The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

characterise their work. Wu Tien-Chang is one such artist who confidently contrasts truth and fiction. His nostalgic prepared-photographic-aesthetic articulates the colour and decorative language of modern Taipei and is included in the Triennial. The Asia-Pacific curatorial process for the 1996 exhibition acknowledges the curatorial work undertaken in the development of the two major exchange exhibitions between Australia and Taiwan, including the substantial contribution by staff at the Taipei Fine Arts Museum. It has built on that success and also the network of informal support and advice from individuals and institutions. In particular, the cooperative arrangements with IT Park Gallery in Taipei and New Phase Art Space in Tainan are especially appreciated.The invitation to two outstanding artists-Lee Ming-Tse and Wu Tien-Chang-to participate in the Queensland Art Gallery Second Asia-Pacific Triennial has added another significant element in the expansion of cultural exchange and enhances mutual under– standing between people in Taiwan, Australia and internationally. David Williams is Professor and Director. Institute of the Arts, Australian National University, Australia 1 Fazal Risvi, 'lnterculturalEducation and the Visual Arts: lecturegiven at aforum held at the Australian National University, Canberra, May 3-4, 1996. 2 Nicholas Jose and Yan Wen-i (eds), Arllaiwan: The ContemporaryArt of Taiwan, Gordon and Breach Arts International Ltd. in association with The Museum of ContemporaryArt, Sydney,1995 Artistsfrom Taipeiand Tainan in the Second Asia-Pacific Triennial 1996 are Lee Ming-Tse and Wu Tien-Chang. • Lee Utan Kikochi no. 4 1991 Lithograph, ed.27/50 90.5 x75.2cm Collection: Queensland Art Gallery Korean Contemporary Art in the 1980s and 1990s Young Mok Chung It is obvious that contemporary Korean painting since the 1980s has been closely related to contemporary Western painting. Aspects of change in contemporary Korean painting that reflect Western influences are: the emphasis on subject– matter, the preference tor figurative forms for the expression of the subject, and finally, the bold combination of various objects on planes. These may be considered reactionary aspects of the formalist art that dominated the 1970s. What brought about these aspects, however, is the influence of the nee-expressionism of the 1980s. Along with the introduction of post-modernism, content has been more emphasised than style; a reaction to the modernist art that searched for the novelty of style. The emphasis on the work's content has been seen in abstract, non-abstract and even figurative works. In order to emphasise the content of the works, a majority of younger artists have drawn ideas from their private and inner experiences; this can puzzle the viewer. Moreover, the titles that the artists name their works make it more difficult for the viewer to perceive their intent. For example, titles such as I believe that it will rain and will let up, Suspicious tongue, and A mirror facing a mirror imply the artists' intent, hidden in abstract forms. In some cases, artists feel frustrated with the viewer or the critic who cannot read the hidden intent. Most artists, however, seemingly prefer to enjoy the secluded realm of their works, insisting that art is mysterious. The mystery of the nature of art is best kept when artists' ideas and the processes of creating art are not fully explored. Post-modernism provides some artists with a theoretical backdrop that makes up for works that are inferior in style but mostly concerned with content. This emphasis on plurality, ambiguity, individuality, subject-matter and locality might mislead artists to ignore the fundamental elements of a work of art-form and style. Therefore, some contemporary Korean paintings give an impression that they combine imported post-modernist theories with Korean subject-matter (mostly Oriental and emotional pathos, or expansion of an individual sense of subject) in an awkward way. A worse case is the superficial mimicry of the nee-expressionist style. It appears to me that a large number of younger artists adopt the newly imported styles and theories to express their individual emotions and ideas. Now it is no use differentiating foreign aspects from Korean because Korean artists have been well– informed about Western styles and trends. I think, however, that style precedes subject-matter when the quality of art is in question. A subject, no matter how good, depends upon a style in which the subject is contained. I am concerned that post– modernist trends, with their excessive emphasis on content, discourage Korean artists from creating novel styles. Korean contemporary artists have been interested in multimedia installation, this has been apparent in recent exhibitions. A number of installation works which employ industrial products and electronic media such as television, video and audio systems, escape the traditional categories of painting or sculpture. The recent trends that are dominating the younger generation stem from two major causes. Firstly, it is a challenge to the established conventions of Korean art that have accentuated Oriental meditation and engagement with reality. Secondly, it is an attempt to expand the horizons of expression, which has been restricted to a flat surface. By claiming the formulae of 'modernism=two-dimensional', 'post-modernism=installation', younger artists tend to deal with the diversified tasks of subject and style in terms of space rather than surface. Here, however, we need to question the formula that links installation directly to post-modernism. It is necessary to point out the problematic situation of installation artists to the viewers and the critics who appreciate installation. In reality, installation artists are lonely.They can hardly find purchasers for their works because the difficulty of conserving installation works challenges the concept of permanent works of art. Moreover, the huge size of the works discourages private collectors from purchasing them. It is difficult to provide a financial or social support for installations in Korea. It is inappropriate to regard installation in Korea as a post-modern medium. In the case of Europe and the United States, contemporary installation works look back to 'Merzbau' of Kurt Schwitters or to the 'total works of art' (Gesammtkunstwerk) that began with Wagner's operas, and even further back to the Renaissance paintings and sculptures that were closely related to architectural space.The instal– lation that has gone through those shifts in the Western convention is a kind of expression which can be regarded as post-modern. It is incorrect to insist that the mimicry of Western installation often seen in contemporary Korean installation is a novel way of expression. American post-modernism is just a style among a variety of styles, it should not claim to be representative of contemporary art. It appears to me that Korean artists have adopted installation as a means to escape the modernist style. That is, they have paid attention only to the appearance of installation, with no reference to the concept of the style. For example, in terms of style, the works of Oh Sang-ghil remind me of the late 1960s indoor earthwork in the United States. The style of his installation loses its originality when compared to Robert Smithson's Second upside cu RAT o RI AL E ss A vs: EA s T A s I A I 45