 |
 |
 |
 |
 |
|
 |
 |
|
 |
 |
|
 |
 |
|
 |
 |
|
 |
 |
|
Translating
Ideas
building platforms for exchange, interpretation and presentation |
melbourneconnectionasia
2003 Publication essay Translating Ideas building platforms for exchange, interpretation and presentation Claire Hsu 2003 The last few decades have witnessed the birth, growth and hunger for a new discourse within the contemporary Asian art world. One that calls for new readings and interpretations, independent from those previously determined by existing theoretical definitions and authoritative histories. While the inclusion of Asian artists within major European and American exhibitions has become common place, the reality is such that the overwhelming majority of Asian artists will never come close to stepping foot into this arena as their works do not conform to an 'international standard'. This has not hampered, and in some ways actually been the driving force behind, the explosion of initiatives within the Asia Pacific region itself; to construct a platform upon which cultural exchange, interpretation and understanding can independently occur. From individual initiatives to large-scale institutional projects, the scene has witnessed unprecedented attempts to broach the cultural differences that exist within the region. This desire to 'understand' and 'translate' other cultures has in some part been fueled by the mass communication systems now in place, making accessibility into marginalised countries easier than ever before. From the seat of the Asia Art Archive, an organisation set up in 2001, to create a depository and database for material relating to contemporary Asian art, a few examples from the collection might serve as an introduction to who is playing the role of cultural interpreter/presenter and how, with regard to exhibitions. |
 |
The
Asia Pacific Triennial of Contemporary Art (APT), organised by the
Queensland Art Gallery, is regarded as the first large-scale institutional
initiative to focus on contemporary art from Asia and the Pacific.
The first APT held just over a decade ago in 1993 brought together
the works of 76 artists from 13 countries. What is most remarkable
about this selection was not the sheer numbers involved, but the two-and-a-half
year period spent on research and dialogue between the consultants,
from both Australia and Asia, and artists involved. The second APT (1996) and third APT (1999) followed suit, with an increasing number of curators and writers invited to participate from all over the region. A radically different approach was taken for the fourth and most recent APT (2002) as the numbers of participating artists were drastically scaled down to 16, in an attempt to avoid the sweeping overview approach of the previous Biennales, and present a greater selection of works for each artist. While this approach was to some degree criticised for its exclusivity, it was important in showing that contemporary Asian art had not just sprung up over night, but was part of continuous regional histories. The vision of the Fukuoka Art Museum and, later, Fukuoka Asian Art Museum stands out in their efforts to present currents in contemporary Asian art through their exhibitions, artist residency programmes and Triennale, since 1979. The 2nd Fukuoka Triennale: Imagined Workshop (2002) sought to provide a platform on which collaboration through working processes could be established, and the traditional methods of art production in Asia explored, an integral characteristic of contemporary Asian art, ignored in the international art circuit. Under Construction: New Dimensions of Asia Art (2000-2002), organised by the Japan Foundation, is another interesting approach in the many projects that have been initiated in the last decade. A three year collaborative project, the Japan Foundation Asia Centre invited eight curators from seven Asian countries to curate an exhibition in their local countries, which culminated in the main exhibition in Tokyo, December 2002, bringing together all 43 artists. A fresh approach in the quest for examining possible answers to "What is Asia?", projects such as these have also built much needed regional networks for the future exchange of ideas and collaboration. Smaller-scale projects organised by alternative art spaces in the region play a vital role in cultural exchange and understanding. Projects like USEby Asia Pacific Artist Initiative Project (2000), organised by the Centre for Contemporary Photography and Gertrude Contemporary Art Spaces (Melbourne), address the phenomenon of the alternative art space in Asia, while at the same time, stress the importance of collaboration and dialogue. Home-grown alternative art spaces like Hong Kong's Para/Site Art Space have also been active in connecting with other regional spaces with projects such as Materia Prima (1999), in which Para/Site curated a show in Melbourne of Hong Kong artists and West Space, a Hong Kong show of Australian artists. These attempts at cross-cultural dialogue were continued this year with a similar arrangement entitled, Organisation for Cultural Exchange and Mishap (OCEM). What becomes clear when tracing the activities of numerous smaller, more alternative organisations in the region is the emphasis their programming places on exchange and translation of ideas with similar organisations and artists. Important, perhaps, in a world dominated by the biennale/triennale circus, in which it becomes increasingly difficult to engage with individuals from different cultures on a more intimate level. melbourneconnectionasia is another component in the different forces at play in the presentation of works from different cultural contexts. Bringing the works of 25 Asian artists from Kuala Lumpur, Hanoi, Manila, Yogyakarta and Shanghai to Melbourne, melbourneconnectionasia stands out in regard to the audiences it tries to reach. Unlike the majority of exhibitions of contemporary Asian art, where one is required to see the works in a space designed specifically for that purpose, the works in melbourne-connectionasia are displayed in central city bus and tram shelters in street poster format. In a field where it is all too common to hear the complaint that it is always the same people who attend exhibitions, projects such as this are a new and valid approach to enlarging the circle of people exposed to art from the region. They offer ‘micro-sites’, in which issues can be negotiated and translated alongside the dominant global artistic currents. Claire Hsu 2003 |
