Third Asia-Pacific Triennial of Contemporary Art, 1999 : Beyond the future : Report.

Q.21 Were you present for any of the talks by artists participating i n this Asia-Pacific Triennial? Yes 2.3% No Did you find the talks i nformative? Yes No 77.77% 22.22% 97.69% Were you aware that this program took place? Yes 24 .85% No 75. 1 4% Q.22 Were you aware that you could view video record i ngs of these artist tal ks in the APT Lounge? Yes 1 7. 3 1 % No 82.68% Q.23 How important do you consider it is to hear what an artist has to say about his or her work? Very important 45.72% Important 4 1 .56% Not very important 1 2 . 7 1 % Q.24 Did you see any performances by artists participating in this APT3 exhibition? No 94 .4% Yes 5.59% Which? and Where? Cosmic lady; Dancers, bulls at Queensland Art Gallery; El ision performance at Tennyson Powerhouse; Indonesian musicians; Indonesian dance group; Yellow Man in city; Yellow Man video; Samoan dancers in Queen Street Mall today; Spontaneous performance last week; Dancers in courtyard ; Nair - Noosa Reg ional Gal lery; Non­ appearance of boats on open ing night. Q.25a What aspects of this exhibition did you enjoy the most? CAI Guo Qiang's Bridge crossing attracted the most responses to this question . However, visitors valued the interactive nature of the exhibition and the variety in presentations almost as highly. Other features valued included the exh ibition layout, the Kid's APT and the colour in the exhibition generally. Many commented on appreciating the 'feel ' of contemporary Asia that pervaded the experience. Numerous ind ividual works were mentioned , but the d iversity of responses reflected the d iversity of visitor interests. Q.25b What aspects of this exhibition did you enjoy the least? Visitors were more ready to nominate particular examples in this response. Of interest was the wide-spread d issatisfaction with instal lations of many objects assembled , such as XU Tan's Made in China and Isabel and Alfredo AQU I L IZAN's Project be-longing #2. Exh ibits with limited information proved frustrating. Some visitors d id not appreciate getting wet while traversing the bamboo bridge. Works which d isturbed visitors included Rummana HUSSAI N 's A space for healing and Dadang CHR ISTANTO's Fire in May 1 998. QSC + mV by Masato NAKAMURA made several visitors nauseous. Endless dancing by Zhang PE I L I was singled out by several respondents as being 'pointless' , as was Dialogue by Sh igeaki IWAI . One visitor thought the space was too qu iet. This person felt 'awed ' . 1 49