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13

The Self-Awareness of Human Beings in Flux

NAKAMURA Hideki
Art Critic

In the final decade of the twentieth century, the world is experi encing major changes, as events that upset established notions
occur in every region of the globe. The trends in East and Southeast Asia, including dynamic economic growth, represent one of
the most noteworthy changes. Accordingly, we Japanese needto take another look at our own attitude toward East and Southeast Asia. Needless to say, our point of view regarding "contemporary" Asia is open to question. In the face of new realities, wecannot expect to continue forever to measure Asia in terms ofoutworn standards .
Virtually no effort has been made to treat Asian art today
in light of global thought, even though it contains the rootsof Asian mentality today and provides a clue for reconstituting
our contemporary thought. The matter cannot be solved merely
by judging from the dual perspective of premodern regionalism
and adherence to modern Western art. What is needed above all isa way to expand our horizons to enable us perhaps to discovera valuable vein in something hithertofore completely ignored ,or to find a starting point for discovering an important key amid
things that seem trivia l. I would like to use these points as aspringboard for exploring recent Southeast Asian art, about
which almost nothing is known .
The Advent of a Generation Intent on Self-Discovery
While I was doing research in the Southeast Asian countries
of Brunei, Indonesia , Malaysia, the Philippines, Singapore, andThailand, I was struck by the advent of a new situation centering
around young artists who began their careers in the 1980s. To
put it simply, a generation that adhered to folk traditions was
succeeded by one receptive to Western Modernism. Now that thedepths of folk culture and the legacy of Western Modernism aretaken for granted as a spiritual foundation, a third generation thatis trying to forge its own identity is rapidly coming to the fore.
Founded on knowledge of Western Modernism, the experi ments of this new generation manifest the germ of Asian ideasthat speak to the entire world.
The efforts of these artists, however, hardly seem based oncomplete self-knowledge. Working in an artistic environment
under different circumstances in different countries, the artists
are trying to find their own identity using dissimilar modes ofthought, and their orientation has not yet been consolidated . For
instance, the search for identity of artists working in ethnicallydiverse countries is a complex, thorny process because identities based on ethnic and regional criteria are not easy to recon-cile with ones based on nationality. Conversely, overseas Chineseand followers of Islam and other religions face a question ofidentity that transcends national borders. In addition, the relationship between Asia and European civilization has not yet
been resolved on a theoretical level.
Existing external constructs such as regionalism and ethnicity alone cannot provide the basis of artistic identity. Along withan Asia -centered outlook, these categories lead eventually to
exclusiveness. Personal considerations are important in thesense that attention needs to be focused on the fluctuating daily
reality in which the artists live. 1 In any event, the new genera tion's energy will spread only when artists achieve a comprehen sive orientation that does not smothe r the individual's potential.
A thoroughgoing reexamination of the concept of identity mustfirst of all be made . The forging of a common identity on a leveltranscending both Western individualism and nationalism is
one goal.
Nevertheless, a movement, however small, is gathering force
within Asian societies to transform the self in the process ofcreating art. This development suggests that dizzying changes
are certain to be a major current in Asia in the future. Along withthe maturation of the influence of Western art, socia l changes
such as industrialization and the growth of an informationsociety are regarded as key factors triggering the transformationof the self. A unique aesthetic awareness that is neither Western
nor nationalistic should develop more swiftly than in Japanese
art since the Meiji Restoration (1868)
The aim of "New Art from Southeast Asia 1992 " is to cast
light on this third generation of Asian artists. All seventeen
artists in the exhibition explore the depths of their respective
cultures with strong individuality akin to that in the West. Manyof the works in the exhibition consist of installations and threedimensional works that differ from tableaux, or are reliefs createdfrom textiles. Rather than being constructed in light of European preoccupations, the installations seem to have emerged
naturally from layers of folk culture that concern space andmatter. The three -dimensional works are not based on modern
European sculptural concepts. I would consider the following
artists in the exhibition relatively close to the modern West:
Wong Hoy Cheong, Teguh Ostenrik, and Abdul Malek bin Haji
Metarsat, who are slightly older than the other artists. Tang Da
Wu is an older artist know ledgeable about the West, but his work
is rather different from that of the above artists. Conversely ,Mohd. Fauzin B. Mustaffa, Heri Dono, Edson Armenta, andNorberto Roldan display strong non-Western tendencies.
What Does Asian Art Reveal?
Despite their individual differences, the seventeen artists inthis exhibition clearly share common ground. A special menta lity can widely be perce ived among contemporary Asian artists,
including the countless artists besides the participants in thisexhibition whom I met while doing research in Southeast Asia.
Although not highly polished artists, they merit close scrutiny as

14a highly suggestive source of ideas.
The discovery of African sculpture and masks by Picasso,
Brancusi, and Modigliani in the first half of the twentieth century
transformed European art. Today, the same question-What didthese artists see in African art?-needs to be applied to Asianart, inasmuch as something capab le of transformi ng us seems to
be offered there. Needless to say, by Asian art I am referring here
to the third generation of contemporary Southeast Asian artists.
The nature of Asian art differs from that of African art , where folk
traditions have been handed down unchanged. What rests onlong historical accumulation cannot be treated equally withwhat has been newly created bearing history in mind. Moreover,questions arise regarding the use of the term "Asian art ," without
considering areas of Asia other than Southeast Asia or referring
to Japan, a member of Asia . Instead of immediately answering
this question , however , I would recommend looking at Asia from
Picasso 's perspective and suggest regarding Asian art as some thing different from both European and African art.
Contrasting Europe , Africa , and Asia with each other rather
than in terms of bipolarities such as the West vs. Japan or theWest vs. Asia is a more effective approach in art as well as
cultura l ant hropology .2 This constitutes one methodology. Although other polarities are possible, this considerat ion need not
be stressed here. Modern European art is premised on a belief
that a work constitutes a distinct , self-conta ined system organized around a central element , from which it tries to free itself.
The appeal of African art lay in the supernatural power generated by the collective curvilinear shapes and other forms
condensed in fetishistic objects . In other words , European art
generally speaks for itself , whereas African art symbolizes
elusive intangible power , yet both share the same nature as
discrete , cohesive objects.
Conversely, Asian art is generally produced like fragmentsof an obscure phenomenon in amorphous, infinite space, without boundaries or a fixed center. In other words, although the
expansion outward toward something elusive transcending
human beings is the same as in Africa, the emphasis on spatial
expansion and temporal change differs form both Europe andAfrica . One could say that the foremost characteristic of the
Asian mentality is expressed here . In sum , its essence lies innever creating fixed entities, a method that can provide animportant key for transcending modern European art. Even
when art objects seem to be discrete ent ities , they constituteevents that occur in limitless space. This principle can be mobilized effectively to create a new type of personality and probe
nature and society.
A predilection for inpalpable time and space , however , also
harbors the potential for creating a sense of dispersal and stagnation as well as a lack of tension and dynamism. The third
generation of Southeast Asian artists is one sign of the emerging
potential for destroying that danger from within and preserving
the insubstantial form of art works while creating a dynamic
situation. Herein lies the reason for turning our attention tothese artists. What we should expect to find in Asian art is a clue
for grasping the relationship between man and reality andcreating an open flexible self, without taking fixed entities as aparadigm This approach is surely indispensable in coping withthe fluctuating indeterminate nature of contemporary society.
An Assemblage of Microcosmic Tension
Let us look in a little more detail at how the basic structure
underlying these artists ' works is formed. The first characteristicthat needs to be pointed out is the accumulation of small details
that are repeated and duplicated without being constrained bya unified whole. Although not exactly the same, the countless
small details clustered around multiple centers convey that
impression. Intrin sically, however, the work is never completed
since further repetitions and duplications are possible . The
whole remains forever a temporary whole, and the details are
not subordinate to a whole that centers around a single pole. To
use a metaphor, art works are like a star-filled nebulus with afluctuating amorphous shape. Even when an art work takes theform of a Western-sty le tableau , the frame is merely a temporary
enclosure. Since it supports nothing, the underlying surface has
a negative existence. Insofar as the multi-centric details, which
quietly relate to each other, are painted as though they had beenstrewn there, they can be freely likened to a nebulus floating incosmic space.
In other words , an aggregate form that is not based on a
fixed indispensable surface serves as the starting point for these
artists' works. This forms a broad undercurrent in Asian art. Asa work consisting of a relief in which bamboo items , bottle caps ,and flowery lace are attached to a textile background, Norberto
Roldan 's assemblage epitomizes this starting point. An aggregate of countless intersecting horizontal and vertical straightlines, the striped fabric does not form a rigid supporting surface;swaying flexibly, it is itself a substance tha t forms part of theexpressive contents of the work. Innumerable pieces of bamboo are arranged parallel to each other. The row of bottle caps
epitomizes the idea of repetition and duplication . A film-likebackground , as indefinite as a curtain ; innumerable straightlines and curvilinear lines that bend only slightly; a relationshipbetw een details that is provisional and quiet; a structure that
does not emphasize volume . Compared to European and Africanmodeling , these elements, which are characteristic of Asianart , seem to suggest a subtle temporal and spatial flow andscope transcending human agency This work by Roldan cannot
lightly be called craftsmanship, since the vigorous imagin ationthat informs it is not trapped by conflicting notions of pure art
and craftsmanship .
Even if the repetition and duplication of homogeneous ele ments frees us from the restrictions of a framework containing asingle center , the feeling of tension and the radiation of dynamic
energy disappear when all the elements are equa l and therelationship between them is uniform. The repetition and duplication are mere consultation regarding the formation of indivi-15

dual mentality only through the creation of a setting in which
the endless unbroken chain of repetitions and duplications store
and radiate enormous energy locally. Metaphorically speaking,like an aurora flickering in the universe it cannot be extracted
from its surroundings, yet this space unmistakably has a special
nature because of the special power operating within it.
Mohd. Fauzin B. Mustaffa's The Lost Horizon (1991) is an
excellent example of a relief that contains sharp breaks in theendless chains while engendering a feeling of tension throughthe struggle between repeated figurative elements. The use ofcolors that are intense and exciting yet full of pathos effectively
heighten the tension between elements. Some of the poten tial ofSoutheast Asia, transcending that of other regions in Asia, .may
be manifested here. While bringing to mind a Western type of
construction, the reliefs of Chatchai Puipia , too, are dynamic
assemblages that are not created on a solid surface. Even
though it too is hung on walls, Dadang Christanto's work is an
installation that arranges a large number of elements on thewalls. An invisible dramatic relationship exists between eachpart, producing a humorous, critical tension.
When no inherent concept of a general underlying surface
exists, a relief or an insta llation on a wall not surprisingly appears as a natural development rather than as a deviation from atableau. Extending the three-dimensional aspect even further,
the installations of Montien Boonma, Supachai Satsara, Zulkifli
B. Yusoff, and Tan Chin Kuan boast a unique style as works thatcover both the wall and the floor and consist of innumerable
elements. Straight lines and the space between them are relatively prominent even in the works of these artists. These works
innately seem to belong to a different tradition from that manifested in the Western categories of paintings, sculpture, andinstallations.
Edson Armenta's objects created from a congeries of bamboo pieces are difficult to categorize as sculpture. The works
shown in the present exhibition, however, are made of wood.
Heri Dona's zealously assembled three-dimensional objects
represent a state rather than a single object. Tang Da Wu's andRoberto G. Villanueva's installations, too, consist of a collectionof objects; they could be considered the setting for a kind of
event in which tension is produced. When one reexamines thesurface of Lim Poh Teck 's and Wong Hoy Cheong's paintings, anarrangement of elements and motifs with multiple centers canbe found there too. These elements and motifs thronging aroundeach other convey an impression of dynamism.
In this way, small elements are not simply repeated andduplicated We can deduce from this new age of Southeast
Asian art a type of structure where tens ion between forces canbe perceived, as in a magne tic field.
Creating a Dual Self from Within
The discussion of the structure of contemporary Southeast
Asian art, however, is not exhausted by the observations madethus far. Just as the accumulation of our daily lives by itself is

not equivalent to an expression of the fundamental existenceof mankind, assemblages consisting of the repetition and duplication of minute details may not completely capture a powerful,finely honed feeling of existence. Without an eye for consolidating and condensing countless detai ls into something simple
using a process of selection and rejection, a work will not impress us with its seriousness and depth. Moreover, unless anartist has an eye for forcibly structuring details, the abovementioned tension will not be forthcoming. In other words, evena composite, multi -centered work must go through a rigorous
process of condensation to achieve simplicity. To do so, theartist must possess a dual self that enables him to examine withdetachment, and then radically cut back, the various sensory
factors that he has intuitively perceived.
Assuming that art, even when appreciated by the senses on
the surface, constitutes an ontological setting that should reveal
life itself, the transformation from a mere ly materialistic phenomenon to a special setting is indispensable in creating a work
The key lies precisely in the vision of a dual self. In contemporary Southeast Asian art, the structure of many works displays a tendency to proliferate. Although there is, of course, adifference in degree from work to work, a process of a consolidation and condensation in the direction of something simple
take place in these works. A reaffirmation of the importance of
this process would probably be beneficial in terms of the future.
Frankly speaking, I think that Southeast Asian artists shouldlook at the simplification process concerning self-referentialit yin modern Western Minimalism, and fully utilize that legacy onbehalf of their own transformation. If the West has somethin g
to learn from Asia, then the use by Asia of Western ideas totransform itself rather than imitating the West in no way disparages Asia. Instead of advocating an abstract Asia-centere dphilosphy or nationalism, it is far more important to consider
from a global perspective how Asia should change.
The Minimalist approach, however, cannot be applied tocontemporary Southeast Asian art without some changes. Although much can be gained from the self-doubts, self-restrain t ,and self-denial of Minimalist methodology, a Western belief
that an invisible unitary nature exists at the heart of diverse
phenomena, and that all phenomena are governed by it and canbe reduced to it, continues to pervade Minimalism.
In Asia, however , the concept of an essence is weak Usually
phenomena remain phenomena when they are simplified incollective entities. This is easy to understand , for instance ,when one thinks of the mode of expression found in Japanese
noh. Regarding contemporary Southeast Asian art, too, themode of thought that permeates this idea of phenomena isstrong. One can find abstract forms that symbolize part of aphenomenon, unlike in Western Abstract Art. 3 Thus , wisdom
is needed when consulting Minimalism, based on knowledgeof this difference. Moreover, if multi-centered, simultaneously
occurring phenomena occupy the mainstream, the consolidation and condensation leading to their simplification will pre-

16

sumably be very difficult to achieve.
The simplification of form, however, is not the goal. Since
self-discovery and self-deve lopment based on a self-referentia lvision are at issue, consolidation and condensation should not
be impossible. Teguh Ostenrik, Zulkifli B. Yusoff, Sansern Milindasuta, Supachai Satsara and other artists have tried in theirown way to deal with this problem. The first three artists have
lived in Europe; the fourth studied under a teacher who spenta long time in the United States. Through the self-reliant visionof Western Minimalism, all have tried to focus on the innerrecesses of their own multi-centered culture. Teguh Ostenrik 's
most recent works have attained the level of paintings thatclearly constitute a unified whole ,while referring to architecturalforms. Supachai Satsara conflates human figures with industrial
products, such as count less license plates. Both artists tend to
fix their gazEl on themselves. Further exploration of this approach should unexpectedly add Juster to the assemblage of
local points of tension.
Two implicit points can be perceived in the above rumination
on recent trends in Southeast Asian art . First , the structure of art
objects is equivalent to our inner mental structure. Accordingly,
the creation of art works is akin to the act of creating the self.
Second , I have simply endeavored to find in contemporary
Southeast Asian art a clue to assist in the quest for our individual
natures as inhabitants of this planet. In the future, Southeast
Asian artists will probably become conscious of themselves as
Asians . Westerners will probably look at Asia in light of theirown modern individualistic outlooks . For contemporary Japanese, too, a unique horizon has been created . What is beingsought, however , is none other than a means of transforming theself on a global sca le. Consequently , I hope that we will notforget that our own fulfillment contributes to Southeast Asian(Translated by Janet GOFF)
culture as well.
Notes
1. Nakamura Hideki, "Hyiigen no atokara jiko wa tsukurareru " !The Self is
Made After Expression] (Tokyo Bijutsu Shuppansha, 1987) 140. The article
was reprinted from an essay on self-awareness and its international contri, bution to art , published in the exhibition catalogue Japan: Triennale India
1986 (Tokyo: The Japan Foundation, 1986)
2. Kawada Junzii , "Bunka no sankakusokuryo no tameni " Nishi no kazeminami no kaze !Western wind, southern wind] (Tokyo: Kawade Shobii
Shinsha, 1992), p.7.
3. The exhibition Abstract Painting in Japan 1910-1945held at the ltabashi
Art Museum in Tokyo from 4 April to 10 May 1992 clear ly demonstrates
that , in Japanese abstract painting , too, abstract forms represent aspectsof a phenomenon.