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133

Session I

Asia Center (Furuichi Yasuko):

Welcome to our symposium

lively new both within and without Asia. Here , the role of cul-

and thank you for coming on a holiday to join us. I would liketural arbiters or taste-setters must be considered from the simulta-

now to start our symposium, "Asian Contemporary Art Reconsid-

neous perspective of inside/outside. That is to say , from one per-ered."

spective , that takes account of the interpretation of contemporary

I would like to introduce to you Dr. Apinan Poshyananda who

Asian art seen regionally, in Asia. And from another perspective ,will be the MC and the chairman for Session I. Profiles of thewhere contemporary art from this region is represented or pro-panelists are included in your booklets , so I will not go into details. Dr. Poshyananda teaches at Chulalongkorn University andjected outside Asia . Thus , it is essential to reconsider practices ofengagement, and expand the nature of relationships between mu-

has also been active in researching contemporary art, especiallyseums, artists, and the public in order to challenge traditionalin the Southeast Asian countries, and showing Asian art at inter-

practices and stimulate new ideas and ways of working.

national exhibitions since the beginning of this decade . He served
as the guest curator for the "Traditionsffensions

There are three key themes to which I hope to constantly draw

: Contemporary

attention throughout our discussion today. One , museums as po-

Art in Asia " exhibition in New York last year. Please welcome

tent forces of ideas and places that collect and curate contempo-

Dr. Poshyananda .

rary Asian art. Two, cultural arbiters as innovators and agents ofchange in contemporary Asian art. And three, processes and is: Good afternoon. Before we com -sues of collaboration between cultural arbiter s and artists. By way

mence, I would like to say how deeply honored I am, to be theMC (Apinan Poshyananda)

of elucidating on these themes, let me cite an important article on

non-Japanese chairperson of this extremely important opening

collecting art and culture by the renowned anthropologist , Jamessession, the issues for the museums. These issues are expansive

Clifford. Clifford's insightful writing reminds us of the power be-

and complex , not only in the context of contemporary art in Asia ,hind the complex process of collecting collectibles within the

but when applied to other areas all over the world. With the di-modern culture system. Clifford established four semantic zones.

verse range of prominent international speakers we have today , I

One , authentic masterpieces. Two , authentic artifacts. Three, in-look forward enormously to hearing experiences and suggestions

authentic masterpieces, and four , inauthentic artifacts. Art objects

that will both stimulate and expand our knowledge of the roles ofcan be located and circulated within and between these zones ac-

museums with artists and the public . Something is at stake here.

cording to specific interpretations. For instance, these zones are

Otherwise , we wouldn ' t be sitting here on a holiday weekend.

applicable to our reconsideration

Presently , museum officials and curators are gathered here to re-where , according to time and place , these works may or may notconsider Asian contemporary art. The word "reconsider " implies

be interpreted as appropriated exotic things , facts and meanings.

re-looking, rethinking , revising, re-gazing at what has previously

Here, "appropriate " means to make one s own, from the Latin

occurred.

word, proprius , proper, property.

of contemporary

Asian art

In the late 1980s, Asian contemporary art, especially Japanese,In this sense, the process of collecting ourselves, here, our cul-

Korean and Chinese , has received considerable attention interna-ture, is opposite to their culture needing justification from cul-

tionally. Since then , several economic bubbles in Asia havetural arbiters and mediators. What criteria validates an authentic

floated and burst, but the interest and curiosity toward contempo-

cultural or artistic product? What other differential values arerary Asian art has remained as intense as ever. Artists from India,

placed on Asian and non-Asian creations? What moral and politi-

Indonesia , Taiwan, the Philippines , Vietnam and Thailand havecal criteria justify good, responsible , systematic collecting prac-

emerged. Now, many non-Asian curators can actually name andtices? How do specific groups choose to exhibit, collect, pre-pronounce some prominent names from these so-called marginal-

serve, value and exchange? How do cultural arbiters sometimes

ized places. It should be realized by now that artists cannot func-

rely on closely knit networks of experts, while other times, com-tion in the art world by relying only on their talent. The function

pete among themselves, to claim justification for their brain childand position of museum officials and curators are becoming more

projects? As I said, issues for museums are complex and exten-

intricate than ever. As professionals in the art world establish-

sive. To have a productive and stimulating discussion, I hope thement, they act as intermediaries for institutional networks , galler-

audience will ask direct and pertinent questions, while speakers

ies, corporations, dealers and the public. As arbiters of taste andwill answer equally directly , so that we can penetrate the invisible

quality , they hold the authority to judge the artwork according tobarrier, so often found in art symposia. After all, this is a rare op-

conventions and criteria set to their specificity. Therefore, to re-

portunity for museum officials to air their views and elucidate

consider Asian contemporary art, it is appropriate also to rethinksome of the behind-the-scene

and re-look at the authority of cultural and curatoral arbitrage.

fully aware of. With these issues openly expressed, I look for-The history of representation of contemporary Asian art is rela-ward to an invigorating and thought-provoking afternoon.

137

issues , which the public are notFor our first speaker, I am honored and delighted to introduce

number of different formats throughout, from 1992 to 1996. The

Dr. Vishakha N. Desai. Dr. Desai is the director of the Galleries

critical decisions, such as having a single curator who was based

and vice-president of Cultural Programs at the Asia Society inin Asia and dealing with multiple Asian countries , were all madeNew York. Her first interest was classical Asian art , but recently

very consciously and with a strong commitment to create an al-

her role and contribution to the emergence and recognition of

ternative model to think about contemporary Asian art in a West-

contemporary Asian art has been magnified. In 1994, Dr. Desaiern context. The selection of five countries which sounds some-organized the exhibition "Asia/America ," which toured all overwhat arbitrary , was also very conscious. It was to purposely de-

the U.S. Last year she spearheaded the exhibition "Traditions/Tensions" in New York , which is presently on tour in Canada ,bunk the notions of monolithic Asia , and to suggest the diversityof Asia and to present works from countries with very rich andAsia and Australia. She is presently organizing the contemporary

mature artistic traditions that were less known in the Western art

Chinese art exhibition, "Inside/Outside ," which will open in theworld, particularly the American art world.
The seemingly arbitrary selection of the countries was also to

U.S. in 1998. Her paper is entitled, "East in the West, Presenta-

break the mold of regionalization of Asia into East Asia (China,

tions of Contemporary Asian Art in the U.S. "Japan and Korea), Southeast Asia, or the ASEAN countries, andVishakha N. Desai : I think it is remarkable that we are gath-South Asia (India, Pakistan), etc. At the same time, there was aered here in 1997 to reconsider contemporary Asian art. The no-strong attempt to suggest that many of the issues, that are tackledtion of reconsiderationby artists in the region, are indeed transnational and could benefit

means that we have considered

it forsometime . I am personally struck by how remarkable that is be-from interesting and imaginative juxtapositions

cause it was only a decade ago that Asian art began to be consid-

with a loose thematic structure. Thus, an artist such as N.N.

in an exhibition

ered, in earnest , in the international arena , with some notable ex-

Rimzon, who evokes and refers to traditional Indian iconic im-

ceptions , such as Fukuoka Art Museum and some presentations

agery , but with a very strong political and contemporary over-of contemporary Chinese or Japanese arts. A decade is a very

tones , could actually be seen in juxtaposition

short time, yet much has happened in this decade. As we bringsuch as Agnes Arellano, who also for very different reasons, uses

this century and this millennium to a close , we have woken up

and evokes the images of traditional figurative iconic imagery infrom a deep sleep and we, almost like children who want to growthe Hindu Buddhist world of Southeast Asia - the world that inwith another artist

very fast, are running around , as fast as we can, to catch up and tofact the Philippines is not always a part of. It was very much

make up for the lost time that we should have been using for

hoped that, by organizing the show not according to the countries

more than eighty years. Indeed there are scholars who have been

but in a flexible conceptual framework , it would be possible to si-

working on this for sometime. I have had the occasion throughmultaneously suggest culturally specific nuances of the individ-

my institution , the Asia Society in New York, to play a small roleual work while referring to the transnational relationships.

in promoting and thinking about contemporary Asian art in the

The selection of a single curator for the show with a team of

U.S. I should also hasten to add that the U.S. has been the real

curatorial advisors from a number of countries, all of the coun-latecomer in this particular arena, and there are some significant

tries represented in the show and beyond, was also designed toreasons for why that would be the case. I am delighted that, atprovide a strong visual and conceptual focus that would go be-

last, we are beginning to wake up. As a museum administrator, I

yond the constraints of the nation-state representation. I should

am to discuss with you the specific kind of critical perspectives

add here, that this particular idea of having a single curator was

we take in terms of planning, presentation and interpretation ofvery strongly recommended

contemporary Asian art , particularly through the exhibition inscholars , curators and critics, who were brought together in 1992.

which we were privileged to work with Dr. Apinan Poshyananda,

They strongly urged that we should not always have this kind of"Traditionsffensions

decision made by the committee because it often drags many con-: Contemporary Art in Asia.""Traditionsffensions " was billed as the first major exhibition

by our colleagues and friends of

temporary art objects from non-Western worlds down.

focusing on contemporary art for multiple Asian countries in the

In our initial discussions, Apinan and I agreed that we would

U.S. It opened in New York in three venues in the fall of 1996,

also restrict the exploration of the ideas and images to those art-

and then went to Vancouver , Canada and is now slated to go toists who were actively engaged in creating a dialogue with or cri-

Perth , most likely to Taipei , and , we also hope , to Singapore. The

tiquing perceived notions of traditions in their respective cultures

art from within andin the context of the dynamically changing, globalizing trends

without is one of the issues that this show brings up , as it travels

that are evident in all parts of Asia. The title of the show , "Tradi-to the cities in the Asian region as well as in North America. The

tionsffensions,"

five countries in the exhibition were India, Indonesia, Thailand,suggest the dynamic fluidity of the relationship between the two

the Philippines and South Korea. All of the issues regarding thewords, rather than to separate them in two discrete concepts. As

notion of presentationsof contemporary

with the slash between the two words , was toplanning as well as the presentation and the conceptual focus of

Apinan has described so aptly in the catalogue , we were very

the exhibition

thoughtaware that by creating certain conceptual constraints, we were

through , both with our curator, Apinan Poshyananda , as well assuggesting that this was not the show of contemporary Asian art,with the team of advisors and scholars that we were able to bringbut an initial attempt to present some of the more vibrant trends

together in 1992. We continued conversations

in diverse parts of Asia. We were also cognizant of the fact thatwere very carefully

and consciouslywith them in a138