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Contemporary Thai/Japanese Art Exhibition
Beyond the Border[Tokyo]December 9- 26, 1993
P3 art and environment
Organized by
The Japan Foundation ASEAN Culture CenterWith the Cooperation of
P3 art and environment
Nichiyu Sharyo[Bangkok ]February 14-27, 1994
Silpakorn University Art Gallery
Organized by
Silpakorn University
The Japan Foundation

Contemporary Thai/ Japanese
Art Exhibition

Beyondthe Border
Sansern Milindasuta
Supachai Satsara
Senzaki Chieo
Tsuchiya Kimio

P3 art and environme nt
Decemb er 9- 26,1993
Organ ized by The Japan Foundation ASEAN Culture Cenrer

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Beyond the Border
Tani Arata[ Arr Criri c]

I. From Introduction to Interaction
The present exhibition provides the first opportunity forcontemporary Japanese and Thai art to interact directly witheach other . Similar interaction between Japan and other
Asian nations is desirable in the future, and such opportunities will probably become much more frequent. To put ic
simply, the time is ripe for this, and if Japan's position raises
expectations, chose expectations should be met. Indeed, it
might be wise to cake a more active seance, even if misunderstandings arise. It is better to deepen cross-cultural ties
without worrying about creating misunderstandings than forboth parties ro avoid misunderstandings by remaining idle
bystanders. True interaction is impossible unless each side
examines the other at close range.
A solid foundation for the introduction of contemporary
Asian art has already been nurtured in Japan. I am referring,of course , to the trio of Asian Art Shows organized by the
Fukuoka Art Museum in the 1980s. These shows functioned ,so to speak, as the Olympics of contemporary Asian art . In
the latter half of the 1980s, the museum also began holding
one-man shows introducing specially selected Asian artists.
By eliminating nationality as a basic approach and creating
the artists' individual characteristics, this scheme sought
to transcend problems caused by differences in national
strength, which the Olympic format engenders. (It might
be better to speak simply of "differences," since "differencesin national strength" presumes specific standards.)
Japanese artists were included in the three Asian Art
Shows. Although there are far more artists in Japan than in
the other Asian countries, in these shows Ja pan was createdas only one of a group of participating nations. In this sortof project, Japanese artists naturally consider Japan theCenter; under these circumstances, the relationship withother countries becomes that of one against many . Such an
approach clearly permits a wealth of interaction, but makes
it difficult to establish a basis for the ties themselves to grow.
It can readily be regarded as laying the groundwork for theelements that will enable temporal and historical dimensions
to deepen . But that is a subsequent goal; the primary aim of
the Olympic format was to place participants on the sameplaying field.
The second step taken by Fukuoka , namely the format ofone-man shows of Asian artists' works, introduced a different
perspective. Speaking in terms of the above types of relationships, schematically it represented a one-to-one correspondence (namely, an Asian artist vs. Japan) or a correspondence between one and many (an Asian artist vs. Japaneseviewers). The elimination of national borders enhances themeaning of personal interaction . I am not saying that an
Olympic type of format fails to achieve this. Even when
personal interaction is valued as a secondary goal predicatedon nationality , the Olympic format constitutes interaction
between artists representing specific countries . In no way is
the individual placed at the forefront.
I am not disputing the twin principles underlying the
Fukuoka exhibitions on Asia. The museum has laid thegroundwork for new interaction . What I am saying is that,with regard to Asian interaction, the experience of the
Fukuoka shows should be taken as a basic premise when
considering the kind of perspective to adopt hereafter. It
must first fie the progressive historical vision underlying theexhibition format created in the West. The epitome of the
Olympic format, needless to say, is the Venice Biennale,
which boasts a history of nearly a century. Japan has participated in the Biennale since the 26th show, which washeld in 1952. The Biennale includes an aperto, an exhibition
which offers a venue for exhibiting trendy works, regardlessof national borders, in a setting other than the main exhibition space. This plan, however, was added later. International exhibitions in India and Bangladesh are modeled after
the Venice Biennale.
The Documenta in Kassel, Germany represents an approach that centers around the selection of artists and works ,without regard to nationality . At present, it is the largest
scale on which new trends in contemporary art are regularly
treated in a comprehensive manner . In the 1970s this exhibition was placed under the control of an independent commissioner. Japanese artists began to be frequently invitedaround 1977, when the 6th exhibition was held.
Unfortunately, no exhibition of this kind exists in Asia.
Actually, Biennales were once held in Tokyo . As an event
chat brought together the latest domestic and international
trends, the 10th show, held in 1970, represents a milesrone
in the history of contemporary Japanese art. However, thistype of large-scale exhibition subsequently disappeared fromJapan and hence the entire Asian region.
The question as co whether Japan can shoulder chat
responsibility once more depends on whether the times makeit inevitable, an extremely difficult matter to judge. Japan,
on an equal footing with America and Europe, sends artists
to famous international Western exhibitions. If one looks at
Asia unblinded by the mirror representing the West, which
Japan has traditionally placed in the foreground, one cannot
help being struck by how little attention Japan pays co Asia.
(In terms of the relationship between Europe and Japan, themirror has gradually come into closer range, and now directly reflects Japan). What triggers that impression isJapan 's Asiatic elements and hisrory, which, on a conscious
level, considerably exceed the awareness of Asia in Europe
and the United States. Therein, one could say, still lies
Japan's salvation. From the perspective of Japan, eventhough Asia is included as a general category in the kind ofinternational Western exhibitions mentioned above, it is atroubling fact that Southeast Asia is virtually nonexistent.
Last year, the show that is always held in the K18 district ofKassel and other settings in conjunction with the Documenta chose a theme, Encountering the Others, whichfeatured non-European nations. Although a great many
artists from Asia were represented, the exhibit focused
mainly on Ease Asia and the Indian subcontinent, andoverlooked Southeast Asia. Even the main Documenta
exhibition included only a Filipino artist who lives in the
United States. This could not be helped if research failed coturn up any artists who fie the theme of the exhibition, but

7