another, will be issues that we will have to continue to grapple
with for a long time. For the presentation of and study of modern

pared to centrality, perpheralizing or regionalizing Asian culture.
This presupposes a passive discovery of the self which causes anand contemporary Asian art forms, this will mean that our discussions will have lo become more layered and complex, allowing

inverse reflection of the true Asian face in the mirror of the West.
Next, since theories on the discovery of Asian identity are not as

for a variety of expressions and aesthetic judgments.

viable as Western theories on the disintegration of centrality, in
Asia, the issue of identity is often accompanied by an aggressive
or instrumental tool of attack.
Taking such dangers into consideration, the Japan Foundation

Kwok Kian Chowsponsored symposium made a contextual approach to the values
The "Asian Contemporary Art Reconsidered" symposium was atimely forum for the institutional support structure , programming,of Asian art and evaluated the exchange of art events in the Asian
region. The issue of the exchange of art involved discussions ofstate of the scholarship and curatorship, exhibition context, pattern

the errors in the Western evaluation of Asian art and the criteria

of cultural exchange and educational opportunity pertaining to
Asian contemporary art. With the increasing number of 20th-cen-of instrumentality inherent in contextual culture. The symposium
also discussed art exhibitions in Asia and reaction thereto, as welltury Asian art biennales and exhibitions , this highly significant

as the West's accommodation of Asian art. Yet, while the envi-

symposium organized by the Japan Foundation Asia Center tookstock of the development , reviewed the progress and discussed

ronment of Asian art shows was discussed in a diverse way, theissue of how different Asian art was and how Asian sensitivity

philosophical underpinning and operational issues pertaining to

led to the formation of an Asiatic spectrum was relatively ne-

such programs.
The symposium featured representatives of key international in-glected.
The merit of the symposium was in its discussion of Asia's part

stitutions in the field of 20th-century Asian art exhibition andin the natural environment of the globe, than of Asia as a regionalsome of the most notable art historians in this subject area. Papers
dealing with Asian modern and contemporary art programming,bastion. This suggests an earnest exploration of the voice of Asian
culture in the 21st century, and a microscopic step forward in the

curatorship , collection , research and museology were presented.

direction of independent order and regional balance for Asia,

There was much discussion on the practicality and problem incollaborations and collective programming strategies. The sympo-

away from the overall influence of Western art forms.
End of the century history may be said to be reflection in eachsium expressed the sentiment that there was a need for evenother's mirror. The future of Asian art, however, requires more

greater interaction and corporation to develop a discourse for collecting and exhibiting Asian art independent of Western art para-

than an interest in political mirror images : it calls for a comprehensive Asia study. The particulars of modern Asian art are yet todigm.

be defined because it has as yet to be generalized fully. Regional

The symposium also considered cultural interactions and thesynergy and conflict between extra-cultural agenda and the constant desire for authenticity in aesthetic presentation and experi-

art events will have a true meaning only when the place of Asianart is enhanced in the global village. This is a considerationneeded to be addressed in the next symposiu~.

ence.

It is hoped that there would be more symposiums and conferences on the subject as it is very important to step back to take a
distant and critical view of an institution's own programming di-

Hung Liu

rection to ensure that forward planning always remain dynamic

As an artist trained in China and now living and working in theand supported by the sharing of experiences of other institutions

United States for over thirteen years, I have always been aware ofin the field for collective advancement.

my dual status as both a Chinese and an American artist. In thecontext of American multiculturalism, my "identity" has con-

Lee Yongwoo

stantly shifted from one minority designation to another : "AsianAmerican artists ," "Chinese-American artist," "Chinese artists,""Artist of Color," "Women of Color," "Feminist,""Resident"A Bastion for People Sharing the Same Suffering"
Identity involves a multi-directional theory on deviation from

Alien," and so forth . While each of these terms makes sense under particular circumstances, none, of course, is fully definitive ofcentralism and a basis of the concept of regionalism. Therefore,

my experience or identity as an artist or a citizen.

the issue of the reconsideration of contemporary Asian art is di-Being a member of the "Asian Contemporary Art Reconsidered" symposium in Tokyo last October, listening to the presenta-

rectly linked to the identity of Asian history and culture and projects the relative concept of regionalism or peripheralism, as com-

tions of my colleagues as they described the conditions and en-208

gaged the controversies of contemporary Asian art in the AsiaPacific region, was very encouraging , opening my eyes to a remarkable moment in history. But it also brought up the questionof "who I am" all over again ; a question initially raised when I
came to America from China, and which has been at the forefrontof my experience as an artist ever since. Unlike in the U.S., however, a few political phrases and hyphenations simply won't address this question. Since Tokyo , I am now able to conceive of
my work- and my identity- in a broader international sense. In"returning " to Asia via Tokyo, I realized how un-Chinese most of
Asia is, and, despite the leveling effects of global culture , how unAmerican too. And also how American I am, and, after all theseyears in America, how fundamentally Chinese. At the same time,
my sense of being "en-route" among cultures, histories, and identities- as an "authentic" artist, as a cultural "tourist" - was greatly
intensified. After having worked through the hyphenated identitiesof the nineties , my experience in Tokyo was of being "neither thisnor that"-but on an Asian, international scale. By saying this, I
do not mean to suggest that I am especially unique or essentially
undefinable , but that the context of my work and identity haschanged once again ; my sense of immigration is no longer just
Chinese-American, but pan-Asian. Ironically, the mutlculturalismof America has prepared me to better understand what I will callthe "neither nor" condition of Asian internationalism-at least as I
experience it. As a consequence of the Tokyo symposium, I havebegun to think more broadly about my work.

Mizusawa Tsutomu
I participated in all the programs of the symposium , serving aschair on the second day, and found it highly stimulating. The current situation of contemporary Asian art was approached frommultiple directions and many issues were clarified. The papers
presented , some of which contained useful proposals for the future, were excellent. The audience was attentive and the organizers were energetic. The question and answer sessions were lively.
Compared to the previous symposium, "The Potential of Asian
Thought," (1994) there was more of a shared concern with the issues being addressed, as all participants focused on "reconsideration" at this symposium.
However , the issues that were "reconsidered" tended to be limited to big and obvious things such as exhibitions and museums.
There was a great deal of discussion on the sort of political problems of art which concern museum curators. While this did serve
to illuminate the present situation, I would like to have seen morediscussion of views representing observation and criticism fromoutside the museum framework. Put another way, there was notenough discussion of current conditions of Asian contemporary art
outside art institutions (including its relationship with. everyday

life).
More discussion of art outside institutions would have tied inwith the problem of "quality " in Asian contemporary art, a topic
brought forward in the question and answer sessions. At whatlevel are judgments made about quality? Who exactly is contemporary Asian art for? John Clark ' s observation , that it is necessary
to learn from a multitude of historical examples to see the structure of Asian contemporary art objectively , had profound significance. The idea of Asia as an alternative , a way to break out of
the fortress of civilization built around the West, is a cliche which
presupposes a history closely linked to Western colonialism.
It is dangerous to deny memory or to be unashamed of ignorance, and it is impossible to judge quality without predefining its
conditions. In considering Asia, I think it is necessary to prepare
for many more opportunities for encounters at many different levels, amongst ourselves and others , and that these opportunities
need to be created by individuals in their own areas of concern.

Murakami Takashi
I attended my first international conference at the Asia-Pacific
Triennial of Contemporary Art in Brisbane, Australia in 1996.
There were about 300 people in the audience and meetings werescheduled from early morning to evening for three days, during
which there was an intense exchange of questions and answers
between artists and other people involved in the art world.
I was reminded of an old story I heard about the Sadistic Mika
Band (a Japanese rock band) as I attended this intense conference .
The band was invited to open for Brian Ferry, and this was theirfirst U.S. tour, but they were not physically strong enough tocomplete the tour. They got sick and had to returned to Japan
halfway through the tour. I read, or heard, that a band member
commented, "People over there have more stamina," and this wascertainly true of the triennial conference. Everybody was tough.
However , the musician was referring to Americans and Europeans
when he talked about the "People over there," whereas the people
who gathered at the conference were mostly Asians. Asians, too,can be tough.
I was a bit disappointed at this conference because just when
the discussion was heating up, it was brought to an end in a passive way- because the time was up. This vague manner in which
the conference concluded seemed very Japanese to me. I thoughtthat the discussion should have been carried on to the limit. Is it
in our Japanese nature that we lack toughness? Were we always
so weak? I could not help but to draw the conclusion, perhaps
unwarranted , that we never win in sports tournaments or anythingelse because of our passive approach to life.
I think that we need toughness in exercising our intellect asmuch as we do in sports. Japan is too weak, and I think this209

needs changing . I do not know how many of these symposiums

Apinan Poshyananda

have been held so far, but basically , positive thinking is needed tomake these symposiums better. More people should be invited

The seriousness and enthusiasm of the speakers to discuss, tackle,

and more publicity is necessary.
I would like to cooperate with you to make the art scene more

and seek solutions on various topics and problems of the relatively young but fast paced art scene in this region was most re-exciting.

freshing. By encouraging the participants to speak openly, insteadof nervously shy away from pressing problems , several solutions
and constructive suggestions were achieved. Organizers of art

Nakahara Yusuke

symposiums, conferences, and talk shops in Asia-Pacific region
should certainly regard this as an example in order to create con-

My statement tended to pour cold water on the concept of "contempm-ary Asian art" which was found in the theme of the symposium, "Asian Contemporary Art Reconsidered. " Later I won-structive discourse on contemporary Asian art.
It should be noted that despite some differences in opinions,dered if I should have paid more attention to "reconsidering " thewhich are quite natural , the dialogue among cultural arbiters andart directors and managers is allowing the exchange of ideas andissues, making a more positive proposal for reconsiderin g the way

research to be free flowing. This rapid exchange of ideas has been

we see and think about contemporary Asian art.
There is a strong tendency to conceive of Asian art and Euro-quite remarkable over a short period of time. As a result, fixedpean or American art in a polarized framework . This results in a
preoccupation with securing citizen ship for Asian art in the art
world of Europe and America as soon as possible. I have no reason to oppose an effort to obtain recognition for Asian art, but I
do believe that achieving citizenship status for "Asian art" will inevitably set it off as a special category.

perceptions , stereotypes , and prejudices related to ethnicities,class , race, seniority , and hierarchies have been challenged.
I am confident that discussion from this symposium will further
improve art organizations and international art exhibitions in thisregion. I look forward to continue the rich and palatable exchangewith my colleagues and counterparts in Japan even through attimes the spice could be a little hot and burning.

We tend to view art in a European art versus Asian art framework, but from the viewpoint of Europe and America , Asian art isessentially compared to "art." The problem is this . If there is an
Asian art which is different from European art (or if the existence

Tatehata Akira

of such an art is desirable) , we need to determine what fundamen-

One purpose of this symposium was to consider issues of contem-

tal differences exist in these arts without referring to the geo-

porary Asian art within the framework of exhibitions and educa-

graphical categorization of Europe and Asia. I believe this could
be a way to create a framework for "art " versus "art" rather than"art" versus "Asian art. "tional activities carried out by art museums rather than consider-

Unfortunately , the symposium focused on the art of the Asian
region as "Asian art" rather than seeing it, to exaggerate somewhat, as art shared by humanity. Because of this , most of the discussion was devoted to tactic s and strategies of art politic s.

ing them in general terms. I expected more discussion on specificproblems which have emerged through the e perience of curation
since many exhibitions have been held in various countries recently. Indeed , the reports from a variety of exhibition venues
naturally provided feedback to the more general arguments , andAnother thing I hoped to discuss was the issue of how art is re-the discussions presented opportunities for delving deeper into
themes discussed in several previous symposiums .

lated to daily life in the countries of Asia. When the topic of rickshaw painting came up, I wanted to talk about whether there is acussion which took place that troubled me. I was bothered by thecustom in Asian countries of displaying currently-used , everyday
objects in art museums. (If this problem is considered carefully,
we could investigate the question of whether art museums function in the same realm of or keep the same distance from everyday life when comparing that of Europeans against , if not otherThat said, there were some things about the nature of the disrather optimistic approach evidenced by the lack of skepticism or
direct criticism of the system represented by the art museum andthe exhibition. One must acknowledge the fact that the principalsite for art today is the exhibition, whether in Asia or elsewhere.

Asians, the Japanese .) I would like to -see this issue of the rela-

There are hardly any other choices. Without art museums and exhibitions, the contemporary art of Asia would not have become ationship between art and everyday life in the countries of Asia

topic for discussion as it has today.

taken up as a theme for another symposium.

Because of this very fact, however , we should not take a complacent view of the system and form of the museum and the exhibition as something colorless and transparent with no prior conditions. When we choose the exhibition as a method of presenting

210

art, we inevitably adopt a certain ideology of art. When exhibitions of Asian contemporary art are organized , there is nothing

the discussion, as I am certain was the case for all the participants.

Asian about the format of the exhibition itself. And there is no
reason that it should be. That is because Asian art, European art,and African art all belong to a prior concept of "art" and thisUshiroshoji Masahiro

fprms the premise on which museums and exhibitions are based.
Once the framework of art museums and exhibitions

is ac-

cepted , we accept the universality of the concept of "art." If we

In comparison

to the last symposium, "The Potential of Asian

Thought ," ( 1994) which included a little of everything , I felt thatwere to have doubts about this, then we should also be skepticalthis symposium was effectively narrowed down. Exhibitions ofabout art museums and exhibitions. However , as things stand, we

contemporary Asian art have now been held in a variety of ven-

have not resisted using the exhibition framework as the chief siteues, and it is evident that a great deal of experience had been

to present Asian art. As long as this is true , the indigenous qualities of Asian art are seen as relative rather than absolute and gov-

gained. However, each speaker tended to report only on his or her

erned by the ideology of a universal concept of art. The problem

problems through discussion in order to achieve a deeper under-of "exhibiting " rickshaw paintings or the judgment of quality instanding of them. Next time I would suggest taking up specificart works, both of which were raised as issues during the discussion , are essentially related to this ideology which is seen byown problems, and it would have been better to summarize these

problems and discussing them more intensively. I have partici-

many as taboo.

pated in similar symposiums at the International Research Center
for Japanese Studies in Kyoto and Queensland Art Gallery in

Caroline Turner

ble to have more in-depth discussions based on actual experience.
The Japanese are not used to viewing Japanese art in the con-

Brisbane , and I think we have arrived at a stage where it is possi-

text of Asian art and they need to develop a different point of
I felt that the choice of speakers from three areas - museum curators , academics and artists - worked very well and allowed different viewpoints and perspectives to be presented. It is the artists

view and build up experience in doing this. The conditions necessary for understanding this context have been lacking from thewho are the living human embodiment of these exchanges . It is

Meiji era to the present , so the Japanese are unable to speak of
Asian art with the necessary self-awareness. I feel that it is neces-very important , I believe , to include artists in such discussions.

sary for the Japanese art world to escape from Eurocentrism, get

There was general agreement al the symposium on the continuing need for a new critical consciousness in contemporary Asianused to looking at contemporary Asian art with an unprejudicedgaze, and organize exhibition s based on a concept of "Japaneseart. It was probably inevitable that few conclusions

could beart as Asian art." The symposium made me more aware of the

Asian art at theheavy responsibility and the important role to be played by ourreached regarding \he future of contemporary

symposium and that ·discussions centered on methodology in pre-new Asian Art Gallery.

senting and organizing exhibitions of contemporary Asia art, andon the reception of contemporary Asian art by audiences in different countries. Possibly the brief for the papers could have stressed
the need for the speakers lo address the future in more detail. Perhaps there was a little too much time devoted in the papers topast examples rather than speculation about future directions.
I found my involvement in this symposium extremely challenging. I was again forcibly reminded during the debates of the challenges of cultural exchange and the difficulties in reconciling contemporary Asia art practice in the different countries of the region
with pre-modern art. But again I was reminded of the excitementof contemporary Asian art and the generosity of those working
within this field to share ideas and to move forward. We are at
the stage of continuing to process information and recognizing
differences but we are also in a new stage of recognizing what wehave in common. While inevitably perhaps the symposium focused to the present, new directions were suggested and I fell wedid "move on. " I learned a great deal from the other speakers and

211

212

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John Clark
Born in Grimsby, U.K., 1946. Currently, associate
professor at the School of Asian Studies, The University of Sydney, Australia. He studied in Japanat The University of Tokyo, as foreign research
student, after graduating from Lancaster Univer-sity, U.K. He obtained a postgraduate certificate
in Fine Art from Croydon College, U.K. and a Ph.
D. from University of Sheffield, U.K. His current
research is. on the development of modern art in

China and Japan, and also the problems of modernity in India, Indonesia and Thailand. He has written extensively on art-related subjects in the Asian
region, as editor and contributor to Modernity in

Asian Art ( 1993), author of the forthcoming book,Modern Asian Art (to be published in 1998), andtranslator of Kuki Shuzo's The Structure of '/ki'( 1997), and is also widely involved in conferences( J996i!'-)~'/;~·::is ·,'/3-J--t..E:a-l'Jl~-si-1~00.tz:~vliiil'i!li,r Modernity in Asian Ard (Ksl,l'll';',1993

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Jr1,

1Traditionsffensions J~ ( .-(;,,f, .-(;,,f ;t. '/7,

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Vishakha N. Desai
Born in Ahmedabad, India. Director of the Galleries since 1990, and also vice president for Cultural Programs at the Asia Society in New Yorksince I993. She obtained her Ph.D. in the Historyof Art from the University of Michigan, Ann Arbor, U.S.A., after graduating from the Universityof Bombay. She was with the Museum of Fine
Arts, Boston, between 1981 to 1990, as the assistant curator in charge of the Indian, Southeast
Asian, and Islamic collections. She organized the"Traditions/Tensions" exhibition in 1996 at the

Asia Society, which exhibited contemporary
works from India, Indonesia, Thailand, the Philippines, and Korea. She is currently planning for the
Chinese contemporary art exhibition, "Inside/Out-side," to be held in 1998. Also author of Gods,
Guardians, and Lovers: Temple Sculpture from
North India, A.D.700-/200(1993), she lives andworks in New York, U.S.A.

and exhibitions related to the region. He is cocurator, with Mr. Mizusawa Tsutomu, of the"MOBO, MOGA/Modern Boy, Modem Girl:
Japanese Modern Art 1910-1935" exhibition,
which will be shown in Japan and Australia in

1998. He now lives in Sydney, Australia.

213

Kwok Kian Chow
Born in Singapore, 1955. He was involved in the
opening of the Singapore Art Museum in January
1996 and became the first director of the museum,
which was established to promote national interest
and also to function as an arts center for theSoutheast Asian region. He obtained his M.A.
from the University of British Columbia after ob-

taining a B.F.A. from Nova Scotia College of Art
and Design. He served as curator of the inauguralexhibition at the Singapore Art Museum, "A Century of Art in Singapore," and has worked as theSingaporean commissioner of the 23rd Biennale

Sao Paulo in 1996. He now lives and works in
Singapore.

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Lee Yongwoo
Born in Seoul, Korea, 1947. He graduated fromYonsei University, obtained an M.A. in Art History from Hong-ik University, Seoul, and a Ph.D.
in Art History from the University of Oxford, U.

J m1( 1997cff./ tt!EB-i:i-:kKorea ( 1995). He is active in curating contempo-

cultures, languages, and epochs in her works root

"Informationand Reality" exhibition at The Fruitmarket Gallery, Scotland (1995) and special exhibition "Tiger ' s Tail" at the 46th Venice Biennale( 1995). Also author of Nam-June Paik ( 1992) andInformation and Reality (1995), he now lives andfrom her experiences in China during the Cultural
Revolution and her life in the U.S.A. as a Chinese-born American female artist. Her works have fo-

the artistic director of the first Kwangju Biennale,

works in Seoul, Korea.

:.,7'77',/.1 · 7;;7mft~/if.il::':is -:,'./3-t-,

cused on Chinese women in historical photo-graphs , but have recently shifted to photographsof everyday scenes. She has exhibited in Japan in"Gender : Beyond Memory"( 1996) at the Tokyo
Metropolitan Museum of Photography and in"American

Stories : Amid

Displacement

andTransformation"( I 997) at the Setagaya Art Museum. She is now resident in California, U.S.A.

214

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rary Korean art exhibitions overseas,such as thefigure in contemporary Korean art, and served as

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.f:Ef1.

Hung Liu
Born in Chuang Chun, China. She is a practicing
artist now based in Oakland, California, and also
associate professor of art at Mills College, California. She initially studied in Beijing, China, at
the Beijing Teachers College (B.F.A.) and Central
Academy of Fine Arts (M.F.A.), then obtained an
M.F.A. from the University of California, San Diego, U.S.A.( 1986). Her varied interest in genders,K. He is now professor in the Department of Art
Education, Korea University. He is a prominentii<1)/:tl:t>tcft,\;',;IJ1 $1 >. B 4':.:lif;;x:.,'.>"-( 1992>¥-), [ Information and Reality J( 1995:Q'-)t.l:

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Mizusawa Tsutomu
Born in Yokohama, Japan , 1952. Currently chief
curator at The Museum of Modern Art, Kamakura, Japan, where he has worked since 1978.
He obtained an M.A. in the History of Art from
Keio University, Japan, and his main areas of interest are German art and modern and contemporary Japanese art. He worked as the Japanesecommissioner of the 6th and the 8th Asian Art Biennale Bangladesh ( 1993, 1997) and curated thePhilippine section of the "Asian Modernism"exhibition (1995) at the Japan Foundation Asia Center in Tokyo. He is the author of Kono Owari no
Toki ni mo [Even Now at the End of Time] (1989)
and co-author of Tenzai suru Chushin [Scattered
Centers] ( I 992). He has also curated many exhibitions at The Museum of Modern Art, Kamakura,
including "Anthony Gormley"( 1996) and "Wakabayashi Isamu"( 1997). He is currently preparing
for the "MOBO, MOGNModern Boy, Modem
Girl : Japanese Modern Art 1910- I 935" exhibition as co-curator with Dr. John Clark. He lives in
Yokohama, Japan.

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ingsJ ( 1996-Q'.) ti:E B *-.ft)0)1 Alllli::~'l-'tJ/mti,

ii:iOO,q,[filO).!\H-1::.)l;Wi

Murakami Takashi
Born in Tokyo , Japan , I 962. He graduated fromthe Department of Japanese Traditional Painting(nihon-ga), Tokyo National University of Fine
Arts and Music, then obtained a Ph.D. from thesame university in 1993. He won the ACC (Asian
Cultural Council) fellowship to the P.S. l International Studio Program in New York during 1994
and 1995.-His major debut as an artist coincidedwith the bursting of the bubble economy in Japan.
His works empathize with the values shared by
the otaku (geek) generation and use icons of the
post-war Japanesemass culture, such as cartoon
and comic characters, plastic models, etc. He has- ·~1ojjjj)l[,•i\'I::'1.:,,,-t-v

ing with the Past : ContemporaryChinese Paint-Oll

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Graeme Murray
Born in Alyth, Perthshire . Scotland, 1946. Hestudied sculpture at Edinburgh College of Art andwas the director of the Graeme Murray Gallery in
Edinburgh from 1976 to 1992. Director of The
Fruitmarket Gallery, Edinburgh, since 1992. The
FruitmarketGallery is a venue at which selected
contemporary artists, including those from the
Asian countries, are shown in exhibitions such as"Liquid Crystal Futures : Contemporary JapanesePhotography"( 1995), "Information and Reality :Korean Contemporary Art"( 1996), and "Reckoning with the Past: Contemporary Chinese Art"
( 1996). Co-curators have been invited from Japan ,Korea, and China for these exhibitions. He lives
and works in Edinburgh , Scotland.

exhibited widely in Japan, including "Which isTomorrow?" (solo show, 1994)," and "Hinikuna
Fantasy [Sarcastic Fantasy]" (The Miyagi Museum of Arts, I 996). His major exhibitions outside of Japan include "TransCulture" at the 46th
Venice Biennale (1995) and participation in theSecond Asia-Pacific Triennial ( 1996). Currently
lives in New York, U.S.A.

215>

o ~-W:, rn,:ro=:/::O)fli!

Nakahara Yusuke
Born in Kobe, Japan, 1931. He is the key art critic
in Japan who has curated critical exhibitions in
the history of post-war Japan. He initially graduated from the Faculty of Science, Kyoto University, where he studied theoretical physics in theclassroom of Nobel laureate, Dr. Yukawa, andthen turnedto an artcritic career in the mid-I950s.
He curatedthe "Between Man and Matter"exhibition as the commissioner for the I0th International Art Exhibition, Japan (known as Tokyo Biennale '70), which is considered an importantmilestone in the history of postwar exhibitions inJapan. He has also worked as the Japanese commissioner in the 37th and 38th Venice Biennales( 1976, 1978). He has written extensively and is
the author of many books, including Mirukoto no
Shinwa [Myth of Seeing]( 1972), Gendai Geijutsu
Nyumon [Introduction to Contemporary Art]
( 1979), Brancusi(l 986), Gendai Chokoku [Contemporary Sculpture](l987), and Mekishiko no
1930-nendai [Mexico in the 1930s](1994). He
lives in Kamakura.He is professorat Kyoto Seika
University in Kyoto.

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of Asia and the PacificJ ( 1993i!'-) f..E71/7::t:'¥'

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o ~f\,1:it\ioflt/HrP~l't.l:l'!@I~ J(lli:fl!
Y.'.li:).~HIH~EJ0)7:,,,7J (1991ip)t.l:E onlt.l'Li::mftsliiijj/::lifriJt.,•/::\ ,-jj8J/lili!f)<··-:,c,0)1:::'.r.:,,,7-1.,,~

CourtJ (i993i!'-)f.l:E o ;,;,,,::i71ff1 o
Apinan Poshyananda
Born in Bangkok, Thailand, I 956. He has extensively researchedcontemporaryart in Asia and is
now one of the leadingart critics in the region. He
obtained a Ph.D. in the History of Art at Cornell
University after obtaining an M.A. from Edinburgh University, Scotland. He was invited as
chief curatorof the "Traditions/fensions" exhibition organized by the Asia Society in New York
(1996), and has also been involved in many international exhibitions such as the Asia-Pacific Triennial of Contemporary Art ( 1993, 1996), Johannesburg Biennale ( 1995), and Istanbul Biennale(1995). His published books include Modem Art
in Thailand (1992) and Western-Style Painting
and Sculpture in the Thai Royal Court ( 1993). He
lives in Bangkok, where he is associate director at
the Centers of Academic Resources at Chulalongkom University.

Tatehata Akira
Born in Kyoto, Japan, 1947. Art critic and a poet.
After graduating from Waseda University, heworked as a curator at the National Museum ofArt, Osaka, from 1976 to 1991. He is now professor at Tama Art University in Tokyo. He has cu-

ratedmanyexhibitionsat the NationalMuseumof
Art, including "Action and Emotion: Paintings ofthe I 950s"(l 985) and "Drawing as ltself'(l 989),
and has also worked as the Japanese commissioner for the 44th and 45th Venice Biennales( 1990, 1993). He has been invited by the JapanFoundation Asia Center as guest curator for theIndonesian section of the "Asian Modernism"exhibition (1995) and "Fang Lijun"( 1996), a solo
exhibition of a Chinese artist. He has published abook of his collected poems, Yohaku no Rannah[Runner in the Marginal Field](1991). His new essays in criticism, Toi Naki Kaito [Answer without
Question} is forthcoming. He lives in Kawasaki,
Japan.

216

6~fftiP o r'7*62000i!'-l:l;l:j Asian Modernism J/!li ( /&/Iii)'a"!lllfll/T'.lEo 7 1J:J.«-;,,,:(ff! oCaroline Turner

Born in Pretoria, South Africa. She joined theQueensland Art Gallery in Australia in 1979 andbecame deputy director and manager, Exhibitions
and Cultural Development in 1987. She has
worked as manager and co-curator of the Asia•
Pacific Triennial of Contemporary Art ( 1993,
1996) since its inception. She obtained an M.A.
with honors from the AustralianNational Univer•sity and was awardeda Ph.D. from the Universityof Queensland. She has written extensively on
modernand contemporaryart in the Asian and thePacific region, including Tradition and Change:
Contemporary Art of Asia and the Pacific (1993).
She is now preparing for the "Asian Modernism"(tentative title) exhibition for the year 2000. tocommemoratethe birth of modern and contemporary Asian art. She lives and works in Brisbane,
Australia.

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W,vi/l1:)'!¥;t:rro
Ushiroshoji Masahiro
Born in Kita -Kyushu, Japan, 1954.Curator of the
Fukuoka Art Museum since 1978, after obtaining
a degree in the History of Art from Kyushu University. He has been responsible for the past four
"Asian Art Show, Fukuoka"of the museum. He iscurrently working on the Asian Art Gallery Project (scheduled to open in I 999) and concurrently
preparingfor the First Fukuoka Asian Art Triennial, which will be held as the inaugural exhibition. The most recent exhibition he curated is"The Birth of Modern Art in Southeast Asia :Artists and Movements," which went on tour inJapan aftor its first showing at the Fukuoka Art
Museum in May 1997. He has contributed many

articles to exhibition catalogs and journals in thefield of modern and contemporary Asian art. He

lives and works in Fukuoka, Japan.

*Plrfll-11tftli
1997if.JOAJJU£
t q, IJ;IHi!'.1'0)7

JC 77 ,.,,,,fll(j•Panelists'profilesas of October 1997.
Panelistsare listedin alphabeticalorderby family name.

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218

The Japan Foundation Asia Center
Visual Arts Programs and Exhibitions

1990

1997

I. "Narrative Visions in Contemporary ASEAN Art"
The Japan Foundation ASEAN Culture Center Gallery
2. "Thawan Duchanee: Thailand - In Quest of the Ultimate Sacredness"
Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center
Gallery
3. "Tradition, the Source of Inspiration"

I. "Art in Southeast Asia 1997: Glimpses into the Future"
Museum of Contemporary Art, Tokyo, Hiroshima City Museum ofContemporary Art

Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center
Gallery
4. "The New Generation in Contemporary Singaporean Art"
The Japan Foundation ASEAN Culture Center Gallery

1991
I. "Contemporary Indonesian Prints"
The Japan Foundation ASEAN Culture Center Gallery , Mie Prefectural
Art Museum, Hokkaido Hakodate Museum of Art
2. "Malaysia: Stage Art of Tragedy-Tan Chin Kuan"
The Japan Foundation ASEAN Culture Center Gallery
3. "Edgar Talusan Fernandez-Contemporary
Art of the Philippines"
The Japan Foundation ASEAN Culture Center Gallery
4. "Contemporary Thai Artist: Montien Boonma"
The Japan Foundation ASEAN Culture Center Gallery, Mitsubishi-jisho
ARTIUM

2. "The Mutation: Painstaking Realism in Indonesian Contemporary Painting"
The Japan Foundation Forum
3. Symposium: "Asian Contemporary Art Reconsidered"
The Japan Foundation Forum

Notes:
I. The JapanFoundationASEAN CultureCenter was founded in January1990 as partof theJapanFoundation. It changedits name to the JapanFoundationAsia Center in October 1995
to expand its target area and programs.
2. Exhibition names and venuesare listed in order of the year the first show was held. Someexhibitions have toured and continuedover a year.

1992
I. "Today's Malaysia Seen Through Art: Contemporary Malaysian Art"
The Japan Foundation ASEAN Culture Center Gallery
2. "New Art from Southeast Asia 1992"
Tokyo Metropolitan Art Space Exhibition Gallery, Fukuoka Art Museum,
Hiroshima City Museum of Contemporary Art, Kirin Plaza Osaka
3. "Floral Cosmology-Traditionin Dyeing, Weaving, and Ornaments"
Fukuoka City Museum, Laforet Museum Harajuku, Tokyo, Alpark
Tenmaya, Hiroshima, Kirin Plaza Osaka

1993
I. Contemporary Painting from Singapore and Japan "Facing the Infinite
Space"The Japan Foundation ASEAN Culture Center Gallery
2. Contemporary Thai/ Japanese Art Exhibition "Beyond the Border"
P3 art and environment , Silpakorn University Art Gallery

1994
I. Contemporary Art Symposium 1994 ''The Potential of Asian Thought"
The Japan Foundation Conference Hall

1995
I. "Visions of Happiness - Ten Asian Contemporary Artists"
The Japan Foundation Forum
2. "Asian Modernism: Diverse Development in Indonesia, the Philippines ,and Thailand"
The Japan Foundation Forum , Metropolitan Museum of Manila,
The National Gallery , Bangkok, Gedung Pameran Seri Rupa, Departemen
Pendidikan dan Kebudayaan

1996
I. "Fang Lijun: Human Images in an Uncertain Age"The Japan Foundation Forum219