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

Foreword Doug Hall Australia's engagement with Asia and, to a lesser extent, the Pacific remains one of the most frequently discussed public policy issues in recent years. The way in which Australia might identify itself in terms of an international presence has seen remarkable shifts and realignments. The most marked of these has been the belief in the value of developing a more productive and sustained relationship with Asia. This more often than not has been expressed publicly in trade, economic and diplomatic terms. Conversely, there is also a view that culture and its exchange is inextricably tied to other national interests and that the arts are a manipulated entity used not for their intrinsic expression but as a diplomatic lever to pursue other interests. The Asia-Pacific Triennial is an example of a project that was conceived and developed exclusively as a cultural event. That other interests might be well served is probably inevitable and it is true that on occasions there exist both direct and oblique symbiotic connections between these varied interests. When the Triennial was first conceived, it was recognised that there was considerable potential for it to serve as a new and vital forum for revealing current art from Asia and the Pacific. If anything, the Gallery underestimated the critical and public response to the event. It gave rise to a genuine and almost unparalleled interest in a Gallery-initiated project. It created a cross-Asian dialogue of a kind not experienced previously which involved Australia as one amongst equals. It made no attempt to draw exhaustive conclusions but sought to be an accurate revelation, albeit something of a precis, of the interests and preoccupations of artists from thirteen countries. As a consequence, a more focused, critical and complex commentary occurred with a greater interest in exploring issues and cultural tones inherent in the work. This is seen in both the critical writing in response to the last Triennial and the work which followed, which used and cited the Triennial as the catalyst for rethinking the art from Asia and the Pacific and its place internationally at the end of the millennium. The collaborative nature of the Triennial and the breadth of artistic, intellectual and other forms of involvement from the region give the Triennial a unique curatorial profile, which is discussed further in the catalogue. It is an approach that has ensured a fuller understanding of the artistic and cultural issues that underpin the work. The 1996 Triennial consolidates the earlier position that the artists and their work are not illustrations of an inflexible Western curatorial device, but have driven the formulation of the propositions which underlie the Triennial itself. Some have argued that an art so radically different from that associated with the familiar Western sense of Asian history is less about post-colonialism than about representing a new Western colonisation, as the art draws on current tenets of Western cultural, intellectual and artistic representation. Such observations have, of course, come from outside the Asia-Pacific region and represent not so much an intellectual or cultural dilemma as the peculiarities of Western mind-sets. This emphasises the value of the Triennial in presenting such a substantial exhibition and supporting symposium, which disclose and articulate the dynamism of the art itself as well as the shifting perceptions in response to it. But why Brisbane, Australia, for the Triennial? Not only is it an example of a revitalised, expanding and focused Australian consciousness, but also it makes very good artistic and cultural sense for the Queensland Art Gallery. It is not so much a reflection on the changing profile of the Australian community, as an identification of the profound need to make a relevant and contemporary contribution to the arts of Australia's near north and the Pacific. Historically, Australia's cultural engagement with these countries and regions has taken place through the development of collections and exhibitions that illustrate the wondrous histories of particular countries and cultures. The Queensland Art Gallery has a strong interest in the twentieth century and a desire to describe a relevant yet distinct story. Thus the purpose of the Triennial as well as the Gallery's commitment to building a contemporary Asia-Pacific collection become self-explanatory, especially given our geographical location. Despite this, nationhood and geography are neither the defining characteristics nor the key criteria for selection in the Triennial or development of the collection. National boundaries are not necessarily the real prescribers of identity or cultural expression. Issues such as these and convenient categorisation and stereotyping are explored in the Triennial, as are the questioning of widely-held views and contrasting positions which might be officially expressed. It truly reveals that the contemporary art of the region, in addition to its innate importance, reflects the values of and provides us with new insights into cultures which we thought we knew. The Queensland Art Gallery extends particular thanks to all those who have helped bring about this project. Chief among these are the external members of the National Committee-Alison Carroll of Asialink, Professor Ian Howard of Griffith University, Neil Manton, formerly of the Department of Foreign Affairs and Trade, and Professor David Williams of the Australian National University-and to all our selectors and curatorial team members in over fifteen countries. Without their efforts, this project could never have been achieved. The close association developed between these advisers and a range of artists, writers, curators, academics, cultural institutions and art bodies in each of the countries has been fundamental to the Triennial process and its selection of artists. All Queensland Art Gallery staff have been involved in some measure in bringing this project to fruition. In scale and logistics the two Triennials are the most extensive, intellectually demanding projects the Gallery has ever undertaken. Other vital components of the Triennial are this catalogue, produced by the Gallery; an international Conference, organised in association with Griffith University's Centre for Study of Australia-Asia Relations and sponsored by The Dictionary of Art: Macmillan Publishers Australia Pty Ltd and Griffith University: 25th Anniversary; a program of artists talks and lectures; and a Resource Kit for schools, sponsored by The Australia Foundation for Culture and the Humanities. The Asia-Pacific Triennials could not have happened without strong national and international support. The Gallery has had great assistance from the Queensland Government and the Australian Government through the Australian Department of Foreign Affairs and Trade International Cultural Relations Branch, Australian Embassies and High Commissions, as well as Embassies from represented countries. The Gallery has also received generous funding from sponsors.The Queensland Art Gallery Exhibitions Development Fund with its major donors-Idemitsu Kosan Co., Ltd, The Nikko Securities Co., Ltd, The Meiji Mutual Life Insurance Company, Nomura Australia Limited, Japan Travel Bureau (Aust) Pty Ltd and Hitachi Australia Pty Ltd-provided the seed funding for the original project and has continued to strongly support the Triennial. The Australia Council gave a substantial grant. Singapore Airlines have contributed with great generosity to freight, as international carrier. The support of Ansett Airlines, our domestic carrier, Air Niugini and the Brisbane Hilton must be acknowledged. Media sponsors Network Ten and ABC Radio National have supported us with great enthusiasm. I also thank on behalf of the Gallery the many country-specific sponsors: the Australia– Indonesia Institute, Creative New Zealand: Arts Council of New Zealand: Toi Aotearoa, the Australia– India Council, The Japan Foundation, the Australia– China Council, the Australia-New Zealand Foundation and the Australia-Japan Foundation. I also thank for their generous cooperation and assistance with practical aspects of the exhibition, State Government Departments, South Bank Corporation, and the Office of the Lord Mayor of Brisbane, and the many individuals in Australia and the Asia-Pacific, whose contributions have helped ensure the success of the Second Asia– Pacific Triennial. Doug Hall, Director, Queensland Art Gallery FOREWORD I 9