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I 10

SessionI
Examining Asian Contemporary Art of the 1990s,
Part 1: Reports from the Regions

SessionI" Examining Asian Conte mporary Art of the 1990s,
Part 1: Reports from the Region s "The milieu of Asian art during the 1990s has gone
through tumultuous changes along with the fluctuating
economic and social conditions in the nations of Asia.
There has been a dramatic increase in opportunities to see
Asian art throughout the world , beyond the boundaries of
the countries where it is originally produced. At the sametime , the development of information media has accelerated the globalization of Asian art as we approach a new
centu ry.
In this session , some of the finest art critics from anumber of Asian nations wi ll sum up the situation of art in
the 1990s in their country from their own point of view anddiscuss it in relation to the international art scene . These
presen tations will lay the groundwork for an active discussion of the achievements and problems of Asian art dur ing
the decade . Perspectives on the contemporary arts scene
in the Asian region during the 1990s will be presented bypane lists who represent some of the Asian countries thatare active in the scene .

1. " It's Met: The Main Theme of China's Contemporary
Art in the 1990s "Leng Lin (Art Critic / China )2. "Sensibility of New Generation"
Seo Seongrok (Professsor , Andong National University /Korea)
3. "Discoursing in Regional Contemporary Art in Asia"
Jim Supangkat (Art Critic / Indonesia )4. "Back to the World : Anxiety and Exhilaration inContemporary Indian Art"
Ranjit Hoskote (Art Critic / India)
Discussion

Report and Comment on Session I" Recognition and Action: Issues to be Solved in the
Next Stage "Miki Akiko (Independent Curator / Japan)

individualization.

Session I Presentation #1

In the mid-1990s , the artists extended the individualization
tendencies established in early 1990s from the painting field toIt's Me!:The Main Theme of China's
Contemporary Art in the 1990s

the performance art area. They did not just end with a kind of
description with paintbrush ; rather they wanted to perceive
their self-existence through personal experience , anLeng Lin

experience sometimes escalated into somewhat a self-abusing

Art Critic

action . Artists Zhang Huan and Ma Liuming were typicalexamples in this case. On June 1, 1994, Zhang himself

For many Chinese people , the 1989 Tian' anmen Incident hascreated an incident : a bare Zhang was bound in iron chainsexerted influence on all aspects of their life in a profound way.

and hang on the roof beam. Within fifty minutes , Zhang had

Under the influence of the incident , contemporary Chinese

250cc blood dripped from his body through a special medical

artists have generally felt disabled and depressed since theequipment to a dish , which was placed on an electric stove .

1990s. In terms of the role they played, the artists have fallen

The blood , boiling and bubbling , was then turned to afrom the spokesmen of social value in the 1980s to an

coagulation, which gave off strong , somewhat sweet smell.

embarrassing situation in which they had to prove their own

Zhang truly experienced his existence on the material level,

legality of existing in the society. It has been imperative everand this was a bloodily thorough self-evidence. This kind ofsince for the artists to truly understand themselves and theirself-abuse had developed the individualization orientation

surroundings. One after the other the artists began to abandon

established in the early 1990s into experiencing self-existence

their pursuit for the ideal mode , a mode which in the 1980s

through the endurance of human body -was rendered as an attempt to establish a kind of "rational

was as simple as to deny incursion of any meaning andart." In the eyes of the Chinese artists , the concepts andconception. The self was purified as the simplest and mostartistic forms totally and uncritically copied from the West weredirect self-existence . The individualization was limited as tomaterial. The action

somewhat empty and frail under the impact of the June 4

how to prove self-existence most thoroughly. The artists haveincident. They could not help but conduct self-rescue bythus avoided the dichotomy -shifting from conceptual expression of building the country andtroubled China for nearly 100 years. Through the mostthe great culture for the public to perceptive description of theirthorough ways , they attempted to create a concrete andChina and West -that hasown materiality. The individualization orientation marked apractical "need principle ," which was based on the needs ofturning point in the contemporary Chinese art. It stands tothe live , fresh and flexible "self. "reason to say that in the past ten years , China's art had

Because they had defined a "need principle," since thebasically developed along the individualization direction.

mid-1990s , the artists had begun to regard how their art was

In the early 1990s, Chinese artists rebelled against the art

integrated with the society as the artistic criteria. No moretrends of the 1980s with a view to shaking off their feeling ofwould they isolate themselves with the aesthetics and non-disablement and depression. Through returning to their private

ideology ; rather they demonstrated their being in the society

everyday life, they expected to seek de nova tor evidence

through the actual role they played in the social fabric. This

proving the legality of their existence in the society, meanwhilebanausic criteria not only guided how the art is linked to thecreating an artist world for themselves. Such needs of theChinese society , but also applied to how the art combines withartists have been well demonstrated in the "new-generation

the needs abroad. Sometimes it was difficult to distinguish theart" and the "cynical realistic art." Wang Huaxiang , adifference.

representative of the "new-generation art ," said in his notes

In the middle and later periods of the 1990s , a greatthat "The conceptual things have been tiring. Artists should go

number of contemporary Chinese art exhibitions were held inback to their real , unexaggerated life." The "unexaggerated

the West . These shows basically served to build up a kind oflife" is tantamount to individual and material life. The artists

Chinese identity , and then in the identity they probed theneed no longer acquire their understanding of things throughrelations between "China" and the "West ." The various

filtering concepts. In fact they had already suspected thecomplicated postmodern theories provided impetus andunderstanding obtained that way during the June 4 incident.

framework for such a probing. The relationship between the

What they wanted to do is to directly express themselves andChinese art and the Western art has undergone some

depict their surroundings , in addition to conveying the attitudes

changes. They no more observed each other and tried toresulted from such directness. This is what "new-generation

recognize one another. Rather , they instigated confluent andartists" Liu Xiaodong and Wang Huaxiang , and "cynicalpractical exchange to achieve a certain goal that they could

realistic artists" Fang Lijun , Yue Minjun and Liu Wei haveshare. The relation between "China" and the "West ," aexpressed in their works. The "new-generation art" and the

problem that had haunted China for a century , has once again"cynical realistic art" have thus established the direction of thepopped up. But this time , there are no arguments about which113

is the "Substance,"

and which one is the "Function."value judgment by means of effectiveness. Judging from the"China" and "West" are no more the value resources todevelopment of the contemporary Chinese art in the recentchoose from, but the strategical resources. These resources

period, one could conclude that what happened in the Chinese

may be constantly adjusted and readjusted depending on

art circle in the whole 1990s could not be considered as a"need principle." In the works created by Zhan Wang, Sui

knowledge accumulation; it demonstrated the keen thirst of the

Jianguo, Zhuang Hui and Hong Lei during this period, we couldchanging social structure for the new cultural forms.

detect their attempts to discover Chinese forms and images inIn the 1990s, Chinese contemporary art has experienced aa bid to define their identity. Also we could see that the others

substantial turn, which could be summarized as follows:

had no choice but accept the globalization trend in their life.

1. The artists have given up the realistic pursuit in actual life.

Here the geographical distance is not the major factor leading

Rather they turned to emphasize their own needs, andto the difference between "China" and "West" -they

haveregarded such needs as the real starting points of thesociety.

been readjusting to each other and geared into an unstoppable
historical inevitability, as has demonstrated in works by artists

2. A shift from self-disciplined pursuit of art and antisocial art

including Hong Hao, Wang Xingwei, Liu Ye and Ma Liuming.

to an art with direct involvement in the social life. In the

During this period, the contemporary Chinese art has

1980s, the artists came up with the artistic self-discipline inintegrated into the structure of the institution of the world. The

order to eliminate their dependency on the social politics.

integrated part has been undergoing readjustment with theThis self-discipline was promoted to a height of social

globalization , while deepening the globalization all at the same

revolution with anti-traditional characteristics. Artistic formtime. In addition, with the growth of the market economy inbecame a symbol of freedom and progress. In the 1990s,

China, market opened up a breach for the development of

however, the artists found that the self-disciplined art could

China's contemporary art by allowing the art to be liberated

not deal with the situation in the course of socialfrom the traditional organizational operation. It also made it

development, which became more and more complicated.

possible for people to trace the relations between China's

Therefore, they set to abandon the pursuit for self-contemporary art with other segments of the society. The

disciplined art , and turned from spiritual transformation tomarket has provided a room-unimaginablesocial practice. Unlike the changes that happenedin the past-for

China's contemporary art to develop a practical principle

previously, the turn was based on the aspiration for re-based on the needs, rather than developing the cultural andbuilding subjectivity.

ideological principles. A multitude of artists began to pilot new

3. Art has returned to its role of social functions from its elite

cultural forms in a bid to expand artistic space. In 1996, forapproach. During and before the 1980s, art belonged to theexample, Wang Jin carried out an "Ice '96" project inelite culture, and it entrusted itself with strong social

downtown of Zhengzhou, capital of China's Henan Province,

responsibility of promoting aesthetic judgment and enrichingwhere a commercial building had planned to promote itself

people's perception. In the 1990s, however, art began tothrough advertisement. Wang availed himself of thegradually define its boundary and re-establish its social

opportunity to subtly depict the personal benthamism as thestatus within the boundary.

country was shifting to a market economic system, and

4. The artists re-build individual-centered self-value.

people's restlessness during the so-called Cultural Revolution.

5. The above changes are seen from within the art. Observed

Beginning in 1997, Zhu Fadong had obtained fund for himself

from the factors outside the art itself, China's market

to continue his career by issuing identity cards made byeconomy policies introduced in the 1992 and the high-himself. The activity, which had lasted for nearly two years,

velocity globalization accelerated the individualization

involved many people, including foreign ambassadors,orientation of the China's contemporary art. In recent years,

business people, collectors, students and artists. To decide

China's market-oriented economic system has exerted its

whether Zhu' s behavior was for business or artistic purposes

most important influence nationwide, causing readjustment

did r,ot seem to be important. What mattered was that Zhu had

in the country's social structure and order. During thisachieved a balance in the market through exchanging withcourse there have emerged a great number of individuals

other people in the society. In June 1999, Zhao Bandi, another

who are independent from any organization. There also has

artist, began to reshape the artist's image by making

generated accordingly some theories which encourage

advertisements for public welfare. Zhao is not a star, yet heactualization of self-value. This reflected the anxious

exposes himself through ads in such public places such as

expectation of the society on the new culture and new value

subways, with an attempt to arouse surprise in the society. It iswith individuals at the core.

expected that such kind of surprise will help explore andIn the early 1990s, contemporary Chinese art was in adevelop a new culture and value. It is noteworthy that in thestage of straightening out its concepts. In the later period oflater stage of the 1990s, the socialization of China's

the decade, the efforts were evolved into a social practice,contemporary art was very remarkable. It attempted to avert

which gradually became the basis for contemporary Chinese

I 14

art's subjectivity.

Supplement: Is There a Local Art Market in China and So
On?
Although the contemporary Chinese art has made abreakthrough in finding its way into the world art cycle during
its development in the past decade , it has not attracted thegeneral public in China . On the one hand, it has become all themore eye-catching abroad, and has won a small share of theart market there. Viewed from the globalization perspective ,contemporary Chinese art has become an indispensable
component of the world art. On the other hand , however , there
is a straining relation between contemporary Chinese art andlocal art market . The art has been exerting itself , through selfmolding and influence from abroad , to possess forms
acceptable to the local people. However , Chinesecontemporary art , deemed as something pendant and difficult
to grasp, has been carefully placed in an enclave. It has beenvery hard for contemporary Chinese art to expand its social
space in China . Unfortunately it has not possessed its local
public up to now. Even if there are some economic activities(art exhibitions for the commercial purpose , contemporary art
auctions, etc.) in the field of contemporary Chinese art in local
places, but the most participants are the foreigners who workor live in China or from overseas. In this aspect , we don't havea precise concept about the local market. Today , the fact that
China's contemporary art has not forged an organic tie withthe market in the native country has not deprived of its
development impetus. On the contrary , put in the context ofglobalization , the art is full of vigor . It is not appropriate torecognize and understand the contemporary Chinese art only
as the contemporary Chinese art. The contemporary Chinese
art should be examined in the context of globalization.

115

t

neatness in the paintings of the 1970s , roughness , rhythmical

Session I Presentation #2

energy , and the effect of brush strokes are emphasized in the
1990s.

Sensibility of New Generation

However , the art of the 1990s is deeply related to thecharacteristic utterance of the new generation. The
characteristic utterance calls our attention. When thisSeo Seongrok

utterance comes up with the apparition of the new generation ,Professsor , Andong National University

generally , its feature can be explained as ardent selfexpression , vital patterns of style , and brilliant way to perform.

The art at the end of the century has come up in confusion.

Raised in a consumer society and surrounded by the media,

Facing the new millennium ahead, for exactly ten years , the art

this generation gives forth the new structure of sense andworld in Korea has been wrapped up by the rough waves.

experience other than that of the generation of the letters.

Many things have changed in a short time with an inflow of theCompared to the generation of the letters who are rational ,new information and the waves of open-door policies. At thelogical , in the view of the value , inclined towards thesame period as the frequent interchanges of the art shows

homogeneity , also , self-controlled and self-restrained , the new

between the countries , the advent of a new generation , thegeneration of the media is sensual. They are inclined to follow

phenomenon of heated interest in installation , the expansion of

the sensual decision, and their expression is very firm andthe art market , and the transformation of public art , Kwangju

vital. They explore their feeling at random.

Biennale which dealt with the artists from all over the world

The new generation sought for the freedom which we could

was conceived for the first time in Asia. It was also in the

not find in the previous example . However , there comes the

1990s that we were able to participate in the various

question of whether they use the freedom thoughtfully. Theinternational art fairs and competitions.

new generation artists have enjoyed the freedom during the

The art world of Korea has swollen with a dream . However ,last ten years. Being blessed with the explosive freedom , they

here comes the trouble with the dream. It became an urgent

even did not consider others to persist in their freedom. They

matter for us to secure the identity of Korean art . We have to

too much concentrated only on their own rights to beconsider how our art would settle down and be valued

considerate to others. As a result , sensual instinct and refined

accurately in the international art world . For this , besides therhetoric, which is good at dramatic presentation , has sprung

relationship with the foreign art world , the first issue is to findout. However , it is this freedom that collapses with egoism ,the way in which the identity of Korean art could be known.

avarice , and arrogance. The freedom gained free must be soldSeveral debates have been deployed concerning thisat a slaughter price. If the freedom does not give them any

issue . The first one is to regulate Korean art according to the

profit , they should be able to alienate it generously. But theyethnic color and the sensibility through the vision of the third

couldn't. They considered something obstructive to theirworld. This issue can be seen better in Myn-Jung art. Here,

freedom as burdensome or inconvenient. We might say, they

being different from the high art and socially resisting, a criticalhave used the freedom for their self-satisfaction.

message was expressed intensively. The Myn-Jung art that

The art of the 1990s has become more reliable than that ofwas stimulated in the 1980s has not been only sociallythe 1980s. It is one of the harvests that the 1990s haverecognized but also has established the political realism ingathered. Also expansion of views such as feminism , cultural

Korean art world.

critique, kitsch , and new media can be good signs for the art.

The second one is the tendency to transform the Korean

Instead of noticing the mainstream of the mainstream , various

traditional paper , which is already used as a handmade

kinds of -isms, styles , and methodologies have flourished.

artifact , into an artwork . Korean paper artworks that wereInstead of infusion or slogan , the trial to grasp the real life andmade by the contemporary artists have not been appreciated.

the real culture faithfully and lively seems to be helpful for thisHowever, those artists have found the aesthetic value ofchange.

Korean paper with the aesthetic sense, and they have

The tendency of popularization in art dependent on slogan

endea vored to expose the mild and mystic sensibility ofof aesthetic mess , cynicism, hedonism, nihilism which lost the

Korean people through the texture of the material of Koreansense of judgement, extreme egoism , drifting lacking inpaper .

confidence: all of these are the styles of the art that the new

The third one is the painting of the young generation called

generation has shown.

late-monochrome generation. Many people have shown their

In closing the twentieth century and also ten years of theinterest in late-monochrome. Here , separating from the

1990s , what has passed unconsciously has to be examined

restrained and uniformed canvas in the 1970s , the roughdeeply. We have to recognize honestly that the result of thematerial , action , and the composition of thick layers of paint

Deism and the homage to the art itself that has supported theare seen as advantages. Compared with stillness andmodern art is vanity , dissolution, and meaninglessness. In this116

sense, we have to overcome the egoism, the avarice and thevanity. As the physical union can be beautiful when it is theexpression of the true love , the union of the art, the abstract
and the purity can be meaningful when it is the expression of
the beauty and goodness. Furthermore, I can be sure that theart can be recovered when it is united with humanity.
Regretfully, the Korean art of the 1990s seems to haveoverlooked and wanted on this point.

117

t

reflects shared perception on being ignored in international art

Session I Presentation #3

forums.

Discoursing in Regional Contemporary Art in Asia
- The Case in Indonesia

What I want to emphasize out of that already-consideredsimple issue is that , the tension that lies at the bottom ofregional art activities is "regional-international " and not"regional-national."This intendment is significant because in

Jim Supangkat

many cases the thinking behind regional art activities

Art Critic

converged on "regional-national"

tension and somewhat

overlooked the "regional-international"

one. Apinan

First of all I would like to thank The Japan Foundation Asia

Poshyananda for example sees regional art as an "inter-" orCenter for giving me the opportunity to present my opinion in"trans-"this remarkable symposium, in particularly the chance to talk in

be and not the uniqueness within a nation state. 'this session that examines Asian contemporary art throughnational matter where shared regional values should

What should be taken into account out of the "regional-

developments in several countries during the 1990s.

international"

It is a coincidence that it has been my interest in the last

phenomenon is that the intensity in sensing thecontradiction varied in regional art activities. There are artists,

few years to observe development of contemporary art incurator , organizations , and museums' administrators who

Indonesia during the 1990s in terms of how this development

really feel the confrontation because of their direct experience

was affected by regional art activities-exhibitions,of being ignored in the international art forums . They took the

symposiums , artists' exchange , workshops-thatbecameinitiative to form regional art forums . To make the regional

intensive at the same decade .

forums meaningful, they brought in artists from periphery areas

The result of the observation , which I would like to share

who at the time did not have experience in international art

here in this forum , is the_basis of my presentation. It is not justworld but can be assumed to be marginalized.

a report on a lineal development of contemporary art in

In Asia-Pacific region it is quite clear that organizations ,Indonesia in the 1990s. It is a report on the dawning of insights

galleries and museums in Japan and Australia were mostly thein contemporary art in Indonesia as result of being involved ininitiators in forming the Asian, or the Asia-Pacific regional art

regional art activities. In addition, here I clearly state that I will

forums. Artists , curators from the rest of the countries in

not elaborate on the connection between Indonesia 's

Asia/Asia-Pacific were the ones who were brought in.

contemporary art development in the 1990s with Asian

Therefore , regional art forums are far from being

contemporary art.

homogenous in perceiving clues of contemporary art disclosed

To me it is more significant to see Asian contemporary art

in regional activities. This condition resulted in different

as well as to see contemporary art in Asia-Pacific , in Central

outgrowth that can be seen after ten years of progress . For

Asia or Southeast Asian contemporary art as showing aorganizers, museums and curators the constituting of regional

regional art activity. This is why before I go to the topic on

forums has reached its target since thoughts and concepts thatIndonesia I feel indebted to make clear what do I mean withemerged in regional forums have been taken into account inregional art activities, regional art forums and the emerging

the discourse of contemporary art in the international art world.

regional art discourse .

However , for the majority in the forum , the ten years ofprogress is barely a start in understanding the international

Discoursing in Regional Contemporary Art

connection of art.

The label "regional art activities" is of course based on thecommon meaning of the term "region."

Considering the case in Indonesia , being involved in

As Apinan

regional art activities has clearly become an enlightening

Poshyananda had put it into words at the previous Asia

process. Starting with sensing the "regional-international"

Center's symposium, "Asian Contemporary Art

confrontation in contemporary art discourse, artists came in

Reconsidered ," the term "region" points out various areas

contact with art discourses in general. The result was a clearer

such as Southeast Asia , the Far East and Asia-Pacific.'

understanding, not just of contemporary art , but also of

However, regional art activities were at no time meant to show

modern art , even of fine art tradition experienced in Indonesia

a certain "regional art ." The selection of countries in regional-

exhibitions very often was arranged loosely.

the eighteenth century. Art discourses that were previously

fine art tradition was somewhat "internationalized"

aroundConsidering that tendency , regional art activities in myhidden were raised to a level of more explicit awareness . I

opinion is an opposition to the international art. Contemporary

think this is also the case in many other Asian countries .

art that has been taken as the basis of nearly all curation is

The appropriate term for that process is "discoursing."chosen because of its political intensity in reading modernist

The term "discoursing"art and not simply for showing the living art in a region. I see

in process and cou ld not yet be considered as discourse. On

this is the paradigm of the emergence of regional art forums . It

the one hand , it is a basis for a local discourse , on the other118

here points out a discourse that is stillhand, it is a regional discursive element when mediated canlimit my presentation on contemporary art only. On the one

disclose the regional art discourse in world context.
The "discoursing"hand , this presentation reflects the shared understanding on

process that has local and international

contemporary art in Indonesia, on the other hand, it isdimension, in my opinion , is a critical matter in regional art

somewhat a "fine tuning" of my visions sporadically

activities. This is actually "the" regional subject that has beenpresented in several symposiums before.

overlooked account -therefore should be assuredly taken into

The birth of contemporary art in Indonesia is agreed toin contemporary art discourse in world context.

have occurred in 1975 with the emergence of Indonesian New

A trigger is needed to bring this local "discoursing"

Art Movement. 'Evident in its manifesto stated in 1979 thisprocess to a regional level. The trigger could be a theory, set

movement rejected fine art paradigm , universalism and theof theories or some sort of simplified map of reality. Here thesearch of national identity. However , in the reading of thisparadigm of the emergence of regional art forums I have

movement today , its anti-universalism is considered as anmentioned before is crucial.

opposition to the universalizing influence of Western art andAt the symposium "Asian Contemporary Art

not criticism towards universalism as a fundamental premise of

Reconsidered," John Clark revealed that regional exhibitions

modernist belief. In line with this , contemporary art thatshould serve the interest of historians and critics and not only

subsequently emerged contradicts to modernism , as far as

the concern of curators who very often consider the number ofmodernism is considered in its original understanding , that ispeople who visit the exhibition as most important matter.'"a great dream of industrial capitalism , an idealistic ideology

Asian or Asia-Pacific regional exhibitions that consider

which placed its faith in progress and sought to create new

discourse-oriented criterion, I think, can serve the interest oforder." 6

the "brought-in"

Asian artists. Unintentionally they have been

Contemporary art in Indonesia also shows representational

seeking the position of their works in contemporary art

tendency that is somewhat political. It is indeed an opposition

discourse. In their respective countries where thetowards modern art development . However the opposition is

infrastructure of art is somewhat lacking , analysis of works andnot at all a reaction to ideas concerning purity of form ,historical overview very often lead to confusion.
It is a matter of fact that in Southeast Asia in many other countries in Asia -professionalism, essentialism , linear historicism , genealogy ofprobably also

artists , and so on.

there is no education for art

In a closer look it is apparent that the concerns reflected inhistorians. No wonder there are only few critics , curators, art

the manifesto of the movement was actually a reaction to thehistorians and nearly no theoretician in Southeast Asia. This is"depoliticization"of artistic development in Indonesia. This

why theoretical and historical analysis - which is significant in"depoliticization"

was related to the political changes in 1965

the emanation of a discourse - is far from being developed .

when the military took charge after Indonesian Communist

The Case in Indonesia

politics" deployed in order to ward off communism had madeAs I have mentioned before, my report on Indonesia's

the community -contemporary art development in the 1990s is more a report

engage in political activities . Within this political condition , aon the dawning of comprehension as the outcome of being

group of artists in the city of Bandung who had been

involved in regional art activities. This is particularly madecommitted to a kind of formalism suddenly became well

Party failed to gain control. The subsequent "intimidation

including artists -became afraid toapparent in a research on contemporary art in Indonesia justknown. Meanwhile another group of artists in the city ofcompleted last month . The research was organized by the

Yogyakarta came up with decorative tendency that meant toCemeti Foundation based in Yogyakarta and funded by thesearch national identity . Both inclinations tend to evade socio-

Netherlands' Prince Claus Fund. I was invited to conduct thepolitical themes.

research and four scholars from two most acknowledged art

Despite the fear that the New Art Movement did not pursue

academies in Indonesia were asked to do four separate

political opposition , the works were political in the sense they

researches.•

attempted to create an impact. The works that have taken the

In the report of the research, it is quite clear that theform of installations and used ready-mades , found-objects

understanding of contemporary art among artists and critics

indeed received reactions and invited controversy.

has become extensive during the 1990s , in particular , the what

In today's reading , that attitude is seen as showing

and the why of contemporary art development in Indonesia. In

apprehension that the practice of formalism and decorativism

early 1990s even the term, "contemporary art" was still

will make Indonesian art esoteric . The reaction -confusing to most artists and critics, let alone a vision on

recommended representational tendency -contemporary art in Indonesia . This is what I mean withinterpreted as based on the discernment that the bottom line of"discoursing."
The "discoursing"

somewhatis alsoIndonesian modern art seen since early twentieth century is a
is actually wider than justmoralistic inclination that tend to defend the people . In the"discoursing" in the field of contemporary art. However , I will

beginning , it was a struggle against colonialism . The

I 19

subsequent fight was against governments because alldevelopment reflects Indonesia's encounter with global

governments after Indonesia ' s independence have been usingdevelopments today .
Confrontation between those two developments is a matter

power to conduct the state.

of course. The "beautiful paintings" continued the search of
In the mid-1980s the government became suspicious towards

national identity and were praised by government dignitaries

political works , especially the ones that showed social

who saw the tendency as nationalistic. Due to this official

commentary. Several young artists in Jakarta, Bandung andadjustment , exhibitions of "beautiful paintings" held mostly at

Yogyakarta were captured due their activities . As reaction ,luxury hotels' lobbies had grown into a social gathering ofsince the mid-1980s contemporary art in Indonesia have

wealthy businessmen and corrupt government officials who

tended to show political opposition. Most of the works criticizedsomehow celebrated the "success"Suharto's government .

Meanwhile , critical contemporary artworks that had theAt the time , the government , controlled by military andof Suharto's regime.

opportunity to be exhibited abroad kept criticizing thetechnocrats who called themselves new order government,

government , Suharto and the erratic economical development

pursued industrialization with the help of multinational

as well.

investment. This Suharto's regime, on the one hand , is ultra-

That tension between the two developments provided anationalistic , on the other hand , however , is submissive inreading on why contemporary artists have been critical toward

terms of constituting international economic policies. The

the search of national identity since the mid-1970s. The

regime uses repressive approaches in gaining lands , changing

contemporary young artists were in opinion that it is not thetraditions and safeguarding the industrialization process .

elite group in the society (intellectuals, scholars of culture ,Political stability perceived as requirement for investment was

artists) who determines Indonesia's identity. It is not

utilized as reason to carry out power.

nationalism that should be taken as the basis of national

Suharto's regime reflects a symbiosis of nationalistic

identity. To these artists it is the social identity of the majority

heroism and international capitalism that aimed to bring the old- poor , traditional , uneducated in the Western sense ,great dream of industrial capitalism into reality. This mutual

determined losers and marginalized - that should be taken

reliance that can also be found in many other Asian countries ,

into account in seeing Indonesia's identity .

somewhat shows an "Asian Modernism ," an idealistic
ideology that believes not only in absolutism , functional

In the late 1990s corruption , collusion and nepotism within thespecialization , calculability , exactness , metropolitanism,

government had reached its intolerable stage. At the end of

market mechanism and social engineering , but also in violence

1997 when monetary crisis whipped up Asia -in "fabricating"the bankruptcy of "Asian Modernism" -progress. In many Asian countries , the greatand showedIndonesia wasdream of Western industrial capitalism resulted in nightmares.

among the countries that faced serious economical difficulties .

Paradoxical Development of the 1990s

overcome the worsening economical problems. This failure

Business world , which had developed rapidly since the 1980s,

gave birth to anti-government protests in early 1998.

Corruption in fact was the ground why the government failed to

put on display the glory of industrial capitalism in early 1990s.

Subsequently , around March 1998 students , government

This development gave rise to a "tradition" of art collecting

critics and scholars in nearly all cities in Indonesia took theamong wealthy business tycoons and wealthy corrupt

streets demanding a political reform.

government officials . A painting boom ensued. Generally it

Forced especially by the rallies , Suharto resigned in May

was those beautiful paintings that were most prized. Within a1998 after thirty-two years in power. Political change

short time art galleries in big cities had grown in number fromimmediately appeared in Indonesia. Cases of corruption andonly few to hundreds . Auction halls established in Singapore

collusion were openly publicized in mass media after been

auctioned mostly Indonesian paintings in fantastic high prices.

untouchable for two decades .

While "beautiful paintings" have found its position in theContemporary artists in Bandung and Yogayakarta who

art market , contemporary art found a niche in regional

had been criticizing Suharto for more than ten years , no doubt

contemporary art exhibitions at nearly the same time. This is atook part in the movement for political reform. They did theirfragment of the growth of regional art forums in early 1990s I

works-

have described before .

rallies and in public spaces. However, the artists' close

Therefore entering the 1990s , art in Indonesia has faced

mostly installation and performance art -among therelation with politics , as I witnessed , resulted in somewhat aparadoxical developments. The two developments arelack of confidence.

commercialization and internationalization. This is the first

Between June and July 1998 , I made a trip to big cities intime , since Indonesian modern art emerged in the beginning ofJava and Bali and was stunned to find artists who had an

twentieth century , Indonesian art has been internationalized

opinion that art is nothing compared with politics , that theand highly commercialized. More or less the contradictive

people do not need art except when art becomes the tool of120

politics. In Yogyakarta I was told that artists who gathered at

its origin in the perceptions of the political elite and the newly

the Cemeti Contemporary Art Gallery were attacked due toemerged political opposition. Their works show a trend away

their absence in the rallies. I was again shocked to know thatfrom installation and a return to two-dimensional media. A

the accused artists felt guilty and had stated apologies openly

revitalization of expressive painting occurred and gave life tofor their "lack.""symbolization"

Back home I wrote my opinions. I criticizedartists openly in newspapers for loosing confidence. I statedthat I did not see anything significant in their works among theMore or less this tendency is affected by discussions on

rallies and in public spaces , aesthetically nor politically.
The "politicization"tendency . Narrative drawings densely packed

with metaphor have also occurred.

representation in art that have become extensive in the lastof art due to the political change is

few years. In this converse it is predicted that cultural

phenomenal. In subsequent discussions on this matter, I got

representation that show shared values in Indonesia is

the impression that artists see the political reform as anprobably the most significant matter in work of art in Indonesia.

opportunity to make a breakthrough. They expect their works

Since the emergence of contemporary art in the mid-1970s

that have been political in the art world to become political in

there were indicators that showed efforts among artists to findthe political world too . For this purpose , they unintentionallya way to transmit their opinions directly to the people-due

revoked aesthetic aspects in their works. I think this is why

the lack of infrastructure of art. There are possibilities that thethey failed in mobilizing art for political ends. Taking into

inclination is not really a desire to communicate , but a drive toaccount Walter Benjamin 's argument that says , "it isexpress shared values.

impossible for a work to be politically correct unless it is also

In the latest development , it is clear that artists tend to

aesthetically correct ," ' their works have become somewhat

work somewhat like designers at advertisement agency. They

"politically incorrect."mobilize popular symbols and use cultural codes but without

The works and the art events indeed got

only minor publicity , let alone impact.
The "politicization"

an intended message. Here artists produce cultural /socialof art has continued until now. A group

signs that need to be signified or symbolic expressions thatof artists in Yogyakarta who called themselves "Taring Padi"

become open texts. In addition , this brings to a close to thestated that they were part of Democratic People 's Party , achapter on the most recent developments in contemporary art

small party founded by radical socialist young politicians. Theirin Indonesia .

commitment to oppositional politics is quite apparent in theirworks. They also continued the allegation against art world.

Notes:

Cemeti Contemporary Art Gallery was again attacked and1. Asian Contemporary Art Reconsidered , Symposium papers, The
Japan Foundation Asia Center, 1997, p.107.

considered colonialist only because Mella Jaarsma, one of the

2. Ibid.

founders, is of Dutch origin. This is of course ridiculous .

3. Asian Contemporary Art Reconsidered Report , The JapanFoundation Asia Center, 1998, p.166.

At the end of 1998 , the House of Representatives decided to4. The four scholars are: Sumartono, Dwi Marianto (lecturers at the

conduct a general election and a presidential election. Due theFaculty of Fine Arts & Design, Indonesia Institute of the Arts,

political reform , the parties have grown in number from only

Yogyakarta), Asmujo J. lrianto, Rizki Zaelani (lecturers at theFaculty of Fine Arts & Design, Bandung Institute of Technology).

three to forty-eight. In the campaign for the general election

5. Comprehensiveinformation about this movement is detailed inearly this year , political groups started fighting to each other.

Brita L.Miklouho-Maklai' s book, Exposing the Society 's

Although the general election was meant to electWound ? Some Aspects of Contemporary Indonesian Art Since

representatives of parties in House of Representatives , nearly

1966, Asian Studies Flinders University, Adelaide, 1991.

all of the party leaders prematurely campaigned for presidential

6. Brian Wallis mentioned it in his essay, " What's Wrong withseat and forced their followers to make political pressure. This

this Picture? An Introduction" in Art after Modernism ,constraint very often resulted in clash and unrest . Within thisRethinking Representation. Wallis, Brian (et al.,ed.), The

condition, the term , "political elite" has become popular in theMuseum of ContemporaryArt, New York,1992, p.xii.
7. Quoted by Janet Wolff in her book, Aesthetics and thesense that people have started to understand that there is

Sociology of Art , Allen & Unwin, London, 1983, p.63.

always a distance between politician's widely publicized
opinion and the real demands of the people. There is a doubt
on the practice of democracy in Indonesia .
That reality is reflected in the works of younger
contemporary art artists shown at the Yogya Biennial held
early this year , especially the ones who just emerged in the
1990s. Representation in the works shows a shift from political
idealism to cultural representation. The works show dynamic
representation that is critical of all dominant representations.
The works somewhat criticize the political stereotype that has

121osmotic boundaries of premodern societies. Rather , it denotes

Session I Presentation #4

a deliberate and self-conscious attitude nurtured by individual

Back to the World: Anxiety and Exhilaration inContemporary Indian Art

artists (or groups of artists) in modern societies ; for theconcept of internationalism could scarcely emerge without theexclusionary logic of a hard international border to contend

Ranjit Hoskote
Art Critic

against. Indeed , it is the presence -even the obtrusive

ideological presence of the nation -state that gives"internationalism"in art its principal impetus as a desire totranscend the circumstances of space, time and identity.
It might be argued that Indian artists have increasingly turned,

This attitude commits its proponents to certain Utopian-over the 1990s, to an array of art practices that may

Romantic assumptions. Artists who see themselves ascollectively be described as "kaleidoscopic realism." While"internationalist"

the spectral machines of national allegory and spiritual

an avant-garde, a global elite whose art practice is in advanceare united by their sense of membership in

abstractionism continue to remain active in the background ,of conventional idioms , and whose language of ideas andyounger artists have opened out new domains of experience

images cuts across cultures. We hear a resonance of theand expression for themselves. These artists include Atul

Familiengespraech here, the family argot that bound theDodiya , Jitish Kallal , Sudarshan Shetty , Baiju Parthan , Tushar

German Romantics in their defiance of bourgeois society. It is

Joag and Kausik Mukhopadhyay. They conceive of the artist

this self-conscious perception of being in the vanguard thatas an inventor of identities: to them , the artist is not a genius

imbues internationalism with its fundamental characteristic: a

who operates from a hereditary self-identity , but a montageurcontemptuous impatience with provincialism , and a

who fashions identities from the flux of history . Theirs is acorresponding aspiration to embrace a cosmopolitan

pragmatic approach to an environment that offers them asensibility. Premised as it is on a linear model of progress in

seductively manifold range of stimuli. While they do not

art history , internationalism assumes that its approach to art isconsciously view themselves as an avant-garde , it is clear thatthe only historically valid one at any given point-

their image-making practices are , for the most part ,token , any artist who wishes to remain at the leading edge ofby thispostmodernist. Rejoicing in interactivity and intertextuality ,"progress"

these artworks draw on an intriguing gamut of concerns andgarde , lest she/ he be relegated to a siding or shunted aside toformal techniques.

make way for the express trains of progress.

" Kaleidoscopic realism" emerges , without doubt , at theinterface between the local and the global -in art must keep up with the international avant-

The Utopian impulse and the anxiety of acceptance arewith theintertwined in the internationalist agenda; in any case , allideological and aesthetic issues that emerge from national

interaction among cultures is anchored in the interaction

history arrayed on one side, and the modes and opportunities

among the political systems to which they are related . Theof the new artistic internationalism arrayed on the other . The

emancipatory possibilities of internationalism must , therefore ,key issue here may be described , in Alan Bloom's apt phrase ,be weighed over against the asymmetries that determine theas the "anxiety of influence": is internationalism always apower relations between the world's industrially developed

vertical export handed down from the First World to the Thirdand industrially underdeveloped nations. For internationalism ,World ; or can we achieve a lateral internationalism in which

as we have pictured it here , typically flows from the influential

societies and cultures may interact freely with one another ,centers of global art to the recipients at the periphery , fromlearning and internalising patterns of thought and art in a

"First World" to "Third World" societies. In consequence , thecondition of free exchange? These are some of the themes

avant-gardisme of internationalism can lose its subversivethat exercise the realm of contemporary Indian art.

energy and manifest itself as an obsession, among "Third

The current crisis in Indian Art , therefore , is one in which

World" artists, to re-invent themselves constantly. By theartists have been polarized between two opposite imperatives.

same token , the quest for a common cosmopolitan language

These imperatives take the form , in practice, of two opposed

may degenerate , among "Third World" artists , into a simple

idioms of art practice: a cosmopolitanism of concern , look andacquiescence in a generic vocabulary legislated by their "First

style on the one hand ; and a deliberate, inward-turningWorld" exemplars. Finally , the urge to shed one's

recovery of the native on the other . This binary aspect of theprovincialism and transform oneself into a cosmopolitan figure

present moment in India's cultural history calls for some

may itself lead a "Third World" artist into the ultimate sin ofinvestigation of the history of internationalism in Indian art-

the provincial , that of derivativeness.

and specifically , of the role it has played , not only as a form of

All these perils were identified by Geeta Kapur in apractice , but also as an attitude of self-representation.

trenchant essay written twenty-seven years ago , and herInternationalism , properly conceived , does not describe thecaveat retains its relevance. "My point of view, stated ingeneral processes of cultural diffusion across the relatively

simple terms , is that Internationalism , as a cult , imposes upon122

the individual artist and especially one outside the Westernprincipal questions that haunt the debate today: given that it ismetropolis, a set of false assumptions and imperatives,"

chiefly "First World" curators who present "Third World" artwrote in "Implicationsof Internationalism

shein Contemporary

Art" (a section of her study , "In Quest of Identity,"in an international context , how precisely is our art refracted?

Vrishchik

Are the patterns of Indian art to be determined by the biases of

3, Nos. 6-7 ; April-May 1972). She went on to castigate

conquistador scholars, tourist curators and their nativeinternational exhibitions as "arenas where different nations

informants? Can Indian art find legitimacy and confidence only

test their respective advancement -the under-developed

if it receives a testimonial from the international art circuit? Isones with some anxiety, following the criteria of advanced art ,there not a very real danger that contemporary Indian artists

set by the galleries and critics of the progressive West."

may feel compelled to subtly (or not so subtly) modify their art

In retrospect, it seems obvious that the pivotal character inthe story of internationalism

practice to suit the curatorial norms and expectations of the"First World"?

as an attitude in the history ofmodern Indian art was Gaganendranath

Tagore, whose

These questions take us into the heart of the problem. Whoconcern with Cubism and Futurism catapulted him from thedecides who should get a place at the front of the train , or what

late, inward-looking phase of the Tagore circle and into theis "International"

arena of European art activity . This move could be read both

cultural dynamics of the issue is to be found in a telling

and what is not? A clue to the international

as an attempt to overcome the parochialism that had crept into

observation that Timothy Hyman makes towards thethe aesthetic of the Tagore circle , and as a transgression of

conclusion of his rewarding and empathetic study of one of

the Anglocentric parameters of vision laid down by the British

India's most inventive and resourceful painters (Bhupencolonial system. The establishment of the Progressive Artists

Khakhar , 1998): "Westerners easily spring upon Indian artists

Group in Bombay, in the late 1940s , is arguably the next pointa terrible trap, a cultural double bind . We make of them twoof nodal importance in this narrative. Subscribing as they did tocontradictory demands. First -a School-of-Paris modernism , the Progressives proposed amodern?' (that is , more in sync with the Western avant-garde).

theoretical opposition to the indigenously achieved modernism

But then , as it were in the same breath:of the Tagore circle and the Santiniketan artists; ironically,

Indian?' (that is, How dare you be .. .)" Hyman argues that

'Why aren't you more

'Why aren't you more

however , their paintings continued to be coded with references

Khakhar can position his art in a variety of deceptive ways ,to the work of these precursors and contemporaries.

seeming both "na"ive" and "local"

Janus-

as well as sophisticatedfaced, the Progressives set the tone for many of theirand comprehensible

successors: they occupied an uncertain ground , charmed by

To address the deception in another terminology (that of Homi

the attractions of internationalism

and yet sensitive to the need

K. Bhabha), Khakhar' s paintings function as hybrid signs .

This Janus-faced approach also characterized the ideology

since the strategy of hybridity was the leitmotif of "Private

for a local contemporary idiom.

of J. Swaminathan , who -to Western viewers on their own terms.

A personal note may not be out of place in this discussion ,in the manifesto of Group 1890 ,Languages ," an exhibition that the present writer curated forwhich he founded in 1962 - denounced the establishedthe Pundole Art Gallery, Bombay, in January 1997. Of theartists of the time as epicene followers of an irrelevant Western

three artists whose works made up this show -Ravinder G.

agenda . Intriguingly , his own thought and painting in those

Reddy , Sudarshan Shelly and Anandajit Ray -the first had

years (the former advocating the primacy of a full-bodied ,already attained a measure of international recognition withinprimitive perception; the latter distinguished by its intense ,the format of a "news from the Third World" curatorship, andradiant planing of color) bore the unmistakable franchise of

the second was soon to find a place in that schema. It is not

Rothko, Newman & Co. , Ltd. It was only in the 1970s , indifficult to see how their accomplished hybrid signs canBaroda, that the idea of an art that could forge linkages with

operate around the Hymanian trap and compel international

international art movements without traducing its own history

attention: Reddy' s sculptures play off kitsch and sacred art incame vividly to fruition in the paintings of Gulammohammed

a way that is both postmodern in intent and vernacular in look ;Sheikh, Bhupen Khakhar, Vivan Sundaram and their

Shelly's assemblages, balancing between sculpture andassociates (Sundaram, incidentally, took fierce issue withtheater , draw their imagery from the arcades of metropolitan

Kapur' s caveat through the columns of Vrishchik, asserting

India. But curiously enough (as this native informant knows),

the "revolutionary"potential of internationalism).

Ray has been repeatedly passed over by international
curators . Although his scintillating techniques (including a

Gradually, a radical shift of mood and stance has taken place

combination of color Xerox and illusionistic painting , theamong Indian artists on the subject. Since the early 1990s , thevenerated logic of the original punctured by the reality of

insecurity over cultural autonomy has yielded place to a

replication technology) should work in his favor, Ray's basic

preoccupation with the opportunities that globalization

devotion to the painted surface disqualifies him on the one

provides for the extension of consciousness.

This shift has

hand; and the fact that his violent imagery fuses Hollywood
with science-fiction

produced its own genre of unease , which manifests itself in the123

renders him suspect on the other. The

ghost of a meaningless dichotomy bars his way in the world ,for he is too "Indian" to be "modern"in one sense, and too"modern" to be "Indian" in another. Similarly , it is Atul
Dodiya' s refusal to abandon the easel painting - whileembracing the preoccupations of the Conceptual artist - thatappears to have led to his exclusion from a forthcominginternational exhibition of considerable prestige. This , despite
his stated position that an easel painter can contest the
installator' s monopoly over Conceptualism , as exemplified in
the ambitious suite of paintings he exhibited at the Vadehra Art
Gallery , New Delhi , over March 1999.
The internationalism that we have discussed here is avertical , nee-colonial process , with descriptive authority
flowing downwards from apex to base, and confirming /conforming responses routed back upwards. Even as theynegotiate the global circuits of capital , power and interpretation,
Indian artists today will find themselves confronted by despair
and cynicism , and by the temptation to perform for would-be
foreign patrons . And yet the heartening fact is that many ofthem still keep alive the hope of a lateral internationalism , inwhich a genuine cross-fertilization can take place among
artists who engage one another in dialog as artists , rather thanas envoys of the nations or cultures to which they happen to
belong .

124

In my view , art is not meeting the needs of the public in a good

Discussion

way . I would like to hear your opinion .

MC (Miki Akiko ) : In Session I , we had participants from

Leng Lin: I think , in 1995 and 1996 , we saw the changes that

China, Korea, Indonesia, and India talk about the arts activities

you pointed out in Chinese contemporary art. At the same

during the 1990s in their respective countries in relation to thetime , as I mentioned in my presentation , while we saw thisinternational art scene . It goes without saying that the

movement towards socialization , we also had this direction of

examples from these four nations are not sufficient to describe

individualization , different from that of the desire for self-

the entire scope of the development and evolution of Asian art

expression in the previous years . This individualization isin the past decade . Nor can we expect the speakers to be able

backed by a very pragmatic element . For example , theto introduce a comprehensive picture of the situation in their

Shanghai exhibition that you just spoke about was an attempt

twenty-minute presentation.

to promote communication between art and the ordinary
audience. We have yet to see or conclude whether thisUnder the circumstances , we asked the speakers to sum

communication has succeeded or not.

up and analyze the 1990s from their own perspective. This has

However , there is an evident tendency towards

given us an opportunity to review some of the achievements inindividuality and its supporting pragmatic elements. What I

each area and given us a better understanding of some of themean by this is that the artists were looking at their own

problem.

existence and position in society at large. This is a different

Now I would like to start the discussion session. I believe

trend from the 1980s.

there are many questions and comments concerning the four

For example , in Beijing there is an artist whose activities

presentations . We have invited commentators to join the panel

are guerilla-like, putting graffiti-like drawings in different partsfor our discussion.

of the city. Although such activities involve legal issues , thisI would first like to invite the commentators to speak. May

artist has not been apprehended by the authorities so far, andwe have Mr. Shimizu , please.

his works, in a way , deal with the legal boundaries or zones .
Shimizu Toshio: From my experience in following the

For example , he stops at the point where he might be

Chinese artists and their works , I agree with Mr. Leng Lin's

penalized for his actions or be arrested by the authorities whenview that following the years after the Tian' anmen Square

he creates his works. He is the type of artist whose act ofIncident, individual narratives have been increasingly

wandering near the boundary becomes a work of art.
Initially , his graffiti did not attract much attention, butaddressed in art rather than trying to trace the idealistic or the

having continued this activity for several years , there are now

social stories and narratives.

approximately 1,000 instances of graffiti in different places

In 1996 , for example , at the First Shanghai Biennale ,Chinese oil painters were the only types of artists featured , butaround Beijing , and the sheer number is drawing a responsethe vast majority of them traced and explored very private

from the citizens. This is also an example that can be seen as

mindscapes in their works. It was quite a significant change to

an attempt or , rather , as means of communication in the 1990s.
I would also like to talk about Zhao Sandi whose work

see such works being exhibited in a public space.
By the mid-1990s , cutting-edge artists who had exploredappeared in June this year in a series of advertisements withsocial issues in the 1970s had turned to exploring personal

his self-portrait in the subway of Beijing . The Beijing subway

issues. In this case , not only did the artists who appeared in

had not gained as much commercial success as that of

public venues turn to personal narratives , but the cutting-edge

Shanghai , and the city authorities were looking for ways toartists also started to tell their personal stories in a more

succeed in this commercial venture. This happened to coincide

radical way. But, recently, the relationship between art andwith Zhao Sandi's idea. He made ads which promoted givingsociety is what artists are interested in.

up smoking , aiding redundant workers , and preventing AIDS .

For example, in the "Supermarket"

In these works , he added photographs of himself. So, he has

show in Shanghai thisyear, young artists were selling their works through a systembeen able to gain support from the state while promoting his

similar to a supermarket. However , an exhibition held in Beijing

own artistic activity. This activity actually has had a certain

called " Post-sensibility"

amount of impact on society .

featured artists who had a desire to

Such attempts as these are different from those of theestablish links with the society but were , in fact, estranged

artists of the 1980s, who tried to retain a position and exercise

from the public .

their influence only within art circles. In the 1990s, artists are

In contemporary China with its rapidly changing
environment , the public must be seeking artistic expressions

trying to create a public space , which is intertwined withthat are in tune with their reality. Because such expressions or

certain institutional structures and relationships .

media are not available , movement like Falun Gong can gain

In the 1980s , we saw artists trying to escape the indoors

popularity. How can art meet the needs of the Chinese public?

and take their actions outside , but as I look back , I think that125

their performances or installations were not much different

which they look for their position in society through their works.

from those that used to be exhibited indoors.

I believe that this new phenomenon can lead to developing

In the 1990s, we see some artists who are exploring thenew prospects. Not only does it enable artists to positionuse of public space and ways to express their relationship tothemselves in the Western world but , if the situation develops

the institution and their position within that structure throughfavorably, they will be able to gain a position in the Chinese

their art. This is a new trend.

market through their works.

The new direction in which artists explore individuality has
emerged as something that transcends the relationship or the

MC (A. Miki ) : Now I would like to have Mr. Ushiroshoji

opposition between the traditional and the modern, or thecomment on the presentation on Korea.

framework of confrontation between China and the West. This
Ushiroshoji Masahiro: I am Ushiroshoji Masahiro from the

new trend takes a practical approach and does not consider
theoretical issues such as post-colonialism to be germane to

Fukuoka Asian Art Museum. We organized two major

artistic practice·.

exhibitions of Asian art at my museum. One of them was the

MC (A. Miki ) : In your paper , you mention how the present

Attitude." In this exhibition, we presented works of artists who

Chinese contemporary art scene experienced a drastic change

expressed their attitudes toward the reality of their social

in becoming part of the global art circuit, while artists tried toenvironment at a personal level as well as a socio-economica l

attain a uniquely Chinese style. You also state that in the eyes

level.

Fourth Asian Art Show in 1994 entitled, "Realism as anof the Chinese people, artists produce art that seemed un-

This year, as the inaugural exhibition for the Fukuoka

Chinese in China , and the audience or the market has not

Asian Art Museum, we held the First Fukuoka Asian Art

responded to this art scene.

Triennale 1999 on the theme , "Communication: Channels for
Hope." The exhibition focused on the question of how taking

I have a few questions related to this phenomenon. You
seem to have implied that the artists' works contain images

an interest in reality can motivate and actually prompt athat respond to the expectations of the international

creative way of communication with real society.

community. For instance, this year we saw many works by theConsequently, I share the awareness of this issue held byChinese artists at the Venice Biennale. How was this situation

the first three speakers. Mr. Leng also touched on a similar

perceived within China? Furthermore , while the Chinese artists

point in his comment.
Mr. Seo introduced the trends of Korean art in the 1990s

seem to be sensitive to the demands of the art world and havethe ability to produce suitable products to meet such market

and described the emergence of a new generation of artists

demands, the curators and organizers in Europe seem to use

who express their views of social reality. He was quite criticalthis foreign culture to suit their own convenience without anyof them , and described them as egoistic or self-centered .

consistent policy. What is the response to such views inSince specific names were not mentioned and slides were

China?

not shown to describe specific examples of such works,

L. Leng: At the present moment in China , the art market fortime on the positive aspects of this generation. Another point

the artists themselves is at a very desirable level. It does not

I would like to ask about the economic climate and the arts.

mean that the Chinese market is supporting the artists. It is not

I believe that Korea is currently facing economic crisis.

necessarily doing so, but the artists are now able to present

I wonder how artistic expressions that flourished during the

I would like to ask Mr. Seo to comment on them again, thistheir works to the international community and send themmaterialistic bubble economy have changed under current

abroad.

conditions.

Of course, the Chinese artists may be very good at
responding to the demands and requests of the curators fromSeo Seongrok: Thank you for the comment. I apologize forabroad, and that may be a fact. Focusing on this point alone,

not being able to show slides of the artworks representing thethe phenomenon involves many issues.

new generation.

But at the same time , we should be aware that from the

The difference between the artists of the new generation

end of the 1980s to the 1990s , due to the changes in theand those of the 1970s and 1980s is that the older generation

Chinese art world, Chinese artists have started to present theirproduced work that was orderly and formal , whereas, in theworks within Chinese society. This is important for the artists in1990s, the artists are more sensitive and more personallyestablishing their identity.

involved in the way they express themselves.

This can be understood by comparing the artists in the

I do not believe that the issue is whether one generation is

1980s and the 1990s. In the 1980s, the artists' main objective

better than the other. What artists were pursuing in the 1970s

was to search for aesthetic or philosophical meaning. In

and 1980s is probably different from what they are pursuing incomparison, the artists in the 1990s have pursued a path in

the 1990s . The positive aspect of the new generation is that126

they are not caught up with formality. They have made art

end of the financial bubble and the catastrophic effect this has

more open, closer to the public , and more popular.

had within the culture itself. But I guess it is also a kind of

For the new generation artists, the most important thing isshaking up that made these people look outside and want to

how people look at them, in other words , outward appearance.

participate in something bigger than the purely local scene. I

A great value is placed in this. Also , ideas are considered

do not see this as a bad thing . I do not think that the relation toimportant.

the West is one that is a master-to-slave relationship. It is

I would like to say something about what art is. My

more an opening up and actually participating in a wider

personal idea is that art is something that one appreciates anddiscussion while not losing one's own sense of identity. I was

also something that gives the audience a pure and beautiful

struck by the artists in their late twenties and early thirties who

experience.

had studied outside of Korea for part of their careers , in theContemporary art is very difficult to interpret , and even

United States, both on the West and East Coast , even inexperts face difficulties defining it. Theories concerning

London , Bremen and Paris, too. This has facilitated othercontemporary art have developed to a very high level today.

discussions and other debates. Knowledge of what otherAnd perhaps that is what contemporary art has pursued. But

artists are doing in other places had informed and added tofor the audience to actively participate in art, artists must

what they are able to do now . I was also impressed by a large
number of effective and strong women artists which seemed arecognize the public as a partner.
I will be very brief in answering your second point. Art hascontrast with the previous generation. I have no way of

been affected by the recession. But recently , we are seeing

knowing whether the group I saw was absolutely typical,

some recovery. Korean industries in general have faced a

except that it was filtered by a very respected curator working

difficult period , but the art world has gained some benefits.

in Korea. As far as I was concerned , it was an extremely

The positive aspect is that, although contemporary art inpositive experience .

Korea has become increasingly commercial, and drawing aline between a businessman and an artist has become difficult

MC (A. Miki ) : Now I would like to receive comments on

as capitalism has become more prevalent, the bursting of theIndonesia from Mr. Shioda , please.

economic bubble gave artists an opportunity to think about art
again and what they can do in order to contribute to society.

Shioda Junichi: I am Shioda Junichi from the Museum of

The bubble economy prompted them to think, but we do notContemporary Art, Tokyo. The presentation by Mr. Supangkat

want to go through such an experience that often .

was very dense with a lot of information.

MC (A. Miki ) : Thank you.

Contemporary Art in Asia ," -In the presentation , "Discoursing in Regional
one -I would also like to invite one more comment on Korea fromthe title being a very ambitious

two major topics were .covered: one , the issue of

Mr. Elliott. Mr. Elliott stopped by in Korea before coming todiscoursing and two, the Indonesian art scene from the "NewTokyo. Do you have any questions or comments concerning

Art Movement" on . I would like to organize my thoughts andthe presentation?

ask some questions on these topics.

David Elliott: Not so many questions, just a comment. I had

referring to exhibitions such as the Fukuoka Art Museum's

not visited Korea before, so it was my first time. In no way do I

Asian Art Show , Fukuoka and Queensland Art Gallery's Asia-

First of all, on regional exhibitions , you were probably

pretend to be an expert. I spent just five days looking at

Pacific Trienniel of Contemporary Art {APT) in Brisbane . In

artists' work and I had asked to see particularly younger

these cases, Australia and Japan, two of the moreartists who had been emerging in the 1990s. The previous

economically advantaged countries, curated or organizedspeaker described a decline in Korean art ; he made it very

exhibitions of art from the Asian region and asked countries inclear he really felt it had somehow lost power. I entered Korea

the peripheral regions , such as Indonesia , Thailand, therather ignorant of its history. I have seen, of course, examples

Philippines, or Malaysia to participate. The problems involvedof work by Korean artists in international shows and also havein the selection process led by the organizers and curators inreceived many catalogues . But it is not the same as being

these cases are probably related to the issue of curation ,there and feeling for oneself the context and pulse that makes

which has been previously pointed out by Dr. Poshyananda inup the contemporary art scene , the discourse on contemporary

the same context. The point was made that organizers andart.

curators should have a formal discourse. Also, these regional
I was rather pleasantly surprised. This is absolutely a frank

exhibitions do influence the artists of the participating

comment and I do not say it to contradict the previous speaker.

countries , as they function like a catalyst. For example , theI was pleasantly surprised particularly by the younger artists ,works, first appreciated and shown in Indonesia, can be now

because it seems to me they had both been looking out of theirpresented in a larger area , exposing them to the gaze ofown situat ion and also looking into it. Everyone talks about the"others." Through this process of exposure , Indonesian artists

127

in regional art forums , spread out among artists and critics in

can start looking at themselves objectively and defineIndonesia . The art world in Indonesia became more aware ofthemselves .

the impact of international exhibitions. Only a few years afterI think that you found this process of discoursing very
important. How and in what form did the discourse develop in

the controversy of the Ninth Biennial artic les, reviews on

Indonesia? How has it affected art? This is my first question.

contemporary art began to emerge in the mass media and , asAlso , I would like to touch on another point concerning thea result , contemporary art discourse became more familiar.

New Art Movement in Indonesia and the subsequent

Through this process, the art world in Indonesia began tomovements. Mr. Supangkat said that contemporary art inrealize that signs of contemporary art were already present inIndonesia started with the New Art Movement in the late1975 in exhibitions organized by the Indonesian New Art

1970s. The political and ethical implications of the movement

Movement. We can see here that there is a time gap between

were critical of universalism. This trend was inherited by

the emergence of contemporary art and the understanding ofIndonesian artists throughout the 1980s and 1990s. How did

contemporary art in Indonesia.
There were discussions on whether it makes sense to statethis trend change in 1997 or 1998, during the tumu ltuousthat contemporary art already existed in Indonesia in 1975.

political events around the time Suharto stepped down?
Mr. Supangkat , you said there were not many works with

Does it make sense to say that artists at that time createdpolitical context or message that could be appreciated during

installations without knowing contemporary art or eventhat time. Meanwhile, I have heard that very important artists inknowing the term "installation"?

Indonesia have left the country . Dadang Christanto , formentioned in my presentation , there is evidence to identify the

Nevertheless , as I haveinstance , has immigrated to Australia. The painter , Semsar

Indonesian New Art Movement as the point where

Siahaan , who was active in radical political activities , also hascontemporary art emerged in Indonesia. The manifesto of thismovement clearly contains paradigmatic ideas ofimmigrated to Canada . What does this imply?

contemporary art , for example , anti-universalism and a critiqueJim Supangkat : The term "discoursing"indeed should beof the paradigm of fine art. The exhibition introduced mixed

explained through the discoursing process in countries like

media , the use of ready-mades and found objects as well as

Indonesia , Thailand , the Philippines , and Malaysia . I am sureinstallations . Although this point has been accepted to somethe process is happening in these countries , yet theextent , discussions and debates on this matter continue up

discoursing process has been overlooked and thus I see theuntil now , and I think it is still too early to conclude that aneed to bring it to a level of awareness that makes it morediscourse of contemporary art already existed in Indonesia

open for discussion.

then . Nevertheless , the belief that contemporary art could have

To answer Mr. Shioda' s question , yes , the discoursing

emerged in 1975 in Indonesia is now widespread. The

process as result of involvement in regio nal exhibitions is

research done by the four scholars I mentioned in myindeed quite evident in Indonesia. Let me describe this matterpresentation is a strong indicator of this. More than justwith examples.

identifying the emergence of contemporary art in Indonesia ,the four studies , which were carried out separately , share theIn 1993, contemporary art in Indonesia was still not clearly
understood. This was evident when the Ninth Jakarta Biennial

view that there is a contradiction between the contemporary artof Contemporary Art took contemporary art as its theme.

that emerged in 1975 and previous developments . Other

Debates and polemics following the Biennial showed that there

components involved in creating the concept of Indonesian

was no understanding of contemporary art at that time. Critics

contemporary art , or an Indonesian type of contemporary art

and artists questioned and even refused to consider

were touched upon in the research. The "internationalization"

installations exhibited at the Biennial as works of art. The

of Indonesian art through regional forums in the 1990s isradicality of the installations was heavily criticized and accusedparticularly mentioned in the research .

of showing anarchy. Although artists like Heri Dono, Dadang

As I have mentioned in my presentation, the process ofChristanto and Harsono were showing their works at theunderstanding contemporary art led to discussions of other

Biennial , because they already had experience in regional

matters in art development in Indonesia. Among other things ,exhibitions , Harsono , for example , criticized the Biennial

these discussions touched on an awareness of the fine art

openly in the mass media and questioned the term installation .

paradigm that has been taken for granted and principles of

All of this criticism was a surprising phenomenon , since themodern art that are apparent in Indonesian art development.

installation and other incipient forms of contemporary art

All of this process of understanding is a clear example of thealready existed in 1975 .

discoursing process .

In fact , understanding of contemporary art improved after

I tota lly agree with you Mr. Shioda that a socio-politicalmore Indonesian artists were included in regional exhibitions.

dimension has appeared continuously in contemporary art in

Through these artists and curators like me, who were included

Indonesia . Neverthe less , it is wrong to see a specifically socio-

in regional art forums , theories , and art discourses discussed

political dimension in contemporary artworks. There is no128

tradition of political opposition in the sense of opposing the

MC (A. Miki ) : May I ask Dr. Poshyananda to comment?

government. What can be seen as tradition in contemporary
art in Indonesia , as well as other Indonesian art , is moralistic

Apinan Poshyananda: I have just flown in from Bangkok thiscriticism toward a dominant power that tends to repress themorning, so I hope my question makes sense. Now I am very

people. Thus sometimes it is not relevant to analyze social

interested in your view on what you call "brought-in"commentary in contemporary artworks as opposition to thewould like you to expand on that , especially with regard to thegovernment. The side taken in the social commentary innotion of regional activities and this idea of the preconceived

artists. I

contemporary artworks in Indonesia is continually shifting;notion of exoticism. How are local artists , whilst being brought

artists do not always agree with the opinions of governmentor flown into particular nodal points in other areas , in thecritics.

Pacific, or even in Europe or America , expected to perform

As I mentioned in my presentation , the socio-politicalcertain kinds of activities , events or rituals , adapting to outside

dimension of the New Art Movement did not show direct

conditions? Is there any debate at home regarding thesepolitical opposition. Nevertheless , in the contemporary art ofartists who , much of the time , want to fit into the network or fit

the 1980s, social commentary clearly showed criticism toward

into the art circuit? Sometimes they get caught up in certain

the government because Suharto's regime had become moredemands to have them create a kind of dislocation where ,repressive. Artists even joined political groups thatperhaps , they have to inject , perform , or create certain

continuously criticized the government and the people inperformances according to the desired space . Perhaps you

power.

could give some examples , especially in this post-Suharto era

In my presentation , I mentioned that in the late 1990s

with the examples of Moelyono , Taring Padi group , and Apotik

contemporary artists who had been criticizing the government

Komik.

since the 1980s showed a sudden change in their attitude after
the fall of Suharto . Their works accused the political elite in

J. Supangkat: Thank you for the question , Dr. Poshyananda .

Indonesia and not just the government. The works also

What I want to notify through the term " brought-in" artists

attacked the political opposition. This shift was apparent as

is that the format of regional forum which we know today isprevious artists had joined the political reform movement andformed out of many coincidences. What we have heard ascreated works that were only propaganda. Artists probably

reasons or arguments for regional exhibitions do notwere aware that there is a distance between art and politics.

completely explain the format of regional forums. An example

There is a phenomenal turning away from politics because

is the effort to formulate a certain type of regional art that goes

after the general election for members of the Generalon behind the scenes in a regional exhibition . On the surface ,Assembly and House of Representatives early this year, it

the "brought-in"

turned out that politicians could not be trusted. It is openlyof this kind of effort , to present representatives of countries

known that the government's critics used people's support inthat , in the end, show a certain concept of regional art .

artists could be interpreted as consequences

political reform in mid-1998 to strengthen their own political

Nevertheless , there is a hidden reason that is rarely discussed

position. What they have in mind is only a seat among the

openly; that is, to make the regional exhibition look significant.

political elite.

The "brought-in"

On the matter of Dadang Christanto and Semsar Siahaan

artists in some way were used to making

regional exhibitions become meaningful.

leaving Indonesia to live in other countries , I don't think it

I don't think that the existence of this hidden reason

indicates that they are being pursued by the government.

means that curators , museums , art administrators who

Dadang and Semsar left Indonesia after the political reform inorganize regional exhibitions have taken advantage of themid-1998 when Suharto's regime and the military were no"brought-in"

artists. Thus , I have no objections about

longer in power. There was no reason at all to feel threatened.

"brought-in"

artists sometimes being subject to certain

Previously, activists and governments critics were indeed

demands or being asked to create certain performances. In my

hunted, kidnapped , and even killed by the military. So far as I

opinion, authoritatively conducted regional exhibitions haveknow, artists were not on the list of people hunted because thebeen based on a kind of search for a certain concept and havegovernment, which doesn't really understand art, never really

not aimed to obtain certain benefits for the organizers . My

considered the impact of political art as dangerous. Dadang

intention is to show that , in the case of regional exhibitions ,immigrated to Australia because of more personal reasons. I

there is a distance between what was planned and what has

don't know precisely why Semsar Siahaan left for Canada.

come out as a result, and we should be more realistic in

Probably to find better opportunity for his career or to find aconsidering the reality and not be trapped by the initial idea of

better life. I had not heard of him exhibiting political works orregional art.

being involved in political movements before he left, so it is

I am sure that , in the beginning , Indonesian artist as

difficult to see political reasons behind his decision to leave the"brought-in"country.

being included . The reason was more like what David Elliott

129

artists did not have a clear idea of the benefits of