another, will be issues that we will have to continue to grapple with for a long time. For the presentation of and study of modern and contemporary Asian art forms, this will mean that our discus-sions will have lo become more layered and complex, allowing for a variety of expressions and aesthetic judgments.

Kwok Kian Chow

The "Asian Contemporary Art Reconsidered" symposium was a timely forum for the institutional support structure , programming, state of the scholarship and curatorship, exhibition context, pattern of cultural exchange and educational opportunity pertaining to Asian contemporary art. With the increasing number of 20th-cen-tury Asian art biennales and exhibitions , this highly significant symposium organized by the Japan Foundation Asia Center took stock of the development , reviewed the progress and discussed philosophical underpinning and operational issues pertaining to such programs.

The symposium featured representatives of key international in-stitutions in the field of 20th-century Asian art exhibition and some of the most notable art historians in this subject area. Papers dealing with Asian modern and contemporary art programming, curatorship , collection , research and museology were presented. There was much discussion on the practicality and problem in collaborations and collective programming strategies. The sympo-sium expressed the sentiment that there was a need for even greater interaction and corporation to develop a discourse for col-lecting and exhibiting Asian art independent of Western art para-digm.

The symposium also considered cultural interactions and the synergy and conflict between extra-cultural agenda and the con-stant desire for authenticity in aesthetic presentation and experi-ence.

It is hoped that there would be more symposiums and confer-ences on the subject as it is very important to step back to take a distant and critical view of an institution's own programming di-rection to ensure that forward planning always remain dynamic and supported by the sharing of experiences of other institutions in the field for collective advancement.

Lee Yongwoo

"A Bastion for People Sharing the Same Suffering" Identity involves a multi-directional theory on deviation from

centralism and a basis of the concept of regionalism. Therefore, the issue of the reconsideration of contemporary Asian art is di-rectly linked to the identity of Asian history and culture and pro-jects the relative concept of regionalism or peripheralism, as com-

pared to centrality, perpheralizing or regionalizing Asian culture. This presupposes a passive discovery of the self which causes an inverse reflection of the true Asian face in the mirror of the West. Next, since theories on the discovery of Asian identity are not as viable as Western theories on the disintegration of centrality, in Asia, the issue of identity is often accompanied by an aggressive or instrumental tool of attack.

Taking such dangers into consideration, the Japan Foundation sponsored symposium made a contextual approach to the values of Asian art and evaluated the exchange of art events in the Asian region. The issue of the exchange of art involved discussions of the errors in the Western evaluation of Asian art and the criteria of instrumentality inherent in contextual culture. The symposium also discussed art exhibitions in Asia and reaction thereto, as well as the West's accommodation of Asian art. Yet, while the envi-ronment of Asian art shows was discussed in a diverse way, the issue of how different Asian art was and how Asian sensitivity led to the formation of an Asiatic spectrum was relatively ne-glected.

The merit of the symposium was in its discussion of Asia's part in the natural environment of the globe, than of Asia as a regional bastion. This suggests an earnest exploration of the voice of Asian culture in the 21st century, and a microscopic step forward in the direction of independent order and regional balance for Asia, away from the overall influence of Western art forms.

End of the century history may be said to be reflection in each other's mirror. The future of Asian art, however, requires more than an interest in political mirror images : it calls for a compre-hensive Asia study. The particulars of modern Asian art are yet to be defined because it has as yet to be generalized fully. Regional art events will have a true meaning only when the place of Asian art is enhanced in the global village. This is a consideration needed to be addressed in the next symposiu~.

Hung Liu

As an artist trained in China and now living and working in the United States for over thirteen years, I have always been aware of my dual status as both a Chinese and an American artist. In the context of American multiculturalism, my "identity" has con-stantly shifted from one minority designation to another : "Asian-American artists ," "Chinese-American artist," "Chinese artists," "Artist of Color," "Women of Color," "Feminist," "Resident Alien," and so forth . While each of these terms makes sense un-der particular circumstances, none, of course, is fully definitive of my experience or identity as an artist or a citizen.

Being a member of the "Asian Contemporary Art Reconsid-ered" symposium in Tokyo last October, listening to the presenta-tions of my colleagues as they described the conditions and en-

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gaged the controversies of contemporary Asian art in the Asia-Pacific region, was very encouraging , opening my eyes to a re-markable moment in history. But it also brought up the question of "who I am" all over again ; a question initially raised when I came to America from China, and which has been at the forefront of my experience as an artist ever since. Unlike in the U.S., how-ever, a few political phrases and hyphenations simply won't ad-dress this question. Since Tokyo , I am now able to conceive of my work- and my identity- in a broader international sense. In "returning " to Asia via Tokyo, I realized how un-Chinese most of Asia is, and, despite the leveling effects of global culture , how un-American too. And also how American I am, and, after all these years in America, how fundamentally Chinese. At the same time, my sense of being "en-route" among cultures, histories, and iden-tities- as an "authentic" artist, as a cultural "tourist" - was greatly intensified. After having worked through the hyphenated identities of the nineties , my experience in Tokyo was of being "neither this nor that"-but on an Asian, international scale. By saying this, I do not mean to suggest that I am especially unique or essentially undefinable , but that the context of my work and identity has changed once again ; my sense of immigration is no longer just Chinese-American, but pan-Asian. Ironically, the mutlculturalism of America has prepared me to better understand what I will call the "neither nor" condition of Asian internationalism-at least as I experience it. As a consequence of the Tokyo symposium, I have begun to think more broadly about my work.

Mizusawa Tsutomu

I participated in all the programs of the symposium , serving as chair on the second day, and found it highly stimulating. The cur-rent situation of contemporary Asian art was approached from multiple directions and many issues were clarified. The papers presented , some of which contained useful proposals for the fu-ture, were excellent. The audience was attentive and the organiz-ers were energetic. The question and answer sessions were lively. Compared to the previous symposium, "The Potential of Asian Thought," (1994) there was more of a shared concern with the is-sues being addressed, as all participants focused on "reconsidera-tion" at this symposium.

However , the issues that were "reconsidered" tended to be lim-ited to big and obvious things such as exhibitions and museums. There was a great deal of discussion on the sort of political prob-lems of art which concern museum curators. While this did serve to illuminate the present situation, I would like to have seen more discussion of views representing observation and criticism from outside the museum framework. Put another way, there was not enough discussion of current conditions of Asian contemporary art outside art institutions (including its relationship with. everyday

life). More discussion of art outside institutions would have tied in

with the problem of "quality" in Asian contemporary art, a topic brought forward in the question and answer sessions. At what level are judgments made about quality? Who exactly is contem-porary Asian art for? John Clark ' s observation , that it is necessary to learn from a multitude of historical examples to see the struc-ture of Asian contemporary art objectively , had profound signifi-cance. The idea of Asia as an alternative , a way to break out of the fortress of civilization built around the West, is a cliche which presupposes a history closely linked to Western colonialism.

It is dangerous to deny memory or to be unashamed of igno-rance, and it is impossible to judge quality without predefining its conditions. In considering Asia, I think it is necessary to prepare for many more opportunities for encounters at many different lev-els, amongst ourselves and others , and that these opportunities need to be created by individuals in their own areas of concern.

Murakami Takashi

I attended my first international conference at the Asia-Pacific Triennial of Contemporary Art in Brisbane, Australia in 1996. There were about 300 people in the audience and meetings were scheduled from early morning to evening for three days, during which there was an intense exchange of questions and answers between artists and other people involved in the art world.

I was reminded of an old story I heard about the Sadistic Mika Band (a Japanese rock band) as I attended this intense conference . The band was invited to open for Brian Ferry, and this was their first U.S. tour, but they were not physically strong enough to complete the tour. They got sick and had to returned to Japan halfway through the tour. I read, or heard, that a band member commented, "People over there have more stamina," and this was certainly true of the triennial conference. Everybody was tough. However , the musician was referring to Americans and Europeans when he talked about the "People over there," whereas the people who gathered at the conference were mostly Asians. Asians, too, can be tough.

I was a bit disappointed at this conference because just when the discussion was heating up, it was brought to an end in a pas-sive way- because the time was up. This vague manner in which the conference concluded seemed very Japanese to me. I thought that the discussion should have been carried on to the limit. Is it in our Japanese nature that we lack toughness? Were we always so weak? I could not help but to draw the conclusion, perhaps unwarranted , that we never win in sports tournaments or anything else because of our passive approach to life.

I think that we need toughness in exercising our intellect as much as we do in sports. Japan is too weak, and I think this

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needs changing . I do not know how many of these symposiums have been held so far, but basically , positive thinking is needed to make these symposiums better. More people should be invited and more publicity is necessary.

I would like to cooperate with you to make the art scene more exciting.

Nakahara Yusuke

My statement tended to pour cold water on the concept of "con-tempm-ary Asian art" which was found in the theme of the sym-posium, "Asian Contemporary Art Reconsidered. " Later I won-dered if I should have paid more attention to "reconsidering " the issues, making a more positive proposal for reconsiderin g the way we see and think about contemporary Asian art.

There is a strong tendency to conceive of Asian art and Euro-pean or American art in a polarized framework . This results in a preoccupation with securing citizen ship for Asian art in the art world of Europe and America as soon as possible. I have no rea-son to oppose an effort to obtain recognition for Asian art, but I do believe that achieving citizenship status for "Asian art" will in-evitably set it off as a special category.

We tend to view art in a European art versus Asian art frame-work, but from the viewpoint of Europe and America , Asian art is essentially compared to "art." The problem is this . If there is an Asian art which is different from European art (or if the existence of such an art is desirable) , we need to determine what fundamen-tal differences exist in these arts without referring to the geo-graphical categorization of Europe and Asia. I believe this could be a way to create a framework for "art " versus "art" rather than "art" versus "Asian art."

Unfortunately , the symposium focused on the art of the Asian region as "Asian art" rather than seeing it, to exaggerate some-what, as art shared by humanity. Because of this , most of the dis-cussion was devoted to tactic s and strategies of art politic s.

Another thing I hoped to discuss was the issue of how art is re-lated to daily life in the countries of Asia. When the topic of rick-shaw painting came up, I wanted to talk about whether there is a custom in Asian countries of displaying currently-used , everyday objects in art museums. (If this problem is considered carefully, we could investigate the question of whether art museums func-tion in the same realm of or keep the same distance from every-day life when comparing that of Europeans against , if not other Asians, the Japanese .) I would like to -see this issue of the rela-tionship between art and everyday life in the countries of Asia taken up as a theme for another symposium.

Apinan Poshyananda

The seriousness and enthusiasm of the speakers to discuss, tackle, and seek solutions on various topics and problems of the rela-tively young but fast paced art scene in this region was most re-freshing. By encouraging the participants to speak openly, instead of nervously shy away from pressing problems , several solutions and constructive suggestions were achieved. Organizers of art symposiums, conferences, and talk shops in Asia-Pacific region should certainly regard this as an example in order to create con-structive discourse on contemporary Asian art.

It should be noted that despite some differences in opinions, which are quite natural , the dialogue among cultural arbiters and art directors and managers is allowing the exchange of ideas and research to be free flowing. This rapid exchange of ideas has been quite remarkable over a short period of time. As a result, fixed perceptions , stereotypes , and prejudices related to ethnicities, class , race, seniority , and hierarchies have been challenged.

I am confident that discussion from this symposium will further improve art organizations and international art exhibitions in this region. I look forward to continue the rich and palatable exchange with my colleagues and counterparts in Japan even through at times the spice could be a little hot and burning.

Tatehata Akira

One purpose of this symposium was to consider issues of contem-porary Asian art within the framework of exhibitions and educa-tional activities carried out by art museums rather than consider-ing them in general terms. I expected more discussion on specific problems which have emerged through the e perience of curation since many exhibitions have been held in various countries re-cently. Indeed , the reports from a variety of exhibition venues naturally provided feedback to the more general arguments , and the discussions presented opportunities for delving deeper into themes discussed in several previous symposiums .

That said, there were some things about the nature of the dis-cussion which took place that troubled me. I was bothered by the rather optimistic approach evidenced by the lack of skepticism or direct criticism of the system represented by the art museum and the exhibition. One must acknowledge the fact that the principal site for art today is the exhibition, whether in Asia or elsewhere. There are hardly any other choices. Without art museums and ex-hibitions, the contemporary art of Asia would not have become a topic for discussion as it has today.

Because of this very fact, however , we should not take a com-placent view of the system and form of the museum and the exhi-bition as something colorless and transparent with no prior condi-tions. When we choose the exhibition as a method of presenting

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art, we inevitably adopt a certain ideology of art. When exhibi-tions of Asian contemporary art are organized , there is nothing Asian about the format of the exhibition itself. And there is no reason that it should be. That is because Asian art, European art, and African art all belong to a prior concept of "art" and this fprms the premise on which museums and exhibitions are based.

Once the framework of art museums and exhibitions is ac-cepted , we accept the universality of the concept of "art." If we were to have doubts about this, then we should also be skeptical about art museums and exhibitions. However , as things stand, we have not resisted using the exhibition framework as the chief site to present Asian art. As long as this is true , the indigenous quali-ties of Asian art are seen as relative rather than absolute and gov-erned by the ideology of a universal concept of art. The problem of "exhibiting " rickshaw paintings or the judgment of quality in art works, both of which were raised as issues during the discus-sion , are essentially related to this ideology which is seen by many as taboo.

Caroline Turner

I felt that the choice of speakers from three areas - museum cura-tors , academics and artists - worked very well and allowed differ-ent viewpoints and perspectives to be presented. It is the artists who are the living human embodiment of these exchanges . It is very important , I believe , to include artists in such discussions.

There was general agreement al the symposium on the continu-ing need for a new critical consciousness in contemporary Asian art. It was probably inevitable that few conclusions could be reached regarding \he future of contemporary Asian art at the symposium and that ·discussions centered on methodology in pre-senting and organizing exhibitions of contemporary Asia art, and on the reception of contemporary Asian art by audiences in differ-ent countries. Possibly the brief for the papers could have stressed the need for the speakers lo address the future in more detail. Per-haps there was a little too much time devoted in the papers to past examples rather than speculation about future directions.

I found my involvement in this symposium extremely challeng-ing. I was again forcibly reminded during the debates of the chal-lenges of cultural exchange and the difficulties in reconciling con-temporary Asia art practice in the different countries of the region with pre-modern art. But again I was reminded of the excitement of contemporary Asian art and the generosity of those working within this field to share ideas and to move forward. We are at the stage of continuing to process information and recognizing differences but we are also in a new stage of recognizing what we have in common. While inevitably perhaps the symposium fo-cused to the present, new directions were suggested and I fell we did "move on. " I learned a great deal from the other speakers and

the discussion, as I am certain was the case for all the partici-pants.

Ushiroshoji Masahiro

In comparison to the last symposium, "The Potential of Asian Thought ," ( 1994) which included a little of everything , I felt that this symposium was effectively narrowed down. Exhibitions of contemporary Asian art have now been held in a variety of ven-ues, and it is evident that a great deal of experience had been gained. However, each speaker tended to report only on his or her own problems, and it would have been better to summarize these problems through discussion in order to achieve a deeper under-standing of them. Next time I would suggest taking up specific problems and discussing them more intensively. I have partici-pated in similar symposiums at the International Research Center for Japanese Studies in Kyoto and Queensland Art Gallery in Brisbane , and I think we have arrived at a stage where it is possi-ble to have more in-depth discussions based on actual experience.

The Japanese are not used to viewing Japanese art in the con-text of Asian art and they need to develop a different point of view and build up experience in doing this. The conditions neces-sary for understanding this context have been lacking from the Meiji era to the present , so the Japanese are unable to speak of Asian art with the necessary self-awareness. I feel that it is neces-sary for the Japanese art world to escape from Eurocentrism, get used to looking at contemporary Asian art with an unprejudiced gaze, and organize exhibition s based on a concept of "Japanese art as Asian art." The symposium made me more aware of the heavy responsibility and the important role to be played by our new Asian Art Gallery.

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Panelists' Profiles

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John Clark Born in Grimsby, U.K., 1946. Currently, associate professor at the School of Asian Studies, The Uni-versity of Sydney, Australia. He studied in Japan at The University of Tokyo, as foreign research student, after graduating from Lancaster Univer-sity, U.K. He obtained a postgraduate certificate in Fine Art from Croydon College, U.K. and a Ph. D. from University of Sheffield, U.K. His current research is. on the development of modern art in China and Japan, and also the problems of moder-nity in India, Indonesia and Thailand. He has writ-ten extensively on art-related subjects in the Asian region, as editor and contributor to Modernity in Asian Art ( 1993), author of the forthcoming book, Modern Asian Art (to be published in 1998), and translator of Kuki Shuzo's The Structure of '/ki' ( 1997), and is also widely involved in conferences and exhibitions related to the region. He is co-curator, with Mr. Mizusawa Tsutomu, of the "MOBO, MOGA/Modern Boy, Modem Girl: Japanese Modern Art 1910-1935" exhibition, which will be shown in Japan and Australia in 1998. He now lives in Sydney, Australia.

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Vishakha N. Desai Born in Ahmedabad, India. Director of the Galler-ies since 1990, and also vice president for Cul-tural Programs at the Asia Society in New York since I 993. She obtained her Ph.D. in the History of Art from the University of Michigan, Ann Ar-bor, U.S.A., after graduating from the University of Bombay. She was with the Museum of Fine Arts, Boston, between 1981 to 1990, as the assis-tant curator in charge of the Indian, Southeast Asian, and Islamic collections. She organized the "Traditions/Tensions" exhibition in 1996 at the Asia Society, which exhibited contemporary works from India, Indonesia, Thailand, the Philip-pines, and Korea. She is currently planning for the Chinese contemporary art exhibition, "Inside/Out-side," to be held in 1998. Also author of Gods, Guardians, and Lovers: Temple Sculpture from North India, A.D.700-/200(1993), she lives and works in New York, U.S.A.

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Kwok Kian Chow Born in Singapore, 1955. He was involved in the opening of the Singapore Art Museum in January 1996 and became the first director of the museum, which was established to promote national interest and also to function as an arts center for the Southeast Asian region. He obtained his M.A. from the University of British Columbia after ob-taining a B.F.A. from Nova Scotia College of Art and Design. He served as curator of the inaugural exhibition at the Singapore Art Museum, "A Cen-tury of Art in Singapore," and has worked as the Singaporean commissioner of the 23rd Biennale Sao Paulo in 1996. He now lives and works in Singapore.

'Ulf:l,i (-, · 3;,,".7-) 1947if., 'J'7 iv ('i/100) 1:tn . i!f l!tk"Jf:IJ;J x'l" H'f'.'!il/&, 11../i!i-;k"f'..: ~/if.if~J:: ~t, ::t 17 7-7 ~-~*~-r-~•~±~t•m . mrraoo*"¥' ~1~i"Jf:ffilli(t;i . 90i!'-ft1:J..1Jf.5~1:i197i-"-W :ir~tl-s,J:-j(:t.J:-c,t~'i/l[fil:EQft~ii!ii<1)ft~li\Jt.l:4'-.1 v - 7-1: l., -r, I Information and Reality J m1 ( 1995cff./ X7 .(,//,7) ~?.i\46if,]7';,:_;f,-;/17 · l::' x:.,-t-vt4/\l1J/Jll 1Tiger's TailJ ( 1995if.) ioE imi. Uc'i/ll3il<1)Q\ 1 fulJ'tJH!::' x:.,-t-v ( 1995,f.)

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Lee Yongwoo Born in Seoul, Korea, 1947. He graduated from Yonsei University, obtained an M.A. in Art His-tory from Hong-ik University, Seoul, and a Ph.D. in Art History from the University of Oxford, U. K. He is now professor in the Department of Art Education, Korea University. He is a prominent figure in contemporary Korean art, and served as the artistic director of the first Kwangju Biennale, Korea ( 1995). He is active in curating contempo-rary Korean art exhibitions overseas, such as the "Information and Reality" exhibition at The Fruit-market Gallery, Scotland (1995) and special exhi-bition "Tiger ' s Tail" at the 46th Venice Biennale ( 1995). Also author of Nam-June Paik ( 1992) and Information and Reality (1995), he now lives and works in Seoul, Korea.

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Hung Liu Born in Chuang Chun, China. She is a practicing artist now based in Oakland, California, and also associate professor of art at Mills College, Cali-fornia. She initially studied in Beijing, China, at the Beijing Teachers College (B.F.A.) and Central Academy of Fine Arts (M.F.A.), then obtained an M.F.A. from the University of California, San Di-ego, U.S.A.( 1986). Her varied interest in genders, cultures, languages, and epochs in her works root from her experiences in China during the Cultural Revolution and her life in the U.S.A. as a Chinese -born American female artist. Her works have fo-cused on Chinese women in historical photo-graphs , but have recently shifted to photographs of everyday scenes. She has exhibited in Japan in "Gender : Beyond Memory"( 1996) at the Tokyo Metropolitan Museum of Photography and in "American Stories : Amid Displacement and Transformation"( I 997) at the Setagaya Art Mu-seum. She is now resident in California, U.S.A.

214

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Mizusawa Tsutomu Born in Yokohama, Japan , 1952. Currently chief curator at The Museum of Modern Art, Ka-makura, Japan, where he has worked since 1978. He obtained an M.A. in the History of Art from Keio University, Japan, and his main areas of in-terest are German art and modern and contempo-rary Japanese art. He worked as the Japanese commissioner of the 6th and the 8th Asian Art Bi-ennale Bangladesh ( 1993, 1997) and curated the Philippine section of the "Asian Modernism" ex-hibition (1995) at the Japan Foundation Asia Cen-ter in Tokyo. He is the author of Kono Owari no Toki ni mo [Even Now at the End of Time] (1989) and co-author of Tenzai suru Chushin [Scattered Centers] ( I 992). He has also curated many exhibi-tions at The Museum of Modern Art, Kamakura, including "Anthony Gormley"( 1996) and "Waka-bayashi Isamu"( 1997). He is currently preparing for the "MOBO, MOGNModern Boy, Modem Girl : Japanese Modern Art 1910-I 935" exhibi-tion as co-curator with Dr. John Clark. He lives in Yokohama, Japan.

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Murakami Takashi Born in Tokyo , Japan , I 962. He graduated from the Department of Japanese Traditional Painting (nihon-ga), Tokyo National University of Fine Arts and Music, then obtained a Ph.D. from the same university in 1993. He won the ACC (Asian Cultural Council) fellowship to the P.S. l Interna-tional Studio Program in New York during 1994 and 1995.-His major debut as an artist coincided with the bursting of the bubble economy in Japan. His works empathize with the values shared by the otaku (geek) generation and use icons of the post-war Japanese mass culture, such as cartoon and comic characters, plastic models, etc. He has exhibited widely in Japan, including "Which is Tomorrow?" (solo show, 1994)," and "Hinikuna Fantasy [Sarcastic Fantasy]" (The Miyagi Mu-seum of Arts, I 996). His major exhibitions out-side of Japan include "TransCulture" at the 46th Venice Biennale (1995) and participation in the Second Asia-Pacific Triennial ( 1996). Currently lives in New York, U.S.A.

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Graeme Murray Born in Alyth, Perthshire . Scotland, 1946. He studied sculpture at Edinburgh College of Art and was the director of the Graeme Murray Gallery in Edinburgh from 1976 to 1992. Director of The Fruitmarket Gallery, Edinburgh, since 1992. The Fruitmarket Gallery is a venue at which selected contemporary artists, including those from the Asian countries, are shown in exhibitions such as "Liquid Crystal Futures : Contemporary Japanese Photography"( 1995), "Information and Reality : Korean Contemporary Art"( 1996), and "Reckon-ing with the Past: Contemporary Chinese Art" ( 1996). Co-curators have been invited from Japan , Korea, and China for these exhibitions. He lives and works in Edinburgh , Scotland.

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Nakahara Yusuke Born in Kobe, Japan, 1931. He is the key art critic in Japan who has curated critical exhibitions in the history of post-war Japan. He initially gradu-ated from the Faculty of Science, Kyoto Univer-sity, where he studied theoretical physics in the classroom of Nobel laureate, Dr. Yukawa, and then turned to an art critic career in the mid-I 950s. He curated the "Between Man and Matter" exhibi-tion as the commissioner for the I 0th Interna-tional Art Exhibition, Japan (known as Tokyo Bi-ennale '70), which is considered an important milestone in the history of postwar exhibitions in Japan. He has also worked as the Japanese com-missioner in the 37th and 38th Venice Biennales ( 1976, 1978). He has written extensively and is the author of many books, including Mirukoto no Shinwa [Myth of Seeing]( 1972), Gendai Geijutsu Nyumon [Introduction to Contemporary Art] ( 1979), Brancusi(l 986), Gendai Chokoku [Con-temporary Sculpture](l987), and Mekishiko no 1930-nendai [Mexico in the 1930s](1994). He lives in Kamakura. He is professor at Kyoto Seika University in Kyoto.

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Apinan Poshyananda Born in Bangkok, Thailand, I 956. He has exten-sively researched contemporary art in Asia and is now one of the leading art critics in the region. He obtained a Ph.D. in the History of Art at Cornell University after obtaining an M.A. from Edin-burgh University, Scotland. He was invited as chief curator of the "Traditions/fensions" exhibi-tion organized by the Asia Society in New York (1996), and has also been involved in many inter-national exhibitions such as the Asia-Pacific Tri-ennial of Contemporary Art ( 1993, 1996), Johan-nesburg Biennale ( 1995), and Istanbul Biennale (1995). His published books include Modem Art in Thailand (1992) and Western-Style Painting and Sculpture in the Thai Royal Court ( 1993). He lives in Bangkok, where he is associate director at the Centers of Academic Resources at Chula-longkom University.

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Tatehata Akira Born in Kyoto, Japan, 1947. Art critic and a poet. After graduating from Waseda University, he worked as a curator at the National Museum of Art, Osaka, from 1976 to 1991. He is now profes-sor at Tama Art University in Tokyo. He has cu-rated many exhibitions at the National Museum of Art, including "Action and Emotion: Paintings of the I 950s"(l 985) and "Drawing as ltself'(l 989), and has also worked as the Japanese commis-sioner for the 44th and 45th Venice Biennales ( 1990, 1993). He has been invited by the Japan Foundation Asia Center as guest curator for the Indonesian section of the "Asian Modernism" ex-hibition (1995) and "Fang Lijun"( 1996), a solo exhibition of a Chinese artist. He has published a book of his collected poems, Yohaku no Rannah [Runner in the Marginal Field](1991). His new es-says in criticism, Toi Naki Kaito [Answer without Question} is forthcoming. He lives in Kawasaki, Japan.

216

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Caroline Turner Born in Pretoria, South Africa. She joined the Queensland Art Gallery in Australia in 1979 and became deputy director and manager, Exhibitions and Cultural Development in 1987. She has worked as manager and co-curator of the Asia• Pacific Triennial of Contemporary Art ( 1993, 1996) since its inception. She obtained an M.A. with honors from the Australian National Univer• sity and was awarded a Ph.D. from the University of Queensland. She has written extensively on modern and contemporary art in the Asian and the Pacific region, including Tradition and Change: Contemporary Art of Asia and the Pacific (1993). She is now preparing for the "Asian Modernism" (tentative title) exhibition for the year 2000. to commemorate the birth of modern and contempo-rary Asian art. She lives and works in Brisbane, Australia.

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Ushiroshoji Masahiro Born in Kita -Kyushu, Japan, 1954. Curator of the Fukuoka Art Museum since 1978, after obtaining a degree in the History of Art from Kyushu Uni-versity. He has been responsible for the past four "Asian Art Show, Fukuoka" of the museum. He is currently working on the Asian Art Gallery Pro-ject (scheduled to open in I 999) and concurrently preparing for the First Fukuoka Asian Art Trien-nial, which will be held as the inaugural exhibi-tion. The most recent exhibition he curated is "The Birth of Modern Art in Southeast Asia : Artists and Movements," which went on tour in Japan aftor its first showing at the Fukuoka Art Museum in May 1997. He has contributed many articles to exhibition catalogs and journals in the field of modern and contemporary Asian art. He lives and works in Fukuoka, Japan.

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The Japan Foundation Asia Center Visual Arts Programs and Exhibitions

1990 I. "Narrative Visions in Contemporary ASEAN Art"

The Japan Foundation ASEAN Culture Center Gallery 2. "Thawan Duchanee: Thailand - In Quest of the Ultimate Sacredness"

Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center Gallery

3. "Tradition, the Source of Inspiration" Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center Gallery

4. "The New Generation in Contemporary Singaporean Art" The Japan Foundation ASEAN Culture Center Gallery

1991 I. "Contemporary Indonesian Prints"

The Japan Foundation ASEAN Culture Center Gallery , Mie Prefectural Art Museum, Hokkaido Hakodate Museum of Art

2. "Malaysia: Stage Art of Tragedy-Tan Chin Kuan" The Japan Foundation ASEAN Culture Center Gallery

3. "Edgar Talusan Fernandez-Contemporary Art of the Philippines" The Japan Foundation ASEAN Culture Center Gallery

4. "Contemporary Thai Artist: Montien Boonma" The Japan Foundation ASEAN Culture Center Gallery, Mitsubishi-jisho ARTIUM

1992 I. "Today's Malaysia Seen Through Art: Contemporary Malaysian Art"

The Japan Foundation ASEAN Culture Center Gallery 2. "New Art from Southeast Asia 1992"

Tokyo Metropolitan Art Space Exhibition Gallery, Fukuoka Art Museum, Hiroshima City Museum of Contemporary Art, Kirin Plaza Osaka

3. "Floral Cosmology-Tradition in Dyeing, Weaving, and Ornaments" Fukuoka City Museum, Laforet Museum Harajuku, Tokyo, Alpark Tenmaya, Hiroshima, Kirin Plaza Osaka

1993 I. Contemporary Painting from Singapore and Japan "Facing the Infinite

Space" The Japan Foundation ASEAN Culture Center Gallery

2. Contemporary Thai/ Japanese Art Exhibition "Beyond the Border" P3 art and environment , Silpakorn University Art Gallery

1994 I. Contemporary Art Symposium 1994 ''The Potential of Asian Thought"

The Japan Foundation Conference Hall

1995 I. "Visions of Happiness - Ten Asian Contemporary Artists"

The Japan Foundation Forum 2. "Asian Modernism: Diverse Development in Indonesia, the Philippines ,

and Thailand" The Japan Foundation Forum , Metropolitan Museum of Manila, The National Gallery , Bangkok, Gedung Pameran Seri Rupa, Departemen Pendidikan dan Kebudayaan

1996 I. "Fang Lijun: Human Images in an Uncertain Age"

The Japan Foundation Forum

1997 I. "Art in Southeast Asia 1997: Glimpses into the Future"

Museum of Contemporary Art, Tokyo, Hiroshima City Museum of Contemporary Art

2. "The Mutation: Painstaking Realism in Indonesian Contemporary Painting" The Japan Foundation Forum

3. Symposium: "Asian Contemporary Art Reconsidered" The Japan Foundation Forum

Notes: I. The Japan Foundation ASEAN Culture Center was founded in January 1990 as part of the Japan Foundation. It changed its name to the Japan Foundation Asia Center in October 1995 to expand its target area and programs. 2. Exhibition names and venues are listed in order of the year the first show was held. Some exhibitions have toured and continued over a year.

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