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19901'Jc, p.16o2) ;'.lv,/;,-,y-(;J:1:..,f'1::-Ritllj',ffl':ElT1\lll'&;@iHli\,1T, 19o fal..t~o3) Mark Rosenthal, Anselm Kiefer, The Art Institute of Chicago and thePhiladelphia Museum of Art, 1987-89, p.133.
4) 16)..t~. p.137 0
5) John Briggs and F.David Peat, Turbulent Mirror(New York: Harper and
Row Publishers, 1989), p. 20.
6) Francisco R. Demetrio, Gilda Cordero-Fernando, and Fernando N.
Zialcita, The Soul Book (Quezon City, Philippines: GCF Books, 1991), p.
88.
7) 16)..t~. p.880
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9) Sylvia L. Mayuga, "Journey to the Center," in Museo ng Kalinangang
Pilipino (Manila: Cultural Center of the Philippines, 1988), p.9.
10) t:lJf~jf'y s,yO)IJHt~ffi J rWJEljfii,iJJ, 19921'Jc
l/'l 13 El'.>'tlJ, p.7o11) "Reaching Beyond Tradition," Asian Art News, Nov.-Dec. 1991, p.300)7
JI.,7V'1/ f'', ;Js- 1) /'tt(::J:91/';lt:.:i. -J: 1) 0
12) Christina M. Silva, "The Language of the Earth," The Nation (Oct 28,1991).
13) Sylvia L. Mayuga, "Journey to the Center," pp .92-93.
14) ~:ctil,ml~. p 62*~01) t: ;,-,IJHt~f,1\f/:::i'ti!J8lU-o«:J[.,~7Iv;;j'ycp,C,,(:: J,
15) iJt!J,JIM1BLl71
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19921'Jc, pp.93-1010
16) MfflWJEljfii,iJ*,l!?,o17) A.D.Pirous Retrospective, exhibition catalogue, Decenta Gallery, Bandung, 1985.
18) ~fE!l9i')11jf':,,l',ljjO)j,!lfg~j;fq
Jr rs,TIJHti-'Jc*1/').7'.IV 5' > 'f- /'=;7T/'~Ji;gJii, fif;l';]rp~ffitg', 19901'Jc, pp.25-260
19) BH Jli.6Jrcpiei,11)(.~@iO):ffitiJ, ~vf>f0~slit±,19781'Jc, p.1430'a'~20) .::..::.
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021) Astri Wright, "Dancing toward Spirituality=Art", Nindityo Adipurnomo
1988-1990, catalogue, Yogyakarta, 1990.
22) 1992:t!:2/'l27 El, 'f- .:i. 7- • ;,-,:::i;,-,;ic;:"Fl::StH,tlUU!l~rU 1H.!Hlo23) *~tt~rBs¥r.,cg;if.H tr±t±,
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Toward an Asian School of Contemporary Art

TANI Arata
Art Critic

I. Introduction
According to certain values, one region has developed late.
Accord ing to those same values, another region should use its
superior position to bring en lightenment. Also, according tothose values, which are manifested in the structure of a handfulof advanced capitalist societies today that began to emerge in theeighteenth century, what is at issue is the very structure that
forms the measuring stick and underpinning for those values.
Of course, this structure has crumbled or is being negated inmany countries where those values have been applied-here , thenations of Southeast Asia . The rising economic power of Southeast Asia, especially the countries in the Association of Southeast
Asian Nations (ASEAN), which was formed as a barrier against
the communist bloc , is one reason for the decline of this struc ture. The resulting surge in the modernization of art and culture
has provided a lever for reexamining traditional culture. The
modernization of art and culture and the revitalization of tradi tional culture have forged a new scenario.
The undermining of the above values themse lves, however ,has played a pivotal role in the transformation of the laws
governing the relationship between those values and Southeast
Asia. International trends, from the Vietnam War to the conflictin the Persian Gulf, are a case in point. The notion of superiority
has become blurred; the source of its authority has been
obscured.
It is important now, however, to focus on what has been
exposed by the turmoi l that has rocked those values. At thispoint, I need hardly mention that, by "those values," I am referring to Western Modernism. The foremost manifestation has beennationalism , which faces problems that overlap with those in theart world . Below, I shall point out instances where the problems
assume a similar shape.
There is a difference between what perforce, has, always
been late and what was caused by a sense of danger regarding
self-disintegration, a premonition of the future, so to speak, that
inevitably resu lted from being in the vanguard. The age inter sects both aspects, common problems emerged. I will begin by
exp loring these under severa l rubrics.
But first I must explain that, althoug h the two subjects arelinked, there still remains a decisive difference between themregarding the frequency and awareness of the critical spirit.
If one element vigorously sustained Modernism in the West, it is
this intensity, as we ll as the ability to look objectively at the self.
This has engendered various differences, espec ially regarding

artistic expression. The same is true regarding the interpretation•of traditional as well as contemporary culture. More time isneeded for this aspect to mature. On certain levels, however , itdoes not lie very far in the future.
II. Inherited and Revised Myths
Southeast Asia is a treasure trove of mythology. Or, rather , thiswas once true everywhere that human beings lived . As history
shows, however , the development of Formalism was accom panied by the ouster of mythology from, and its abandonment by,Western Modernism and forms of artistic expression, which,above all, turned the creation of modern myths into an ideology.
History also shows that the limit of Modernism were reachedmore than two decades ago, when the movement began tocollapse. One hardly need point out that this marked "the end ofModernism and the advent of Post-Modernism. "Post-Modern representation has recaptured myths. One
rubric is "reexamined myths ." For instance, Arte Povera tried
to reexamine the limits of Formalism, including concepts, ofcourse, as well as everything from materials to modes of expression . The movement was founded upon the limits of Modernism
and a foreshadowing of Post -Modernism. The movement took
place in the late '60s and '70s. There is no need to explain againthat the members, who frequent ly transcending the values ofbeauty and ugliness on a formal level, brought into the gallery
living creatures (for instance, Jannis Kounellis's Horse) andthings that stirred distant memories (Mario Merz's Igloo).
The introduction of that sort of "tota lization" of expression
and mythological concepts extended comparable to the PostModern market. It flowered brilliantly in the Neo -Expressionist
representations of the Trans -avanguardia movement. Although
there is no room here to give detailed examples, Enzo Cucchi 's
Holy Tree (1980, fig.1) depicts motifs-a tree and serpent-forwhich many similar examples can be found in Asia. In
Coccodrillo (1987, fig.2), Merz, who by then had defected fromthe Arte Povera movement , depicts a crocodile or iguana. The
Fibonaccian mathematica l series on the surface of the crocodile
directly manifest the system of growth and propagation among
plants and animals. 1 Knowledge on the level of integers is
considered a useless tool. One can find innumerable animal
figures in Philippine mythology prior to Westernization. Some
examples of crocodiles can be found, but mostly lizards are
depicted. There are also the motifs of Germano Celant, thefounder of the Arte Povera movement in which Merz participated,
who discussed art using plant and animal metaphors.
III. Myths that Revere Serpents and Polarities
Post-Modern allusions to myths were shaken by an artist trying toescape from its structure. The artist, Anselm Kiefer, was holding
a one-man show of his work in Tokyo even as this essay was
being written. Some surprise may be expressed that he is stillaround, but no artist bears as strong a link as Kiefer "to the myths
borne by Asia," although he does not refer direct ly to Asia, asFrancesco Clemente does. 2 Kiefer has a fixation about the Old

100

Norse Edda and Greco-Roman myths, hardly what could becalled Asian elements. His fixation appears like a silent record
welling up from fissures in the rock bed of Modernism. The
gushing spring does not represent the modern West's central
axis . Although Western , it wells up through the energy accumulated by being on the edge, by being marginal. Nevertheless,it clearly has a common foundation with Asia. Here I will take up
only the aspects of Kiefer's images that have ties with Asia .
Kiefer often depicts serpents. He also paints forests and trees,
as well as fire, which destroys them. He does not depict theseobjects for their shapes, however, but rather for what lies behind
them, or for the world or concepts that try to emerge throughthem. Ultimately, this approach condemns Modernism, not tomention Post-Modernism. The lofty horizon created as a resultof its location on the earth 's surface abounds with a will toinvalidate in its entirety the brief history of modern times.
For Kiefer, the snake also symbolizes intelligence. This de velops into "the triumph of the scientific world," which leads tothe destruction of ancient mythic truth. 3 The snake signifies
Satan and serves as a generic term for evil. On the other hand, italso represents an angel. Drawn from Dionysius' mythic description, this angel best ows new life on all things in the universe ;abounding with the will to do good, it dispels darkness 4
The following work substantiates these remarks. In Midgald(1980-85, fig. 3), which in the Edda means "this world," a halfbroken palette and a serpent are depicted below the horizon(a rough sea), namely on a beach. The horizon is placed in theupper part of the painting. The relationship suggested by theplacement of the serpent is very subt le . On one hand , it represents a serpent (society supported by intelligence and scientifictechnology) in the process of destroying the palette (representing
something mythological and artistic ) On the other hand , itseems to depict the serpent (angel) as healing the moribund
palette, representing what is mythological and artistic, andrestoring it to life. By possessing these diametrically opposite
natures , the serpent serves a major role in the cosmos .
The Chinese classic I ching refers to this dual nature as ryogi,
or two principles. These two opposing forces that appear in thephenomenal world are controlled by the Great Ultimate , or t'aichi , the true form of the cosmos. The dragon, a motif frequently
employed in traditional Chinese ink paintings , is depicted as asymbol of order which suppresses chaos in the universe. 5 The
dark amorphous space behind the dragon represents disorder ,while the dragon serves as an emissary restoring order. One must
not forget , however , that it is not a messenger dispatched by theforces of order, but rather commutes back and forth between therealms of order and chaos .
According to an ancient Philippine legend, the "commuter"between the radiant land and dark water (the sea) is a crocodile.
In Tagalog and Bisaya, it signifies a grandfather. 6 A transcendental existence was worshipped as a closely related forbear.
Moreover, a serpent signifies revival because it annually sheds its
skin. Like a crocodile , it has the function of a messenger that cancome and go freely between this world and the underworld. 7

These creatures in no way symbolize evil. Instead , they reflect
the philosophy of human beings who worship a transcendenta lexistence within the embrace of something transcendenta l (theuniverse and all things in it).
Among the relatively ubiquitous myths in Southeast Asia is
the story of naga, which originated as an India myth. Naga
possesses the dual nature of order and chaos , and good and evil,
mentioned earlier. 8 It is not certain whether Barong , a sacre dlion-shaped beast that figures in Indonesian religious ceremonies, can be linked to this tradition, but its use with thesorceress Rangda as an object of worship is important . Instead ofdispelling evil and worshipping only what is righteous and good,Indonesians revere both kinds of deities. Righteousness andgoodness are merely a one -sided interpretation proposed by theworld of man . They are merely an excuse to justify punishin gothers . On a transcendental plane (i.e., the universe), the y
manifest only half the truth. The inhabitants of Bali still transmi t
the legend about worshipping good and evil together.
IV. Myth s of Resistance: Or a Concern for Origins
1. Trees
The town of Baguio on the border of the mountainous region in
the northern part of Luzon has inherited a unique culture. The
concrete part of a house there belonging to the performance artis t
Kidlat Tahimik was demolished in an earthquake , but the•upstairs room made of bamboo never flinched. Kidlat laughingl yspeaks of "bamboo power." In addition to bamboo , a plant calledron o resembling Japanese shinodake flourishes in Baguio. Manyart works use this for material. John Frank Sabado 's installation(fig. 4) places a bamboo grove in the foreground, behind which isa stage on which he reclines , creating a kind of contemplative
space . His entrance through an enormous keyhole suggests a
metaphor from a story about metamorphosis that recounts a visit
to another world.
Pillars and trees are inherently objects that hold up the world .
They also signify origins , a return to the womb , an implement for
traveling to a spiritual realm. 9 Nevertheless , when the mythic
world, which worships sacred forests and trees , turns towardreality, it inevitabl y becomes an expression of resistance . An
installation by the Indonesian artist Dadang Christanto enter tainingly protests about the danger confronting forests , which
are shrinking in size because of the cons truction of golf courses.
A golf ball hit by a person is gradually transformed into a demon.
In the end , it chases away human beings . Moreover, the whole isdepicted like a series of movie frames in which the images areamplified little by little. In other words , this mode of expression
speculates on changes in phenomena (time).
2. Earth
The Thai artist Montien Boonma often uses earth in his work to
depict pagodas and stupas (fig. 5) But, as I have written before ,his images do not refer to the sumptuous kind found at famous
tourist sites. Instead , the y concern pagodas and stupas quietly
nestled in the shadows of buildings. This can be considered a101reflection of indigenous folk religion and pi, spirits or spirit
worship. 10
Sometimes the interest in origins transcends the boundaries
of "commonwealths" (a state or community) based on religion.
"In some works, I use earth as a symbol of Christ or Christian
thought," says Montien. 11 The same is true of sand and candles .
If what he is trying to say concerns religion yet does not takeissue with organized forms, then the manifestation of the originalactivities and spiritual values possessed by religion is important.
Following this orientation, farm implements and discarded
industrial products, too, always lie on the edge or border vis-a-vis
the contemporary world.
While drawing upon traditiona l motifs, Montien dislocates the
weak spirit of Neo-Traditiona lism, which sudden ly emerged
alongside of Post-Modernism. A similar statement may be madeabout his compatriot Kamal Phaosavasdi, one of the few Minimalist artists in Southeast Asia today. The materials and objects
used by Kamal are objectively treated; moreover, they arepresented in a large space. Conceptually, however, they seekroots in the earth, rather than along the lines of Modernism. For
Kamal, a native of the north of Thailand, the earth constitutes "acommon language " Incidentally , Montien's father, too, moved to
Bangkok from a farm village . The farm implements used by
Kamal likewise represent a common language; they are notpresented simply out of nostalgia for traditional objects.
This pattern echoes the dichotomy between cities and farm
villages in Japan during the late 1950s and the 1960s. As amecca, however, Bangkok modernized too rapidly during its
transformation into the "world's showcase ." Hence what these
artists regard as a common language is inevitably considereduseless in the cities. Even so, the artists' employment of suchobjects as a common language must perforce serve as a weapon
against the sophisticated cities. The earth used by Kamal also
serves as a means of communication between father and son .
Kamal recounts an episode about various kinds of earth sent tohim by his father. 12 For him, earth conveys a message thattranscends language.
3. Birds and Animals
A Philippine myth tells how a huge bird brought earth from theends of the universe to this world, which contained nothing but
sea and sky.13 Moreover, Vishnu, one of three principle Hindu
deities, rides a sacred bird. Birds also represents a force fighting
against chaos and disorder; Gai:uda is a well-known example. 14
In Hinduism and Buddhism, elephants and Ganesha whose
form derives from that of an elephant, are often employed as amotif. The Thai artist Chatchai Puipia's use of an elephant follows
a process of abstraction that recalls Piet Mondrian 's Arbres series(fig. 6) At the same time, the painting (form) is turned-intoa relief, painted on an amorphous underlying surface. But
Chatchai has by no means chosen the path of simplification andpurification in the pursuit of abstract geometric forms. Instead ,the elephant strongly reflects his concept of moving back andforth between representation and abstraction. His painting is

supported by "organic thicknesses," which run counter to Marcel
Duchamp 's Inframince and the treatment of paintings as screensin American Formalism.
In Asia, however, this type of motif is usually expressed in amore fragmentary manner. Ancient images embedded in mythology have undergone various forms of apostasy in the face of
external pressure during the early modern and modern period.
The paintings of the Indonesian artist Heri Dono are truly
fragmentary. His canvases are filled with anthropomorphic animals (beasts), birdmen, and androgynous figures representing
a cross between man and beast. The inexplicable monsters andmythic creatures boisterously dance in the crowded space. Heri
Dono also performs wayang, or shadow theatre, and his atelier isfull of puppets from that theatre, as well as images and products
involving those strange creatures (fig. 7) The Thai painterPrasong Luemuang , who lives in the forests of Lumphun on theoutskirts of Chiang Mai, is his equal when it comes to a taste forwhat is amusing (fig 8)
An analysis of the amusing images of human beings andbeasts, however, uncovers complex myths expressing resistanceand criticism. This attitude is expressed not only regarding
historical processes but also in terms of irony about contemporary civilization. For instance, the internal organs of a puppet
consist of mechanical parts, and the subjects on television as wellas the viewers are all monsters.
In Hinduism, androgyny and metamorphosis seem to havebeen common, since Shiva was inherently androgynous andcomposite images of him and Vishnu can be found. This problem
has a common foundation in the West as well as Asia.
Roberto Feleo transformed this kind of mythic structure intoa message of resistance from the early modern period to ourtimes. For him, an art work is none other than a myth explaining
the origins of the Philippine archipelago and its people, from
Pintado, meaning "the person depicted," down to the present. 15
Feleo's work recounts in highly metaphorical terms a story that is
too complicated to be told by ordinary means.
The Singaporean artist Tang Da Wu manifests resistancemore straightforwardly, using the rhinoceros , an endangered
species, and tigers as a motif. Bottles of aphrodisiac made fromthe tusks of a rhinoceros surround a stuffed animal representing
a reclining rhinoceros . Another installation creates the imageof a tiger attacking a Chinese-style bed. The present exhibition
contains a work in which crocodiles are used as a motif. Sometimes, Da Wu tosses out messages himself in performance, butwhen he depicts animals, the message is silently conveyed by the
animals, in the manner of Dadang Christanto's golf ball . Occasionally, Da Wu focuses on the history of his own people .16
4. Letters and Calligraphy
A native of Aceh in Sumatra who lives in Bandung, AD. Pirous isa pioneer in Indonesia modern art. Islam took root early in Aceh;its people are famous for having unified to provide the stiffest
resistance to Dutch rule in modern times. Although Pirous wasjust entering middle school at the time of Indonesian indepen-

102dence, he fought as a student in that war. 17
While teaching at the Bandung Institute of Technology, Pirous
has led the movement to modernize Indonesian art. He receiveda Rockefeller scholarship to study in the United States from 1969
to 1970. During that period, an exhibition of Islamic art was heldat the Metropolitan Museum of Art in New York He was so inspired by it that he shifted his interest to calligraphic work (fig. 9),
an indispensable aspect of his painting. By chance such work
harmonizes with historic Islamic objects from Aceh.
Although far younger, the artist Nindityo Adipurnomo, whoruns a gallery known as Cemeti in Jogjakarta, had a similar
experience. While in Rotterdam, he rediscovered the culture of
his own people when he saw sculpture from all over Indonesia ,including Java , Bali, Kalimantan, Sulawesi, and Irian Jaya. His
art changed as a result.
For people who can only read kanji, or Chinese characters,
and the alphabet, other kinds of letters create a strong impact
simply because of their shape, since their meaning is unknown.
The shape of Thai characters, like that of Arabic characters, isintriguing. Although my interpretation may be farfetched , thepaintings of Suthat Pinruethai , who lived in the United States for
fifteen years, and Sansern Milindasuta, who moved from Englandto Germany, create a strong impact because of their use of letters.
In the case of Suthat, the letters serve as a modeling element. The
letters can be read; they also form part of the overall design of thepainting. Moreover, when used in isolation, letters influence , andare influenced by, images (such as a hat) that appear with them .
In Purason's Neo-Traditional paintings, letters are inserted in thework as an entire sentence. This clearly reflects the influence oftraditional Chinese forms in contemporary Thai art.
Sansern's thick, organic lines suggest parts of a living form;
sometimes they are even humorous (fig.10). Without fear of exaggeration, I would characterize them as "organic letters andfigures that bear traces of life." One could also say that they
actively incorporate tote mic inscriptions and the energy ofbarbarism.
5. Swords and Lotuses
Malaysian sculpture is "pointed." Works of iron and wood predominate; one rarely finds bronze. The sculptures convey little
sense of mass. Moreover, few human figures can be found. The
compositions are completely abstract, yet they do not suggest
Constructivism. For instance, if you touch a fastening on oneof these sculptures, it seems to recoil with tremendous force
against your body. In other words, by linking offense and defense,
it serves as a metaphor for a weapon. Some of Bayu Utomo B.
Radjikin's sculptures represent human figures, but they are
extremely defiant and convey an image of a person yelling in a
half-crouching position (fig. 11).
Zulkifli B. Yusoff elevates the use of space to a moral plane.
In front of the wall is a chair protected by a painting and swords.
A "bridge" has been built leading up to the chair. This installation expresses a kind of lesson about life by means of spatialconfigurations which employ lofty images that have a storytellingaspect.
Tan Chin Kuan, like Zulkifli, is a representative young Malaysian artist. His work abounds with tragic motifs . The lotus , animage not very often seen before, makes its appearance in his
new work A motif that clearly derives from Buddhism, it isvirtually never found in the work of Malay artists, who belong to
the Islamic faith. Tan Chin Kuan's vivid depiction of humanbeings is the complete opposite of the sacred space sought by
Zulkifli. Rather , it should be regarded as a drama of humanrelationships involving the ego, social systems, and the politicalenvironment. His work also contains a message representing one
aspect of Malaysia's ethnically diverse society, which contains
Malays, Chinese, Indians , and various minority groups.
Tan Chin Kuan fashions the complexity of such contemporary
problems into a kind of "stage art." 18 He often serves as the
director, producer, and main character. He begins by placing
himself in a tragic context. Tragic of Blue Night (fig.12), exhibitedat "Salon Malaysia 1991/1992,"consists of three scenes. In the left
panel, masked human figures, as well as a Kewpie doll signifyinga politician's collection, are placed in rectangular frames . The
central panel contains a building that suggests a pagoda anda contemporary building. In front of it are lotuses flowering inwater and a human figure with blood streaming from his head ,suggesting the artist himself. The right panel depicts a humanfigure dressed in attire symbolizing Islam that seems to be manipulating another figure, the main character's shadow. A flaglies in the background .
The composition is complex and highly suggestive. The main
character is clearly sending a negative message regarding theleft and right scenes, but he does not give an affirmative assessment of the scene in the background of the central panel either.
In the middle ground , he has placed huge pieces of wood in the
shape of an "X," in front of which he is trying to stand . This kindof self-consciousness implies heroism.
Lotuses also figure in Eng Hwee Chu's work Although depicted more dynamically, they are passionate, and include
nudes; moreover, they have a poisonous quality. Unlike in Greek
myths , the painting does not depict eating fruit to forget thesufferings in this world.
This kind of motif cannot be found in paintings by Malay
artists. Instead , many works by these artists strongly reflect thetradition of textiles. Fauzan B. Haji Omar cuts canvas andarranges the pieces in a collage. Mohd . Fauzin B. Mustaffa also
employs collages, but he creates deformed painting surfaces.
Although Awang Damit B. Ahmad works with abstract forms
using pure colors, he is also linked to the textile tradition.
In the Philippines, Norberto Roldan actually makes reliefs
using textiles. Although he employs a traditional technique, heseeks to make his work contemporary by infusing his own
concepts in it.
6. Rocks and Paper
The "anti-nude" is a common rubric linking the Islamic andChinese cultural spheres. It clearly runs counter to Western art

103

history.
The Thai artist Kanya Charernsupkul uses only rocks. Moreprecisely, her works chiefly employ the motif of rocks along withflowers and seasons. The forms painted on canvas and paperusing water-based or tempera techniques are completely abstract. Spiritually, however, they are deeply rooted in the traditionof Chinese culture. In recent years, she has transformed stones
into reliefs using a hand-embossed technique , in which theshape of a rock is copied by wrapping paper around it (fig. 13).
In China stones were originally said to represent "the bones ofheaven and earth." An eleventh-century treatise on art by Guo Xi,
who systematized the technique of three distances (san 'enpo) inlandscape paintings, "likens landscapes and nature to thehuman form. Water represents blood vessels, plants and trees
hair, and earth flesh. Since stones represent bones , they truly
form the core of nature " 19
Although Kanya's works are modern , the y convey an impression of "spirit " (ki) and "signs " (kehai ) through the use of intangible material. In other words , an aspect of his works suggests
Chinese black-and-white ink paintings . A kind of handmade Thaipap er known as "sa-paper" that is widely found in contemporary
art helps to create atmospheric matiere that is full of osmosis.
The Singaporean artist Chen Kezhan is a master of ink
paintings, a ubiquitous genre among Southeast Asian artists ofChinese descent. 20 Although his paintings are completely abstract, they are reinforced by modernity and atmospheric (ki)Eastern brushstrokes . This mode of representation , which isoften expressed in the form of scrolls , has been almost entirely
eliminated in Japan. Abstract and representational paintings on
hanging scrolls and screens form a major current among artistsof Chinese extraction. For instance , in Taiwan , abstract forms inthe manner of Paul Klee and Mondrian are painted on hanging
scrolls. In Singapore , some government-sponsored exhibitions
even include a section on Chinese painting in addition to ones on
abstract and representational art. Although not of Chinese
descent , Teguh Ostenrik produces abstract color paintings thatsuggest profound cosmic space.
7. Torus Forms and Festivals
After returning to Indonesia from the Netherlands , Nindityo
began to take a close look at the origins of his people. These
origins constituted a rich sense of space that could scarcely
be contained within the rectangular painting surface. He discovered the roots of his people in the Javanese dance. Layersof curvilinear lines, revolving tori, and strong vivid colors
became his motifs (fig. 14). The protuberances (objects) thatcoexist in his paintings were probably inspired by interaction
with the traditional culture of the Toraja, whose architecturalelements , such as beams, and wooden coffin ornaments arealluded to.2 1 These characteristics are also connected with the
Maranao style ; behind them lurks interaction with ancientmaritime civilization. The Eastern Baroque cosmos based on
spirals and ornate curvilinear shapes may be said to lie in the
background.

Roberto G. Villanueva is also attached to toroid forms, which
can be found in his paintings as well as his installations (fig. 15).
The installation containing volcanic ash from Mount Pinatubo
and candles clearly derives from highland culture. Moreover, it
vividly suggests the aftermath of a banquet .
A torus always arises from the cosmos , surmounting the limitsof geometric forms. A transcendental meaning and world areembedded in it. Sometimes transcendental and sacred beings
descend to earth through it; conversely , human beings interact
with the sacred and transcendental through that action . Here ,too, Southeast Asian myths manifest a common global nature .
There is an intimate connection as well, with the origins of thestone circles created by Richard Long
B. Discarded Objects
The above-mentioned Roldan works with flat surfaces in addition
to textiles. Coca-Cola bottle caps are used as an ornament along·the edge of the picture frame . They rank with Marilyn Monroe as
the supreme symbol of the twentieth century , yet the y are
reduced here to a mere ornament , just as children , not realizing
their value, use them as toys .
Using gold leaf and wax , Montien has created a work called
Benediction inspired by Catholic ritual. He has made an ironicalwork titled Venus of Bangkok that uses the rubbish disgorged bycities. Virtually all of Supachai Satsara's materials are made oftrash (fig 16)
Many of Vichoke Mukdamanee 's works create a "contemporary festival space" using manufa ctured goods as well as fabricdepi cting traditional images (fig. 17). Another popular artist , the
Neo-Traditionalist Panya Vijinthanasarn , impresses images of the
breakdown of Buddhism on thermal paper that he has collected(fig. 18). Fauzin, an ecologist who lives near an industrial park ,creates compelling works using inexpensive materials such as
cigarette papers and cotton.
Conversely, while respecting modernity, Chatchai uses
animal feeders (decorated with a cute snail), which even farmers
had cast off. Pinaree Sanpitak , who has studied in Japan, produces reliefs of high-quality consisting of a collage of photographs and traditional Japanese washi paper , painted withacrylics and gouache . She has also made animal masks resembling paper ones that her grandfather loved.
Rubbish is a symbol of the objects discarded by cities andfarm villages that are even being erased from human memory .
It is a critical point for them, a "border" that stimulates a desire
for expression. Although Lim Poh Teck does not use discarded
objects , his stress on memory and roots overlaps with this sort ofconcern.
In addition to depicting powerful abstract color images , theThai artist Vasan Sitthiket is a poet and singer-songwriter.
His entire series of woodblock prints forms a message of resistance to society . He is a very cheerful person , but if a gauge wereneeded to measure the pace of modernization in Thailand ,it would be backed by the advent of individuals like him .
Modernization has created the language of Thaiwijit

104

Puangkasemsomboon, Araya Rasdjarmrearnsook, and the abovementioned Kamol, Sansern, and Supachai, whose work has left
behind myth and tradition . The examples are limited to Thai
artists, but they underscore the modernization of Thai art.
V. An Unprecedented Experiment
Apinan Poshyananda, a teacher at Chulalongkorn University andactive critic, has written, "Is Thai art truly beyond the modern ,truly in a postindustrial age? Can we use EuroAmerican termswith the same meaning? Is there a Post-Modern condition in
Thailand, if so is it pre-what?" 22
He is quite right. In contrast to Japan , Modernism occurredvery late in Thailand; it arrived with the Italian artist Corrado
Feroci in 1933. Yet the Post-Modern movement began withscarcely any time lag behind Europe, the United States, andJapan. Post-Modernism (consumption) did not occur at the end of
the mature period of Modernism (production). Instead, both
movements had to be conducted simultaneously. The unprece dented experimental setting for this was Bangkok But Bangkok
is not unique· more or less the same thing can be said of the othermajor ASEAN cities. Such circumstances are reflected in art.
Although no easy predictions are possible, the breadth and depthof contemporary forms of expression and concepts are bound to
expand .
Moreover, in spite of having been stimulated by "linear time"and "the modern West and metaphors of progress and develop ment," the motifs are not limited to them, but also deal with"p rimeval time that continues to exist." 23 Such motifs include thegod of fertility Buroru, who emerges from the slashed belly ofa naked inverted figure in Agnes Arellano's work This is a
metaphor for the will of the people, who occupy "living" time thatexists in myth and experience. It may also express resistance tolinear time.
Nevertheless, if the artists' establishment of an identity
in their own country is advocated simply in opposition to what
is Western, it represents a variant form of Modernism. This is
a common problem throughout Southeast Asia. The context for
breaking away from this situation has probably not yet been
nurtured enough. At the very least , however , the possession ofsuch motivation is an urgent necessity. Otherwise, identity will
be situated in contemporary representations of "ethnic souve nirs" that revert back to Western Orientalism. It is our responsibility as Japanese to examine Southeast Asian art and increase
our interaction to promote its development.
(Translated by Janet GOFF)

Notes
1. Michael Auping , "A Primitive Decorum: Of Style, Nature, and the Self in
Recent Italian Art," in Recent Italian Art (AT Gallery, 1990), p. 16.
2. Clemente , who lived in India for many years , painted miniatures. See
Auping, "A Primitive Congruence."
3. Mark Rosenthal, Anselm Kiefer , The Art Institute of Chicago and thePhiladelphia Museum of Art , 1987-89, p. 133.
4. Ibid, p. 137.
5. John Briggs and F David Peat, Turbulent Mirror (New York: Harper and Row
Publishers, 1989), p. 20.
6. Francisco R. Demetrio, Gilda Cordero-Fernando, and Fernando N. Zialcita ,The Soul Book (Ouezon City, Philippines: GCF Books, 1991), p. 88.
7. Ibid, p. 88.
8. A large serpent or dragon in Indian myth, naga is linked with various
indigenous myths in Southeast Asia, where it represents the lowest realm inthe universe: the realm of the dead , the hydrosphere, and the underwo rld.
It possesses a dual mythic nature, manifesting both good and evil, andrepresents primal chaos and darkness. Sekimoto Teruo, Tiinan Ajia o shiru
jiten !Dictionary of Information on Southeast Asia] (Tokyo: Heibonsha ,1991), p. 205.
9. Sylvia L. Mayuga, "Journey to the Center," in Museo ng Kalinang ang
Filipino (Manila; Cultural Center of the Philippines, 1988), p. 94.
10. Tani Arata , "Contemporary Art in Asia," Asahi Shimbun, evening edition ,Jan. 13, 1992, p. 7.
11. From an interview by Alfred Pawlin, "Reaching Beyond Tradition," Asia n
Art News (Nov.-Dec. 1991): 30.
12. Christina M. Silva, "The Language of the Earth," The Nation (Oct 28, 1991).
13. Sylvia L. Mayuga , "Journey to the Center," pp. 92-93.
14. Sekimoto Teruo, Tiinan Ajia o shiru jiten, p. 62.
15. Ushiroshoji Masahiro, "Fuiripin gendai bijutsu to 'monogatari'-Robert oFuereo o chiishin ni" IContemporary Philippine art and narrative, with afocus on Roberto Fereol, in Minzoku geijutsu [Folk Art], vol. 8 (1992): 93-107.
16. Tani Arata, "Contemporary Art in Asia ," Asahi shimbun, evening edition ,Jan. 13, 1992, p. 7.
17. AD. Pirous Retrospective exhibition catalogue, Decenta Gallery, Bandung ,1985.
18. Shibata Katsunori , "Stage Art of Tragedy," in Asian Artist Today-Fukuoka
Annual IV, Tan Chin Kuan, exhibition catalogue (Fukuoka Art Museum ,1990), pp 27-29.
19. Yoshimura Teiji, Chugoku suibokuga no seizui !The Essence of Chinese Ink
Paintings] (Tokyo: Bijutsu K6ronsha, 1978), p 143.
20. Ink painting refers generally to art that uses watercolors and takes the formof hanging scrolls, screens, and the like. This type of art can be widely foundin parts of Southeast Asia that lie within the Chinese cultural sphere. The
influence of abstract Western images is also strong. As is often pointed out ,interaction with Abstract Expressionism since World War II can also be
seen.
21. Astri Wright, "Dancing toward Spirituality - Art," in Nindityo Adipurnomo
1988-1990 (Yogyakarta, 1990)
22. From a lecture at Chulalongkorn University, Feb. 27th, 1992.
23. Omori S6z6, Jikan to jiga [Time and the Self] (Tokyo: Seidosha, 1992),
p. 77-78. Omori also makes an interesting point about the close relationshipbetween the theory of Setsunametsu ("the moment") in Buddhist thought
and the quantum theory in physics.