comparison between Asia and the West, or Europe andtimes. I also had an opportunity to see it in Vienna. The

America , in your discussions. I wonder what your view is on

exhibition includes many artists and architects representing

this issue of understanding another culture, or making a

the urban culture of Asia. Some of the them are very well-culture be understood.

known artists, but each of the works was of very small -scale
and they were exhibited next to each other in a random

Apinan Poshyananda: I think it is very difficult to take art frommanner, creating a space that looked chaotic overall. Walking

one local nodal point and display it in a foreign space. Therethrough the exhibition was like walking through a busy street,

are always going to be certain expectations andas Mr. Elliott has described. Particularly , the works by thepreconceptions from the viewers' point of view. Thi s is wherearchitects, which normally deal with three-dimensional objects ,the arbiter , the interpreter, the curator comes in. How he/she

could not be fully understood with few photographs on display.

chooses certain kinds of work to display is very important. Mr.

It was very difficult to focus on the meaning of the individual

Elliott gave an example of "Cities on the Move," of which I

work or artist.

also experienced a simi lar feeling. I saw it in Bordeaux andFrom a different perspective, the exhibition in its entirety

Vienna. This show has many exciting ideas initiated by the

could be seen as an artwork created by the curator. Each work

curators. Although they tried to avoid the exotica, they ended

is a part that helps constitute the whole. This is a newup displaying other kinds of exoticism. In this case, certain

curatorial approach , and that in itself could be praised. But the

expectations of urban cities in Asia result in a kind of mismatch

artists might have felt that they were not given the greatestof activities, and you go through a kind of a mini-festival , mini-

possible opportunity.

entertainment parlor. That , I feel, brings down the quality of

I would like to encourage other opinions on how to promote

some of the artists seen in the eyes of foreign viewers in aunderstanding, or avoid stereotyping, or how to apply these

foreign space. Asian art exhibitions in Europe do not give a

ideas in organizing an exhibition. Mr. Mizusawa, please.

chance to fully appreciate those very talented artists
individually because the whole thing is seen more like an

Mizusawa Tsutomu : My name is Mizusawa and I am aanthropological survey. That is one obstacle in showing Asian

curator at the Museum of Modern Art , Kamakura. Curating anworks in a different cultural context.

exhibition involves physically moving and arranging works of

The other point I would like to make is that we are veryart. The work could travel over the Pacific Ocean , or be moved

concerned about Asianness. At times , we fall in a trap of beingfrom one table to another. Whatever the distance, the artwork ,too Asian-centric and almost putting ourselves in this kind ofwhen moved , acquires a different meaning . An artwork is

reflection, of being opposite , of the West. In this sense, weconstantly handled in this way, traveling a certain distance ,ignore other areas and other places , such as South America

and slight errors in understanding occur, every time it moves.

and Africa. We tend to look at or project Asianness in thethink it is the curator who first decides whether or not thecontext of the West. By trying to get or gain prestige inartwork should travel or not. Some epistemologicalinternational arenas, we create our own international arenas

discrepancies always occur in the process. I think this is what

within the region here , I mean the Asia or Asia-Pacific region.

happens fundamentally, whether handling art from Asia or

While we actually create our own club , and exclude others , weEurope. I believe that there are "Black Holes" in Europe, too.

create our Asian-centric paradigm and do not actually consider

If there is an element that hinders understanding, an

the artworks or the discourse in Europe or America because

exhibition should be held to bridge the gap. If you cannot

we feel that we have had enough of that. In this context , webridge the gap, you should not attempt to organize an

create our own kind of self-enclosed approach where we do

exhibition. Not holding an exhibition maybe a positive

not take in the creativity outside our paradigm, and actuallycuratorial decision , as paradoxical this may sound.

miss out on a lot of the good things that are going on in the

There are objects which do not want to be exposed to theWest because a lot of times we say, " You know , theygaze of the audience; objects that want to stay where they

dominate too much. We should have our own space." But I

already are. But a decision can be made as to whether or not

feel that we shou ld see others much of the time in the same

they should be ultimately relocated to a different time zone, orcontext. Here , I have to mention the example of the exhibition

from Asia to Europe, or vice versa. If the decision is"TransCulture"

consciously explained , communication can be achieved.

in Venice in 1995 , where a lot of the Asians

were seen in the context of other artists' works and this is a

When this decision is not properly explained , a conflictpart of life. We cannot create our own illusion and mirage andoccurs. Instigating a conflict is one possible strategy , but if you

see this as the world that we live in. We do not live in Asia, we

assume that human beings have the ability to understand eachdo not live in the Asia-Pacific, we live on the globe.

other, the initial decision would be the primary concern inorganizing an exhibition. What I would like to ask Mr. Elliott is,

MC (F. Nanjo ) : I think that is a very good global vision. The

what do you mean by the "Black Hole" you describe at the"Cities on the Move" exhibition has been mentioned several

end of your paper? Your concluding thoughts are very literary

157

and suggestive , but I wonder exactly what you mean by

Europe. You cannot believe it. I mean they all have different"Black Hole ."words they use to call themselves . We ended up just calling it
the East . Eastern Europe , it is not perfect , but it offends theMC (F. Nanjo) : Mr. Elliott , what do you mean by the third

minimum number of people , and it is not telling any lies. I know

"Black Hole" at the end of your paper?

this is a bit dry . It is a bit boring , of course , but we have to go
through this stage before we can go onto the next stage after

D. Elliott : I think what I was talking about really was thewe have acquired a common consensus about language andstereotypical nature of the " Cities on the Move ," when I

terms .

referred to that particular "Black Hole. " Although this is an
exhibition which in the Western curatorial context is very

MC (F. Nanjo) : In listening to the discussion , I felt that sinceadvanced, new , very funky , and it was an attractive physicalthe world is full of misunderstanding and prejudice , it is difficult

experience to go around the exhibition , but also it is ato find the truth . This is not true of art but of things in general.

stereotype of teeming , "exciting ," exotic urban Asia dressed

Since language is the mediator , the gap in language is at theup in new clothing. That is really what I meant. Just to reflectvery heart of our problem . The word "Asia" is itself the issue.

on Mr. Nanjo' s question about how to counteract the

The same can be said of "art" or "culture."

stereotype , I guess the thing is that in different places there

We have not heard much discussion on identity , which is

are different stereotypes . I have been talking about my or ouroften the topic that comes up in symposiums like this. In

stereotypes over there in the West . Here you have different

discussing the single term , "Asia ," we are discussing theones. Maybe the idea of an "inner other" about the art of the

topic of "Asian identity ."Perhaps there is not one single identity that defines Asia .

rest of Asia is a stereotype. This could be a reference tospirituality, maybe . But Asian art is not just about spirituality. I

Asia almost seems like a mixed bag of various elements piled

think really that, as the previous speakers have said , we are at

into one. Asia may be a geographic classification , with somea stage when we are talking about frameworks . When you arecommon threads , but a collection of diverse cultures. Mr. Elliotttalking about frameworks, you are really talking about art . You

seems to acknowledge the fact that Europe is not like this at

are trying to draw up lines and words on which you can all

all.

agree what the meaning is more or less , and then what the

In September last year , at the 1998 AICA (International

territory is that you are trying to deal with as a curator or as an

Association of Art Critics) Japan Congress, Mr. Minamishima

artist .

Hiroshi , a Japanese critic , presented his opinion on how

An artist has the same problems . I think that we are trying

identity is not necessary . That led to a heated discussion.

to come to some sort of workable discussion about Asia ... IPerhaps , for those who create art, identity is not the goal of

am not suggesting that we do not use the word . It is a perfectly

their activity , but something that may surface as the result ofgood word. It is just when you are trying to define it, andtheir work . Is there anybody who would like to comment on thissomeone , a curator of a big exhibition , a heavy institution , tells

issue of identity?

me Asia is all about "Cities on the Move ." I say , " No, it is not.
I know something about Asia . It is mostly agricultural rural

Nira nja n Rajah: I think I have two points. Both of which stemland. Hundreds , thousands, millions of artists are out there

from Mr. David Elliott's presentation . The Asia question-

working. You just do not tell me about them. I know they arethink it is not really important to try and decide whether there is

there. I do not know if they are any good , but I know they aresuch a thing or there can be such a category. Nevertheless , I

there ." So it is this . I think that we now all have a responsibility

would like to make one or two observations to indicate thatin this , as people who show other people's things andthere might be. If you think along the lines of Genghis Khan ,represent certain power systems in different ways , different

the waves that moved across the region , there are other lessauthorities, and different institutions. We have a responsibility

violent waves that covered wide geographical areas whichto try and give a reasonable reflection of what it is we say wealmost describe Asia . The religions of Hinduism and Buddhism

do . If we talk about Asian art , we have to not just take it as a

spread practically across most of Asia , except for what isgiven , but say what kind of Asian art we are referring to . It iscalled the Near East from the Western point of view . So it

I

just like a Trade Description Act. If you are selling something ,seems there is such a thing as Asia and Asian identity , but

and you say you are selling mangos and you sell peaches, youwhat I really want to say is that it is not important in aare in trouble. It is the same kind of transaction , but a little

descriptive sense. I think what is important is "Asia" as amore intellectual and emotional! And it is kind of importantprescriptive term. As something we could strive for as people

because the whole world has this problem . I am working inliving in a certain area. If it suits us, if we find it strategically,

Eastern Europe at the moment and terminological , semantic,

culturally or even geopolitically useful , if we can negotiate it

language problems are very marked in what you call theand we like it, we can work with it, why not? Historical orformer communist countries , the Soviet Union and East

geographical logic is not the point here . So this is the first point

158

about Asia. Do we want to be Asia? Can we negotiate it?

Nevertheless, since art doesn't have a practical political

The other point, I think , is more interesting. Mr. Elliott reallyfunction , in speaking about a possible connection , I raised thestated his position with absolute clarity , which allows me toquestion why art should be committed to politics , particularly tothrow it back , not at Mr. Elliott , but perhaps at the rest of thecertain political ideologies and as a result, lose its critical

panel. "Art has no function, but to be itself." Now for me thissensibility.

is very much a definition of art that can only come from the

To answer Mr. Nanjo' s question , I think there is distanceWestern view, a post-Renaissance view , at least. Art as not

between a political function and the function of art.

having a function. Amongst other discussions we have had

Nevertheless, in the case of Indonesia , there is a connection

from Indonesia , Mr. Supangkat' s idea of discourse, art andbetween politics in art and the function of art.

society . Here we began to talk about function-the

failure of

As has happened in many other countries, the question ofart when it overreaches aesthetics into pure politics. So many

what art means for the society has continuously been asked in

discussions like this have actually been about function. The

Indonesia . The discussion surrounding this question showedfunction of art in Singapore is nation building. So I wonder , ifsignificant progress after Indonesia got involved in regional

the difficulty for modernism in Asia , the reason it has beenforums , something that I have identified as the discoursing

slow , is because it is anathema to our culture .

process. By observing the social dimension in representations

It is not normal for "us" to make an object and look at itin contemporary art , a search emerged to find a paradigm forand say that is beautiful. It is new , it is modern. Tanizaki

art practice in Indonesia. Through discussions, awareness

Junichiro has stated the Japanese position on the impact ofstarted to grow that the social dimension might be the bottom

the modern aesthetic. We have all gone through the sameline of artistic representations in Indonesia and, thus , theresistance at various stages , but the wave is too powerful , andparadigm of art in Indonesia is probably this tendency to

we have all succumbed to this, and everybody in this room isdemonstrate a moralistic social commitment. This is why the

involved with art that is actually detached and devoid ofrepresentations that tend to defend the grassroots byfunction in a traditional sense. Nevertheless , I think one of thecriticizing any power that oppresses the people can be seen incharacteristics of culture in the East is a resistance to thisthe paintings of Sudjojono , the pioneer of modern art incontemporary art. It is not treated in the same way as in theIndonesia , and also in Heri Dono' s installations . This

West. There are religious traditions , rituals and performances

awareness has potential for advancing discussion on thethat overpower and overshadow the rituals of contemporary

function of art in Indonesia. In a sense, art representations canart. Perhaps in the West, rituals of art are more powerful thanshow social changes , which is overlooked by most official

the rituals of church or some other traditional form. So theobservers who tend to see only the good outcomes of whatquestion to finish my little speech is what the other panelists

has been called progress. It is of course difficult to consider

think about art and function for Asia in the future.

the function I just mentioned as a social function since art

MC (F. Nanjo ) : I was also thinking about this point: "What is

discourses or thoughts later emerge , art could be seen asart for the human being or for the society at large?" Things

contributing to those discourses or thoughts.

representations are only discussed within limited circles. If

taken from everyday life are now turning into subjects for art.

As has happened in many other countries in Asia , in

There is more art that is related to actual society. Such art isIndonesia , there is still a distance between art and the society.

more accessible to the audience, as if it took on a kind of

It is hard to imagine that art could lead to social enlightenment

populism or enlightenment. Images of familiar things areas it has done in the Western world . Due to the moralisticpresented instead of abstract images. This helps the audience

stance shown in most of Indonesian art works , the absence ofin viewing contemporary art , which is commonly seen as

avant-gardism is a matter of course. In fact , it is hard to finddifficult. So this may be one of the trends today. But what canrepresentations that criticize society in order to bring about

we say about the function of art? Mr. Supangkat , or Mr. Leng,

progress.

you seem to suggest that art should not have a political
function. So, what should the role of art be in society at large?

Leng Lin: Art might have a variety of effects or roles insociety, but I think that one of the examples we see in China is

Jim Supgankat: I never stated that art should not have a

its role and function as a subculture . In China , the very

political function. Let me describe my opinion. If we think ofexistence of subcultural art creates a new space that neverpolitics in terms of major political changes , art , in fact , could

existed in the society before . At the same time , one aspect ofnever have a political function . As we know, political art has

this trend is responsive to , or can adapt to , what the Westnever resulted in a revolution. If we consider political art as art

demands of art and culture from Asia .

that represents political tensions , no doubt there is a strong

I found Mr. Elliott's point interesting ; he described how one

connection between art and politics . The whole development

cannot escape from the stereotype which the West hasof contemporary art in Indonesia has shown this fact.

created . He also pointed out how the reproduction of159

stereotypes is dangerous. But the threat is self-initiated, andvillage artist , whatever term you want to use. So you find that it

not forced upon the West from Asia. In other words , there isis really the taxonomy or the classification which has produced

self-awareness of the danger . I thought that this idea was very

these problems. We tend to believe that folk artists orinteresting.

craftspeople are stuck in history and they go on reproducing
ancestral patterns . That is hardly true. I think they are

MC (F. Nanjo ) : That is a very interesting point , an unexpected

approaching historical experience in their own highly

view on the issue. It seems to touch the heart of the matter.

individualistic way. But the curatorial acumen for

Those looking at Asia from the outside think that they should

acknowledging this is often not in place . Fortunately, experts

not stereotype Asia, while those of us in Asia are not aware oflike Jyotindra Jain , who is the director of Crafts Museum insuch an issue.

Delhi , are taking the initiative to break down the barrier
separating contemporary metropolitan artists and

D. Elliott: When I introduced my talk, I was saying that

contemporary non-metropolitan artists. I think that I would

stereotypes are not confined to the West; there are completely

also like to point out that the institutional framework ofdifferent stereotypes in this part of the world, about other partscontemporary art in India itself is alien to most people. The

of Asia , and also about the West, but I was asked to speakstudio- gallery-museum system is not one that makes

about the Western view. I am not saying it is the true or only

particular sense to the majority. And the challenge here forview . But the subject of my talk was how Asian art is perceived

artists centered in cities is to find new forms of address , newin the West. So I took this example and bits of historicalinstitutional forms by which more people can be brought into

examples as well and unpacked this particular stereotype

the ambit of art , and this too is happening in a small , but

about Asia within a colonial and historical framework. So yes ,significant way. In a sense , the great example of the bridging

he is absolutely right.

of the urban/ rural divide in India is the Hindi movie, the popular

MC (F. Nanjo ) : What you are talking about is about ourcultural form. So the challenge for art which is in any way

Hindi film , but that is, intellectually speaking, a low-demand
stereotypes about the West. But leaving that issue aside for areflexive is to that extent far greater-

moment , Mr. Hoskote , Mr. Seo, have you any points that you

is at once intellectually stimulating and popularly accessible.

would like to make relating to the role of art in society? Why doThat is the meaning of the seesaw of contact and alienation I

we need art?

spoke of earlier , on which the contemporary Indian artist is

Ranjit Hoskote: We talked about art as a language . I thinkof awareness of being in this predicament.

to find a language thatbalanced. So all notions of the artists' role in society come outthat the minute you talk about language , you are also talking
about competence. There is a framework of competence in a

MC (F. Nanjo ) : I would actually like to ask more people tocertain language which determines who can understand it andspeak , but we have already overrun our scheduled time .

participate in it and who cannot. I think that the main problem
in India is that contemporary art-whether

I must first apologize for not being able to round up themodern , modernist,

discussion smoothly. I found the presentations to be veryor postmodern or postmodernist, whatever category you wantinteresting. I think that we were able to examine the structure

to apply-of the issue through the views of those presenting the art andis in fact available to a metropolitan minority . This islargely because it comes out of a metropolitan art school , arts

those being presented. We have been able to look at this issue

academy kind of context. So unless you are competent in thefrom a point of view different from that of the previous

language , you do not understand it. If you do not understand it,

symposiums held at the Asia Center.

it makes no connection with your life. So given that India is a

I think that the issues of stereotypes and identity are twolargely rural and semi-rural country, it stands to reason that thesides of the same coin . We could spend days discussing thiskind of art that we would speak of is not very germane to mostissue. It would also be very effective to hold a symposium likepeople's lives and that is the situation that Indian artists live

this during an exhibition . I hope we will have anotherwith - which opens us to the question of what other kinds ofopportunity of this kind in the future . Thank you.

artists are available , really. And I think that that is where manyof the debates in India are being fought. Because there is awhole range of art practices that we , from our point of view inthe city , describe-deride

really-as

folk forms or decorativeart. Our categories were first put down by the British during
the colonial period , which we continue to use. I think that thedivide has occasionally been bridged, as for instance in the
recent collaborations between Navjot Alta! , who is ametropolitan artist, and Shantibai , who is a craftsperson or a

160

t

spoke about a local context in which the values and the moral ,Report and Comment on Session II

political , and cultural situation cannot be changed easily ,The Sea of Diversity: Divisionsand Syntheses

discussing possible responses to this situation and ways ofcreating hope. He talked about the existence or lack of free
expression in contemporary art under strict governmental
restrictions and how "Nokia Singapore Art 1999" became a

Nanjo Fumio

model exhibition which gave hope to artists.

Independent Curator

The fourth speaker , Nakamura Hideki, focused on the
problem of the gap between specific contexts and the gaze ofDavid Elliott spoke of the West's stereotypical view of Asia,

the other. He attempted to address the doubts raised in Asianusing the word "Black Hole." This problem of stereotypes iscountries about the active efforts over the last ten years byrelated to the larger question of how it is possible to

Japan and Australia to study and exhibit Asian art. He statedunderstand and make aesthetic judgments about the art of athat the purpose of these exhibitions was to carry out a dialog

culture other than one's own. In fact, this question of thewith the "internal other ," and sought the understanding of thepossibility of understanding is endemic to all art and one of its

audience.

most interesting aspects. Even if the artist stays aloof and tries

Whenever exhibitions of Asian art are mounted, there is an
undeniable tendency to read some sort of political intention

to create sublime beauty that is beyond the ken of the masses,
all art is made on the premise that someone, sometime andinto them. It comes down to the questions of "who" holds thesomewhere, will understand and love it. In a sense it is like a

exhibition, "for what purpose," and "for whom."diary. The writer of a diary has no intention of showing it toIn his paper , Mr. Nakamura said that research andanyone else, but he writes as if someone were going to read it

exhibitions are not carried out for the sake of the Asian that are

sometime, somewhere. In other words, artworks are ultimately

their object, but to help the Japanese , whose identity ismeant to communicate or at least be seen and appreciated by

ambiguous , understand themselves and their situation in theirother people.

own country. He made the statement that these exhibitions areintended to implant the eyes of the other within the Japanese .

If so, the desire to be understood by others of a different

After the initial presentation of the papers , the panelists

culture is a fundamental condition of all art. Even if art is
strange and exotic or based on extensive research, it cannot

raised a number of important questions. Shioda Junichi,

fulfill its mission unless other people understand it. Therefore,

commenting on Mr. Elliott's presentation , spoke of theartists and others involved with art must work actively touncertainty of the definition of Asia and the difficulty ofencourage understanding, communicating and exchanging

choosing two methods for mutual understanding of theideas with others, even if there is no foolproof method for

different cultural contexts of two different countries. In

doing so and it may not always be possible. Mr. Elliott affirmed

response, Mr. Elliott said that curators should use an approachthat contemporary art is a global language and at the sameto the exhibition that makes some sort of dialog possible , attime seemed to be saying that the possibility of communication

least in the country where it is held , and he said that this couldin this language depends on the quality of the work.

be assured by "quality."
Shimizu Toshia directed a question to Ms. Devenport. He

Rhana Devenport gave practical suggestions on method in

said that Australia had introduced the art and culture of Asia to

the next presentation. Ms. Devenport was involved in the
curation of the second and third Asia-Pacific Triennial of

its own country on a number of occasions , but asked what had

Contemporary Art (APT) in Brisbane. In both shows, theit sent or returned to Asia. I believe that this question should

curators attempted to take a neutral position between two

be pondered as a question for Japan as well. Ms. Devenport

cultural contexts, avoiding unilateral decisions by long stays

mentioned numerous examples of exchange programs andand careful research in the field. They took the time to holdcollaborations carried out between Australia and Asian

extensive discussions and listen to the opinions of many local

countries. These were carried out between artists , between

critics and curators. On the one hand, this method helped

cities , or were related to specific projects , and it seemed to me

correct the tendency to nationalism in the viewpoint of local art

that they represented a substantial effort .
Ushiroshoji Masahiro asked Mr. Mashadi why he made so

professionals. On the other, it provided opportunities for local
people to gain insight into the gaze of the other. Through thismuch of the "Nokia Singapore 1999" exhibition as a model.

intensive communication process, the curators also gained

Mr. Mashadi replied that there are sensitive moral and politicalknowledge of the practical effort required to make the gaze ofproblems unique to Singapore which need to be discussed

the other, which can easily slip into stereotypes, meaningful inwith greater relevance to reality in the forum of art. He said

academic work.

that he was convinced that "Nokia Singapore1999"

was a sitewhere this goal was actually achieved.

However, the gaze of the other and the local context do not

The last panelist , Tani Arata observed that the Asia Center

always accommodate each other comfortably. Ahmad Mashadi

161had been very active for the last ten years and that the

Mr. Rajah of Malaysia seem to accept this conclusion without

conditions surrounding the programs of the Asia Center andreservation. Dr. Poshyananda of Thailand actually suggests

the contemporary art of Asia have undergone enormousthat it is inevitable.

change during this period. He recognized the significance of

Others expressed a strongly opposite view, that standards

the meaning of the words "inner other" used by Mr.

exist for Asian art that are different from those of the West.

Nakamura in his final paper, but he objected to the narrowness

They believe that art is defined differently in Asia. Theseof the term and to the idea that this is the main goal of studies

differences of opinion surfaced in the discussion of art andof Asian art in a place where the art of diverse Asian countries

craft in Session ID, and they seem to come from differences inis discussed. Mr. Nakamura said that by the "inner other" he

the history of the participants' countries.

meant the other inside each individual rather than the gaze ofthe other in Japan.

The main question is whether one thinks that a global dialog is

In the ensuing discussion, there were a number of comments

whether one thinks that such a dialog is difficult or impossible.

on Mr. Elliott's contention that regionalism andThis question does not require a correct answer but rather aninternationalism (or universality) do not necessarily conflict.

expression of the will to answer in the affirmative. It is a matter

This was also additional discussion of the importance ofof ideals. Denying the possibility of a global dialog means

possible under present conditions in contemporary art ordiscourse or "discoursing,"

rejection of the raison d'etre of art, its fundamental hope towhich had been brought up in

Session I.

communicate.

Mizusawa Tsutomu used the words "small journey" todescribe the crossing of the slight gap in awareness that

It was not possible to adequately discuss the many different

occurs in exhibitions that involve two different countries. In an

views that emerged during this symposium, but with further

honest and delicate statement , he suggested that exhibitions

discussion it may be possible to arrive at some sort ofwere held when it was necessary to have people make thatconsensus. Even if this were possible, however, I believe thatjourney.

it would only be tentative, a matter of convenience. In order to

Niranjan Rajah stated that there is no need to define thebe honest to history and the facts it is necessary to accept thegeopolitical region represented by the word Asia or the identity

diversity of Asia, taking the attitude that chaotic conditionsof Asian art. He maintained that this word need only be usedmaking strict definitions impossible is a cultural asset. For us

for strategic purposes. He also suggested that art does notthis attitude could be truly meaningful.

have a practical function, eliciting a response by Jim
Supangkat about the role of art in Asian society.

Our future is carried on shifting vessels of different sizes

Leng Lin spoke about Mr. Elliott's criticism of stereotypes,

drifting on a sea of diversity.

stating that this might be a crisis for the West but did not seem

(Translatedby Stanley N. Anderson)

to be such a big problem from the Asian side. He pointed outthat , from the opposite point of views , the stereotype of theWest seen from Asia probably fits. This was related to acomment by Apinan Poshyananda. Ranjit Hoskote of India
mentioned the special position of contemporary art in India,
declaring that the ultimate effect of art is different from popular
media like film, that it is connected to a search for the
existence of the self.

Many themes emerged in the preceding discussion, but they
could be summed up as a concern with the problem of Asian
identity , although Mr. Rajah would deny its importance.
Another way of stating this problem is to ask whether global,
universal standards can exist for art, or whether it differs
according to each specific cultural context. That is, are thestandards necessarily different for postmodern, divided,
regionally specific cultures?
If, as Mr. Elliott believes, contemporary art provides aforum for international dialog, there is no basis for such a
divided vision. Although they approach the problem fromdifferent angles, Mr. Leng of China, Mr. Hoskote of India, and162

Session III
General Debate:
In a Global Context: Asian Art in the 21st Century

Sessio n Ill
General Debate : "In a Global Context : Asian Art in the
21st Century "In this session , the possibi lities of Asian art in the 2 1st century will be explored thro ugh a free-ranging debate based on
the previous discussion of issues related to As ian art of the
1990s in Sessions I and Il and furt her stimulated by thecomments of three critics with perceptive views on the futureof Asian art.
1. "Asian Art and the New Millennium: From Glocalism toTechno-Shamanism"
Apinan Poshyananda (Associate Director, Centers of
Academic Resources, Chulalongkorn University / Thailand)
2. " Asian Art after the Internet: Transcending the Regional
Arenas of the Late 20th Century" Niranjan Rajah (Art Critic /Malaysia)
3. "Turning Our Eyes to Individuality"
Tatehata Akira (Professor, Tama Art University / Japan)
Discussion
Report and Comment on Session m" Toward an Anonymous Individuality"
Mizusawa Tsutomu (Chief Curator, Museum of Modern Art,
Kamakura / Japan )foreign policy , art and culture. Therefore in this paper I will

Session ill Presentation #1

present my view on the future of contemporary Asian art as

Asian Art and the New Millennium:
From Glocalism to Techno-Shamanism

seen through the process of cultural hegemony and the"othering"

discourse that relates closely with "civilizing"

missions and display of the "exotic ." 'Apinan Poshyananda

Hierarc hical Integrat ion of Asia n Va lues

Associate Director , Centers of Academic Resources,
Chulalongkorn University

Economic dynamism resulting in the Asian miracle in the late1980s and 1990s caused considerable interest on the "Asian

As we rapidly shift into the new millennium , it is time forWay" and "Asian Spirit." Asian attitudes and regional

anticipation , speculation and anxiety. We look ahead in hopeparticularities and various cultural and religious backgrounds

that somehow when the clock finally turns the year 2000 willtend to be different from those of the West. However , attempts

usher in a fresh new era. For Asian watchers , they anticipate

to relate everything into a single factor-Asianismthat in politics , economics , religion as well as art and culture ,Asianness-

Asia will blossom with pride and glory .

ignore the multifarious layers and complexities of Asia .' As

But in reality the path to global nirvana may not beormakes it easy to simply skim the surface andscholar Edward Said points out , for Europeans , the term

sprinkled with jasmine and roses . Earlier this decade global"East" primarily denotes the Near East . While the term "Fareconomic restructuring and explosive growth in Asian

East" or "Orient extreme " reflects the region's remoteness .

economy caused East and Southeast Asian countries to be

Culturally constructed images of "otherness " in Western

nicknamed the rising tigers and dragons. But as we know two

discourse s such as orientalism often place Asia to be on

years ago Asia got mired in an economic mess . Consequently ,opposite side of the West . Systematized cultural meanings

it has been hard for these tigers and dragons to keep theirtend to simplify "us" and "them" while the concept ofstripes and ferociousness . We are still asking how muchnation al imaginary is constantly redefined , reworked andlonger will the Asian economic crisis continue?

circulated . Consequently , in the past Asia has been interpreted

Global integration and turbo-capitalism on a world scaleas "exotic " and "timeless ." While Asian artworks have been

appear unstoppable yet they are destroying foundations andcategorized as "ethnic ," "primitive " and "folk." 'undermining democratic stability and the state's ability to

The 1990s continued to witness various form s of culturalfunction . The pace of change and redistribution of power havestereotyping in Asian art exhibitions which stress on "nationaleroded the old social entities to the point that globalization has

self" and "national others." The process of exhibiting modern

become a trap where developing countries in Asia are caught

and contemporary Asian art has been a vehicle to promotein the game of catch up.' Global village and New World OrderAsian identities that are seen as different from others . Notably ,attempt to make the world become one . Ironically , the New

outstanding exhibitions " Asian Modernism ," "Modernity andWorld Order is full of chaos. The dictating powers dominate

Beyond ," "The Birth of Modern Art in Southea st Asia ," andthrough the World Bank , the International Monetary Funding"Art in Southeast Asia 1997 : Glimpse s into the Future" were

and the World Trade Organization . If these international

conceived primarily for viewers in Asia. Asian-centric paradigm

economic organizations do not work then strong-arm tactics

replaced Euro-american centricity. These groundbreaking

are carried out by world police in the name of globa l peace asshows were constructive but their exclusivity on the concept ofdemonstrated in Yugoslavia and Iraq.

"Asia for Asians" became self-enclosed approaches as

Politics , trade , religion and foreign relations in Asia will

"Asian values" were analyzed for their own sake .

always play crucial roles . The region has been relatively

Exhibitions of contemporary Asian art outside Asia requirepeaceful but there are areas of tension that are ready to

preconditions for creating interest for audiences to appreciate

explode. For instance , confrontat ions between North-South"Asian values ." The process of exhibiting in the foreign space

Korea , Pakistan-India , China-Taiwan and turmoil in Indonesia

demand negotiating cultural meaning across heavily controlled

and Cambodia have enormous impact on the region . Trade

domains. Still , preconceived ideas by the West remain that ,wars and the coming of the second Cold War will have direct

like festivals , Asian art has been the repository of imaginedconsequences on our lives .

communities and reinvented traditions. Many Western viewers

To comply with the new rules of globalization some weakerstill expect contemporary Asian art to reflect exotic

and less influential countries fall in rank with global

characteristics.

hierarchization. Others react against globalization by turning

Several traveling exhibitions in the 1990s tried to shift

towards local and indigenous values. Some countries attempt

away from the "exotic."

to assimilate both global /local which result in a myriad ofmagical /spiritual in the exhibition "Magicien s de la terre""glocalism ." This kind of hierarchical integration will continueorganized in 1989 in Paris , traveling shows such as "Against

into the next century to have consequence on politics, trade ,Nature" (1990) , "Traditions/Tensions : Contemporary Art in165

Instead of the rubric ofAsia" (1996), "Inside Out" (1998) and "Cities on the Move"comprised of many Korean monks and national dancers to(1998) focused on the demystification of Asianness and Asian

promote Korean exotics.

exoticism. Despite avoiding stereotypes , ethnocentrism or

The presence of numerous Chinese artists in Veniceseeing the world in our own image, these exhibitions still

Biennale in 1999 ushered in a breath of fresh air from Asia.

aroused the mystery of "curiosities,"

The selection by Harald Szeeman, the general commissioner,"eccentrics""oddities"andindicated that Chinese artists are taking the lead into the next

from peripheral territories. Perception andreception from the public in the West varied accordingly. Many

century. The prospects look bright for Asian artists. We might

appreciated the brave new artists from Asia; others found themalso observe that many Asian artists are from East Asian

to be derivative and inauthentic. 'countries with strong economic resources that have politicaland trade interests to the West. Notably , due to lack of

The prospects for the future will be that commodification as
well as demystification of contemporary Asian art will continue

sponsorship and governmental support the number of artists

as clashes of cultures and civilizations on world arena demand

from South Asia and Southeast Asia continue to be scarce.
Still, curiosity about Asian artists will continue to play an

art organizers to be responsible for these "civilizing"
missions. Cooperation among Asian organizers need to be

increasing role in international art scene. There are two main

focused in order to avoid divisiveness and lack of cohesion.

reasons involved. The transnational use of art exchange as

Leading Asian countries such as China, Japan and Southlubricant for "economic intercourse" and fascination "to frolic

Korea must be careful in their construction of Asianness orwith our friends abroad" are the paradigms for intercultural"Asia as One." The gaze at their Asian neighbors/non-Asian

encounter.' The desire to experience thrilling strangeness willothers will shift and change according to specific sites andincrease exchange-value of art commodities andlocal audience.

entertainment industry. Entertainment may be in the forms of"cultural baggage" ranging from myths , rituals , carnivals,
culinary, reinvented traditions and fascination of the Asian

Commodification of the Exotic

In art practices, conceptions of culture and difference haveraces. The dizzying array of diversity arouses a sense of

been heavily entangled with the process of art exhibition anddiscovery and excitement of heterogeneous elements fromaudience participation. Frequently , the notion of strangeness isperipheral territories.
Some of trademarks of contemporary Asian art are now

normalized so that art can be spoken in the same breath asentertainment. In order to anticipate the futurity infamiliar. Cai Guo Qiang' s gunpowder and explosion; Gu

contemporary Asian art let us look at expositions in the past

Wenda's"hairy" calligraphy; Xu Bing's computerizedthat revealed how taste , values and cultural hierarchy were

"Chinese"characters; Feng Mengbo' s interactive CD-ROM;

constructed.

Zhang Huan' s body experiments; Miyajima Tatsuo ' s

International expositions in Europe and America such as

metaphorical digital numbers; Soo-ja Kim's Korean textile

the Centennial Exhibition , Philadelphia (1876), the Exposition

bundles; Choi Jeong-Hwa' s sensuous inflatable sculptures;

Universelle, Paris (1889) and the World's Columbian

Lee Bui' s cybernetic females; Montien Boonma' s installations

Exposition, Chicago (1893) showed phantasmagoria ofwith medicinal herbs; Rirkrit Tiravanija' s pad thainational identities and how nation-states represented

performance/installation; Navin Rawanchaikul' s tuk tuk andthemselves.' These great world's fairs became arenas ofbillboards; Lee Wen's Yellow Man; and Manit Sriwanichpoom's

civilization, international trade and world peace.

Pink Man on Tour.
These emerging Asian artists play important role in art

Representative countries became members of the cultural
elite. For instance, the foreign villages of the Midway

extravaganzas and celebratory events of the post-industrial

Plaisance, Chicago (1893) displayed strangeness of the ethnic

age. They can be interpreted as "urban shamans" who offer

people from Turkey, Egypt , Persia and Morocco. Portrait types

sensational experience through their inventiveness andwere displayed as curiosities while thousands of viewers

theatricality. But unlike troupe performers, acrobats andflocked to experience foreign cultures from far away places.

indigenous dancers seen in international expositions, these

Later , it became fashionable to attach art exhibitions to world's

artists are elevated to a prestigious status due to curatorial

fairs and Olympic Arts Festival.

guidance and art institutional endorsement.

In the case of Venice Biennale , established in 1895,
permanent art pavilions were built for invited countries to join

The Future of Asian Cultural Arenas ... Who Will Lead thethe hierarchy of the art world. Notably, the venues at Venice

Flock?

became prototype for display of power , culture andLooking closer within Asia the fast pace cultural activities havedominance . Apart from Japan, the emergence of Asian artists

proven that international biennales and triennales are meansin Venice has been relatively recent. Korean and Taiwan

to plug contemporary Asian art into global art network. Nodal

pavilions reflected financial support from local governments

points in East Asia such as Shanghai, Kwangju, Fukuoka,

and patrons. The opening of the Korean pavilion in 1995

Taipei , Osaka and Yokohama are becoming Asian art capitals

166equipped in art infrastructure and financial resources. Like in

3. See discussion on Asian identity in Francois Godement , The New

trade , Japan is often seen as metaphor for the Asian brain or

Asian Renaissance : From Colonialism to the Post-Cold War,
Routledge , London and New York , 1997 , pp.3-5 and Richard

Japan leading a V-shaped flock of flying geese.• In the future ,Maidment and Colin Mackerras (eds .), Culture and Society in the

China or South Korea may take turns to lead the V-shaped

Asia-Pacific , Routeledge ,London and New York , 1998 , pp.1-5.

flock but the pattern of hierarchical integration will be initiated4 . For articles on authenticity , primitive and folk art and collecting

in East Asia. India , Pakistan and Southeast Asian countries

culture see Georeg Marcus and Fred Myers (eds.) , The Traffic inwill remain to play subsidiary roles. Because Malaysia, theCulture : Refiguring Art and Anthropology , University of California

Philippines , Thailand and Indonesia do not host such

Press , Berkeley , 1995, and Ruth Philips and Christopher Steinerinternational art events they have limited control in selection(eds.) , Unpacking Culture : Art and Commodity in Colonial andand curatorial rationale. While Singapore claims to be the art

Postcolonial Worlds , University of California Press, Berkeley ,1999.

center of Southeast Asia , it still remains to be seen how the

5. For example , see Alice Yang , "The Plurality of Contemporar yflock will be led.

Asian Art ," Why Asia ?: Contemporary Asian and Asian Amer ican

It is predictable that art circuits in East Asia will dictate theArt , New York University Press, New York and London ,1998,

trends of "who's who" and "what's hot" in contemporary

pp.79-86 .

Asian art. In turn, these art circuits will feed information and6. See Curtis Hinsley , "The World as Marketplace : Commodifi cation

promote selected Asian artists into international art arenas inof the Exotic at the World's Columbian Expositi on, Chicago ,the West. Like fashion , the kind of art regarded as chic , stylishor "artrageous"

1893," Ivan Karp and Steven Lavine (eds .), Exhibiting Cultur es:

will be transported and exhibited like "hot"

The Poetics and Politics of Museum Display, Smith sonian Press,

commodities . International art events in Asia will be the safe

Washington and London , 1991, pp. 344-365 and Babara

and appropriate spaces to be different , to be "ethnic"

Kirshenblatt-Gimblett , " Confusing Pleasures, " Destin ation"national."andCulture : Tourism , Museums and Heritage , Universit y of

The jumble of foreignness will be pulsating with

California Press , Berkeley , 1998, pp .203-248.

excitement and entertainment. Here , artists do not have to

7. See Apinan Poshyananda , "The Future : Post-Cold War , Post

produce heritage-related arts that continue the purist roots andModernism , Post Marginalia (Playing with Slippery Lubricants) ,"indigenousness. On the contrary, they are free to create hybrid

Caroline Turner (ed .), Tradition and Change , Univer sity ofand avant-garde works that evoke dynamism related to the

Queensland , Brisbane , 1993 , Emmanuel Torres , "The Pinoy

buzzwords such as multiculturalism , heterogeneity and

Visual Artist and the Asia-Pacific Century ," Panan a w Philippine

polycentrism. By pluralizing Asianness into the context of

Journal of Visual Arts , National Commis sion for Culture and theinternational the asymmetries of power are shifted. As a result ,Arts, 1995-96 , pp.10-19 ; Babara Kirshenblatt-Gimblett , "Thebiennales and triennales are at once catalytic and celebratory

Agency of Display ," Destination Culture : Tourism , Museums andHeritage , pp.17 -78 .

events that attract audience , mass media and tourism to these

8. Richard McGregor , Japan Swings : Politics , Culture and Sex in the

nodal points.

New Japan , Butterworth-Heinemann Asia , Singapore , 1996,

In conclusion , I see the future of contemporary Asian art to

pp.50-54 .

be extremely challenging and exciting . The roles of artorganization , art management and curatorship will be essential
in international art circuit. Instead of self-enclosed approachesof "Asia as One ," Pan-Asianism or universal Asian values,
contemporary Asian art will have a wider scope in relation with
its counterparts in Europe , America , Africa and the Pacific. The
more international art events take place in Asia the increase in
the flows of exchange-value commodities and entertainment
will occur. Predictably , this will bring exposure to artists in thisregion but hierarchical positioning will be essential as theleader of the V-shaped flock of flying geese will take on theprominent role of domination and entertainment.

Notes:
1. For discussion on globalization and global disintegration see HansPeter Martin and Harald Schumann , Global Trap: Globalizationand the Assault on Prosperity and Democracy , Zedd Books
Ltd ., London and New York, 1997 .
2. See related article on self-exoticism and cannibalism , Apinan
Poshyananda, "Eat Me," XXIV Bienal de Sao Paulo , Fundacao
Bienal de Sao Paulo , Sao Paulo , 1998 , pp.164-178.

167

t

digital artifacts of new medium. As Asian artists develop a new

Session ill Presentation #2

networked multimedia art in online interactive transactions,

Asian Art After the Internet:
Transcending the Regional Arenas of the Late
20th Century

they are contributing to the shape of what will , arguably,
become a truly global arena for twenty-first century art.

A Universal Interactive Aesthetic

Niranjan Rajah

If the elitist distinction of art from craft and from popular taste

Art Critic

has been the rationale of international art of the modern
period, the pluralism of postmodern culture and the

Beyond Regional Hegemonies

technologies of the information age promise to dissolve thisAs we approach the new millennium we find that thedichotomy. As the future promises to catapult the arts along

contemporary arts of Asia countries are no longer

with all other aspects of life into a digital realm , the interactive"developed"

solely by national institutions in terms of amode of this media seems to be undermining artistic authority.

indigenous art discourse. In art as in other areas of the

At the cutting edge of the new multimedia arts we find theemerging global order , decisions of powerful International

collaborative construction of interactive domains and artists

institutions now impinge on national scenarios. Art from theare already working very closely with industry and exploring"Asia Pacific,"

the latest technologies. The emerging interactive forms are far"Asia" and "Southeast Asia ," has beengathered together and exhibited in various centers withremoved from the "stand alone" art object of modern art.

superior cultural infrastructures. The administration of theseIn traditional Asian cultures the artist's role has always

expansive and comprehensive exhibitions , curated on the

been to articulate the expressions of a symbolic order derived

basis of national sections has produced what can be describedfrom scripture or folklore. Be it in Islamic geometry, Hindu

as neocolonial curatorial hierarchies with national curators

sculpture or Chinese painting , or in the roadside icons of thefeeding powerful central selection committees . Invariably there

Indian subcontinent the expression of individual personality

seems to be an insistence on national particularities to whichand perspective is the least of the artists concerns. In theregional co-curators are obliged to comply .

traditional aesthetics of Asia there is no separation of art fromIn the course of these developments an auto-orientalism

craft and the artist did not make objects or images solely forhas emerged in which Asians understand each other in terms

the purpose of aesthetic contemplation. The artists of Asiaof national idioms. This new orientalism in Asian art is moreshould find it easy to respond to this new scenario as it is quite

insidious than its colonial predecessor , as the rationalizations

simply a return to the traditional Eastern mode of artisticof postmodern theory belie a "taxonomic"

production.

construction that is,in the final analysis , not far removed from that of the "World's
Fairs" of the early twentieth century. There also seems to

New Media in Malaysia

have been an overt promotion of politically critical art in theseIf Malaysian artists were less prepared than their fellow

regional arenas , echoing the hegemonic "democracy"

Southeast Asian artists - Thai, Philippine and Indonesianrhetoric of the "new world order." Indeed , the "grandartists to indigenize and exploit installation and performancenarratives" of the Asia-Pacific Triennial , the Fukuoka Asianart of the last decade, with the implementation of the

Art Triennale and the Kwangju Biennale are underpinned byMultimedia Super Corridor Malaysian artists have thethe cultural agendas of their respective host nations. It must

opportunity to lead the region in the new digital media. We

also be noted that , when art from Asian countries is gathered

have a strong tradition of electronic art that will lead us to theand exhibited in Singapore , Japan , Australia or Korea cultural

future forms of multimedia , Internet , Telematic and Virtual Art.

"resources"

The visionary Ismail Zain has paved the way for us in theare diverted from the "regions" to fuelproduction in their respective culture "industries ."critical engagement with digital technology. He was quick to

As the world stands today , it is undeniable the "regional"
is constituted in terms of the "national"

grasp the computers capacity to dissolve the oppositional or

and some nations are

structural aspect of the play of signs in collage. As early as thein a position to dominate their respective regions.

1980s he produced a consolidated body of digital prints - his

Nevertheless , the instantaneous connectivity of the new

Digital Collage series. Beyond this, he constructed thecomputer mediated communications seems to be eliminating

theoretical framework for the absorption of technology and thegeographical distance and signaling the end of physicallycritique of globalization.

rooted notions of community , culture , economics and politics .

The developments in Malaysian art in the late 1990s reflect

It is even possible that , nationality itself will eventually be

the nations push towards being a fully developed nation by thedisplaced , as various overlapping "virtual communities"

year 2020. Technology is high on the agenda and Malaysian

emerge with identities and allegiances of their own. Indeed,

artists have engaged fruitfully with new media, albeit on theirregional and national characteristics seem less relevant to the

own terms. The National Art Gallery's

168"First Electronic Art

The Shape of Things to Come!

Show" in 1997 gave a historical review as well as an overview
of current practice in electronic media , including video, video

It must be acknowledged that any universal interactive

installation , computer print , computer animation , CD-ROM

aesthetic will have to be developed "over" existing

projects , Internet work , Smart board/VRML "painting"institutional structures and regional arenas. While the Internet

andreal-time computer animation / performance. This exhibition has

revolutionizes contact between those who are so far apart thatserved as a focus and a catalyst for the growing artistic

they cannot meet , its greater impact is in the way it heightens

involvement in the new media.

communication between those who can . Although the Internet
transcends the physicality of location , the people who use it

Web Artare geographically rooted. Face-to-face interaction will

While Malaysia is by no means the leader in Asian digitalcontinue to be important in human relations , and thismedia today , the following pioneering Internet artworks fromprimordial form of networking is more easily achieved between

Malaysia give us an indication of the Asian art of tomorrow. In"neighbors."

The Failure of Marcel Duchamp /Japanese Fetish Even (1996)

regional agenda of facilitating an online dialog involving

Indeed , Asian cultural institutions must develop a

at http://www.hgb-leipzig.de /waterfall / Niranjan Rajah (theresearch , information dissemination, networking and creative

author) locates a critique of European aesthetics as a site-

collaborations between technology based artists andspecific installation in the World Wide Web. While interrogatingorganizations .
Some Asian countries have poor infrastructure while others

the ontology of the image in computer-mediatedcommunications , this work also attempts to mark the problem

have poor human resource s even if the infrastructure isof cultural constituencies in the Internet. In Mondrian in Action!

available and other s still have no concept of the fruitful(1997) at http:// www.geocities .com/ Paris/ Bistro/6268/

engagement of art and technology . Indeed , business comesindex .him Ling Siew Woei deconstructs a great icon of

first in many Asian Internet initiatives and state media

modernism. Composition with Red, Yellow and Blue ishegemonies prevail. Concern has been expressed in theextended into the third dimension and rendered interactive in

ANAT' s (Australian Network for Art and Technology) program

VRML. As we pan , rotate and zoom in and out of the now

statement for 1999 at http ://www .anat.org.au /99program /sculptural copy , we overcome the humility with which we would

program .him for the plight of artists in "techno-aggressive
localities" facing "tech no obsession" and "state information

have approached the original.

controls."

In La folie de la Peinture (1998) at http ://www .artpages .de/There are also signs of an emerging "techno-orientalism"

installation Niranjan Rajah examines the ontology ofon the part of international curators . Preference being

installation art as photographic documentation of past "sitespecific" work is reinvested with online interactive presence .

expressed in some international electronic curatorial initiatives

In Tortoise Zone (1998) at http ://westwood .fortunecity.com /for digital extensions of indigenous traditions over attempts by

gucci/369 / index.html , Ting Ting Hook invokes a slightly

Asians to addres s the universal issues of art and technology.

hallucinatory mode as the viewer's impressions of a

The implication is that the center stage should be left to thosedisembodied virtual place impinge on his or her encounter within the West , while the "others" simply ornament thean analogous physical site. The differences between the

periphery. In constructing the new digital aesthetic , it is

outdoor site and the online one increase with time , as theimportant to recognize that our Asianness will prevail eventropical climate rapidly takes its toll. Documentation of the real

where it is not expressed explicitly. We should aim tosite was uploaded to the Internet site as the event progressed.

determine the center and will be more influential if we are lesstokenistic in our expressions of difference .

John Hii's Rain (1999) at http:// surf.to /hii evokes a Zen-

I conclude this paper with an agenda that must be

like poetics of interactivity . The surfer encounters a black pagethat is transformed into a pool of water when an animated leaf

addressed urgently if the new interactive arts are to take Asian

floats down to strike the "surface " causing a ripple and a

Art beyond the present hegemonic regionalism and tosound. The viewer finds that he or she can make rain bytransport us to a truly global paradigm in Art .

clicking the mouse . As the surfer "immerses"

in theexperience , the rain intensifies in visual and aural interference. The Domestication of Technology in the Arts-We

patterns . Prasembah 2000 -An

the applications of digital technology in arts without recourse

Antologi la! (1999) by Hasnul

Jamal Saidon is a long downward scroll in illustrated verse atto superficial cultural tokenism .

http://meltingpot.fortunecity.com/ukraine/240pra 2000/antologila.htm

2. Theorizing the New Aesthetics-We

developmust theorize theDelivered in a combination of erudite and colloquial Malay thisemerging art of immersion and interactivity (the demise ofpiece draws from the Malay Annals to address contemporary

the stand alone art object!) in terms of traditional Asianaesthetics and metaphysics .

culture and politics in a veiled yet critical , abrasive , evencynical, mode-

3. The Transformation of Artistic Production-

radical content well suited to the

CulturalInstitutions must develop funding and administrative

independence of Internet publishing.

169structures for the collaborative approach required by the
new technology based arts in which the artist will lead andcollaborate in the manner of film director.
4. New Curatorial Strategies-We

must develop more open

curatorial strategies that will integrate the gallery with thevirtual art space. Any rift between new media and old will inthe short run stifle the new arts , but in the long run it is thephysically rooted art that will be left behind.
5. Art Education-

We must develop new curriculums andreorganize art educational institutions for an age oftechnologically induced disciplinary convergence.
6. The Interaction between Art and Industry-

The fast

developing countries of Asia must instill the culture of longterm corporate investment, sponsorship and technicalsupport for art/technology research.
7. The Technology Gap-Asianarts institutions must address

the technology gap in both machines and manpower
between developed and developing countries in Asia.

Note:
This paper has been developed from ideas previously presented in"Curating Southeast Asian Art into the 21st Century: A Malaysian
Perspective" presented at the "Asian Art -Towards

the 21st

Century" seminar at the Fukuoka Asian Art Museum 1999,"Regionalism in a World of Borderless Transactions: Networking the
Art of the Asia Pacific" published in Australian Network tor Art andTechnology Newsletter#37, June 1999 and in "a rt @faca .unimas .my:Media Art from the Faculty of Applied and Creative Arts , Universiti
Malaysia Sarawak ," published in the Third Asia-Pacific Triennial
catalogue, 1999.

170

can no longer by sustained by the contemporary art of North

Session ill Presentation #3

America and Europe, it is being recklessly replaced by anotherbeautiful fantasy, that of the identity of non-Western regions

Turning Our Eyes to Individuality

like Asia. We should not forget that this theory of the essential
goodness of collective identity is politically dangerous since it
can lead to the suppression of the individual under a facade ofTatehata Akira

seeking compensatory justice.

Professor, Tama Art University

At the colloquium of the 1998 AICA (The International
Association of Art Critics) Japan Congress , the Japanese critic

In exhibitions of Asian art , there is a tendency to see theMinamishima Hiroshi gave a polemical presentation entitledidentity of the individual artist as inseparably connected to the''Toward Oblivion of Identity." In it he said:collective or communal identity of Asia . In spite of the goodintentions behind these exhibitions , there is a danger that they''We admit that Said's model of the world where identities

might function inadvertently as systems that repressively

coexist and Theodor W. Adorno's idea of 'Discrimination

control the gaze of the viewer. This may be inevitable in thiswithout Domination' as well had effects on the late 'Sao"age of exhibitions ," but I would like to take a hard look at thisPaulo Biennale' and 'Kwangju Biennale .' These concepts

difficult-to-avoid reality and suggest the possibility of reviving

have been widely accepted by non-Western countries

the practice of gazing at the particular and the individual as a

including Asian countries , as powerful text to encouragereasonable "third discourse ."them to be conscious of their identities .. .

The attention paid to Asian contemporary art in the 1990s hasboom calmly . You will see the boom means that identity andalmost always been accompanied by the discourse of regional

memory play a key commercial factor in a certain industry. It

identity in one form or another. We have continually made themay be the reality of the boom that "cultural struggle" is theidentity of Asia an issue whether from an inter-regional point ofalias of identity as an industrial source to contribute to the

But I'd like you to stop for a while and examine theview or from the external vantagepoint of North America ,narcissistic national profit, and it has only been supporting

Europe, or Australia. This concern with identity has been

the late capitalism ...

applied to the specific categories of nationality, ethnicity, andRealizing the reality, we have to acknowledge the fact

religion as well as to Asia as a whole .

that no matter what place we stand on, no matter how

This approach has not been limited to the field of art, andconscious or unconscious, we , art critics , have beenin general terms , the examination of national or ethnic identity

obviously selling and buying identities in the market ofis clearly an extremely effective way of understanding cultural

criticism and art exhibition ."'phenomena. However , after observing the many exhibitions ofAsian art that have flourished in recent years , I am concerned

Minamishima rejects the logic of the powerful nations, thatthat we have gotten things turned around by making art into a"human existence cannot be assured unless identity isfield of discourse on group identity. If works of art are reduced

clarified ," but he sees the same logic being applied in theto convenient data for demonstrating the nature of regional

ideas of Asianism. His paradoxical position is to oppose andidentity, then the exhibitions are not fulfilling their fundamental

rebel against this logic through ''the oblivion of identity."

purposes even if they succeed in satisfying or entertaining theMinamishima attacks both collective identity and individual

audience .

identity from the same point of view and his thinking may be a

In an art exhibition , naturally enough , a number of artworks

bit reckless, but his statement deserves attention because it

are simultaneously put on display. Inevitably , however, thereveals the hidden political agenda that ties us to a repressive

more effectively organized the exhibition is, the more it

system when art exhibitions, the usual form of appreciating a

suppresses the viewers' awareness of the unique worldgroup of artworks, are joined to the set of concepts,

expressed in each individual piece. A show organized around"nationality, ethnicity , religion , and gender ."the name of a particular country , for example, will be

I do not mean to reject the structure of the artist's identity

appreciated in proportion to how well it incorporates theitself as being tied to the logic of domination. In fact , myidentity of each artist into a national identity through a process

position is just the opposite . That is why I believe that paying

of juxtaposition and comparison.

attention to the particularity of the work of each artist is

There is little resistance to this arrangement because theessential in curating future exhibitions of Asian art. Of course ,philosophy of multiculturalism, a dominant idea in today's art

it has been necessary to hold exhibitions devoted to all of Asia

world, sees collective or regional identity as something that isor particularly countries in order to educate and enlighten theessentially good with hardly any qualifications. While thepublic, and it will be necessary for art museums to continue

hegemonic fantasy of international sameness and simultaneity

doing so in the future. However, it is also necessary to go

17 1

beyond this education function so that exhibitions will bereactionary return to modernism . The concept of the one-something more than explications of regional and collective

person show might be criticized as being based on an

identity . As the next stage , I believe it is important to move theexcessive, unconditional , and na"fvefaith in individual identity.

emphasis to introducing individual artists. The greatest specificSome observers may be afraid that it will lead to the arroganceneed right now is to present substantial one-person shows .

of "the legacy of reductionism" attacked by Minamishima. I

Artists do not make their art as reference materials for

am not so optimistic as to expect that gazing on particularity

regional studies or as a means of cultural exchange. If wewill solve all problems. I simply want to examine theevaluate artworks purely on the basis of a sense of our cultural

fundamental figure of the "other" that still resides in much

mission , art could be brought down to the level of a tool forunrestrained thinking on group identity tied to "nationality ,misguided ideologues. If curation itself is a creative activity , it

ethnicity, religion , and gender." As I stated at the beginning , I

may be logically possible to have a first-class exhibition

want to explore the possibility of a "third discourse" to treat

composed of second-rate art , but this is a discouraging

the issue of identity.

scenario .

(Translated by Stanley N. Anderson)

An exhibition devoted to an individual artist does notnecessarily preclude a gaze directed at group identity . In some

Notes :

cases , the individual exhibition can represent a point of view

1. Minamishima Hiroshi, "Tow ard Oblivi on of Identity," XXX/1 A/CA
Congress , 1998 A/CA JAPAN CONGRESS , TRANSITION :that supplements the context of a group exhibition. It makes

Changing Society and Art Report , Intern ation al As sociation of Art

the idea of identity relative rather than absolute in the manner

Critics, Japan I AICA Press ,Tokyo , p.55.

of a group show . It is not unusual for artists to have double or
triple cultural "nationality ," and the conflict that takes place
inside each artist may provide fertile ground to nurture
powerful , innovative art .
The factor most likely to create an "age of the individual"
in Asian art is the advent of heroes and heroines. Frankly ,while it may be somewhat irresponsible of me, I am personallyhoping for the emergence of a superstar. I believe that if a few
giants appear in Asian art , it would be enough to quickly
transform the situation. And if opportunities are given topromising artists this dream may very well come true .
Conversely , the fashion for Asian art will not become firmly
established if we spend so much time examining the overall
trends that no one remembers the names of individual artists .
In thinking about what it would take to bring about an "ageof the individual" in Asian art , I would like to point to an
example from a quite different field , Latin American literature.
Up until the 1960s , hardly anyone in Japan paid attention to
the literature of this region , but in the 1970s , as you all know , itbecame a major topic of interest here . This was also true in the
United States and Europe , with some difference in the timing .
The interest in this new literature took root and continues
to this day , not because we learned about the general state ofliterature throughout Latin America but because we were
exposed to translations concentrated on a small group of
impressive writers . Whether or not talents appear in Asian
contemporary art of the magnitude of Borges or Garcia
Marquez , the boom will sooner or later fade away if the namesof individual artists continue to be absorbed into a context ofexcessively group-oriented identity so that it is difficult todiscern their particular qualities . We need to look at theindividual as well as the group.
The age of the individual exhibition was proclaimed by
Baudelaire , who said , "I see only the individual." From acertain point of view, what I am advocating may seem to be a172

expression.

Discussion

Now, I would like to go into the general discussion. First of
all , I would like to invite the commentators to make brief
MC (Mizusawa Tsutomu ) : My name is Mizusawa from thecomments, raising some of the key issues related to each ofMuseum of Modern Art , Kamakura. This is a two-day

the three presentations. Through this exchange of opinions , I

symposium, but some of you may not have been able to attend

would like to search for a common ground on which we canyesterday , so let me briefly explain the program. We havebase our discussion .
Before we continue , I have a question for Dr.

three sessions. In the first session , reports from a number of
Asian regions were made , and in the second session, we

Poshyananda. Your presentations always show an awarenessheard about the issues invo lved in introducing Asian art inof art world politics . I would like to ask a question about yourexhibitions from the presenter's point of view. David Elliott

use of the word , "glocalism ," also used by Mr. Elliott during

reported on how these issues have been dealt with not only

yesterday's session , since you did not elaborate on it in yourfrom the Asian point of view , but also from that of the West.

presentation . Is it correct to understand the word as not

There were also reports on the current situation and thedescribing the contrasting ideas of global/local, but describing

principles used in organizing regional exhibitions in Singapore

a condition in which the two are complementary to each other?

and Brisbane. These two sessions took place yesterday and
Ap inan Poshyanan da: I think it is a term that expresses a

led to discussions on many topics.

binary opposition such as center / periphery , regional /How we focus on specific issues in a discussion is always
a challenge in a symposium on Asian art. There are so many

international, or global/local. With popular use of the pairand such diverse problems related to this topic that we learn

global / local , some scholars have shortened it to "glocalism ."new things about each country every time we meet. To acquireIt's not my invention. In my paper it refers to local nodal points

knowledge of the regional issues at these occasions is

in variou s places that either resist or go along with the impact

worthwhile, but if I were to ask myself if I now share a certainof globalization. But I feel that in places such as Southeast

perspective with other participants on these problems , I would

Asia or in many developing countries , the initial resistance tohave to say that I do not really know , although I have attended

globalization might take the form of turning inward , toward

many of these symposiums.

tradition and old values and heritage . That is the first reaction
to globalization. So it becomes almost nationalistic , reinventing

Although Mr. Elliott described Asian art as being a "Black
Hole" in European eyes , I would also add that we have aor reviving local values, but as time goes on , it becomes clear

problem here in Asia, in which we cannot see each other allthat the impact of globalization will not go away . On thethat clearly either. Mr. Nakamura raised this issue yesterday

contrary , it will remain more and more , and I think the local

as he described a rather complex concept , the "inner other."values or the effort to revive these values gets blended with

With these issues at hand , we have continued to explore Asianthe effects of globalization. That ' s why I feel that you cannot

art without a map. Mr. Tani and Mr. Nakamura have been

just talk about localism or local values . It's enmeshed withinvolved in presenting Asian art in Japan , but they both agreed

globalism and the two must be seen hand in hand . It could bethat these activities have reached the end of one cycle , andseen as a hybrid phenomenon.

are now at the beginning of the next one.
MC (T. Mizusaw a) : I would like to first invite Mr. Ushiroshoji to

If we are to move on to the next stage , how should Asian

comment on Dr. Poshyananda ' s presentation .

art be discussed and presented in the future? On what
principles would we be able to base a forum on Asian art?

Ush irosho ji Masahi ro: I would like to ask one question . You

These are the topics we would like to explore today. That is
why our session today is titled , "In a Global Context: Asian Art

have helped me in organizing the "The Birth of Modern Art inin the 21st Century."Southeast Asia: Artists and Movements ," the exhibition which
you describe as "exclusive"

Having had the three speakers make their presentations , I

since the organizers havefind it very hard to find a common topic , but one of the things

focused on the concept of "Asia for Asians." On "Traditions /that I would like to pick up on is Dr. Poshyananda ' s view on

Tensions: Contemporary Art in Asia," you commented that it

Asia. Dr. Poshyananda said that he is not presenting Asian art"focused on the demystification of Asianness and Asianto show "Asia as one ," a Pan-Asian perspective , or a

exoticism." You have categorized the exhibitions into these

universal Asian value , but to seek new values through having

two groups , but other than the fact that one group was held in

dialogs with the West , Africa , or the Asia-Pacific . The word ,the domestic arena of Japan and the other in an international"Asia ," should not become oppressive or coercive. A morearena, mainly in Europe and America , are there any otheropen approach to art should be possible , in expression on thereasons that you categorized them in such a way ?

Internet or in what might seem to be an opposite type of
A. Poshya nanda : Thank you. In relation to "The Birth ofconcern , the pursuit of separate or individual forms of173

Modern Art in Southeast Asia," as well as "Traditions /Rhana Devenport: Thank you. I appreciate these comments

Tensions ," I think that I mentioned that both of them wereby Dr. Poshyananda . I suppose I have two things to mention.

important shows of the1990s. In relation to the first show ,Firstly , the "porousness""The Birth of Modern Art in Southeast Asia," I think that it was

Pacificness" is something we at the Gallery are quiteof the description of "Asia-absolutely necessary to have that show, even though it wasconcerned about, and this certainly relates directly , I think , tocreated for mainly Japanese viewers. If I understand correctly,

what Mr. Rajah was saying as well. Since launching the APT"The Birth of Modern Art in Southeast Asia" didn't travel

website , we've had more interest from Asian artists living in

outside Japan , while "Asian Modernism" exhibition did. I felt

the United States than from Asian artists living anywhere elsethat both shows were a learning experience and should havein the world with a large number of American West Coast

been exposed more widely . I feel that looking into the future ,based artists interested in participating in the project. In a way,

there should be more of these traveling exhibitions that give a

we feel that there are other forums (perhaps in an Americanchance for Asian artists to be viewed alongside other artists.

context) available to these artists, whereas we are perhaps

This is what I feel should occur more in the future . We need tomore interested in engaging with those artists who may not

do this. In connection with "Traditions / Tensions," the show

have other opportunities open to them.
Also, there are such a large number of artists who are

as you know opened in New York , then traveled to Vancouver ,Canada, and Perth, Australia, and then to Taipei, Taiwan. To

involved in this APT through the "Crossing Borders"the audience , this show presented all Asian artists and again I

curatorial avenue who are globally mobile (they may befelt that it was necessary to open the eyes of viewers in thoselocated in a different place from wherever they were born - forparticular localities. I felt that the artists were outstanding , andwhatever reason), or may be involved with collaborations oremphasis was placed on their individual achievement. But I

trans-practice. The inclusion of these artists has certainly

feel that , in the future , if organizers such as the Asia Society inchanged the nature of the Triennial this time . We decided to be

New York do a similar show again , I would encourage them toquite open as to who the final artists curated throughinclude other artists from outside the region of Asia. I hope I"Crossing Borders" might be. There were artists like Cai Guo

answered your question.

Qiang and Simryn Gill who were obvious considerations , but it
ended up being much more complex and layered with the

MC (T.Mizusawa ) : There is another thing I would like to ask.

Indian tribal artist Sonabai from Madhya Pradesh , the Brahma

The "self-enclosed"

Tirta Sari/Utopia Batik collaboration and the Elision/ Heri Dono

approaches of Asian values may betechnical or a matter of principle. Could you elaborate on thisnew music collaboration as well as other artists involved .

issue of how Asian art becomes "self-enclosed"

These artists have certainly altered the nature of how theas the result

project has evolved to this point . So I am really looking forwardof showing it within Asia?

to seeing how this curatorial innovation within the project
A. Poshyananda: For example , let me mention "Art incomes together, and to the qualities that those artists bring toSoutheast Asia 1997: Glimpses into the Future" that was held

the dialog.

at the Museum of Contemporary Art, Tokyo (MOT). Again , thisMC (T.Mizusawa ) : Thank you. I believe that Mr. Shioda will

was a very important show, designed specifically for theJapanese audience. I was surprised that it did not travel tohave something to say about Dr. Poshyananda' s comment.

Southeast Asia and other parts of world. I just felt that it

Thank you, Ms. Devenport , for your hope-inspiring explanation

became a kind of Asia looking at Asia. Had it gone elsewhereon the future prospects of the APT.

outside Japan or outside Asia , there would be more feedback

Mr.Shioda , can we have a comment on Dr. Poshyananda's

and reactions by non-Asian viewers , critics , and curators. The

views , along with your observations about the Southeast Asiansame could be said of the Asia-Pacific Triennial of

exhibitions?

Contemporary Art (APT) . Held in an Asia and Pacific context , it
Shioda Junichi: Yes . You pointed out that "Art in Southeast

drew the attention of viewers in the region . I know that the
project, which is based in Brisbane, is so enormous that it's

Asia 1997: Glimpses into the Future" did not travel outside of

impossible to travel , but I feel that the definition of Asia-

Japan. Yes , the exhibition was only shown at MOT and

Pacificness defined by the organizers should be more open

Hiroshima City Museum of Contemporary Art. Perhaps , I canand porous . Why not look at the other side of the Pacific Rim?

only say that Japanese museums do not have the know-how to

For instance the Pacific Ocean , if I know my geography

send exhibitions overseas.

correctly, the Pacific Ocean touches the coast of Los Angeles ,I agree that we should consider taking exhibitions of AsianSan Francisco , right down to Mexico and South America. So

contemporary art that we organize to other venues overseas ,why not expand the geography towards these areas as well.

and not limiting the audience to the Japanese. This is as much

This would be a more enriching view for the next APTs.

as I can say on this point.
I would like to ask Dr. Poshyananda several questions

174good show that I felt that it was great pity that it did not travel

about today's presentation . Today ..

outside Japan . I think that was one of the most important
shows that I have experienced . This is " Art in Southeast Asia

Niranjan Rajah: I actually feel quite differently , having spoken
about globalization and Internet. I actually feel that there is still

1997: Glimpses into the Future ." Okay , I would like to refer toa lot of work to be done with the notion of Asian art for Asians .

something that was said in this room two years ago. In one of

I found myself very surprised , looking at examples , but thethe articles that I wrote and papers that I presented , I said that

only example that comes to mind of what I think should bethere should be more cooperation and coherence between

happening , is actually a corporate-sponsored exhibition , theAsian institutions , that they should work together as a force to

ASEAN Art Awards in Southeast Asia. It's not a cultural

create coherence rather than divisiveness because I felt that

institution . I won't mention the name of the corporation, but it's

they have the necessary muscle. Financial power cannot bea corporation with very clearly stated motives and agendas

overlooked . If our forces are combined , less fortunate

other than art . But I think they are the only people who got one

countries, developing countries , will get the chance to bething right . When they make a show from ASEAN countries ,exposed more. Because when it comes to the grand shows ,they make sure that it travels to all the ASEAN countries , as

the big shows in the very big international arenas , these

far as possible , that are involved . I think this should be an

developing countries still lack the opportunities to be exposed.

obligation for future curatorial programming agendas. Don't

It is worth saying that these artists from the region here can be

make a show if you cannot take it to the most of the places that

selected to be shown at these venues in Asia . But when it

you take people from. Then you can get real criticism about

comes to very big shows outside Asia , these countries actuallyneed help from what we can call patrons , whether it be

your recontextualization of works and so on .

Australia , Japan or Korea . What would happen if they could
not obtain art funds or grants from those countries ? We know

MC (T. Mizusawa ) : Please continue .

that governments , especially the ASEAN countries'
J. Shioda: Well , I think Dr. Poshyananda' s solution for thegovernments , do not tend to give support to artists tofuture is to hold international exhibitions , such as biennales

participate in biennales and triennales . Only a few artists fromand triennales , and that he puts his hopes into such

South Asia or Southeast Asia get the chance to participate ,international exhibitions. In these exhibitions , artists , not only

and we know that if there were financial backup , there wouldfrom Asia but from Europe , North America , Latin America , andbe space for them to participate in the shows . So, I just felt

Africa , could participate and create new opportunities . To bringthat , for instance , the Japan Foundation , ASEM or the

Asian contemporary art into the international art circuit , what

Australia Council could combine efforts to really make thesekind of power politics would be more effective? I think one ofthings happen , and then these countries' artists could get a

the solutions that Dr. Poshyananda presents is holding

chance to be exposed.
Now, the other point I want to make is on the constraints ofinternational exhibitions.

grand biennales in Asia . Like a big giant , it cannot move freely .

There is the Kwangju Biennale in Korea as well as the
Yokohama Triennale in 2001 that would realize your idea .

So we should consider more thematic show s, smaller shows ,think they provide one kind of opportunity . But , even in big

and give more emphasis , as Mr. Tatehata said , to theinternational exhibitions , there are bound to be some curatorial

individual artist. Thematic show s can travel easily to ASEAN

constraints. I believe that selection of artists , regions , orcountries , where the audience can have a chance to see theircountries would be limited .

own artists in the context of the selected artists . ThoseAs Mr . Elliott pointed out in his examples of the regional

selected artists who get into the art circuit or art circus ," Black Hole ," there are countries like Cambodia , Laos , andwhatever you to call it, don ' t get seen by their own local

Myanmar that would probably also not be included in theseaudience . And there are some dangers here-international exhibitions .

with Jim Supangkat in Jakarta few days ago-that

I discussed thisartists tend

to get into the trap of this stick-and-carrot policy . If they get

Is it not possible to hold grass-roots international
exhibitions that do not have the scale of those in Kwangju andbacked up and supported , they will create the shows . When

Yokohama, but something that can be rooted in the region andartists create works according to the demand of those

held somewhere in Southeast Asia , even in Thailand? Once aparticular organizers , sometimes they lose their vision s andThai artist suggested the idea of a "Mekong Biennale ," which

they lose their main ideas .
Regarding the more grass-roots , more down-to-earth

would include countries along the Mekong River , such as
Thailand , Laos , Cambodia , China , and Myanmar . Is such anshows , I know that Montien Boonma has dreamed about thisexhibition impossible? What is your opinion?

Mekong Biennale , and I really hope that it can be realized

A. Poshyananda: I would like to comment on your firstsuch as the Baguio Arts Guild, which was a very exciting

statement regarding the MOT show . Because it was such aexperience I had in 1993 , and that is going to happen again in

before anything happens to him . There are other exhibitions

175