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

countries. In recent years, artists from non-western countries such as China, Thailand, South Korea, Japan and Singapore have frequently displayed their works in international exh ibitions held in the West. Overseas artists originally from these non-western countries are also becoming an important force in international art circles . On the other hand, contemporary art in the Asia-Pacific Region has begun to explore self-cultural identity consciousness. The exploration of self-cultural identity is not a simple affirmation of the value of national culture. Rather, it emphasises how to critically form a new cultural identity amidst all sorts of complex conflicts in contemporary times . Criticisms of the 'self - that is, of culture, history and political structure of one's own country - and criticisms of the 'other' - that is, of hegemonism of western culture, are inseparable parts in the process of forming a new cultural identity. We can see that a new cultural identity is forming in different ways in Confucian countries in East Asia, in Islamic countries in Western Asia, in H indu and Buddh ist countries on the South Asian subcontinent and in aboriginal cultures in the Pacific. In China, contemporary artists are facing an increasingly complex economy, politics and ideolog ies. On the one hand, Ch inese artists base their works on criticisms of nativist cultural realities . On the other hand, they endeavour to resist western bias against the ideologies of Chinese contemporary art in order to seek a truly equal and democratic position and status in the international art world. The efforts of Asia-Pacific countries to form a new cultural identity can also be seen from the frequent communication between these countries during the past few years . These activities, including the Kwangju Biennale in South Korea, many joint exhibitions by Chinese, Japanese and South Korean artists, 'Cities on The Move' now touring the world, the Taipei Biennial, as well as the expand ing APT, have precisely recorded the historical process of seeking a new cultural identity. This certainly does not mean that contemporary art in the Asia-Pacific region is seeking to build a binary relationship between the West and the East, nor does it represent a simple anti­ West viewpoint. Rather, the new reality of contemporary art in the Asia-Pacific region means an attempt to build a new, equal relationship, based on mutual recognition and free communication , between western civilisation and the civil isations of the world. This is entirely different from the narrow and paroch ial views of old nationalism . In an attempt to seek differences, Asia-Pacific countries aim to realise a new order of coexistence of d ifferent cultures . Such an effort is based on a profound and universal cultural ethic, i.e. only on the basis of democracy and equal ity can we enter into a true cultural d ialogue. We not only oppose the superiority of western culture, but also the superiority of culture of any form . We see contemporary art as a cultural resource and treasure shared by all human beings . We do not regard it as a western cultural patent as we do not, in pol itical, economic and social realities, equate modernisation with westernisation . It is, however, an arduous process to build an independent culturar status and enter into a cultural d ialogue on an equal basis. I would l ike to exemplify this point and close my address with one of my experiences in Australia. During my visit to the Art Gallery of the College of Art at the Royal Melbourne Institute of Technology, I had an expressive d iscussion with a group of outstanding Austral ian critics, designers and scholars. During the d iscussion , I used Aboriginal art as an example when I was criticising the fact that Ch inese contemporary art was recognised by many in the West as a pol itical legacy of the Cold War and a folksy 'erotic other' . Later I heard from a friend of mine, Suzanne (who is the director of the art gallery), that my Australian friends were very upset about the analogy I made and thought that I had misunderstood the position of Aboriginal art in Australian contemporary art. I wou ld l ike to take this opportunity to apologise to my Australian friends. I bel ieve it is precisely such misunderstandings that makes communication h ighly necessary. It is one of the main purposes of th is trip to Australia to truly get to know and understand the role and position of Aboriginal art in Australian contemporary art. I hope I could get some assistance from Australian friends concerning th is matter. As a Chinese person who speaks only Chinese, I am a cultural 'aborigine' in a certain way. Most of my work is based on China . It is my wish to establish, in China, an art that is truly public and equal, in other words, an art that truly 'serves the people'. I hope that in Australia I will meet some friends who do not speak the same language as mine, but who share the same wish as mine. Thank you . 63