Beyond the Future: Papers from the Third Asia Pacific Triennial of Contemporary Art

2. Production Processes Which Involve Citizens Some of the exhibits were the result of artist collaborations with people who are alien to the contemporary a rt world, such as the works of Sh igeaki lwai from Tokyo; Zhuang Hui from China, with the photographs of different types of groups; Navjot Altaf from India, with tribal artists in rural I nd ia; the Heart Mahal team , a collaboration among Pakistani artists Durriya Kazi, David Alesworth, El izabeth Dadi and lfthikar Dadi, as well as truck painters and craftsmen; and Alfredo Aquilizan from the Philippines. To develop his work of toothbrushes which he gathered in the Philippines, we gathered thousands of toothbrushes from people in Fukuoka. 3. Exhibits and Performances in Public Spaces Outside of the M useum The Fukuoka Asian Art Museum is located on the 7th and 8th floors in a building complex consisting of shops, restaurants and offices . It has many d isadvantages in its facilities, but we tried to turn these d isadvantages into advantages, namely being in the m idst of a very lively historical and changing city. Not to mention the use of parks or shopping malls and old build ings as exhibition sites, some artists cleverly and strategically used city sites. lum from Korea did a fantastic, shamanistic performance in a shrine, a spiritual centre of this community. lum also joined a parade for 'Hakata Dontaku', a famous festival of Fukuoka, along with the truck art made by a team of Pakistani artists, D irruya Kazi and David Alesworth. Noor Azizan Rahman Paiman from Malaysia distributed special ice candy popular in Malaysia to passers-by, shouting in funny Fukuoka dialect. Montri Toemsombat, a very young artist from Thailand, did a fashion show with volunteer women on the street, responding to fashion brand shops above which Asian Art Museum is located . The project of Taho Ritsuko, a Japanese artist from Boston, United States, was to develop her installation in the Museum Gallery, by which she gathered dreams of people in a meteorological observation balloon for an event which involved releasing the balloons from a river along the museum building. We could guarantee that this Fukuoka Triennale would get unusual attention from the Japanese and foreign mass media. However, our exploration of new approaches to audience development has just begun, and the Fukuoka Triennale revealed many p roblems, such as the remaining ignorance of the majority of citizens, lack of collaboration with regional artists in Fukuoka, the insufficient publ icity, education , and so on. We have to be patient, and hope you can be patient. Thank you for your attention and the special cooperation of Peran. 1 30