The Fourth Asia Pacific Triennial of Contemporary Art

ARTIST ENDNOTES MONTIEN BOONMA - BETWEEN THE TEMPLE AND THE TEMPORAL pp.38-41 For a fuller account of the impact of the process of 'localisation' on South-East Asian cultural development, see O.W. Wolters's History, Culture and Region in Southeast Asian Perspectives, Institute of South-East Asian Studies, Singapore, 1982; rev. ed. Cornell University, Ithaca, 1999. 2 Montien in conversation with Gridthiya Gaweewong, in Montien Boonma [exhibition catalogue], Beurdeley & Cie, Paris, 1997, p.13. 3 Montien Boonma [exhibition catalogue], p.13. 4 'Montien Boonma interviewed by Albert Paravi Wongchirachai', Art and AsiaPacific, vol.2, no.3, July 1995, p.81. 5 Art and AsiaPacific, p.81. EUGENE CARCHESIO - THE ORDER OF DECAY pp.42-45 Bob Lingard (ed.), Interviews with Nine Queensland Artists, Institute of Modern Art, Brisbane, 1986, p.8. 2 Maurice Tuchman, The Spiritual in Art: Abstract Painting 1890-1985 [exhibition catalogue], Los Angeles County Museum of Art, Los Angeles, 1986. 3 Eugene Carchesio, quoted in Bob Lingard, 'Eugene Carchesio', Australian Perspecta 1989 [exhibition catalogue], Art Gallery of New South Wales, Sydney, 1989, p.21. 4 Conversation with the artist, Queensland Art Gallery, Brisbane, 28 February 2002. 5 William Blake, '.Auguries of Innocence', in Poems of William Blake: Selected and Introduced by Peter Ackroyd, Sinclair-Stevenson, London, 1995, p.106. HERi DONO- THE MULTIPLE MATTERS OF MODERN LIFE pp.46-49 See Heri Dono, 'Watching the logic through an upside-down mind', in Heri Dono: Dancing Demons and Drunken Deities [exhibition catalogue], ed. Yasuko Furuichi, The Japan Foundation Asia Center, Tokyo, 2000, pp.82-5 (Heri Dono's text was translated by Tom Kortschak). See for comparison the humorous and colloquial paintings of Sudjana Kerton, the late painter from Bandung, who more than any other senior artist influenced young Indonesian artists in the late 1980s and early 1990s (personal communication to the author from Jim Supangkat, Jakarta, Indonesia, July 1993). 2 Heri Dono, 'Watching the logic through an upside-down mind', p.83. 3 Wayang pantjasila took its name from the five nationalist principles of modern Indonesia, known collectively as pantjasila. For a particularly rich account of Heri Dona's investigations of wayang traditions see Dwi Marianto, 'Yogyakartan art: trends prior to the third millennium', in Jim Supangkat et al., Outlet: Yogyakarta Within the Contemporary Indonesian Art Scene, Cemeti Art Foundation, Yogyakarta, 2001, pp.1 53-86, especially pp.161 and 174-6. 4 Apinan Poshyananda, 'Heri Dono: bizarre dalang, Javanese bricoleur, low-tech wizard', Heri Dono: Dancing Demons and Drunken Deities [exhibition catalogue], ed. Yasuko Furuichi, pp.84-97 (see note 1 for full reference). 5 The German writer ETA. Hoffmann (1776-1826) is the key figure in nineteenth-century European stories about automata.These include Delibes's ballet Coppelia 1870, Offenbach's opera The Tales of Hoffmann 1881 and Tchaikovsky's ballet The Nutcracker 1891-92. Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep? was filmed in 1982 by Ridley Scott as Bladerunner. 108 APT2002 6 Heri Dono, 'Watching the logic through an upside-down mind', p.83. 7 Heri Dono, 'Watching the logic through an upside-down mind', p.82. 8 See Jim Supangkat, 'Context', an extraordinarily interesting discussion of the 'hidden paradigms' of Indonesian contemporary art, in Heri Dono: Dancing Demons and Drunken Deities [exhibition catalogue], ed. Yasuko Furuichi, pp.98-104 (see note 1 for full reference). 9 These works were presented at 'Yokohama 2001: International Triennale of Contemporary Art', Japan and in '.Asianvibe', Espai d'.Art Contemporani de Castello, Spain, 2002. JOAN GROUNDS - MATERIAL AND METONYMY pp.50-53 Personal communication with the author, Sydney, December 2001. A film of the 1970 burnings, entitled Seventh Burning, was first shown at the Mildura Sculpture Triennial, Mildura, Victoria, in 1973. 2 In 1974 Joan Grounds became a founder member of the first Women's Art Group in Australia, based at the Tin Sheds at the University of Sydney - an arts workshop with which she had a long association, including as Director between 1976 and 1979. See Therese Kenyon, Under a Hot Tin Roof: Art, Passion and Politics at the Tin Sheds Art Workshop, State Library of New South Wales Press, Sydney in association with Power Publications, 1995, especially pp.58-75.Through strategic interventions, the Women's Art Group exerted a powerful feminist influence over contemporary art debates in Sydney until the early 1980s, and influenced a generation of younger women artists in the city. See also Sandy Kirby, Sight Lines: Womens Art and Feminist Perspectives in Australia, Totola, BVI: Craftsman House (in association with Gordon & Breach), 1992; and Anne Marsh, Body and Self: Performance Art in Australia 1969-92, Oxford University Press, Melbourne, 1993. 3 See Victoria Lynn, 'What happens when you really listen', in Fire and Life Part Two [exhibition catalogue], Asialink, Melbourne, 1997, p.18. For Grounds's installation works since the mid-1980s, see also Julie Ewington, 'In the wild: nature, culture and gender', Dissonance: Feminism and the Arts, 1970-90, ed. Catriona Moore, Artspace and Allen & Unwin, 1994, reprinted with modifications in What is Installation? An Anthology of Writings on Australian Installation Art, eds Adam Geczy and Benjamin Genocchio, Power Publications, Sydney, 2001, pp.33-51; and Susan Best, 'Elemental constructions: Women artists and sculpture in the expanded field', in the same volume, pp.185- 203, from an essay originally published in 2000. 4 See George Alexander, 'The dancer snared in her reverie: the poetics of Joan Grounds', Eyeline, no.9, Winter 1989, pp.20-21. 5 Poetry is not an explicit source of ideas and models for Grounds, though she is a dedicated and eclectic reader, ranging from New Scientist to the French w riters of the nouveau roman, such as Marguerite Duras, Alain Robbe-Grillet and Nathalie Saurraute, whose books she constantly revisits, even during intense working periods. She w rites: 'The eclectic reading habit is wonderful for working, it throws up random associations .. .' (email communication w ith the author, April 2002). 6 See George Alexander, 'The dancer snared in her reverie', especially p.20. 7 Email communication from the artist, January 2002. Donatello's The Penitent Magdalene c.1453-55 is in the Museo dell' Opera del Duomo, Florence.