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"AsianArt: Prospectsfor the Future" Report
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Au gust 2 1, 1999 (Sat.) 14: 00 -17:

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The Japan Foundation Forum, Tokyo
Organizedby The Japan FoundationAsia Centeroo~xmE£-i:T ·>T--tz:,,::,1---n;:1:, llfif.a J=J20 a• 21 a O)imrnt:::nt.:iJ, **0)00~3'.l:mE7ot-51' (lJl: oo~3'.(;JiE£'i:7,t-7L.,.) t:::sl 'Z , 00r;J5'~0)~tHl\r~1J~O)";Jq f .t:;if!!~lZ , oo~::,,:,,,r:;-'Ji.,. 1999 f7':)'J7
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Foreword

The Japan Foundation Asia Center welcomed art professionals from Japan and overseas to the JapanFoundation Art Forum in Tokyo for two days , August 20 and 21 , 1999, to take part in the International
Symposium 1999, "Asian Art: Prospects for the Future ."In the context of the international art scene , the art of Asia and the Asia-Pacific Region has undergone
a remarkable transformation in the last ten years of the twentieth century. The changes are ongoing andare likely to accelerate as the twenty-first century gets underway and the waves of globalization continue to break over art as well as other fields of endeavor in the Asian region. Against this background , theAsia Center organized this symposium to give professionals working in this field an opportunity to share
information and create a common ground for discussion . It is the third such international symposium tobe presented by the Asia Center, following "The Potential of Asian Thought" in 1994 and" AsianContemporary Art Reconsidered"in 1997 . Along with examining the contemporary art of the Asian

region in the 1990s, it explores the most desirable approaches to further development of Asian art in thetwenty-first century.
Eighteen panelists representing ten countries presented papers and participated in the discussions
along with a group of nearly 500 observers . Three sessions were held over the two days , resulting inlively and meaningful exchanges of opinion and active discussions based on the extensive experienceand knowledge of the participants. The size of the audience demonstrated the high degree of interest in
Asian art that exists in Japan , partially a result of the energetic effort that has been made by institutions
and professionals to introduce the contemporary expression of other Asian countries in exhibitions andother events.
This report is a compilation of the proceedings of the symposium , and we hope it will serve as a useful reference for reflecting on the development of Asian contemporary art of the 1990s and thinking
ahead to what needs to be done in the twenty-first century .
We would like to give special thanks to the panelists for their enthusiastic cooperation and to all theother individuals who assisted us in planning and carrying out this symposium .
March 2000
The Japan Foundation Asia Center

El,'x.
/ Contents

9 Program
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111 Session I"Examining Asian Contemporary Art of the 1990s,
Part 1: Reports from the Regions"
135 Session II"Examining Asian Contemporary Art of the 1990s ,Part 2: Perspectives of the Presenters"
163 Session m
General Debate: "In a Global Context:
Asian Art in the 21st Century"

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195 Roundtable Discussion
Looking Back at Asian ContemporaryArt during the 1990s
199 Jt;jc 1):;(.~ • 7" • 71-Jt- / Panelists' Profile

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Program• Day 1 August 20 (Fri.) 10: 00-17: 30
e 10: 00 - 10: 10 [Opening Address by the Organizer]• 10: 10 - 13: 10 [Session I]"Examining Asian Contemporary Art of the 1990s, Part 1:
Reports from the Regions"
The milieu of Asian art during the 1990s has gone through tumultuous changes along with the fluctuating economic and social conditions in the nations of Asia. There has been a dramatic increasein opportunities to see Asian art throughout the world, beyond theboundaries of the countries where it is originally produced. At thesame time , the development of information media has accelerated
the globalization of Asian art as we approach a new century.
In this session, some of the finest art critics from a number of
Asian nations will sum up the situation of art in the 1990s in theircountry from their own point of view and discuss it in relation to theinternational art scene. These presentations will lay the groundwork for an active discussion of the achievements and problems of
Asian art during the decade. Perspectives on the contemporaryarts scene in the Asian region during the 1990s will be presented
by panelists who represent some of the Asian countries that are
active in the scene.
Chairperson: Miki Akiko ( Independent Curator / Japan ) .
10:10 - 10:30
1. "It's Me!: The Main Theme of China's Contemporary Art in the
1990s"
Leng Lin (Art Critic / China )Chairperson: Nanjo Fumio (Independent Curator/Japan )14:30 - 14:50
1. "'Asia' : Enduring Stereotype or Black Hole?"
David Elliott (Director , Moderna Museet, Stockholm /Sweden)
14:50 - 15:10
2. "Why Australia?"
Rhana Devenport (Senior Project Officer , The Asia-Pacific
Triennial of Contemporary Art, Queensland Art Gallery/
Australia )15:10 - 15:30
3. "Appropriating Alterity: The Museum and Contemporary Art
Practice in Singapore"
Ahmad Mashadi (Curator, Singapore Art Museum/ Singapore )15: 30 - 15: 50< Interval >15:50 - 16:10
4. "Who 'Introduces' What to Whom and Why?"
Nakamura Hideki (Professor , Nagoya Zokei University of Art
and Design / Japan )15:10 - 17:30
Discussion

e 17: 30 - 19 : 00 [Reception]• Day 2 August 21 (Sat.) 14: 00-17: 00

10 :30-10:so
2. "Sensibility of New Generation"
Seo Seongrok (Professsor, Andong National University/ Korea)

e 14: 00 - 14: 10 [ Introductory Remarks]

10:so - 11 :10
3. "Discoursing in Regional Contemporary Art in Asia"
Jim Supangkat (Art Critic / Indonesia )General Debate: "In a Global Context: Asian Art in the
21st Century"

11 : 10- 11: 30< Interval >11 :30 - 11 :so
4. "Back to the World: Anxiety and Exhilaration in Contemporary
Indian Art"
Ranjit Hoskote (Art Critic / India)
11:50 - 13:10
Discussion
13: 10 -14: 30 [ Lunch Break ]e 14 :30-

17:30 [Session II ]"Examining Asian Contemporary Art of the 1990s, Part 2:
Perspectives of the Presenters"
Since the end of the Cold War in 1989 , there has been an urgently
felt need to reassess the Eurocentric view of art history andattempts have been made to construct new systems of value. An
active effort has been made to study and exhibit the art of countries
previously considered marginal , and this has meant renewed attention to the contemporary art of Asia. Contemporary Asian art of the
1990s has been discussed in terms of the various theoreticaltrends of the time , including postmodernism , Orientalism , postcolonialism, multiculturalism, and globalism.
In this session, the achievements and difficulties of the decade
will be covered by representative curators and critics from Europe ,Australia, Singapore, and Japan, places that have been active inexhibiting the modern and contemporary art of Asia.

e 14: 10 - 17:oo [ Session Ill]In this session, the possibilities of Asian art in the 21st century will
be explored through a free-ranging debate based on the previous
discussion of issues related to Asian art of the 1990s in Sessions T
and II and further stimulated by the comments of three critics withperceptive views on the future of Asian art.
Chairperson : Mizusawa Tsutomu (Chief Curator , Museum ofModern Art, Kamakura / Japan )14:10 - 14:30
1. "Asian Art and the New Millennium: From Glocalism to TechnoShamanism"
Apinan Poshyananda (Associate Director , Centers of Academic
Resources , Chulalongkorn University / Thailand )14: 30 - 14: 50
2. "Asian Art after the Internet: Transcending the Regional Arenasof the Late 20th Century"
Niranjan Rajah (Art Critic / Malaysia )14:50 - 15:10
3. "Turning Our Eyes to Individuality"
Tatehata Akira (Professor , Tama Art University / Japan )15: 10- 15: 30< Interval >15:30 - 17:00
Discussion• 17: 00 [Closing]Notes

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1. This symposium was organized by the JapanFoundation Asia Center on August 20 and 21, 1999 at
the Japan Foundation Forum in Tokyo. The simultaneous interpretation service was provided by theIntern ational Hospitality & Conference Service
Asso ciat ion. The following interpreters were present
at the symposium:••J apanese/ English simu ltan eous interpretation :Masuda Hirok o, Oyama Hiromi, Yokota Kayoko• Word-to-word interpretation :Akiyama Tamako (Chinese ), Kim Nurri (Korean )3.;$c 5-l:slt{>;:,,t:'-:t.,-O)~a!,l;t:,,;,,,r-y'Jb.sil
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3. The papers , which were submitted by the speakers
prior to the symposium , have been included in thisrepo rt as presentation papers .

4. Panelists ' titles are as of August 1999.
5. Identifi ed observer names have been included in thereport.
6. The name order of Asian names (famil y name / given
name or given name / family name ) are not standardized due to different rules of different nationalities .
The name order used during the sympos ium by panelists and observe rs has been respected . Names ofJapanese panelists and observers who participated

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