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A. Poshyananda:

Roundtable Discussion

I agree. There are more de-centeredcenters in Asia now and many exciting things are going on
almost every year. There is almost a kind of cultural industry,where there is supply and demand and artists have many

Looking Back at
Asian Contemporary Art during the 1990s

choices. I feel that regional exhibitions could be very enriching
and they offer alternative arenas and stages for up-andcoming artists, not having to rely on those outside the region .
A. Tatehata: Mr. Elliott, as a person from Europe who has

An International Exhibition Boom in Asia

long focused on Asia, how do you see this boom in

Tatehata Akira: Today, I have asked you to join me in looking

international exhibitions in the Asian region?

back at the 1990s and discussing the situation surrounding
Asian contemporary art which has changed dramatically in theDavid Elliott: I think it has been a very important part of apast ten years . Not only the artworks, but also the institutional

process by which Asian art has foregrounded itself , or has

support through exhibitions and art museums has progressed

been foregrounded within the region. For instance , this really

rapidly. For example , international exhibitions , such as thehas not happened in Africa . I think art in Asia has evolved over

Asia-Pacific Triennial of Contemporary Art in Brisbane,

the past nine or ten years in such a way that not only has theAustralia, the Taipei Biennale in Taiwan , and the Kwangju

art itself changed but also the way it isdisplayed has changed.

Biennale in Korea, have emerged in the region during this

It is much more sophisticated. No longer are people showing

time. The Japanese organizers have continued to be active onsomething that is new that has been taken from outside andthe scene; the First Fukuoka Asian Art Triennale was held forput down as a new presentation. But rather this is part of athe inauguration of the new Fukuoka Asian Art Museum and,process and commitment to show that work. And that's quite

furthermore , new activities are planned plan, such as theimportant , it's a commitment that didn't really exist before.

Yokohama Triennale due to open in 2001. But it is obvious thatthe activities outside Japan have been more dynamic. I would

A. Poshyananda: Well, like many things in life, it comes in abe interested in hearing your views on this sudden rush of

package . Artists don't have to rely on only going to Japan

international exhibitions.

because they have the choice of being able to go to Taipei or

Dr. Poshyananda, when the Asia Center held its first

Kwangju . But these biennales are also giants in themselves.

symposium on Asian contemporary art in 1994, you were

Going back to my idea of entertainment centers , they attract

rather alarmed by the fact that the Japanese were taking thean audience that buys tickets to see the exotic objects. The

initiative in introducing Asian art in the region. What is yourinfrastructure of these exhibitions is in a package , and art andcomment on the changes that have occurred since then?

artists only come as part of it. Sometimes the artists and theartwork are selected because they have been preconditioned.

Apinan Poshyanan da: I thought that in those days there was

They are chosen because they have entertainment value. I

not enough or hardly any mutual understanding between the

pointed out that there are now some dangers or some serious

Japanese and others in Asia regarding the process ofconsiderations that need to be taken in the way some artists

selection, or the role that Japanese curators were exploring, orchange their styles or do certain artworks in order to comply

the method for working as counterparts in Southeast Asia.

with curatorial needs.

When I came at that time , I had seen many exhibitions initiatedby Japanese curators in which their Southeast Asian

A. Tatehata: I agree that sometimes I see works which I thinkneighbors became Japan's

have been influenced by the trend in the international"other" and they went over and

did what they wanted to do, and took back and selectedexhibitions. For example , in Asian contemporary art,

whatever worked for the Japanese audience. Control was

installation perhaps emerged because they are now thealways initiated by Japanese choice. So, I just thought that it

mainstream in international exhibitions and they are cheap in

had to be understood a little better that we do have a voice andterms of material cost, easy to ship, and also easy to build.

that we do have our own curatorial rationale .

think international exhibitions have a lot to do with how

Things have changed quite a bit since then. Looking backinstallations have become part of Asian contemporary art.

at those years, there has been a lot more mutual understanding
and rapport in co-curatorship.

A. Poshyananda: Another problem is that even if theselection is done by co-curatorship, the organizers and the

A. Tate hata: I think that the Japanese presence on the scene

hosts have control in the decision-making and the actual

has comparatively become less prominent as the activities

selection of the artwork. The artists who are chosen from sayoutside of Japan have become more vigorous.

Southeast Asian or South Asian countries are sometimes used195

as vehic les to fit into certain master plans that they don't know

"Inside Out" was also organized by the Asia Society . It

about. Because of a lot of these exhibitions don't travel backshowed contemporary art from mainland China , Hong Kongto those Southeast Asian countries , only those who attend

and Taiwan. This exhibition opened in New York and traveled

really know what is going on. There is a lopsidedness in theto various venues in the States. Now it is showing in Mexico .

process .

"Inside Out" has not been selected with the same curatorial

So from that point of view , we have to be aware of therationale as a biennale. It is more like a reflection in a historicaldangers of hegemony again because now we know thatsense , so there may be no newness , but it gives a sense of

information is the best tool , and knowledge the best form of

where the Chinese are today through looking back at what has

power. Japan has accumulated a lot of information regarding

been developing for the past ten years. I think it has contributed

contemporary Asian art . The next country that I see that has

to showing the "other" to the American audiences.

been sending their curators to this region is Australia . I don't"Traditions/Tensions"see Taiwanese or Korean curators traveling to these regions.

many questions regarding the choice of the countries . Why

has had its own problems; there were

So from that point of view , those curators who don't travel rely

only five countries? Why not show China and Japan? The

on secondary resources. Nevertheless , I think that

intention was to show the audience that there are other artists

international exhibitions are useful and could be very

from Asia other than Japan , China and Korea. So we fall intoenriching , so the more these happen , the more choices there

the same trap again as what Mr. Elliott was saying earlier

are .

about the Chinese spotlight , to give Chinese art the spotlight in
Venice and a lot of viewers might say "this is Asia ." This

Asia n Conte mporary Art in Europe and the United States

preconception of what is Asia has really got to be changed .

A. Tateh ata: At the Venice Biennale, Harald Szeemann' s
cu ration for the Aperto and his selection of more than twenty

Deve loping a Discourse on As ian Cont empo rary Art

Chinese artists attracted much attention. Did this reflect

A. Poshyananda : One of the reasons that the West looks at

Europe's view or demand for Asian contemporary art? Do

Asia in a certain fixed way , for example , is that they don't

Europeans think that China's the next trendsetter?

know enough about it, because they don't have access tocertain texts or written materials. Catalogues are good , but

D. Elliott: The Venice Biennale was a complete

they are also disjointed. The important step that the Japandisappointment in terms of what is going on in the discussion

Foundation should take now is to move on and think ofof Asian art , because it showed Asian art as if there were only

publishing a series or volumes of texts where people in Asia as

Chinese in the previous decade. I think the curation had

well as non-Asians can study about the evolution ofnothing to do with the art world. Maybe it was based on acontemporary Asian art. This could lead to changes incrude political decision that since China is waking up, in theperceptions and even in curatorship .

last biennale of this millennium , they will put China in to signify
the new dawn of the future .

D. Elliott: It seems to me that the situation in Japan is that
there is a lot of criticism but not much theory. I think the

A. Tatehata : Mr. Elliott , you have introduced quite a number

difference between Australia and Japan is that in Australia ,of contemporary Asian artists in Europe . How have thethere is a much more active level of theory about

response and the acceptance of Asian art in general been incontemporary art in general. So their exhibition slots into this ,Europe?

and work by different artists can also be taken out and born inthis theoretical framework . In Japan , part of our difficulty in

D. Elliott: I guess it has been fairly muted. There haven't

establishing a language to talk about art is the fact there is no

been so many exhibitions. I think the only exhibition that has

shared theoretical base whereby if we use a term we would

taken on the issue of Asianness has been "Cit ies on theautomatically know what it meant. For example , we haveMove" which has been traveling since 1997. There have beenvarious ideas about what the "inner others" means - a termquite a lot of exhibitions of different countries such as China ,which one Japanese speaker used in the conference. I canJapan , and India but nothing really taking on the issue of Asia.

understand what that means in a poetic sense but , in atheoretical sense , it absolutely has no meaning whatsoever.

A. Tatehata : What about the reception in the United States?
Dr. Poshyananda , what has your experience of curating shows

A. Tateha ta: I agree that we need to establish a common

in the States been?

language so we can share the ideas . But then again , we would
face the issue of hegemony in the language or who will contro l

A. Poshyananda: In America there has been this follow-up

that language. I think this same issue came up in the process

show for "Traditions/Tensions ," a show that I curated in 1996

of modernism in the West when the New York Schoolwith the Asia Society in New York. The follow-up show titledemerged. If Japan were to take charge in creating a common

196framework , we may experience a strong resistance from otherproblems. Sometimes you have special exhibitions that have

Asian countries.

good attendance but other times you cannot fill the building
and the cost in maintenance adds up. In Southeast Asia , we

D. Elliott: The role of theory is not to establish a law or canon

should learn from the Japanese mistake and restrain ourselvesthat things should be a certain way , but to create a forum forfrom building giants. I think what we need in Asia are not so

discussion of different approaches. I think the point of having amuch these temples of the arts or these cubes , but art centerstheoretical base has nothing to do with hegemony. If the theory

with many lively contemporary activities that cross overis inappropriate or inadequate , it can always be discussed andbetween music, crafts and visual arts. These do not need torevised. What we are talking about is art and it' s a big enoughhave very big budgets . This is almost going back to the Asianbox so that many things can be put in it. Historically , we haveway when people visited temples or mosques. Art centers canestablished different mindsets in which one puts things into

essentially be a place where people mix and become alive

different boxes , but we need to open up the discussion andagain.

examine this once again based on a common theoreticalframework. When we talk about contemporary art, we are

A. Tatehata: Establishing art centers is an idea for the future.

talking about contemporaneity , and within thisWhen we speak of museums , I wonder if there can be such acontemporaneity , can be found traditional art and Western-thing as an Asian museum. Or is the idea of a museum astyle art , and we need to be moving toward a direction that canWestern concept that cannot be redefined in Asian terms?
I remember during the Asia Center's symposium in 1997 ,take all of these things in within the same discussion. There is
not really one separate discussion for traditional art and"Asian Contemporary Art Reconsidered ," the art critic

another for contemporary art. There may be traditional artists

Nakahara Yusuke criticized the acquisition of a painted

who are innovative and should be seen alongside the best of

rickshaw from Bangladesh at the Fukuoka Art Museum.

what artists make in other fields. And of course there are

According to him, rickshaws are given life when running

others who create traditional work which is academic or deadthrough the streets and not as a display in a museum.

and could only be fascinating from an anthropological point of

Vishakha Desai, director of the Gallery of Asia Society ,view but not in terms of an organic and living aesthetic.

disagreed and mentioned how rickshaws can be an example ofgood art and how it is a prejudice not to see them as collectible

A. Poshyananda:

items. I think this is a very delicate issue , and I cannot judge

So the discourse can also be breaking

these pigeonholes . Before we had "Asian art ," things were

one to be correct and the other to be wrong . What are yourvery jumbled , and we fixed it by taking the Western discourse

opinions?

and creating our own pigeonholes and categorizing things into
visual art , fine art , low art and high art. So now , for instance ,A. Poshyananda: First of all , let me ask how much in yen you

we may know in depth about visual art but nothing aboutpaid for that painting? Was it bought as a rickshaw or was itmusic , yet this blending and crossing over should bebought as an artwork? This is where the commodification of

encouraged more.

the object comes in. Now we are opening up the issue of who
was a craftsman , and when did the craftsman cross over theborder of becoming the artist. Did he know it?

Museums in Asia
A. Tatehata: I would like to now discuss the infrastructure that

supports the development of contemporary art in Asia. For

D. Elliott: The important part of the function of a museum is, ofsome time , we have believed that we must build art museums

course , to collect and research . What you collect is part of thefor the sake of nurturing contemporary art. For example, we

vision and function of that museum. So, if it is a national

have seen a surge in the number of art museums in Japan inmuseum , its function is to present some view of the nation,

the past twenty years. But this is not to say that contemporary

both through the work it has from the country in question , but

art has gained more support among the general public or that

also through the other things it collects that are attractive fromwe have seen more talented artists in that twenty years time.

the outside. They have quite a specific cultural function in

Other Asian countries will probably follow the same path andbeing a time capsule or a repository. Of course , this can leadbuild more art museums , but after the experience in Japan I

to what is regarded as a deadening effect when, for example, afeel that we are making a vain effort.

rickshaw is being taken out of its context and put into a
museum. The problem for the museum professional is how

A. Poshyananda:

keep that context in the museum-In the case of museums in Southeast Asia ,which has to be safe , have

I feel that the quantity and quality are far from thefire exits , and other serious limitations-andinfrastructure in Japan. In any case , I agree that building aultimately a stimulating and exciting place to visit , rather thancube is not enough. Museums are like temples of the arts , andjust a symbol.

just taking the concept of museums from the West will cause

197

make the place

A. Poshyananda: The architect comes into it as well because

sometimes the architect' s ego dominates , and he thinks that
he is the artist and build s a sculpture that is dysfunctional.
D. Elliott: They have developed two kinds of museums overthe past twenty year s -themuseums that are built to function

according to their vision s and then those that are built to be an
event in and of themselves . The latter became the more
popular because they are there to attract the public from theoutward form of the building . The fact that it is an event meansthat it becomes a kind of a pleasure park rather than a place
which is dedicated to the showing of art . There is nothing bad
about people enjoying themselves in this way but it is more amatter of what is the most important thing : is it the function andthe vision of the museum , or is it just to get an audience
regardless because it' s news? Of course , if you choose thelatter you are not going to be news alway s, only news maybe
for five or ten years. And unless the core activity is strong , theattraction is not going to stay . The goal is not to build
museums to compete with the West , but to realize a vision.
A. Tatehata: I agree. Thank you for your contributions today.

would like to further encourage in-depth discussion on this
topic in the future.

(Reco rded on August 22, 1999; first appeared in the Asia Center News,
No.13, October 1999, issued by the Japan Foundation Asia Center)198

*i'li.li·il\:IF,!i;l:1999~8/l .!Jl.l±*~l!<~t'a]~~l;i:-t,,y:;,3:,iffi*Pane lists' titles are as of August 1999.
*Speaker and chairperson names arelisted in order of Sess ions I, n,and ill.

~~'i!f/Speakers>?;;t,f(D>'J:,,)

Leng Lin•1'1liiti~*/

Art Critic/ Chinatj, 00,z

Born in Beijing, 1965. He obtained an MA in art history from--~f••G.~*••±
a•7o tt~
tj,OOtt~tt•lli\:x•eR~~~•-t~ms.~-'J=0)7')-0).~im~*· 'f.:i.L,1'.$1-1::GZff,<O)

the Central Academy of Fine Arts, Beijing. He holds a posi-o ~.qc~@1(1t's Me! - A Profile ofrary art exhibitions as freelance art critic and curator. His
exhibition"lt's Me!- A Profile of Chinese Contemporary Art

Chinese Contemporary Art in the' 90s)J (;J:;t-in the '90s"(1998) drew attention as it was forced to cancel

7:,, M~ 't'~~:h.

prior to its opening. He is the author of Chinese Contemporary

1965.qc~t}i('.t.;l;:h o ~t}i(tj,;'R:·j~j·ll;\;(:s,••• ft•-~aO)•~~~@~m~~
GtcB'![~

1£ft

Rffif ~h~ o ••1::G-r[tj,OOJJH\:~@ J (1993.qc) tJc:';lfji,~ o ~t}i(ttf1

0

• 7)

~!ilZU ('.l•'htion as a researcher at the Chinese Academy of Social
Sciences, but is also involved in numerous new contempo-

Oil Paintings (1993). Lives in Beijing.

Seo Seongrok
Professor, Andong National University / Korea~**">'~15'1/UOO,z•••

1957.qc'J';Ji,'.lc.;J;:ho ¼:/.t*••1'1li•ilB1'~@

Born in Seoul, 1957. After studying painting at Hong-lkt•M.:lf.

University , he studied aesthetics at the same university 's~*•1~±-tt¥±m.1H:s,--~f-7o •M~U000)ili•
ft-ffio BiliO) 'li~c'(;J:, 1:1!;11§:)\';ffit:I:,,j--L,( 1995•••

Ph.D. course until 1995. He specializes in Korean modern/contemporary art. The special exhibition of Korean con-.qc) 0)1MllJ 1UOOO) fl:.i,tliJ 'l'"-+f:,,1t".7r:i• t:i:,,1--1,, ( 1995.qc) ,:s, ,zuoo0):::i::. •h3r-

temporary art in the first Kwangju Biennale (1995) and Sao

Hi<lb~ o ••,: [ Contemporary Art of Korea J

bitions . He is the author of Contemporary Art of Korea

Art J(1994) and Issues of Contemporary Art (1995). Lives in( 1994.qc ) • [ Issues of Contemporary( 1995.qc) 1Jc:'tfji,~ 0 './')Jl,ttfi

Paulo Biennale (1996) are among his recently curated exhi-

Seoul.

oJim Supangkat
Art Critic / Indonesia:Ji.>.•:;J..1t>tJA·•1'1lim~*l1A ';j,.:,,;7Born in Ujung Pandang , 1948. Trained at the Department*••1f,j7'-+f1:,,•f½B$~lf.

?-71:;J..~/::Gct±l~G tctf . fO)lf.ffim~*l::G
cii!i~ o ili.qc
O) 'li:~l::G --C(;J:,11:,,~·;j,.:,,7' • 1)7' 1)Ak~@I::•fO)~'.li;'.J (1997.qc) , 1:,,F;t.:,,rOO.rz:•iU'Kr.ll!'K~c~B:1=;;(.L.-j
1 i=(1999.qc) 1Jc:'tf3iJ~o Uc . 17:i?O)'E• (1995.qc) '\'"7':)7' I t:,,71 ·, 7 • ~7

7' Ji,1Jc:'El7.ls:'1'":t-A ~5 1)7' 1Jc:'00~9<J1J

JJi.f\:.ffi&(:tJ,<~@o :)-\';/JJl,'.$zttf1oof Fine Arts and Design, Bandung Institute of Technology ,he started his career as an artist but eventually became aprominent art critic. He has curated exhibitions such as "The
Mutation: Painstaking Realism in Indonesian Contemporary
Painting"(1997) and the inaugural exhibition of the National
Gallery in Indonesia (1999). He is also extensively involved
in international exhibitions including "Asian Modernism"(1995) in Japan and the Asia-Pacific

TriennialofContemporary Art in Australia. Lives in Jakarta.

7:,,:J,;.+•*-XJ5'--

Ranjit Hoskote·•iti~*/1:,,F

Art Critic / India;f:,,-"·1*•

Born in Mumbai (Bombay), 1969. He obtained an M.A. in lit-o 1:,,~ ·0)1-\:~9%erature and aesthetics from the University of Bombay. He

1969.qck:,,1 ,1 (;f:,,-" ·1 ) '.t.;l;:h.01'x•·••O)f~±C5f!&ls'l*rriiiiTji,~:;,1 L-A ' • :t7 -1 >r1r,%B;O)x f tflB~c
1A'O)~,,t'/::G c~fi-t~f'~S.

,ttftfft~i"contributes articles to the leading Indian newspaper, Timesof India, as assistant editor(currently works for The Hindu• (1994.qc)'\'"1Private LanguagesJ • (1997.qc) 1Jc:'O)•

curated exhibitions such as "Hinged by Light" (1994) and'li~~@,:m~~"Private~'f .:i.L,1'.$1-1::Gc 1Hinged by LightJ(IJi.tt(H::,,7-,%fl;~fi lo ;J;newspaper). As one of the emerging young critics , he has
Languages"(1997). He is the translator of A

tc IDII!'(:[ A Terrorist of the Spirit J (1992.qc)oTerrorist of the Spirit (1992) and the author of Pilgrim, Exile,•tn: r Pilgrim, Exile, Sorcerer: The Painterly

Sorcerer: The Painterly Revolution of Jehangir Sabavala

Revolution of Jehangir Sabavala J(1998.qc)tf(1998). Lives in Mumbai.

3iJ~o k//\1ttf1o201

T') -( ·;,t'' . I 1J;;t•;,f-

David Elliott;i:1-,,7;j;Ji,.L,.,frf-\;~J;ifJi'gJi'g~/ A') I -T /Director , Moderna Museet , Stockholm / Sweden

19494/\.,;(cA;

Born in Prestbury, England, 1949 . He obtained a B.A. in'IJ- (1:.,77:.,1' ') '.£;)':/1.o ~-7, • :.,l'>::k*1~±m¥

k::k*"Z'i!if-1;;.I!: f ffl&{fmodern history from University of Durham and an M .A. inhistory of art from Courtauld Institute of Art , University of

t: s1, ,z.l;f.J.l!:f1~!<'.J-Q o 1976.iJ'..tiJ20-il'-ra9:t7
A7,t-Fi/i1-t.ffili'i:Ji'i:~Hi!<'J,

1996.iJ'.J;fJ!~London. He was director of Museum of Modern Art , Oxford~ o ~W.tij#~*ROOO)i/i•ft•ffi~~~ft,\'-t:,, 80-il'-1-tt.J•SB:$:~1:.,I' , 'f'00{1:c0)7'-7'

for twenty years from 1976, and assumed his current posi--( ;(!-fJll!fJJ:\ffci/i.1-1;;.ffi)Nf'.J'.E@

fO)~

cern modern /contemporary art in non-Western countries':i,Mffl'

including Japan , India, and China . He has lectured and pub-oareas. President of CIMAM . Lives in Stockholm.

!ff-Z,0)~1'F~M4;Jit~\,1o U c .ffili'i:bO)~ B B(Jr,ttUt: -:>1,1 -Z-t~aL,

li'i:~UI (CIMAM ) ~~

7-7

0

1

tion in 1996. His main interests and curated exhibitions con-n -Qo 00~-ffi

lished numerous books and catalogues relating to these1

o Ab7*Ji,k:(cEfi· T'l I/;js-f-

Rhana Devenport71-:.,;,: ··:,:.,i' ·~J;ifi\'g/7' y 7' I ~1/7{ ·:;7 • !-:,-(I:: 7'Ji,, :,,:: 7' • / DYI ?C • ::f7 1-tt- / ::f-;(c7 1)7'

Senior Project Officer , Third Asia-Pacific Triennial ofContemporary Art , Queensland Art Gallery / Australia-;i1J;,:A;•-:.,jc_;l':h. o 7-r-:., ;,:':,;.,l''.IH::k*$~Born in Brisbane. She completed her B.E. at Queensland

lf , ~t'1J71A::k*1~±~m: z•l;f.J.l!:f:l!J:J:il: o ::kUniversity of Technology . She started her career as an art*$~1&, •ffiNl'El¥.:l;f.JO)~~i!ifm!<'J, 7-r:,,;,:··:;:,,F.l;f.JJi'i:0)7':/7' 1~1/7{ ·:;7• 1':,1I::7'

and theater educator , and has worked for the Asia-PacificJi, (APT ) '.J'.E@\:ffi11E]§ (1993-il'-) t.J•S~OOio -,:,,

in 1993. She has traveled to various Asian countries , includ-

F , '.$11', -,:,,F-t:,,7'{1:c7'::/7'~00"-0)•1-t•ffi~'J!i't,~\, 1o 7 1);,:A;' - ;.,:(cEfio

ing India , Thailand , and Indonesia on research. Lives in

7'77t-: ·•7:,-\'-r1:,,;.,1J;f--Ji,00.l[~J;ifJi'g;Jf,:§:~ / :,,:.,·jj';f- - )1,

Ahmad Mashadi

1966.iJ'.1/ ;.,jj';j<-)i,'.£;1':/1. o :,,:,,;lf;f--)i,00.JL::kBorn in Singapore , 1966. He obtained a B.A. from the

Triennial of Contemporary Art (APT) since its first exhibition

Brisbane.

Curator, Singapore Art Museum / Singapore

o 19964 , lffl~~nfc:,,;.,;lf;f--)i,00.JL.

National University of Singapore. He has worked as one ofj;f.JJi'gt: !ffltt$1ilHil:~t.J•S~1:JO , •:t±:li'!JJi'i:O)~ .:iv

the opening members of the Singapore Art Museum .

1''.$1-c:L,Zii!im o Wr%t::,,:,,:;/i;f--Ji..•1-t•l;f.J

Recent exhibitions curated /co-curated include "Imaging

*9'~

o

1lmaging SelvesJ (1998-il'-)Selves" (1998) and "Trimurti & Ten Years After" (1998)~ , 1Trimurti & Ten Year AfterJ (1998-il'-) tf;v.,

which focus on issues such as multiculturalism and identi-f} , ::,:,,;lj';f--Ji,\ : s\t-Q<

ty. He has also worked as a member of the curatorial team

ir.i/iO),IN'l[~c'ta:

Ji,'f-tJWr.:i. 7 1J;i:'t-O)

ro9fili{l:cf]jJUJ.t.\ff c o :,,:,,:;/j';f--Ji,:(cEfi ofor the "Nokia Singapore Art 1999." Lives in Singapore.

'flH~tM

Nakamura Hideki:gi!;°J.,l§Jf* :§:J;if::k;Jf,~& / B
1~Q.ij'.gi!,J.,$'.£;1':/1.

*

Professor, Nagoya Zokei University of Art and Design/ Japan
Born in Nagoya , 1940. He graduated from the Faculty ofo gi!,J.,;k*~*-$,

Literature at Nagoya University. Currently writes critiques on•1-t•mH~iM!JflN!ffl
o 1986-il'-, 1991.iJ'.0)1':,,e·• 1'1JI>f--L,~198640)J'(:.,7771/.:i. • 7'

contemporary art while teaching at Nagoya Zokei University::/7'.,-t.l;f.J

Triennale India in 1986 and 1991 , and Asian Art Biennale~ , •:t;::g

i!i"ml§Jf*¥.:ffi::k*"Z'~¥ffHH1tS

c:·i:.,r-vO):::i:0:.

·h 3r-Hi!<'J

oo,:~t,iJ

JIN (1992

Bangladesh in 1986. He has taken part in organizing exhibitions at the Japan Foundation Asia Center including "New, 90.iJ'.,HimL:-rr>r•1-1:•m,

1,,~,[,,f~it-Q0

for ther:>r-tz. :,,'.$,-0)/N'!i~'.J'.E-Qo 90-il'-1-1:tJJ!<'J.ti
J ,.ffiilii~~tJ:.'f'-ii'->{l:c00~3Zili!~~of Art and Design . He was the commissioner

r1,-,7J-y F·7'-1'0)~'.£
1: ;?1,:J

Art from Southeast Asia 1992 , " and has continued to beconcerned with Asian contemporary

art throughout the

1990s. He is the author of Hybrid Art No Tanja [The Birth of(1996-il'-) {l:c~ - ~~ oHybrid Art] (1996). Lives in Nagoya.

202'§'J~if /Chairpersons=-*~lH·Miki Akiko

1:,7''1-"<:,j':,l-·'l'.1v1''.$1-/**lB~;l':tL

Independent Curator/ Japan

B;tBorn in Tokyo. She completed her B.A . in art history ato *00'7:::,;,.-1-;,.-:;1;:~~l;f<i.1e~H$• lJL 1t Jffi4 '.I J1,;J{;,.-x:;i;:~~vfii%-.!i"~i/f~p/i

Washington University , U.S.A. , and obtained an M.A. fromr~,:~JmJll~;).lltE

research residency at the Visual Arts Department in ICA,

1

Universite de Paris IV, Sorbonne, France. She took a

1@±~l¥1@7 o ICA • :,~>'.f1:hYWT-'-'Y1lB
o ifr~'F-/If(ttc::t>:.:JiUi~(:,11-7:,;<.;IJJl,;f -v- J~ (ffi 46[9)';1'?-';/ 1Y ·t:I;,.-

London. Co-curator of exhibitions "TransCulture" (1995) at

j- -L,,:t~fiJ1'.J1@i),the 46th Venice Biennale , " Immutability and Fashion:r:;;i;;~;Jitfr - cp00:1.lHt~

Chine se Contemporaryl;f<ic:$j,0)/!!1J-"O)ifUH,J~(1997~ L 11998i,-~tt:I>:t--vW'.'i'11tJ!~J~(1998~ ) >:.:l:'.tJ'S?;,o

Art in the Midst of Changing

Surroundings" (1997), and the 1998 Taipei Biennale "Siteof Desire ." Lives in Paris.

ijj{i.'i!:':tNanjo Fumio

1>r{-"</T/C·~.iv1'9-/
1949~*J1\lB~;l':tL

Independent Curator / JapanB;to ~l!UHl!:k~Uiti~1lB

Born in Toky o, 1949 . He worked as an officer at the arts·~~• -¥ • M,OO• ~ilit&*~Ri&T,• 1:E(j:~J;f<i!HitR,-f ;,.-71-"<;,.-j';,.-1-, .iv1' 9-c
GT OO• ~>:.:~ K~l'.E@i~~<•OOio aifrT~

department of the Japan Foundation after he graduated fromFaculty of Economics and Faculty of Literature at Keio
University . He currently works as an art critic and is involved

1997~0)•'.f 1.:'f';i 1Y •t:I ;,.-j--L,,O) El,$::::J:,,·h3

in many international exhibitions as an independent curator.

:;I--,(1998

He served as the Japanese commissioner for the Venice~)O):::J:,,·h3:r->:.: l:'.fl~/1.)?;,o r*rrffi' Y1'-:,:,F,
Y-1-~f@ij (1995~ )f(j:l_;/1.)I t::i' 1J·,7 • Y-I-O)

Biennale in 1997 and the commissioner for the 1998 Taipei

11998i,-~tc:·I:,j--L,,W,'.',lltJ!~J~?l-!ffTtii!ilii

Biennale "Site of Desire." He has also worked on public art

o 'l!f{'f,(j: r~vfiitJ>64lBm-" J (1997

Mizusawa Tsutomu

7J<R:/$~JI l~.:;t,frj-\;~vfii&'i ttff~;iic
1952~t~~m~;l':hChief Curator , Museum of Modern Art, Kamakura / Japan~/ El ;to ~J!UHl!:k~~~ilB-¥ii, lal*~*~m@±~~¥1@7~ Jll~.:;t,fr {-\;~ l;f<i&'i;(:Jm-n
ifr·•

the Museum of Modern Art, Kamakura in 1978. Although a• 1-t~vfiitJ'Wr~ o 1993~ , 1997~0)1,;,.-7-:,• {-\;~j;jifc:·I:,j--L,,O) El,$::::J:,,·h19-fl~/1),

specialist in modern and contemporary art in Japan andGermany , he has taken part in the Asian Art Biennale
Bangladesh (1993, 1997) as the Japanese commissioner-'E5>'=;<.1'J~ (1995~ )0) ~ .iv]7:/]7:IJ!,f-\;~j;jif"O)!Uj,[,,t~c\

El ,$:O),rrj-\;i-7'-"<(:Gtco1-'E;J,· -'En/El ,$:0),rrj-\;~l;f.i 1910-1935 J~ (1998~ )T(j:,ffi10[9)1ii;tt

Born in Yokohama, 1952 . He obtained an M.A. from theFaculty of Literature at Keio University , Japan . He joined

1978~.1:imo El,$:, ~-,·;10)0-j'':c, .1 • Y:/Y3 :;I-- , rr:/YO)projects such as "Shinjuku I-Land" (1995). He is the authorof From Art to the City (1997). Lives in Tokyo .

~)'d:/:'.oand the "Asian Modernism"

exhibition (1995) as guest

curator. He curated the highly-a cclaimed "MOBO, MOGA/
Modern Boy , Modern Girl : Japanese Modern Art 19101935 " exhibition in 1998. Lives in Yokohama.

1tf~'.Jto

204

::i;;.:,,j----$1-/Commentators;~7]<~~
1;,,7 -,,~ ;,,T';,,~-~ .1L,,1':ll- / E3:t

Shimizu Toshio
Independent Curator / Japan

19534:iRJi\"lB'.t.;l':!1.o :iRJi\"lB:;t::k"FAx"Filll$

Born in Tokyo , 1953. After obtaining a B.A. from Tokyo~HL ~t7'7 1J;/J;1lli':£€il¥:"-C / ~IJO)I::J-)1,, · ~--Metropolitan University , he traveled to northern Africa and)l,,-'))1,,-z'.Wi.lt'. . tf~D"Ff"F,S\

then studied museology at Ecole du Louvre in France. He

•

~--•

o *Ji\"lB!i!

•"F~. *F~ffi-ft-ffit;,,:,,~i;firl!HHil¥:--C . IJ!,i':£7'J-O)•ffiH~:~chas previously worked at the Tokyo Metropolitan Teien Art.1

L,,1:ll-tl,--C~~ 75;,,A,Y1/Y,7'7~;/JO).,-1:.iif,*
f~l~B';Jt::MJ:i)-L,
n 10 0 iEEi:O)~
i[~'.if:iillitL,--C. 17'7'J1J·7'7 1J1JJ (19984 ),Museum and the Contemporary Art Center , Art Tower Mito

0i / ~IJ0)1'/At:

0

L,,-::, 3 ;,, J (19994 ) ;/J:c;lf~0 0

as artistic director. He currently works as an independent
curator and an art critic. His particular focus is on introducing contemporary artists from France , Asia , and Africa .
Curator of " Africa Africa" (1998) and "Paris in Creation"(1999). Lives in Tokyo.

rn.EEIMl-

Shioda Junichi
Chief Curator , Museum of Contemporary Art, Tokyo/ Japan/ E3:t**iBIJ!.1-l:•1;1fa"le~lsflft

19504**iB'.t.;l':11.
o *~t::k"Fx"Filll$~lf.
liil:k"Fl!it1~±IDH.¥1~7 o f}jj*!.'¥,n:•i~i
tltEH-a-•iiD€il¥:--C . 19934J:fJIJ!..iiDi!.lfioW
P~i;!::!Jl,j-l;·j~j o ~ifiO)~'li~'.if:iillitl,-Cl;!:iE3*0)•1-1:••1985-95
J (19954 ). 1:ll!:~7'1/7'
1997 *0"'~--0)fc,ll;t::J(19974 ) ;/J:cfil-l'l~tfuJltO)!Jl,j-l;·j;f,j~ftH-X'.if:iilli
o 199940)'7 I:'f.'Y1 7' · t:·I;,,-:t--L,,O) E3;$:::J.::·, ::,3 :t--Hi,11;
fc o .,-1;. i;firll/lfJO)'l!fft§H& o•.

Born in Tokyo , 1950. He obtained an M.A. from the Facultyof Literature at Tohoku University. He has worked as curator at the Tochigi Prefectural Museum of Fine Arts, Setagaya
Art Museum, and assumed his current position in 1993. Hespecializes in contemporary art . He has curated exhibitions
focusing on various regions such as "Art in Japan Today"(1995) and "Art in Southeast Asia 1997: Glimpses into the
Future" (1997). He was the Japanese commissioner for the1999 Venice Biennale . He is author to many publications in
the field of contemporary art. Lives in Tokyo .

s iii*'Bg •;;lfaa

ft I

Tani Arata
Director , Utsunomiya Museum of Art / Japana*19474ftffi.'¥c'.lc.;l':/1, o -f-ii!'::k"F'F-~
1-1:fnlijiJ:fJ:!Jl.f-l:.W/fH~c:i!~i40)')-,,;'r. 'Y17'• t:·I;,,j--L,,O)o 19704

Born in Nagano Prefecture, 1947. He graduated from Chiba
University. His career as art critic took off at the beginningo 19824 , 1984
E3*::J.:: ·, ::,3-;t-of the 1970s. He was the Japanese commissioner for the- 0 7'1/7'.i;firll/lfJ

c.'li . 199041.J'SOO~xiiit¼;,,:,,-0) *~7':/7'IJ!.1-l:.W/fil:B!l:-'?
.

Venice Biennale in 1982 and 1984. He was invited by the:i:7':i7't

Japan Foundation Asia Center to do research on contem-r•wiMIJ~t.tcp
43/'l

J~ (19924 ) tJ:cO)~i[~1£00~oomi;;3 iElnffit: ·I;,,:t--L,,porary art in Southeast Asia , and took part in curating(2000"New Art from Southeast Asia 1992." He is the commis-) O)J7:/7'tfulltHl.sil::i.::• h 3:t-- o i!fli'I::

sioner of the Asian region for the third Kwangju Biennale

1::ttH:,0 0

rn .t T 0~/1\-*~7':.i7"0)IJ!.1-l:•W/

J(1993(2000) . He is the author of The Contemporary

Art ofSoutheast Asia (1993). Lives in Utsunomiya .

4 ) 1J:ct.J' ~0 0{f,J,llMtsl
1i>illill7'1/Y•;;lfa"l'~~ftt19544~tnffirn'.t.;1':l1.

Ushiroshoji Masahiro
Chief Curator , Fukuoka Asian Art Museum / Japana*o nffi::k"Fx"FilB$~• a--c~Born in Kita-Kyushu , 1954. He graduated from Kyushu

if . 19784J:fJtlliflillrn•••O)"F~$;4[E]O) 17' :; ·y·j;jij~
J O)'.if:[ljjH~sil o Uc 1:ll!:University and became curator of the Fukuoka Art Museum in~7'1/7'-ili:1-l:.W/O)~'.t.J

Art Show, Fukuoka." He has curated the "The Birth of Modern-'?. 199943/'l

1:::t-7>L,tdllillill7':.i]7-•~O)f.1-Hlil:: cj:,,L•A~tl,
JI;,,j--L,,1(19974 ) O):if:[ljj·7'•W/a1978, where he organized the past four exhibitions of "Asian
Art in Southeast Asia: Artists and Movements"(1997). He has--CttH:,fJ. rm1 iEltlliflill7':)

been the key figure in opening the Fukuoka Asian Art

J€,le/i1!il,fc o WP~l;l::ll!:~7'

Museum in March 1999 and organizing its inaugural exhibi-

1/YO)ifi •IJ!,j-1;.W/c.' . fO),tffc.'§',J&O)~~xt.J< tion , the First Fukuoka Asian Art Triennale . He has contributed many articles to exhibition catalogues and journals in~0 o

the field of modern and contemporary Asian art. Lives inFukuoka.

205