Tsuchiya Kimio

Art

Exhibition

BorderSupachai Satsara

Contemporary Thai/Japanese Art Exhibition

Beyond the Boder[TOKYO)

December 9-26, 1993
P3 art and environment
Organized by
The Japan Foundation ASEAN Culture Center[BANGKOK)

February14-27, 1994
Silpakom University Art Gallery
Organized by
Silpakom University
Japan Cultural Center, Bangkok(The Japan Foundation)

Artists
Tsuchiya Kimio
Senzaki Chieo
Sansern Milindasuta
Supachai Satsara

Outlook of the works exhibited at P3 art and environment in Tokyo, 1993

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Beyond the Border
Tani Arata (Art Critic)

The present exhibition provides the first opportunity forcontemporary Japanese and Thai art to interact direct ly with eachother. Similar interaction between Japan and other Asian nations isdesirable in the future, and such opportunities will probably
become much more frequent.
The present exhibition is small in scope, yet it offers
perspectives that are difficult to gain from large exhibitions .
Awareness of national borders is readily apparent from the title ofthe exhibition . While both nations have been influenced by Westernmodernism, the historical process regarding that influence has
differed.
Despite its awareness of national borders, the show,
however, avoids a format built around interaction inside Japan.
In the past, interaction between Japan and Asia has always rested
upon a premise, of providing an introduction. In other words, it
constitutes showing the "Other" within one's own borders; allrelationships generated tliereby are ultimately controlled byindigenous relationships, no matter what the Other is. Culturalinteraction is apt to magnify differences rather than reducing them,because it rests upon a system in which the Other is always
converted into the "Self". Introductions are very useful, but unless
one constantly takes into consideration the opposite aspects thatthey incorporate, they encourage self-complacency on the sameorder as the Pan-Europeanism that Western modernism has longattempted to achieve.
Accordingly, I will try to take the plan for the present
exhibition, which can be perceived as a conversion of the Other into
the Self, and turn it back into the equation "the Self as the Other(Thai)". Then the perspective will become much more complex:
Moreover, an environment will unquestionably be created thatpushes aside the mirror of Western modernism, which has clouded
the vision of the Japanese and Thais, and forces both sides to
examine each other with the naked eye.

A Comparison of Contemporary Japanese and Thai Art
Although the artists and works, needless to say, arecoherently organi zed in the present exhibition, no spatial barriers
have been created by placing the works of the Japanese and Thai
artists in separate rooms.
The differences generated by the artists and their works canbe perceived, unassisted, by the viewer. However, it is unclear
whether the artists and works will be linked in the viewer's mind bysimilar impressions. While recogni zing that preconceptions may beunnecessary, I would like to comment briefly on the historical
process in both countries. However enthusiastically acclaimed, theOther will always remains alien if it is interpreted by means ofindigenous practices.
First of all, there was a difference in timing regarding when
Western modernism was introduced in Japan and Thailand. By the
1920s Japan began to come under the influence of modernism, withalmost no time lag. Naturally,Japan had long been influenced by it
before then, but a time lag had existed between the genesis andreception of the latest Western movements. Although Westernstyle art education began in Thailand in 1933 under the ItalianCorrado Feroci (known in Thailand as Silpa Bhirasri), the creationof modern art by Thai artists had to await the end of World War II.
The period from 1949, when the first National Exhibition of Art was
launched in Thailand, to 1962, when Bhirasri died, is almost
universally regarded as the "influential years," in recognition of
Bhirasri 's impact. This represents the first period of postwar

modern art in Thailand . Rega rding ties wit h Western schools,
impressionism and cubism we re cent ra l; in terms of motifs, daily lifein Thailand was chos en. But w ith a slight dela y, pop art, op art,
hard-edge painting , and minim alism we re imported on each other's
heels in th e 1960s. These postwar mo vemen ts, especially the ones
formed primarily in th e United States, did not leave a clear trace inThailand as they did in Japan, but Thai art critics note their arrivalin Thailand.
Thus , ar t mo vement s, ranging from schools at the turn of
the twen tieth centur y to avan t garde trends , chiefly those in th e
United States, w hich rapidly sur faced in the postwar period ,enter ed Thailand in an extremely short period of time . The impor
tation of suc h a complex array of art styles from the dawn to th ewaning of mod ernism is astonis hing fact that bog gles theimag ination .
In add ition to schools spanning the period from the start ofmod ernism an d its decline, art th at ser ved as a motive force forpostmodernism began to emerge in the late 1960s. The work ofThawan Du ch an ee, as described by the art critic Apinan
Poshyananda, is a case in point. The artists who made their debut
after Bhirasri's death went directly to Europe and Ame rica to study;
Thawa n Duchanee was one of them. His wo rk abo unds with images
and energ y th at clearl y distort the orth odox development ofmod ernism an d form alism .
In this way, mode rn ism and pos t-modernism both arrived
in Thailand in a brief period of tim e. One of the effects of thesemo vements was that the "old " and "new" were divorced from atemp oral framewo rk and became spatial. · I~ other words, a spatial
qualit y was achieved in wh ich the old and new could freely bechosen and discarded w ith the same value . For inst ance ,surrealism, w hich also had an influence on Thawan , almost
compl ete ly disappeared from Japan in the sixties. After it reachedJapan in the late 1920s, it sp read so widely that it w as virtu ally
syno nymous w ith the avant garde, even after the war. This was stilltrue in the 1950s. More pr ecisely speaking, the mid -1950s andth ereafter we re already ent ering the age of informel painting andabstra ct expr essionism as we ll as neo -dadaism and pop art.
The situat ion has changed in the wake of postmodernist thin king,but in Japa n, at least, school s th at are no longer in vogue arecons id ered passe. The mod ernist /a vant garde influenc e, which
can be likened to a disease, undisputably fettered Japan for along time.
In short, Japan has repeatedly experienced the influx ofWestern art trends as a linear /te mporal process, whereas Thailand
has been forced to experience Wes tern trends spatially on thesame plane. Actuall y, it may be a tradition of the Thai people rather
than som ething that they we re forced to do. No r was Japan origi
n a ll y linear or temporal; it b eca m e that way after the
Meiji Restoration of 1868, w hen Western mod ernism became amod el. In short, in the premod ern period, Japan and Thailand stoodon similar gro und.
The appearance of Buddhist motifs and the spiri t of
Buddhi sm in ava nt grade Thai art to an extent that, from a Japaneseperspective, seems audacious stems from artists' freedom to choose
elem en ts on a spatial level. At tim e, the treatment of Budd hism as
allegory even represents an avant grade stance . In Japan thesubject is, of course , taboo. There is no rule prohibiting it. But even
if it were allowed und er the rul es governing motifs in traditional
Japanese art, it wou ld trans gress w hat are com monl y consideredcont emporar y motif s. This tacit segregation dates back to the
Meiji era.

Although the question of the influence of Westernmodernism lacks precision when summarized briefly, as I havedone above, I wou ld like to turn now to anothe r subject: namely,
differences in social consciousness in Thailand and Japan. I was
astounded by a newspaper article about the bloodbath that
occurred in Thailand in 1992 when the Thai army randomly shot
civilians during the political uprising in Bangkok. (NOTE: 1) What
shocked me more than the bloodshed and actions of the army was
the attitude manifested by an artist. I was even more amazed to
discover that the artist was Prasong Luemuang. At a solo exhibitionat the ational Gallery in Bangkok, he showed a huge5 -meter -wide
and nearly 2-meter -high mural protesting the actions of the army.
Prasong is an artist residing in Lumphun near Chiang Mai who had
struck me as a gentle person with the philosophic outlook of ahermit living in the mountains. I recall that images of birds, fish andother creatures representing neo-traditional and folkloric motifs
had ove rflowed his atelier, which stood high off th e ground.
According to the news paper article, Prasong's mural depicted amultitude of image of military power, from army boots, rifles, bows
and arrows, and swards to axes. It also dipicted the gamut of humandesires, from exhibitionism to money and sex. These were repre
sented by strange creatures with human faces and the bodies ofbeasts whose genitalia were exposed . My image of Prasong wascompletely shaken.
This is wha t it was like in Japan in the 1950s, a decade dosely
linked with social consciousness and the avant garde and surrealist
movements. There are no manifestations of this in Japan today.
Nor, of course, would the kind of representation employed by
Prasong be openly expressed. Although direct political action, as
well as artistic expression , existed in Japan, it was weeded out byaround 1970.
One of the artists in the present show -- Supachai Satsara -also displays a strong social consciousness. He expresses a desire toparticipate actively in society through art. If applied to the above mentioned linear / temporal structure characteris tic of Japan, thisstance would be considered "old," but insofar as there is an historicalinevitability to the story that he relates, then it is alv,ays new.
Rather, his art could even be said to express the fecundity found in
the existence of epic themes, w hereas in Japanese ar t, even themes
themselves appear to be in th e process of disappearing.
Supachai's works also directly express his stance regarding
society and the environment. The same is true of other Southeast
Asian artists whose works embrace this kind of theme . Japanese art
has already begun to lose thi s frankness . Looking at this phenom
enon in a favorable light, one could ascribe the reason, for example,
to the fact that Japan is entering an age in which frank artistic
representation does not necessarily translate into a strong message
about society . Japan also reflects the fact that parod y, humor, andthe act of dep icting relationship s to society as a game have a stronger
impact as art. The modern West, whic h heralded this trend,frequently experimented with this approach as modernism
progressed.
Artistic attitudes invariably are intimately linked to thesocial environment in which the art exists . Jimmie Durham, whose
work was shown at last year 's Documenta, produces installations
using natural materials such as branches and earth that he hasgathered near by . Many viewers consider him an "ecologist ," inother words, an artist who is gentle or kind to nature. But, far fromentertaining any such idea , he undermines that viewpoint, by usingmaterials such as oil-processed products that are harmful to theenvironment. This represents a game. Furthermore, he aims his
shafts at the charges of indi viduals whose criticism of environmen tal dest ru ction overlooks their own fundamental position. In that

sense, Asia takes a ba sic, fronta l stance regarding specific themes, aposition that possess es far grea ter impact at present.
The third point of comparison concerns the similarities anddifferences in the major tu rning point s experienced by Japan and
Thailand in the past. After return ing home from the Ne ther lands,
Thawan Duchanee held a solo exhibit ion at the Student ChristianCenter in Bangkok in 1968. H is painti ngs were des troyed in 1971
by a crowd of angry students. This was w hat Ap inan Poshyananda
referr ed to as the "picture slashing inciden t." This invites various
thoughts. One is that it sugges ts of feud with academism, which
was taking sha pe in Thailand under the influence of Westernmod ernism. It also appears to reflect discord caused by the contentsof Th awa n' s works, w hi ch seemed to involve a process of
deconstru ction, while regarding Buddhist sp iritual influ ences
affirmatively. The patt ern that eme rg es from this incident is that ofan attack on artistic repr esen tation in which the obstacles that one
tries to ove rcome app ear to be doing the overcoming. If anyth ing,
Jap an represents a system in which the overtaking elements criticize
w hat is being overtaken. Chrono logically speaking, th e situ ationin Jap an is clearer: an effort has been made to overtake the old wit h
the n ew . The "retro-ph enomenon" that occ urred underpo stmode rn ism in th e 1980s represents a movement that sparke d achange in this attitud e.
In ad ditio n, Thai artists have had d rastic personal
experiences regarding the conflict between the old and new.
This tend ency lasted in Jap an from the formative years of mod ern
art to World War II, but the postwar period witnessed the forma tionof art as a gro up en deavo r. The various schoo ls all possessed acentral charac ter . H oweve r, the full force of criticism was seldom
leve lled agai nst indi viduals; instea d, a group effort was made to
overcome th e old. The phenomenon of art as a group activi ty, too,last ed until the 1970s, but does not generally hold tru e today. In
other wo rds , the critic al mass of the group has been necessary until
no w. The same can be said of the politi cal sys tem in th e postwar
period.
In any event, it is notewor th y that a drastic change occurred
at a very similar po int in both countries. In Japan, th e Mono-H aschool (NOTE: 2) around 1970, and frin ge mo vements connected
w ith it, along with the decade of the seventies in general , marked aturnin g point . In Thailand , the conflict betwee n different types of
expression represented by modernism and w hat could be called aharbin ger of postm odernism constituted a radical change.
However, the fact that , in both countries, th e turning point wasembedded in the global postwa r system forces one to conclude th atits occurrence in th e same perio d in both countri es was inevitable.

Intersecting Contemporary Japanese and Thai Art
The present exhibiti on covers two Thai and two Japaneseartists. The Thai artists are still young , and consid era ble artistic
growth is expec ted from th em in th e future . Both Japa nese artists
are older; their careers boast active participation both at home andabroa d, including ma ny int ernationa l exhibitio ns. Desp ite thedi sparity in age and experie nce, the four artis ts' mo de of artistic
expr ession is conducive to int eraction. It was one of th e reasons forchoo sing these particular arti sts .
Through art as a mode of expression, four ar tists in thepr esent exhib ition possess a perspective and subject matter that arestrongl y con nected in some fashion with present -da y society.
Although Sansern 's mode of expression is no t d irectly conn ected toth e environme nt and indu strial society, insofar as he dir ects his
ecological gaze at modernist forms his wo rk fully satisfies the aimsof the present exhibiti on. Above all, modernis m and postmodernism
create an environm en t that transcends modes of repr esent ation.
The exhibition should provide a venue for inves tigating through theact of repr esentin g the differe nces and the common ground share dby the artists . This is an important, an d long ove rdue , issue today.

Notes
1. Ono Junji, "The Bloodbath in Bangkok: A Shocking Brush, "Yomiuri Shimbun newspaper, evening ed., Novem ber 11, 1992,
p .6. The title of Prasong 's mu ral was 'Animal Society.' Thawan
Du chanee has frequently emp loyed the techn iqu e of express ing
contem porary events allegorically using Buddhist lore. This can beseen in the 1989 series titled T he Battle of Mara.'
2. The Mono-ha schoo l is a major postwar Japanese
mo vemen t that is mentioned in tandem w ith the Gutai-ha school,
named after the Gutai Art association. It denotes a trend among
artists and wo rks that emerged around 1970. At first, it was
associated w ith happ eni ngs and events, followe d by a phase ofcomp ar ing and identif ying elements of the mode of expression used
by Ar te Povera in Italy and the supports/surfaces movement inFrance , which developed in the 1960s. Later there was a tendency
to look at it in term s of unique Japanese represen tation. The
theoretical foundations were provided by Lee U-fan, whocrystallized the tid e of criticism aga inst modernism, by characteriz ing mod ern West ern art as "the history of the manipul ation ofimages." Major artists associa ted wi th the Mono -ha school includ e
Koshimi zu Susumu, Sekine No buo, Suga Kishio, Nar ita Katsu hik o,and Yoshida Katsuro. The artists exhibit ed mater ials and objects
such as wood, iron, glass, cotton, paraffin , clay, and paper, w ith
little effort to alter them to create illusionary represen tation.
The Mono-ha school is related to insta llation movement, wh ich
arose later . For an extended treatment of th e subjec t, see Tani Arata,
Kaiten suru hyosho --gendai bijutsu / datsu pos tmodan no shikaku(Gendai Kikakushitsu , 1992), a study ofJapanese art since the 1970s.
Regard ing the histo ry of contempo rary Thai art, I haveconsulted th e works of Apinan Poshyananda
and An u vit
Charernsupkul.

.12.eti.a!
of The Only Fast Ones are Us• The note on each artist is written by Tani Arata and translated by Somporn Rodboon.
• The date of each artist is mostly based upon material received from the artist and edited by Furuichi Yasuko .
• The Photo of the works exhibited at P3 art and environment are taken by Ueno Norihiro .