understood in the way Westerners view the concept of art.

at hand.

It is a language, which has been created as a result of

Putting the artist's name on the panel is an issue thatpublic policy. Also , the word, "painting ," translated as

extends beyond the issue of the museum system. Anonymity"kaiga" in Japanese , was created after modernization beganand signature are related to the issue of art as a commercial

in Meiji era and did not exist before then. Until then , the two

product and an element of economic activities. Let's say , wecharacters used in "kaiga ," the "e" and "ga" were used

try to improve the system based on our good morals in the age

separately, and not as a compound. The same can be said forof late capitalism. Then we might list all the names of theJapanese words such as "chokoku (sculpture)" andcraftsmen on the panel. Alternatively , we may choose"kogei (craft)." As for sculpture, we had a tradition ofanonymity, as if we were handling objects from the Bronze Age

woodcarving, but not that of modeling. All of these words werein China. I think continuing such an approach would not becreated when the Meiji Government established the new arts

justified, because the choice is made based on the emotional

policy, acquired the concept of what Westerners considered tointention of being fair.

be "art." Art was transferred to Japan as a technical skill andSo, the reality may be that , in certain regions, artists are

was translated in that context.

usually in the cities and the folk artists , in the rural villages.

It was , of course, part of the Meiji Government's strategy.

This may be not so in the region where Mr. Rajah comes from,

I would like to ask everybody , how the word "art" isbut I think this situation is reality in many of the regions. At one

understood in your country, and how it is different from that ofpoint , all of the artists in a region may decide to work in an

the West.

urban environment. If such is reality , how useful or effective
can morals be? Would we be able to resist this change withMC (T. Mizusawa ) : I believe attempting to strictly define theour artistic morality?

terminology in different languages would take much time andIf we were to discuss the craft issue in the framework of

the discussion could get complex. I would like to actually invite

fairness , we would have to expand the discussion to economic

Mr. Leng to make some comments on China which has a longand political problems. It would be dangerous to discuss thehistory in crafts.

issues only in the art world , or at the museum or art critic level.
Without working on the greater superstructure , trying toLeng Lin: Although I have been given this opportunity toresolve the problem just within the context of the art world

speak , I have not given that much thought to this issue on art

could be dangerous.

and craft. I am afraid that this topic is not quite in line with themain theme of this symposium.

Ahmad Mashadi: I have a short comment to make on art andOn the issue of craft and art , of course in China , we havecraft. Actually , I am not very sure if the division or conflict

many different traditions in the crafts. In thinking about the two,

between art and crafts should be an issue in contemporary art.

we must first understand the clear difference between them in

I think what should be remembered is about the evolving

terms of their social functions and the communities they serve.

relationship between artist and artwork and audience. The

In China , we have traditional painting , traditional craft, butevolving relationship problematizes the issues of the nature ofalso art, which was imported during modernization. Our word

art , the issues of art as object and its functions , the issues offor "art" is a translation of the Japanese word that translated

the subject and issues of the audience and its activities.

the English word, "art." Unifying "art" in the modern sense

Therefore , as long as the value of the artwork can be related towith traditional crafts or painting has been an issue since thereexamination or revision of such relationships , I think all the

beginning of modern age is an issue that has yet to beextended issues, the hegemony in some instances , can be

resolved.

better understood , and appreciation of craft or folk art should

In China today, contemporary art and traditional art are in a

not be a problem. I think what we call artists is still acompeting relationship. Currently, contemporary art seems tomodulating idea. I think it would be honorable of artists, ofhave an advantage because, in my opinion , it responds orcourse , to credit his collaborators and , of course , honorable ofreacts better to the current problems than traditional art.

curators to explain the actual context of such collaboration.

Unfortunately, traditional art has not been able to define its
position in relation to current issues. It has also not been able180

of how Asia and the world are changing . Until the collapse of

to innovate in its traditional skills.
I would like to suggest that we return to the main theme of

the Berlin Wall in 1989 , the world was focused on the Cold

our discussion today.

War between the East and the West , and , in a way , theRelated to the concept of Asia and art , Mr. Elliott

concept of Asia was forgotten for the while , or at best , given

mentioned how we are losing Asia as the " other ," but first of

meaning only in the context of the Cold War. But things have

all , I think the point is when and how did we become conscious

changed today. Today , in a world where the United States isof this concept of Asia? For example , the Japan Foundation

the only superpower, the American audiovisual culture , or the

Asia Center was founded with a clear objective. Through its

movies , have a tremendous influence on Asia , but its art has aactivities and history , I am sure many things that deviate from

relatively small influence . Nobody is that impressed by being

the original objective surfaced on the idea of Asia , including

exhibited at the Metropolitan Museum of Art in New York .
In such a world , everybody is competing for regional

the difference between Asian countries, which perhaps arehegemony through various international exhibitions. This

more apparent than that between the West and Asia.

competition is very new and everybody is fighting for a smallMiki Akiko: Mr. Leng commented that , as we may beenscale hegemony. How does an artist like yourself (Mr . Rajah)

deviating from our original topic , we should get back tofind a way to operate in such a historical context? Your answer

discussing the issue of contemporary art in Asia. But I

was to work with the Internet and digital art.

disagree that the issues we have been discussing today ,But we have to keep in mind that there will always be

including that of crafts , are not related at all to the issue ofartists who will not be able to use the digital space provided bycontemporary art , because I think that they are , in fact , closely

the Internet. Artists dealing with forms of art other than digital

related to Mr. Leng' s question , "What is Asia?" What ismedia have to think about how they would place themselves in"Asia" and what is "contemporary"

the new hegemony.

in the context ofOne more point. I agree that the artists in Asia have strong

contemporary art in Asia? I am sure many of us, not being able
to ignore this question, have thought about it, too. But I thinkcapabilities in the new media, but I am not sure that they comethe fact is that we often use the concept of Asia without havingby this talent naturally . You are quite optimistic in describing
how Asia is not completely modernized and taken over by the

had a thorough discussion.
This seems to be our underlying problem. It is also related

contemporary art system , so that it is still possible for Asianto the language of criticism and discourse, as Mr. Supangkat

artists to work anonymously . You stated that we , in Asia , are

has pointed out. We often use the language of criticism ingood at interactive thinking. This may be true , but in looking at

discussing Asian contemporary art without giving it enoughEurope , or the United States , a large volume of capital andthought. We need to reexamine , not only the definition of thehuman resources are being invested to educate their artists. At

concept but also, the language of criticism.

MIT, for example. Since Asian artists will be placed in thisglobal arena , I think that we will see a new competition .

I think this is the same problem that Mr. Tatehata hadbrought up when he referred to "the oblivion of identity ," theN. Rajah: Definitely. But I would like to first give a quick andphrase Minamishima Hiroshi used at the 1998 AICA {TheInternational Association of Art Critics) Japan Congress. The

practical solution to what I think is a problem that has become

word "identity " is used far too readily and far too easily.

evident after ten years of wonderful , successful Asian ,Southeast Asian , Asia-Pacific exhibitions sponsored andMC (T. Mizusawa ) : I understand Mr. Leng' s dissatisfaction,

patronized especially by organizers in Australia and Japan .

but as Ms. Miki has pointed out , when we discuss Asian

Asian art is now on a platform that it was not on ten years ago .

contemporary art and think about its definition, we often findThe problems that have been emerging in the process ofthat, for example , we have difficulties in seeking the point thatgetting here are what I try to address . I think the mostconnects art and craft , specifically because the context is Asia.

important sentence in the first half of my presentation is my

This is probably why I had encouraged people to comment oncomment on "neocolonial curatorial hierarchies ." I don ' t want

the idea that such a distinction is blurred in the context of Asia.

to go into it, and have a discussion about it. I just want toimmediately propose a solution .

We are running out of time . We will come back to the issue

If you look at the list of artists in the show in Brisbane orof how , although we are living in Asia, we don't reallythe one in Fukuoka , and work out the percentage of local,

understand Asia, rather than discussing the issue of how it is
not understood by the West. I hope Mr. Leng will understandmeaning Japanese or Australian , to foreign artists , and get a

our concerns. May I have Mr. Shimizu comment on Mr. Rajah's

figure and compare that to another statistic-working

presentation?

numbers of curators from Japan or Australia against theout thenumber of curators from outside , you will see the root of theT. Shimizu: I found Mr. Rajah ' s presentation very interesting,problem that can be addressed quickly . Also , if you try to work

particularly, in the analysis he presented at the very beginningout the positions of foreign curators within the central

18 1

committees that make decisions. "Foreign"means outside ofis an antidote to some of the problems of modernism . But, it's

the host country. Increase these numbers and we will bealso deeply enmeshed with the problems of capitalism andworking towards a better Asian solution for the future.

other forms of global hegemony. I am not promoting it withoutawareness of these problems.

It is also very important to ensure that the art brought
together from the outlying regions to grace the centers of art

A. Tatehata: I have a very simple question.

also tours the regions from which it has been gathered.
Otherwise, the rich countries with better infrastructures will be

MC (T. Mizusawa ) : Yes , Mr. Tatehata.

simply consuming our art without giving anything back. Whenplanning grand regional shows funding must be set aside forsuch touring . There are already examples of this . Being truly

A. Tatehata : You spoke of the Asian solution in the first half

multinational, corporations, for all their faults, have shown theand of globalism in the latter half of your presentation.
At the end of your text , you conclude with an agenda inright attitude when organizing regional exhibitions. The ASEAN
Art Awards have brought about an unprecedented awarenessusing new interactive arts "to take Asian Art beyond theamongst Southeast Asians of the art of their neighbors.

present hegemonic regionalism and to transport us to a truly

Indeed the Internet is my niche . You can say it' s my

global paradigm in Art." You also state that "our Asianness
will prevail even where it is not expressed explicitly" and that

hustle. It is the only space I could find for myself after
struggling in the London art scene , then going home and being"we should aim to determine the center." Just by looking at

isolated from the Kuala Lumpur scene in Sarawak. I found thethe text , I find these two ideas to be paradoxical. I wou ld like toInternet and haven't looked back. So I don't privilege it asunderstand how these two are related. I would appreciate yourmedium of art over the others , but I do feel that the future as aelaborating on this point.

whole is going to be digital. For those in the parts of the world
N. Rajah: Perhaps there are problems here that I cannot

that cannot afford it and are left behind, this is a big problem
which I address at the end of my paper. I think you made aresolve in my answer. But the idea about Asians aiming at

point about this , and I acknowledge the problem there.

defining the center is not so much to dominate the center.

The final point I would like to make is that there is

Generally, there is a mainstream in which developing countries
are welcome to participate but are always marginalized. So,

something happening here , which has to do with globalization
after the fall of Soviet Union and the rise of the United States.

East-West dichotomy is too simplistic, but you know , it's

The United States rules the world , but China is waiting to comehelpful in the fight to get into the mainstream. And normally ,in the next round , next millennium. I would say , in a very

you get into the central area through the channels on the side

paranoid fashion , the East Asian and Southeast Asian financial

in separate Asian shows and Asia-Pacific shows. But at thecrisis can be related to some of the invisible agendas ofsame time, the host countries like Australia are engaged in theforeign powers. Nothing can be proved. But nation status isinternational mainstream. It's a double entry system. I thinkunder threat and "Asia" could be a point of resistance for us.

Dr. Poshyananda was talking about this system earlier. And

More importantly , a kind of benign nationalism could be the

we've already sort of talked about merging these two.

way to resist the dominance of multinational corporations.

My point was simply that in the new media art, there is a

If we look at art arenas , the kind of things we see indanger that the same thing will happen again , that , you know,

Fukuoka and Brisbane , these are the kind of art arenas which

we look for the "digital wayang ku/it" or the "virtual temple."come from the nation-states. It's government-funded or city

It's happening. Whilst people who do work that does not lookgovernment-funded. It' s the old paradigm. If you want to see

Asian or specific to where they come from will be excluded.

the future , you will look at the relationship between Fukuoka ,People who make work that address the structure of

Brisbane , or the Singapore Art Museum and corporations.

technology , from their Asian or Malaysian or individual point of

Look at the ICC (NTT Intercommunication Center). Look at theview may be excluded , and people who can make things that

ASEAN Art Awards. Look at the art exhibition that wassignify their origins will be included in the mandala of thementioned by Mr. Mashadi. Corporations are coming into thedigital art-on

game , and perhaps in the future , they will have the funds ,to say. Let's work against this. I would say that in Asian art,

the edge of course. So this is what I was trying

resources and the ability to dominate. This is just a word of

we imitate nature in the manner of operation, not so much incaution. I don't know what to do about this, but I see national

its visible forms. And I hope that, with new technology, theinstitutions having less money than before. In my country, themanner of operation is the main thing - programming andNational Art Gallery can only do so much, but corporate

networking. I hope people don't look for tokens -Asiansponsors can do much more. So too in richer countries this

Malaysian, you know. So this is the first point.

, or

It wasn't so much that we should dominate the center. But

could be the scenario. Globalization is really happening at
every level. Technology is also happening at every level. I justthat we should help determine the future global culture , if thatthink that we have to be aware of this. I believe that technology

is at all possible. I'm quite skeptical. People have commented

182

about my optimism. I'm not optimistic. I am maybe trying to

Such is the dilemma I always face. But , if there were to beshow a way forward . But I'm quite pessimistic particularly

a very neutral and objective context, that would only be boring

about the technology gap and manpower gap and great global

and something of a cliche. Therefore , I go ahead and present
my biased views , and do not avoid organizing exhibitions ofagendas , you know. It's very frightening.

this type. But at the same time, I think that an alternative

Have I resolved the contradiction between global andAsian? I think I have . I have answered your question. I would

approach to the museum-led, exhibition-led approach shouldlike to just extend it, saying that in a country like Malaysia , webe available in an age when the latter is dominant. I was nothave state-of-the-art technology coming in without arejecting my own actions but trying to give a better view ofmultimedia super corridor . But we don't yet have artists youwhat other alternatives can be considered .

will see at the ICC in Tokyo. We have the same corporate
giants coming in that sponsor art in Germany , the United

A. Tani: I see. I have another question . You are saying that inStates , and Japan. Can we convince our government to

any type of curation , a collective identity , or a communal

convince them to give the same support to our technologically

identity would dominate , and so as an alternative , you

motivated artists that they give in their home countries? So ,advocate focusing on the particularity of the individual artist

the first thing is to convince our government about this , but

and organizing one-person shows. I think you are mainly

they have a different agenda. Business comes first, quite

concerned with Asian artists here.

rightly in a developing situation, and therefore multimedia

I think your suggestion of one-person shows goes against

applications are more like Hollywood than ICC. We have amany of the proposals that have been made here on what sortnotion of art built in. We have a multimedia university, but theof exhibitions are desirable for the future. I would like to ask

primary focus is on economically viable projects.

what type of one-person shows you are proposing. Would they
be held in a museum , or, for example, in an alternative space?

So this is an additional comment. I am not sure if I'm stillanswering your point.

A. Tatehata: I think it is true that a reactionary return tomodernism is hidden in one-person shows . We discussed theMC (T. Mizusawa ) : Thank you. Finally , we would like to invite

Henry Moore shop earlier on . In his case , we are attributing allcomments about Mr. Tatehata' s presentation from Mr. Tani.

the problems in art to one great artist. So , that is a reactionary
A. Tani: I just would like to make a very brief comment. You

return to modernism that is undesirable. I am not saying ,have pointed out the problem of curation and the domination"Collective identity is wrong. One-person shows are the onlythat results from curation. I would like to ask what yourway. Reduce all criteria to the uniqueness of the great artist."

experience was as a curator, for example , at the National

In relative terms , there are far too few one-person shows

Museum of Art, Osaka. It seems that you are critical ofcompared to group shows . For example , the Asia Center hasorganized many group exhibitions, but only one solo exhibition,

yourself .

that of Fang Lijun.
A. Tatehata: It is true. I believe you are asking me how I see

I would like to see more one-person shows at the Asia

the structure of dominance as a former curator of a museum.

Center or at the Fukuoka Asian Art Museum. There should begave my views based on a self-evaluation. I curated an

more of these at commercial galleries , too, although I know

exhibition of contemporary Korean art twenty years ago at thethat funding could be an issue. There are too few exhibitions ofmuseum where I was working at that time. I also curated an

Asian art held in Japanese public museums. Commercial

exhibition of Indian contemporary art here at the Japan

galleries are based on economic principles, so a moralistic

Foundation Forum last year. I have had opportunities to curate

motivation would not have much effect , but they should be atseveral other exhibitions focusing on a particular country. I

the forefront in introducing emerging artists. So, I think thatmade an effort to be neutral as possible as a curator in all of

they should make an effort to hold many more exhibitions , bethose occasions .

they supported through corporate sponsorship or voluntary

But the reality is that I could only select maybe twenty

activities. I think that one-person shows could be organized inartists at most. In the last Indian art exhibition, I only had eight.

smaller spaces other than museums. I don't think my idea is

In such a case, it is inevitable to look for a cohesive theme or aso unique. This is just common sense.

context that holds the exhibition together. To make a selection
to support the theme is my responsibility as a curator , but

MC (T. Mizusawa ) : Since we are running short of time , I would

regardless of the theme, the audience would only see thelike to end the comments on individual presentations.
Mr. Tatehata , you have said that in organizing one-person

exhibition as a direct reflection of the contemporary art sceneshows , you "want to examine the fundamental figure of thefrom India. Some art critics or curators may recognize my taste
or biased view , but the general public would hardly take that'other',"into account.

the 'other'"?

183

but what do you mean by the "fundamental figure of
It seemed to me that your presentation was aconfession of your faith as a curator. What exactly is thisperipheral activity, which, at the same time, could be global ,"fundamental other" that you hope to encounter?

universal , or even central. This may sound paradoxical, but I
think this is an important concept. We are concerned with thisA. Tatehata: Specifically , this refers to the artist. Artists, of

one specific point in time which could be described in thecourse, have regional and collective identities. But we expect

context of central or global, if were to look at it from a distance .

them to also be independent , idealized figures, "others" whoThis is the notion that I tried to describe in my words, "innerare fundamentally embraced by the society, but are definitively

other."

different and removed from it. The artist is a romantic figure. I

to add this point to highlight the difference from Mr. Shimizu' s

My choice of words was rather abstract, but I wanted

am not suggesting that artists shou ld be defined only by thesepoint.

attributes. Artist should perhaps have the ability to reveal thecontradictions in society or make fundamental criticisms of it.

MC (T. Mizusawa ): As we are running out of time , may I ask

But I personally expect art to play a heroic role and have

Mr. Supangkat to comment on the future prospects of

the ability to present values that deviates from the norm. This

contemporary art in Asia , including the issue of mutual

may be a romantic notion that I have of art. It applies to any

understanding between countries that was raised by Mr. Leng.

art, be it from Asia or any other regions. I think art has thecapacity to meet such expectations.

Jim Supangkat: I would like to respond to the problematic ofidentity discussed by Mr. Nakamura and Mr. Shimizu . To me ,MC (T. Mizusawa ) : I see. We have repeatedly used the word

identity is not related to what we want to be. In my opinion , the"other" in our discussion. Mr. Leng also used that word in theidentity of art in Asia depends on the mediation of art

context of Asia being the "other" within Asia. I wonder if

discourses in Asia that in the end results in a clear

anybody wants to comment on this? Yes , Mr. Shimizu.

understanding of how art is generally perceived in Asia. The
outcome could be a totally new discourse based on

T. Shimizu : Becoming aware of the "other"is to become

identification of matters that exist in the process of mediation

aware of oneself . Asia was something that the Europeans

today. Regional art activities in Asia provided materials forlooked at from the ocean, during their voyage through theidentification . To me this approach is different from the search

Middle East to Asia in the Age of Explor ation. They saw theto find a concept of Asian art. In my view , efforts to find acoastline of the continent, but not the inland. Even to me,

concept of Asian art always have the risk being caught up insomeone who lives in Asia, Asia was the "other" until aconsidering too much "linear knowledge" of Asia. It is

certain time in my life . In the case of Japan , we needed toinevitable that the "formulation"

establish an identity in counterbalancing the Western powers.

much colored by Western interpretations and stereotypes on

The identity of Japan and of Asia led us to war, but it was aAsia.

necessary step at the time . I think that the issue of the "other"of Asian art at the end is very

To me contemporary art discourse is more a "strategic"

is about identity.

format in the context of finding what art means in Asia because

I went to Singapore on research several years ago. I met

the discourse gives us opportunity to go in many directions. In

with young artists who would ask me for advice on identity .

my opinion contemporary art discourse is not a format that

"What is my identity? I don't know ," they would say to me.

should be used to identify contemporary art in Asia. The format

Usually, artists start creating their work without giving any

should be open for interpretations and, if necessary , be usedthought to identity. They become aware of the issue of identity

in the opposite way or even upside down. Thus , in the context

when it is inevitable to think about it for political or economicalof Asian contemporary art , discourse is not only useful forreasons. Exploring their identity means recognizing theidentifying contemporary art but also modern art. In Indonesia ,"other."the understanding that contemporary art rejects modern art

As the concept of Asia had not been presented by others ,resulted in an awareness that there is no clear comprehension

we were forced into defining it through the encounter with theat what modern art is in Indonesia. Thus, instead ofWest . That is where the issue of identity came into play , I

considering modern art to be dead , contemporary art

think .

discourse in Indonesia has made an effort to identify modern
art.

H. Nakamura: On the subject of the "other"mentioned by Mr.

As matter of fact , it is difficult to identify modern art in

Shimizu , I think he may be talking about a slightly different

Indonesia through commonly known theories of modern art.

idea from my concept of "inner other," so I would like to

There are too many differences in the development . In finding

explain what I meant by my phrase .

a way to comprehend modern art , the identification of modern

What I meant by the word , "otherness ," was the notion ofart in Indonesia opened a new discussion on thelooking at oneself from a distance. I share the views of themodernization process in Indonesia, triggered by anthree speakers, who are concerned with a highly localized orawareness that modern art is a phenomenon of the modern184world in Indonesia. Nevertheless , it turned out that there is no

MC (T. Mizusawa ) : Thank you. I think the point was that theclear understanding of this modernization process. In theissue of identity involves looking at the history of developing

narrative of the nation , modernization in Indonesia started in

identity.

colonial times nearly at the same time as the emergence of the

The advent of modernity in Asia and Japan led to greater

nationalist movement. Polemics that tend to understand thatawareness of identity and also shook it up. The development

the process of modernization emerged between 1930 andof identity was not simple, but a complex process. I feel that if

1950 are problematic due the ambiguous stance that accepted

we do not have an accurate understanding of thisand at the same time rejected modernity . Resistance wasdevelopment, we cannot objectively understand what we havebased on the perception that saw modernity as Western

now as identity.

culture, as Western culture at that time was consideredidentical with colonialism. Later the efforts to understandA. Tani: I would like to suggest that we have another session

modernization were colored by East-West dichotomy.

of "discoursing"

The reluctance to comprehend modernity has its impact inon how modern Indonesian artists, such as

Soedjojono or Affandi , raised their awareness.

the comprehension of modern art. Instead of studying theories

I can draw an example of a Japanese modern artist'sof modern art, the effort to understand tends to deny theactivity to elaborate on the issue of modernity and the issue ofconcept of modern art and even reject the fact that art practiceindividuality raised by Mr. Tatehata. Takamura Kotara, ais actually a fine art tradition. Despite the fact that this kind ofJapanese sculptor, was strongly influenced by Rodin. He

effort failed to bring a clear understanding of modern art, as

advocated the idea of "rigun-sei," or diverging from thewell as modernity in a particular space, the failure could begroup. He chose to explore the path of individuality. As he triedconsidered as material for identifying the dilemma of

to consciously follow this path , he was eventually

modernization. A notion of history as rupture resulted in an

overwhelmed by the "kyotai." "Kyotai" means hollow body.

awareness that even modernity is a limited phenomenon, letSimilarly, Yorozu Tesugoro called himself "a sphe re withinalone the understanding of modern art and the philosophicalnothingness." Yoshiwara Jiro , one of the members of thebasis of art practice. Within this kind of condition how should

Gutai group , painted works of black and white circles with awe comprehend contemporary art and see its prospects?

calligraphy brush, creating an image of a black hole and a

In my opinion art practice in Asia faces the same question.

white hole.

This is why I see the significance in finding a platform forSo, consciousness of the "other" emerged among

identifying the dilemma of modernization in Asia. The clues

modern Japanese artists at very early point, but the wordthat should be considered are the encounter of Asia with"otherness"

Western culture and the encounter of Asia with Westernaround 1970 . So, it is quite a new issue. Until then, evenmodernity in the early twentieth century. Just to show somethough modern artists did make an effort to raise awareness of

examples, the encounter with Western culture in Indonesia

this problem, they repeatedly failed to create an Asian form offirst came to be used by large numbers of people

occurred in the eighteenth century and had already developed

sublimation or an alternative structure. Finally, at the very last

substan tially by the nineteenth century. In Japan, it occurred instage of modernism around 1970 , when the various forms of

the Meiji Restoration. The encounters with modernity in themodernism began to be criticized, the issue was clarified.

early twentieth century in Japan and Indonesia are different

So, as with Yorozu Tetsugoro , Takamura Kotara , orstories. Twentieth century modernity emerged in Japan and in

Kishida Ryusei in Japan, I am sure there are modern artists inIndonesia in the middle of conflict between Asian nations andeach Asian country who were influenced by the West, but at

Western colonial powers. It was far from being a peaceful

the same time , tried to overcome Western influence.

encounter as was previous East-West acculturation.
In finding this platform, facts that have been overlooked

MC (T. Mizusawa ) : Thank you. If we were to continue

should be considered. For example, the East-West dichotomy

comparing historical incidents , we would need more time . I

that spread throughout Southeast Asia has its origin in thethink I would like to leave that issue aside for now. Mr. Nanjo ,conflict between Japan and the Western countries in China

please.

before World War II. The East-West dichotomy in my opinion
reflects efforts to find a model of modernization that is not

F. Nanjo: One last comment. Mr. Tatehata confessed his

Western. In a way this exertion required a change of

longing for a hero , but I felt that his expectations of artists

perception of events in World War II, even a totally different

resemble the Western longing for an exotic Asia. This

point of view. I have to admit this is a difficult task due the fact

expectation creates the stereotype of Asia. This stereotype

that World War II and the Japanese occupation of Southeast

eventually becomes the identity, an identity that is different

Asia is still considered as a stigma on Japan in Southeast

from the actual identity. We see a gap between the two.

Asia, as well as in Japan.

So how can we define identity? Although I raised the issueof defining art and Asian art, I do not expect to find answers.

185

As Dr. Poshyananda pointed out, even if we were to

We may not find the answers , but we would need to know if thedefinitions are the same as those of the West. This point isintroduce Asian art in the international contemporary art circuit ,important in thinking about the future of art in Asia , as Ms. Miki

we should not present it as a monolith , but as something withpointed out , but at the same time , I don't think that anybody

varied aspects and a porous surface. We also need to look at

can come up with a conclusion. So, how do we search for the

Asia with fresh eyes. As Mr. Nanjo suggested , we need to

identity of Asia? I nearly came to a conclusion during my lastwork in many different ways , with words and discourses andcomment , We need to continue our discussion , and organize

with different kinds of exhibitions in exploring Asia further. We

exhibitions to depict Asian identity , although it may not beshould see Asia as containing rich hidden resources.
Although Mr. Leng resisted the discussion on art anddefined by a single authority. I hope things will turn in thiscrafts, the issue of craft , and the issue of technicians anddirection .

anonymous professionals who do not appear in the art circuit ,In order to avoid making mistakes , we should avoid

were raised by many of the panelists , which implies that welabeling and classifying Asian identity so easily. Instead , I think
we should look at Asia as a gigantic tank full of artistic

need to reexamine the nature of art. Mr. Supangkat, suggested

resources . There are cultural resources here which have notthat we need a historical approach in exploring the idea ofyet been thoroughly researched or discovered. Only part ofidentity. We need to carefully examine the process in whichthem are known. We need to discover them. And we need to

identity was established in art in order to understandcreate new art based on this vision of Asia and, in somecontemporary art better. This is related to Mr. Tani's comment ,sense, on contemporary conditions. We can present our new

too.

discoveries to the world , and share our cultural asset , with the

We need to stop looking at Asian contemporary art as aWest , instead of competing against them. This is the kind ofmonolith , and have a closer look at its individual parts. In doing

approach that is necessary.

so, we can perhaps find a light that illuminates the "Black
Holes" from within and makes it shine .
I would like to conclude this session. Thank you.

N. Rajah: I have a word of caution about this notion thatemerged in the last paper about heroes and solo shows , andtaking off from "White Hole" and "Black Holes." I would like toinclude "Brown Holes" and "Yellow Holes" and refer to the
Malaysian situation. Now , we have a multi-ethnic country with
communal politics that involve very different sensibilities anddifferent agendas in art. When we look at the "White Hole"and the "Yellow Hole" by which I mean European perspective
and the East Asian perspective , they seem to have picked out,
as important work coming out of Malaysia, works by artists
from marginalized communities , making radical and criticalstatements about the mainstream society. If I asked you tothink of who is the most important Malaysian artist in the last
few years , I am sure we will all think of the same name. The
Central Curatorial Committees seems to have preferences forcertain people. They override the regional curators'
suggestions . I have experienced this myself more than once .
So, the word of caution is, if you are making heroes , let not the
kingmaker be from the host country , but let the kingmaker , thecurator, also come from the same place as the heroes! That'sit.
MC (T. Mizusawa ): That ties in with the idea that exhibitions
should be shown in all the countries from which the artists
originate.
Let me sum up. It is difficult to summarize everything thathas been said but my general impression of this symposium
was that we are now at a stage where we need to think very
carefully about the terms Asia , contemporary, and art , one byone, rather than take them together as a solid unit that hastremendous power to move us.

186Sessions I and II. The content of each presentation has

Report and Comment on Session ID

already appeared in printed form and speaks for itself , so in

Toward an Anonymous Individuality

this report I would like to concentrate on the problems thatemerged in the course of the discussion .
Apinan Poshyananda is a curator based in Thailand who
has been an active presence in the international art world , andMizusawa Tsutomu

his presentation focused on art politics. In the first symposium,

Chief Curator , Museum of Modern Art , Kamakura"The Potential of Asian Thought" in 1994 , he pointed out thedangers of great power hegemony in any cultural program led

I recently heard a story from a Japane se sculptor who lives inby Japan . In the second , "Asian Contemporary Art

Yatsugatake that made a strong impression on me. He was

Reconsidered" in 1997 , he stated a need for international

participating in an event in a provincial city in Japan where

curators stationed on "dissolved cultural frontiers" to promoteartists had gathered from all over Asia, and he was given thethe talent of Asian countries in the international art circuit. On

opportunity to take part in a discussion where the topic wasthis third occasion, he rejected Pan-Asianism , the idea that"the forest. " He naturally assumed that the discussion would

Asia is one , as authoritarian and repressive , portraying thecenter on ecology and the need to return to nature. However ,divisions between Asian countries as being "porous." Hisalmost all of the artists from Southeast Asia spoke about

ideal strategy is to have contemporary Asian art flying inmemories of war. To them (although there were someformation behind the lead of Japan and Korea like a flock ofdifference in response depending on the generation) , thegeese , constantly providing feedback to each other as they

"forest" was a site of slaughter and violence .

advance into the international art world. This represents a

I do not intend to go into the issue of victims andchange in emphasis , reflecting the political savvy of a leading

victimizers during the war , but I would like to point out how

curator responding to the changes in the image of Asian art

something that seems as universal and unchanging as ''thethat have occurred recently on the international scene . The

forest" can also be extremely "historical."value of Asian art is now seen variously as oppositional ,Art , one of themost self-conscious of human activities , is naturally much

representative, and regionally dispersed.

more historical than the forest. This "history" cannot be

The second speaker , Niranjan Rajah of Malaysia ,exhaustively analyzed according to the modern Western model

suggested that we should take an optimistic view of theof history. In fact, many Western historians , beginning with thepotential of the Internet for crossing regional boundaries inpioneering School of Annales , have already made this point.

overcoming the time lag peculiar to Asian art . During the

We should remember that the West's own self-awareness of

discussion , David Elliott commented that there was no longer a

the fracturing of its once solid cultural identity has been aneed to tie "modernity " to the city, and Mr. Rajah agreed that

precondition for the recent dialog between the West and Asia.

the urban-rural duality has been rendered meaningless . He

The West has taken the lead in this , and the peculiarly modern

then asked the important question of whether there ever wasstate of Japan , which has arrived at its own strange form ofan essential difference between traditional crafts , often thoughtlate capitalism , has followed the West's example. Because of

to be associated with rural communities , and contemporary art ,this background , it would seem that this rapprochement is itself

considered a product of the city. Although I served as thereconstructing and reinforcing the dualistic opposition between

chair , I am afraid that I was not successful in guiding thethe West and Asia , and this suspicion puts a damper on thediscussion effectively. However , I believe it is significant that

dialog . The idea that Asia is unified in relation to the West is

the many differences in outlook came out clearly . I would likealready a privileged concept , and it clashes with theto list some of the main points that were made . "The conflictexperiential reality of the many different Asias that actually

between traditional crafts and contemporary art can beexist.

dramatized in the context of the exhibition, given that a certain

This symposium was an opportunity to objectively examine

amount of neutrality is guaranteed"(Ranjit Hoskote).

the present conditions of Asia through art on the basis of our"Contemporary art always poses the danger of creating a kindexperience of the overheated "Asian contemporary art boom"of hierarchy for the appropriation of the folk arts" (N. Rajah) .

which made such a dramatic appearance in the early 1990s.

''There is a need to look at the myths by which modernism inRather than an opportunity for affirming solidarity , it was anart operates; the myth that take modernist artists as a visionary

occasion for "turning our eyes to individuality" (Tatehata

and craftsmen as skill-driven people"(R .Hoskote) .Unfortunately ,Akira) , for speaking out forcefully about the differences thatthe panelists did not pay much attention to this last statement.

are a product of different histories . This recognition of present

Ushiroshoji Masahiro made a related comment , noting thatreality is to be welcomed.

"the late Roberto Villanueva called his assistant a collaborator,"
but the discussion did not significantly diverge from the basic

Session IDsaw further exploration of issues that emerged inassumption of modernism that the artist is the visionary.

187

However , there were other comments that deserve mention.

unrelated and do not have some sort of mutual connection or''There is a need to deconstruct the word 'crafts ' " (Nakamura

consistency , they cannot become part of a significant cultural

Hideki), and , "We must question how much contemporary

program. Unless we address the problem of how to construct

things can embody the beautiful forms found in ancient crafts"

such a program for the art of Asia , we will be left with a(Shimizu Toshio). Nanjo Fumio accepted the premise of amishmash of vague generalities. Mr. Tatehata's conclusion

conventional division , saying , "It is all right to have exhibitions

that the purpose of an exhibition is to "encounter theat grass-root level and at international level."fundamental other" is open to the criticism that it takes us

Tatehata Akira

avoided the problem by relegating it to the hierarchy of genres:from a point of convergence back to the bad old elitism of the"It comes down to an ethical problem of art giving sufficientavant-garde. Although this possible objection occurred to me

consideration to craft ." As the chair , I felt that theseas chairperson , no one raised it during the session .

approaches were not sufficient and that a "conflict" between

At the end of the overall discussion , Mr. Leng raised theart and craft could be creative . I suggested this possibility toquestion, "Are there not greater differences within Asia itself

Leng Lin, the panelist from China, a land of marvelous crafts,

than between Asia and the West?" Jim Supangkat and Tani

but was sharply rebuffed. ''They serve entirely different ends.

Arata addressed the issue of identity , the counterpart of

Craft cannot renew tradition and has nothing to do with art."otherness, touching on examples of the art of Indonesia and

Mr. Leng ' s contention that there is no reason to discuss theJapan in its historical development. Their final comments

problem of craft in this sort of symposium drew a positive

made it clear that a stricter use of terminology makes historicalresponse from some people in the audience. This sort ofdifferences more evident and highlights the points ofdisagreement was probably the greatest characteristics of thisdivergence between cultures.
My general impression of the symposium was that it

symposium .
In a debate over abstraction at the beginning of thisshowed a need for getting under the surface rather thancentury , Max Beckman raised the objection that "painting is

floating along on top of it. As John Clark of the University offalling into craft." Franz Marc wrote a famous rebuttal , saying ,Sydney pointed out repeatedly at the previous symposium , it is"It is necessary to think about the long and deep relationship

impossible to understand the nature of contemporary art as

between art and craft."anything more than fashion without a keen awareness of art's

Since then , it is the avant-garde has

been the most active force seeking a positive relationship withhistoricity. The "rich resource" (as F. Nanjo calls it) of Asiancraft . The productivist creed of the Russian Constructivists in

art is not something waiting on a store shelf to be sorted out.

the 1920s, the dream of art and craft coming together in

We need to gain a better understanding of its precious

anonymous production , is an extreme example of thisdiversity , which has been formed according to profoundtendency. There is a view of history which holds that thehistorical laws , through more diligent study and research , anavant-garde's attempt to return to "everyday life ," an attempt

effort will that will also illuminate its contemporary values. The

to divest itself of the elitism entailed in its origins , led to thevalues of contemporary Asian art do not need to coincide with

cul-de-sac of proletarian art and Socialist Realism , and thatwhat is considered "high quality" in the West. The

the result was a futile ideological struggle. However, this view

"resources"

is simply part of the fraudulent claim of the "victory of

too much feedback from the international art market and its

capitalism.""art game." The countries of Asia are losing the memories ofContemporary art that does not search for a pathof Asian art are in danger of exploitation throughto "everyday life " ends up wasting its energy producing things

anonymous people who have disappeared into the •~orests,"that are ever more " interesting," with harmful results to art .

the achievements of anonymous craftsmen who have reached

Even if this art takes an oppositional pose , it is ultimately

unbelievably high levels of formal beauty in their work , and thefollowing the logic of capital and always runs the risk of

traditional arts and crafts that have been passed down by

arriving at nothing but a higher level of kitsch , which reinforces

anonymous people over the years. The West has developed

this logic.

some resistance to the destruction of anonymous tradition , and

The third speaker , Tatehata Akira emphasized theit may be going ahead even faster in Asia , where there is little

importance of the artist's individuality. On the basis of hisorganized resistance to it (or a complete lack of any kind ofexperience as a curator he proposed giving more importancedeterrent). The contemporary art of Asia must once again

to one-person exhibitions in the future rather than groupsearch for a path to anonymous individuality on the level ofexhibitions organized around certain countries or topics.

"life" in order to revitalize itself. I would like to see thisCommenting on this presentation , Tani Arata raised the doubt

symposium as a first step in that direction.

that Mr. Tatehata's position might be "reactionary."

Mr.

(Translated by Stanley N. Anderson)

Tatehata said that he was fully aware of this danger , but that
he was simply making a "common-sense"

proposal to give

more balance to exhibitions by using different formats.
However, if one-person exhibitions are simply scattered and188

Im~~ I Roundtable Discussion
90 4f-\:0)7":}7"fflft~i;fif~ lm1J,/&-::,ZLooking Back at Asian Contemporary Art during the 1990s

190 ~f-\:0)7"~ 7"lJHt~1il!ifffi1Ji!b-rJ:±lffi';~:-r'11·,l-'··I 1J;,J-·, ~(A~·,7;J,J~1',li:f-\'.*lifiWWft/ A'JI-T/)

7'1::"j-:.,,- ;f---tj--\7-j-:.,,(-f .1 5- • :.,,:::i:.,,:;1::"Fn:rr'~·,7'J'J-7-iz:,,:9-;1Jw;ft/

:$11'
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lU,ffi(!blft*lifi:;l::"F~ffl/ B ,j;;)RoundtableDiscussion"LookingBackat AsianContemporaryArt duringthe 1990s"
Participants:
David Elliott(Director, Moderna Museet, Stockho lm / Sweden)
Apinan Poshyananda(Associate Director , Centers of Academic Resources ,Chulalongkorn University / Thailand)
Tatehata Akira(Professor , Tama Art University / Japan)

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