The Fourth Asia Pacific Triennial of Contemporary Art

8 See Rene Block (curator), The Readymade Boomerang: Certain Relations in 20th Century Art [exhibition catalogue], North Sydney, NSW, Biennale of Sydney and Museum of Contemporary Art, 1990, pp.408-9. Since 1989 Joan Grounds has undertaken many residencies, projects and exhibitions in Asia, and has worked w ith Asian colleagues in Australia. These commenced at Silpakorn University, Bangkok, Thailand in 1989, and have included studio residencies in Japan in 1995 and India in 1996; collaborative residencies and exhibitions with N.S. Harsha in Bangalore, India, in 1996 and Sydney in 1997 as parts of the 'Fire and Life' project; and, most recently, 'Saisampan (Soul Ties)' an exhibition in collaboration with Araya Rasdjarmrearnsook, Chiang Mai University Art Museum, Thailand, March 2002. 9 See Joan Grounds, Artist's statement, in Fire and Life [exhibition catalogue], Asialink, University of Melbourne, 1996, p.22. 10 Exhibitions on the theme of the environment have been an important artistic expression ofThai radical politics in the last decade. They include exhibitions in which Grounds has shown, such as 'Chiang Mai Social Installation', Chiang Mai, Thailand, 1992 and 1993, and also Art and Environment', Gallery of the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University, Bangkok, 1991; Art and Environment II: (Ecological Balance)', National Gallery, Bangkok, 1993; and Art and Environment Ill', National Gallery, Bangkok, 1995. 11 See Joan Grounds, Artist's statement, in Thai-Australian Cultural Space [exhibition catalogue], Art Gallery of New South Wales, 1994, Sydney, p.18. RALPH HOTERE - MINDFUL 'KAUPAPA' pp.54-57 1 Come Rain Hail: Poems by Hone Tuwhare, Bibliography Room, University of Otago, [Dunedin], 1970, p.17. Reproduced with kind permission of the w riter. 2 Taonga is the Maori term tor 'property; treasures'. The exception would be the quarterly journal Te Ao Hou: The New World which championed innovative art by contemporary Maori artists (as well as traditional taonga) during the mid sixties. See Ralph Hotere: Black Light, Te Papa Press and Dunedin Public Art Gallery, Wellington, 2000, p.111. 3 From later that decade something of a 'renaissance' occurred in the visual arts by Maori, and more recently Pacific Island peoples, who settled in the country; a movement w hich continues unabated today. 4 For example, Hotere commenced his 'Te Whiti' series of paintings concerned with the sacking of Parihaka in the 1870s by British colonialists, in 1972. 5 Jonathan Mane-Wheoki, 'Out on his own: Ralph Hotere and the Maori art movement', in Hotere: Seminar Papers from Into the Black, eds RogerTaberner and Ronald Brownson, Auckland Art GalleryToi oTamaki, Auckland, 1998, p.48. 6 For an in-depth assessment of Hotere and his engagement with New Zealand poets see Gregory O'Brien, Hotere: Out the Black Window, City Gallery Wellington/Godwit Press, Auckland, 1997. 7 Rodney Wilson, 'Exhibitions: Dunedin', Art New Zealand, no.2, October-November 1976, pp.9-10. 8 Gregory O'Brien, 'Miserere Mitimiti: A meeting place', in Hotere: Seminar Papers from Into the Black, Taberner and Brownson, p.13. Hotere was born near Mitimiti in New Zealand's Northland, ofTe Aupouri descent. 9 Headlands: Thinking through New Zealand Art [exhibition catalogue], Museum of Contemporary Art, Sydney, 1992. 10 Louise Wilton, 'Exhibitions: Dunedin', Art New Zealand, no.60, Spring 1991, p.53. 11 See Toi Toi Toi: Three Generations of Artists from New Zealand [exhibition catalogue], Museum Fridericianum Kassel and Auckland Art GalleryToi oTamaki, Kassel/Auckland, 1999. 12 Kaupapa is the Maori term tor 'basic idea; plan; foundation'. VAVOI KUSAMA - IT STARTED FROM HALLUCINATION pp.58-61 Yayoi Kusama, The Struggle and Wanderings of My Soul 1975, (extracts) reproduced in L. Hoptman, A. Tatehata & U. Kultermann, Yayoi Kusama, Phaidon, London, 2000, p.118. 2 Hoptman, Tatehata & Kultermann, Yayoi Kusama, pp.118-19. 3 Yayoi Kusama, 'Interview with Gordon Brown 1964', (extract) reproduced in Hoptman, Tatehata & Kultermann, Yayoi Kusama, p.103. 4 Lyn Zelevansky, 'Driving image: Yayoi Kusama in New York', in L. Zelevansky et al., Love Forever: Yayoi Kusama 1958-1968 [exhibition catalogue], Los Angeles County Museum of Art, Los Angeles, 1998, p.22. 5 Yayoi Kusama, Media Release for 'Naked Demonstration at Wall Street at 10.30am on Sunday Oct. 15, 1968:The Anatomic Explosion', issued byYayoi Kusama, courtesy Ota Fine Arts. 6 Yayoi Kusama, 'Scattered flowers white petals', in Violet Obsession: Poems, Wandering Minds Books, Berkeley, California, 1998, p.55. 7 Yayoi Kusama, Manhattan jisatsu misui joshuhan (Manhattan Suicide Addict), Kosakusha, Tokyo, 1978, (extract) reproduced in Hoptman, Tatehata & Kultermann, Yayoi Kusama, p.124. JOSE LEGASPI - 'MOTHER, UTOPIA, BURNING HOUSE' pp.66-69 Kevin Power, 'Jose Legaspi', The Power of Narration [exhibition catalogue], l'Espai d'.1-\rt Contemporani de Castello, Spain 2000, p.290. 2 Power, 'Jose Legaspi', p.289. 3 Julia Kristeva, Powers of Horror: An Essay On Abjection, Columbia University Press, NewYork, 1982, p.35. 4 Roselle Pineda, 'Of gay and desolate gods: the art of Jose Legaspi', Pananaw: Philippine Journal of Visual Arts, vol.2, 1998, pp.72-5. 5 Ana P Labrador, A most unfashionable frill: restringing multicultural beads into one national strand', Art and AsiaPacific, vol.1, no.1, 1993, pp.50-51. 6 Wilfred Marbella, 'The knives of Jose Legaspi', Transit: a Quarterly of Art Discussion, vol.1, no.1, January-April 1999, p.22. 7 George Bataille, 'Sacrificial mutilation and the severed ear of Vincent Van Gogh', in Visions of Excess: Selected Writings 1927-1939, ed. Allan Stoekl, University of Minnesota Press, Minneapolis, 1992, pp.61-72. 8 Aberrations in Monochrome [exhibition catalogue], Hiraya Gallery, Manila, 2000 quoted in Power, 'Jose Legaspi', p.291. MICHAEL MING HONG LIN - THE PAINTED GARDEN pp.70-73 Gaston Bachelard, The Poetics of Space, Beacon Press, Boston, 1964, p.140. 2 Michael Ming Hong Lin, interview with Amy Cheng, The gravity of the immaterial [exhibition catalogue], Cultural Affairs Bureau of Taipei, Taipei, p.107; amended by artist in email correspondence, 29 May 2002. 3 Kenneth Frampton, 'Towards a critical regionalism: Six points tor an architecture of resistance' in ed. Hal Foster, Postmodern Culture, Pluto Press, London, 1985, p.28. 4 Gaston Bachelard, The Poetics of Space, p.184. 109