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

The second, entitled 'Women and Ecology' is an examination of the relationship between women and nature, both of wh ich share in common the fact that they have been subjugated by men, and touches on the issues of mutual dependence , symbiosis and diversity. Next, there is a section on 'Sex and Gender', wh ich is a popular and hot issue. Feminine consciousness and methodology about life and death, which are degraded as being irrational and anti-scientific, are re-evaluated in the section entitled 'Ritual and Play'. Finally the fifth section is entitled 'Media in the Home'. This alludes to the creation of the home as a separate personal space after capitalism came into existence, and the use of women's own l iterary narrative media as means of expression there. Yet while this exhibition is being put together, unfortunately the authoritarian aspects of the Korean art scene come to the fore. This exh ibition was organised not by a public museum or institute but by a women's association . Funds for it were raised by the personal donations of a few sponsors and the sales of works donated by women artists . Five independent female curators ended up donating their time in organising this exhibition. This project, so to speak, is of the women , by the women and for the women . But the 2 1 st century promises to be a time when culture, environment and women play important roles in our lives. In such a situation the sensitivity, way of thinking and un ique world view of women, offer a way to overcome the entrenched seniority, authoritarianism and cliquishness of the art world . Women should be expected to play the role of providing core alternatives that will bring back the popular, democratic and familiar elements to an art world they have so carefully nourished in the past. This exhibition is a kind of groundbreaking event before the total arts festival of Korean women artists planned for the beginning of the new millennium . CONTEMPORARY WOMEN ARTISTS I N THAI LAND Somporn Rodboon For the past decade, the state of women and art in Thailand has changed markedly. Since the 1 990s the number of women artists has increased, as has the activity of women artists in art­ related activities and exhibitions. As a consequence, women's art has established itself and has evolved remarkably. To a certain extent, however, the women's art movement in Thailand has not risen to the level of that in the West. There are several reasons for the positive changes for women in art in Thailand in the 1 990s. Firstly, university art programming has encouraged overseas artists to come to Thailand . I n particular, artists from Australia like Joan Grounds, Noelene Lucas and Virginia H ilyard, supported by the Australian Visual Arts and Craft Board and Asialink, have supported and encouraged local artists . Next, there has been an increasing num h er of women students enrolling in art courses, as art becomes a more 'acceptable' choice. Other reasons include changes to the economy, and the stimulus provided by having more Thai artists selected to participate in international shows - artists such as Araya Rasdjarmrearnsook . They have concentrated on gender and social issues. Araya's recent works address themes of loneliness, insecurity, melancholy and identity through mixed media, installation, photography and video. Another example is Pinaree Sanpitak. She uses her art to not only examine herself but also to question the status of women and their roles. Her maturity as an artist is linked to her understanding of the complexities of life as a woman, a mother, and as a human being. Finally, Phaptawan Suwannakudt addresses contemporary subject matter within a traditional Thai style. In her works issues are raised on gender, class and poverty within Thai society. I have been involved in organ ising international women's art exh ibitions since 1 992 . The first exhibition of contemporary women artists was organ ised to honour the Sth cycle birthday of Her Majesty the Queen of Thailand. This exhibition was the initiative of the diplomatic and international community, together with Thai friends. The exhibition contained examples of the artistic endeavours of 82 women from 26 countries. Some of the participants were recognised as leading contemporary women artists in their country and many were supported by their government. This exhibition of Thai and foreign artists was a concrete symbol of a sincere effort to promote and support the works of talented female artists from all parts of the world. 41