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7

A Difficult Journey of Contemporary

ASEAN Art

Masahiro Ushiroshoji
Curator, Fukuoka Art Museum

the world of one's own tradition." 81
The resolutions made at the 7th IAA Congress themselves
were quite wide-ranged. However , the Fukuoka Art Museum
in its Asian Art Show places focus particularly on "to respect andunderstand the identit y of the traditional culture of each country "91and stipu lates that "it is important at this time for theartists of Asia to further deepen their relationship and friendshipthrough the arts of their countries which are both historically andculturally closel y related. " 101Based on the !AA resolutions, theAsian Art show makes it its ultimate goal to "realize exchanges
among Asian artists and to assist them in promoting mutual
understanding and common awareness of culture through exhibitions of contemporary art by the artists of Asian nations. " 111
Therefore , such intentions are naturally reflected on the artworks included in the Asian Collection acquired through theShows.

In discussing "contemporary ASEAN art ," it would benecessary for us to first ask ourselves whether such a thing as"contemporary ASEAN art" really exists at all. The most naturaland easiest answer to this question would be: there is no suchthing as "contemporary ASEAN art ;" what exists is merely
contemporary art of the Philippines, that of Malaysia , Singapore ,Thailand, Indonesia or Brunei. It can be easily understood if
we think of the difficulty and meaninglessness of discussing
contemporary art of Japan, Korea and China all in the same
framework as "contemporary art of East Asia." They are six
countries different from each other. Perhaps it would be necessary to relinquish from the very outset such fiction as "contemporary ASEAN art ," and rather introduce and discuss contemporary art of each country separately.
In spite of that, however , this fiction "contemporary ASEAN
art" attracts me , upon which I wish to realize this exhibition. I
hope to touch upon the reason for this later.

IV
I would like to refrain myself from going further into thismatter since the purpose of this essay is not to describe thedetails of the Asian Art Show. Aside from the purpose of the"Festival: Contemporary Asian Art Show , 1980" (1st Asian Art
Show , Part II) which stresses exchanges on the creator 's side
due to its background of taking the resolutions made by a groupof artists called !AA as its direct start , I felt it necessary to referto the thoughts of a curator who has been involved in this art
show for ten years. They may surely coincide with the sincere
thoughts of the people who have seen the Asian Art Show , andthe viewpoint there may turn out to be effective in looking at"contemporary ASEAN art."
They are not thoughts that have remained same but thosewhich have undergone transformation.

II
The 19 works exhibited in this show have been selected inline with the theme from the Asian Collection of the Fukuoka Art
Museum.
Ever since its inauguration in 1979, the Fukuoka Art Museum
has placed emphasis on exchanges notably with Asian countries , with international exchange program as one of its main
programs _llAs a matter of fact , we have followed the footprints ofAsian art from the modern times to the present through having
the Asian Art Show which was held as its inaugural exhibition.
It had two parts: the first part was held in 1979 entitled "Modern
China and Japan," and the second part in
Asian Art-India,
1980 entitled "Festival: Contemporary Asian Art Show, 1980."
This was succeeded by the Second Show in 1985, to be developed into the Third Show in 1989 in which the artworks wereselected in line with its theme "Symbolic Visions in Contemporary Asian Life." 21In addition, in order to shed light on theartists from an angle different from that used in the Asian Art
Show in which efforts are made to present the overall imageof Asian art, "Asian Artist Today-Fukuoka Annual" Series has
been held every year since 1988 in the form of a solo show. 31
In parallel with such exhibition programs, the Fukuoka Art
Museum has also made a lot of efforts in collecting contemporary
Asian artworks, which has so far resulted in approximately 200
works mainly acquired among the exhibits of the Shows .' 1This
collection of contemporary Asian art stretching from Pakistan in
the west to Mongolia in the north is unparalleled, both in quality
and quantity, not only domestically but internationally.

"But for those of us who began the work of introducing
the arts of Asia to Japanese viewers ten years ago , theimportant changes of the last decade (the gradual increase ofgeneral interest in Asia) have been internal rather than
external. We began our work on the assumption that , whencompared with the contemporary art of Europe and theUnited States , the art of Asia was somehow backward. Asianarts were considered in light of an "advanced " Western art.
The greatest obstacle we have faced over the past ten years
has been our own aesthetic viewpoint of Asian art.
It cannot be denied that the modern art of Asia, including
Japan, has developed with Western art as the model. In someways it was only natural for us to discern the Western trends
within Asian art , and to perceive them as out of date or derivative. We possessed no effective method of judgment otherthan the standards of the West.
Our purpose was not to attach the label of "backward" tomodern Asian art , basing our judgments on modern aesthetic values . Neither was it to assert that Asian art was something uniquely superior to that of the West. Artistic activity is
carried out by human beings all over the world, and it is not
our part to apply a single standard to determine the superiority or inferiority of any given region. Rather, our task is torecognize that every art has its own standards by which it
should be judged. Our realization that this is indeed our task
has been fostered through our work with the contemporary
art of Asia." (From my article "3rd Asian Art Show-Sym-

III
The reasons to be given for the determination of the Fukuoka
Art Museum to deal with Asian art are that "the City of Fukuoka
is conscious of the fact that it has served geographically andhistorically as Japan's gateway to Asia" 51and that "it has thecharacter to aspire toward an international, culturally-oriented
city." 61Therefore, the programs of the Museum are in accordance with such intentions of the City. In addition, a direct
impetus was given by !AA Japan, which was based on the
resolutions made at the 7th !AA Congress 71in 1973, which read:"Let us create new art that answers the needs of the timethrough reconsideration by each artist in each cultural region of

8

"contemporary ASEAN art."
Before referring to this matter, I would like to give my own
impressions concerning "national identity," one of the elementsthat comprise "contemporary ASEAN art." Allow me to tell you
about the first trip I made to ASEAN countries from 1978 through1979.

bolic Visions in Contemporary Asian Life;" Newsletter of
Asian Arts in Japan No.18; Asian Arts Research Project ;Sept . 20 , 1989 )We have tried to understand the aestheticism and style ofexpression indigenous to Asian art through the process of examining modern , contemporary Asian art not from the standpoint of determining it as an imitator of Western art but by
tracing the footprints of its autonomous development firmly
made despite its saturation with the tremendous influence ofWestern art (or of Western civilization as a whole.) Such awareness has been gradually deepened in the course of dealing withthe arts of Asia.
In this context , "contemporary Asian art" can be replacedwith "contemporary ASEAN art."

VI"On the trip, we met many artists, from whom we hea rd
the same words-' national identity.' Everybody seemed concerned with the country and the race to which they belonged. Everyone seemed to be obsessed with the question'What is our identity in art?· That was in 1978.
We may go so far as to say that contemporary art in Asia
has been developed around this issue of searching for theidentity of one's own country and culture. The significance of
the issue was enormously heavy but many of the answers
stayed at a superficial level.
On the part of the Japanese, we seem to discuss theidentity of Japanese art on the premise that there alreadyexist Japanese culture and Japanese people. Many young
nations in Asia after independence had to create their own
identity by asking 'What is our identity in art? ' This is due tothe complex situation in which many countries are intricate ly composed, of plural races and cultures, and to the factthat their own traditional culture was suppressed by colonial
occupation. What was conspicuous among the artworks
there was the crudeness and formalism of expression which
made the impression that the sense of issue concerning"identity" had not been sufficiently methodized and materialized, as seen in such cases as vainly drawing traditional
motifs, or relying on religious views of the world, or aimlessly
employing traditional techniques .
However, despite the immaturity of expression witnessedat the individual level, we were deeply imp ressed by theseriousness and earnestness with which they as a groupasked themselves who they really were. I had a presentimentthat something would be born out of it." (From my article"Maturing Asian Art"; Yomiuri Shimbun (evening ed.); Apri l4, 1988; Yomiuri Shimbun Western Headquarters.)

V
Now , I would like to leave the topic on the programs of
Fukuoka Art Museum and its Asian Collection, and turn to thediscussion on the validity of the categorizatfon of "contemporary
ASEAN art ," including the history and common features of
ASEAN nations.
Needless to say , ASEAN is the abbreviation of the"Association of South-East Asian Nations ," which comprises six
nations (Brunei , Indonesia , Malaysia, the Philippines, Singapore
and Thailand ). It is a regional , cooperative organization established with view to "promoting mutual cooperation in social,economic and cultural fields." 121It does not signify a single
cu ltural entity. However , there exist amply valid reasons for the
ASEAN countries to be grouped as one entity, one of which is theuniqueness of the history of the South-East Asian nations
through which they have been founded. They are the nations
that have suffered the 19th century colonialism , born out ofpolitical developments rather than out of inevitable causes suchas homogeneous culture or race. The old Dutch territory becomes Indonesia , the old Spanish territory the Philippines , theFrench territory the three Inda-Chinese nations , the English
territory Myanmar, Malaysia , Singapore , Brunei , and Thailand
piaintains independence in the bufferzone between the English
and French powers. After independence , each nation has
strived to discover and create national identity of a new nation.
Therefore , to examine contemporary ASEAN art by country
only means to view the new national identity being formed after
independence. There is a fear that such a view can conversely
turn into an obstacle in understanding the essence of thecultures of the people living in South-East Asia that intricately
overlap across the borders. This is why the categorization of"contemporary ASEAN art " becomes effective. One country canbe multi-racial and multi -cultural. On the contrary , a homogeneous culture may exist across borders. And at the bottom
exist complicated layers of heterogeneous cultures such as thoseof India , China , plus the regional, imperial cultures that haveprospered and perished, and moreover those of the suzerainstates during the colonial times . One point in understanding"contemporary ASEAN art " would be to examine various cultural currents that flow across the borders. 131
Another point would be to examine how Western art was
accepted . If we could discover the common way through which
the ASEAN nations have accepted and reacted against Western
art , it would be possible for us to assume a certain identity ofAnd now, for sure, something is beginning to be born out
of it.

VII
In selecting ASEAN artwo rks from the Asian Collection of
Fukuoka Art Museum on a certain theme, we have chosen the"narrative" or the "narrative element" as pan-ASEAN theme.
This is primarily based on the theme of the 3rd Asian Art Show:"Symbolic Visions in Contempora ry Asian Life."
Our recognition of contemporary Asian art is founded on thepremise that "in contemporary Asian art, while works reminiscent of the formalism of modern Western painting in which suchformative elements as shapes and colors are independent andself-sufficient in themselves are rarely found, ones in whichforms tell some meaningful contents to the viewer, in otherwords , works pregnant with 'symbolic visions.' are quite com mon. "141In the 3rd Asian Art Show, we treated the "symbolic
visions" in a broad sense so as to present the multitudinousnessof "Symbolic Visions in Contemporary Asian Life" in contem-

9porary Asian art. Even with a common theme, the regional
difference can naturally be seen if we are to compare "contemporary ASEAN art " in one framework with other regions.
For instance, in the Southwestern region of Asia centering
around India, there is the tendency toward symbolization of thestrictly purified form , with religious background, as in the case of
Tantric art (fig.1) or linga and yoni (symbolization of sexualorgans of male and female) to which the outlook on the universe
is reduced. On the other hand, in Korea, white is cherished as
the color of the people, and at one time, in many abstract
paintings, expression was often seen to take the form of instillingrich ethnic sentiments into the color of white (fig. 2). However, in"contemporary ASEAN art," it is difficult to recognize strict
symbolization of form or purified abstraction of color. It prefers toeloquently tell a story rather than to ultimately reduce a uniqueview of the world or sentiments to certain absolute symbols andelevate them. The "narrative element" there is related to
traditional "narratives" and many works remind us of the tradition rich in decorative elements. Out of the seemingly unconscious trial and error for returning to tradition. a certain identity
is about to be born.
However, the content of the "narrative elements" of contemporary ASEAN art is varied. There is Nyoman Meja (cat.no.6)
who paints the Indian epic of Ramayana. There are Pratuang
Emjaroen (cat. no.18) and Surasit Saoukong (cat. no.19) who
visualize meditative tendency of Buddhism. There is Choong
Kam-Kow (cat.no.8) who has turned festive Chinese mood intorich pop expression. There is Roberto Feleo (cat. no.11) who sees
the evil of colonial rule in Christianity or Ofelia Gelvezon-Tequi(cat.no.12) who compares the allegory of modern politics tomasterpieces of Western art.
The varied and rich "narrative elements" found in contemporary ASEAN art indicate the aforementioned two points, thatis, the intricately layered traditional culture of the ASEAN region
and the common aspect seen in the anti-formalistic acceptanceof Western art.

Therefore , the fourth show will be held in 1994.
3) In the series of "Asian Artist Today-Fukuoka Annual ," three artists
ha ve so far been introduced : Roberto Feleo (the Philippines) for the
first show , He Duo- ling (China) for the second , Thaw an Duchanee forthe third .
4) To be exact , the Asian Collection as of January 1, 1990, comprises 107
artworks. However, it is expected to reach approximately 200 after
the conclusion of contract and payment by July, 1990, for some 80
works that have been selected to be purchased (negotiations
underway) out of those exhibited in the 3 rd Asian Art Sh_ow.
5) Shigeru Aoki "Festival : Contemporary Asian Art Show, 1980:·catalogof The Festival: Contemporary Asian Art Show, 1980, Fukuoka Art
Museum, 1980.
6) "Purpose for Holding This Exhibition ," Exhibition Plan of Festiva l:Contemporary Asian Art Show, 1980, Asian Artists Exhibition Committee, 1980.
7) !AA is the abbreviation of International Association of Art .
8) The Japan Artists Association News No.257 ; Jan. 20, 1978; !AA
Japan Committee. Concerning the resolutions of the 7th !AA
Congress , refer to "Appendix A ; 21 Congress Decisions " art 68 VIIthInternationa l Congress of Art (Bulletin 1974), International Association of Art-UNESCO.
9) Shigeru Aoki op cit.
10) "Purpose for Holding This Exhibition" op.cit .
11) Ibid.
12) Yuji Suzuki "Association of South-East Asian Nations" Cyclopedia ofSouth-East Asia, Heibonsha, 1986.
13) Impression may be had that I have deftly replaced South-East Asiawith ASEAN, questioning not the validity of the framework of ASEAN
but that of South-East Asia. However, as far as contemporary art isconcerned, it would be too strenuous to combine ASEAN nations
together with Myanmar, Vietnam , Laos, and Cambodia, which , withdifferent political system, have virtually received no influence fromcontemporary Western art , and put them all into a single same
framework to be termed "contemporary South-East Asian art. "14) Mikio Soejima "In Pursuit of a Genuinely Asian World," Catalog of the
3rd Asian Art Show, Fukuoka , Fukuoka Art Museum, 1989.
(Translated

VIII
Contemporary ASEAN art has continued to pursue a difficult
journey in quest of new creative possibilities between thecolossal influence of the West and the spellbinding tradition of
the past. In this modest exhibition, we hope to follow the path ofthe difficult journey made by contemporary ASEAN art. The
theme of this exhibition "Narrative Visions in Contemporary
ASEAN Art" does not dare to indicate the direction or destination of such a journey of contemporary ASEAN art. Rather, it
intends to serve as one of the landmarks for us who try to follow
the path of the complex journey of contemporary ASEAN art, sothat we may not get lost.

Note:1) "International Exchange-Taking into consideration Fukuoka's characteristic as an international, culturally-oriented city, the Museum
shall promote exchanges with art institutions abroad (especially with
Asian countries) as part of the wide-ranged activities of the Museum("Master Plan of Fukuoka Art Museum," Fukuoka Art Museum
Annual Report No.1, Fukuoka Art Museum, 1983.)
2) The Asian Art Show by principle is held every five years. However,
the third show was held one year earlier in order to celebrate theCentenary of Fukuoka City and the 10th Anniversary of the Museum.

10by Mari Kaigo, Fukuoka Art Museum)