~

TheMakingof Art with
Contemporaries

Post-Symposium
Reflecti_Ql!ll098

Art Studies_02

inauguration of the Asia Pacific Triennial of Contemporary Art (APT)in Brisbane, and thecirculation of the first inaugural issue of the Art and Asia Pacific magazine, as well as the firsteditions of the publications edited by Caroline Turner and John Clark, a situation which
projected the "affinities and common experiences, active propositions into modernities,
their context and trajectories of artistic productions ." Mashadi described how these publications imparted more than mere country entries, and facilitated a curatorial mode of mapping
thematic features, as was manifested in the Singapore Art Museum's inaugural exhibition .
The cultural exchange programs that contributed to the formation of the nascent contemporary art scene in Asia was also distinct in that they were not set up to engage with theregion, but to engage "within" the region, as Carroll emphasized . The organization which
was founded with major funding from the Australia Council and the Ministry of Foreign
Affairs was the Asialink program, where Carroll worked during the 1990s on programs
consisting of not only of touring exhibitions, but also residencies and curatorial projects thattook more effort and time to produce tangible outcomes.
Carroll apologetically pointed to the gradual decline of Australian national government's
support and interest in the arts in the region after Keatings' term, but the investments madein the 1990s have succeeded in bearing some fruits . The organizer of APT, the Queensland
Art Gallery, for example, opened a new wing on its premises in 2009, and also raised a
generation of curators specializing in the Asian contemporary art. Noteworthy is their acquisition process which is , according to Mashadi, "very much marked by the interest in termsof engaging and negotiating directly with artists ." Singapore, on the other hand, has experienced more anxiety in building its collection (What "if the right Juan Luna is simply unavailable "),because it is more of "an attempt to engage with national histories."

Kishi presented Japan's engagements with the region, taking the examples of the initiatives
taken by the City of Fukuoka through the programs at Fukuoka Art Museum which eventually led to the inauguration of the Fukuoka Asian Art Museum in 1999, and the JapanFoundation, through its programs first at the ASEAN Culture Center, and later the Asia
Center. Kishi pointed to how it was perhaps necessary for Fukuoka to focus on contemporary art in Asia as a unique content that distinguished itself among the growing number ofpublic museums, which were built during the booming years that started in the late 1980s.
Kishi also pointed to how the Japan Foundation's exhibition in 1992, "New Art fromSoutheast Asia 1992," imparted a new experience to the public museums, providing themwith an opportunity to network by themselves. As the "Japanese museums had generally
depended on the financial support and know-how of newspaper sponsors, and the nameappeal of masterpiece works," the collaboration with the Japan Foundation "showed thepotential for creating unique initiatives and networks that did not rely on pre-existing institutions ." It is interesting that Kishi saw the Japan Foundation's projects as significant in demonstrating an alternative approach to exhibition making. The exhibitions subsequently
staged by these municipal museums included works that were explicitly political and programs that directly engaged their local audiences with the artists . These new approaches
demonstrated their potentials as worth investing. But as we know today, although Fukuoka
continues to directly organize their exhibitions related to Asian contemporary art, the practice did not prevail and turn the Japanese public museum system around, although it had
the potential to do so.
Having walked through the three presentations, Asia, during the 1990s, could be taken as aconcept that functioned like a media : for Singapore, to compare the state of contemporaneity and historicity; for Australia, to build institutional foundation; and for Japan, to open an
alternative channel to the existing system .

Hoash1Ak1

099

Chapter1

So what have the efforts in the 1990s brought to the current art scene in this region, which iswitnessing the development of new large-scale museums in Singapore and Hong Kong,
staging of art fairs and biennales/trienna les regularly in different cities, and mobilization ofartists, taking residencies at different locations? And what is, therefore, the role of the public
institutions today?
Mashadi points to the fact that securing multiple sites of cu ration is yet to be achieved . This
resonates with what Doryun Chong said about avoiding state funding to colonize artistic
autonomy. One of the significance of Goethe-lnstitut's activities in the region in the 1990s
was their governments' arms-length approach to their programs. Goethe-lnstitut is the one,for example, that introduced Joseph Bueys to Singapore. Many local artists were influenced
by encountering Bueys' art. Promoting art, which is subversive, conceptual, and free inform, or, simply put, contemporary, is an example that demonstrates what a public institu tion can achieve.

As we historicize the 1990s, those involved in the government-led initiatives within theregion recognize the benefits of government intervention in the cultural policies for"engaging" with the region . It may be possible to organize a set of efficient programs thatyield more output today, just like the productive economic activities that cross the borders
within the region as technologies enable consolidation of channels for exchange as wellas information gathering. But because we live in such an age, the institutions must be
careful not to allow Asia's platform to become homogenized, and its discourses to be
simply aggregated. It must recognize the value of the region's diversity, and build pro grams that are based on plurality.
We continue to rely cin individuals who are professional and experienced, just like the1990s. But as Carroll observed, the community rules in Asia. Many of her new colleagues
are still everywhere else but the major institutions. And as Mashadi described, thestrength of this region may be reliant on "a plurality of individual energies ." The best
conclusion, then, may be to have the public institutions take part in the production,exchange, and engagement in the region, by providing schemes and a platform to pick up
and share the different voices in the reg ion, and provide the means to archive the knowl edge that comes through these voices . The findings in this symposium, then, should not
be "the only knowledge" but "one of the many knowledges" that have become apparent
in the engagement with Asia.

The 1990s : Asia as Medium

~The Making of Art with
Contemporaries

Editor's Note
There is a difference in nuance between the Japanese andEnglish titles of this symposium, "Hajimari wa '90s : Teman
Ajia gendai bijutsu wo tsukuru" (It Started with the 1990s: Making
Southeast Asian Contemporary Art) and "The 1990s: The Making
of Art with Contemporaries ." There are surely those who
register the dichotomy between the appeals to domestic andforeign sensibilities in these titles . Given that the symposium
was being held in Japan for a Japanese audience, theJapanese title was chosen in consideration of the historical
reception of Southeast Asian art in Japan, and also had to be
attractive from a promotional standpoint . However, when
thinking about Japan's geopolitical position at the start ofthe 1990s, there was some concern that the phrase " Making
Southeast Asian Art" might run counter to the aims of theorganizers and lead to misunderstandings. And , in truth,
I personally feel that the English title's "The Making of Art
with Contemporaries" is just the right expression for captur ing the artistic activities that so energetically unfolded
across the Asia-Pacific region over the period from the
1990s to the 2000s.
For the symposium, we had the panelists give their presentations reflecting on the 1990s in the context of 2015 from theirrespective viewpoints as curators, researchers and culturaladministrators, and then asked them to contribute complete
drafts of their papers for this publication . We feel the utmost
gratitude toward them . Rather than simply looking back withnostalgia at the phenomenon of a time when art profession als across the region exerted their creative thinking, worked
hard and made connections trying to improve the environ ment for art in their respective countries, many of the presenters brought an objective criticality to their papers. In thisattitude I sensed an earnest desire to continue improving theart environment in 2015 and beyond. Moreover, in the editorial process of finalizing the papers and exchanging ideas,
there were new discoveries of things that had been overlooked at the time - discoveries that hint at the next step for aSoutheast Asian art environment that is currently in theprocess of dramatic transformation. We, too, intend to apply
these hints to the art program at the new Asia Center.
Finally, I would like to once again express my thanks to
Doryun Chong for his advice, as well as to Kamiya Yukie andHoashi Aki, who supported the symposium from its planning stages, and unerringly compiled the results of thesymposium after its conclusion.
We hope that following The Japan Foundation Asia Center
Art Studies Vol. 1: Cultural Rebellion in Asia 7960-1989, thispublication will be of use to all artists, curators and research ers who are interested in the art of Southeast Asia .

Furuichi Yasuko
Art Coordinator
The Japan Foundation A sia Center

100

Art Studies_02

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Flauderte May Datuin, 'Land,
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