The Fourth Asia Pacific Triennial of Contemporary Art

NALINI MALANI - UNDERTOW pp.74-77 1 Mylar is an optically clear, colourless, thermosplastic polyester film. 2 Ashish Rajadhyaksha, 'The mutants', in The Second Asia-Pacific Triennial of Contemporary Art [exhibition catalogue]. Queensland Art Gallery, Brisbane, 1996, p.90. 3 An important text that Malani constantly references in regard to these episodes is Global Parasites, Five Hundred Years of Western Culture by Win in Pereira and Jeremy Seabrook Pereira, Earthcare Books, Bombay, 1994. 4 Geeta Kapur, When Was Modernism: Essays on Contemporary Cultural Practice in India, Tulika, New Delhi, 2000, p.38. 5 Calcutta derives its name from this great temple, which was built to the goddess Kali. 6 For a wonderful extended account of this, see Wendy Doniger O'Flaherty's Women, Androgynes and Other Mythical Beasts, University of Chicago Press, Chicago, 1980. NAM JUNE PAIK - WHIMSICAL ENCOUNTERS, WITHOUT END pp.78-81 In 1994, the artist's agents Holly Solomon Gallery (New York) and Gallery Hyundai (Seoul), and the Museum of Art, Fort Lauderdale (Florida) published a highly informative book on Paik with this title (The Electronic Super Highway: Travels with Nam June Paik). The accompanying exhibition toured to several museums in the United States and elsewhere during 1994-98. The book includes essays by curators and scholars who have followed the artist's career from the days of Fluxus to his pioneering work with video and his relevancy for Postmodernism. 2 John G. Hanhardt, The Worlds of Nam June Paik [exhibition catalogue]. Solomon R. Guggenheim Museum, New York, 2000, p.12. 3 Calvin Tomkins, quoted in The Electronic Super Highway: Travels with Nam June Paik, 1994, p.32. 4 The Paik and Moorman collaborations are documented in part in the Retrospettiva 1964-74 photographs, which were taken by Peter Moore. 5 Nam June Paik, quoted in Electronic Art 111: Paik-Abe Video Synthesizer with Charlotte Moorman [exhibition catalogue]. Galeria Bonino, NewYork, 1971, p.1. 6 Hanhardt, The Worlds of Nam June Paik, p.224. 7 An iconic art work by the French sculptor Auguste Rodin which, in 1982, Paik similarly set in miniature before an electronic recording and viewing device. 8 The Electronic Super Highway: Travels with Nam June Paik, p.53. 9 Kim Hong-hee, 'Nam June Paik: Master of This Century', in GanaArt, Seoul, Spring, 1997. LISA REIHANA AND THE PASIFIKA DIVAS - GREED, LUST, BETRAYAL AND RIVERS OF FIRE pp.88-91 Maud Page, 'lnterdigitating Reihanamations: Lisa Reihana's video weavings', Art AsiaPacific. no.21, 1999, p.42. 2 Correspondence with Reihana, March 2002. VladimirTretchikov's kitsch and highly exoticised portraits of Euro-Asian and Pacific women could be found in Australian department stores in the 1950s and 1960s. 3 Correspondence with Reihana. Digital Marae was inaugurated at the Auckland Art Gallery Toi o Tamaki exhibition 'Purangiaho' last year. 4 Correspondence with Reihana. 110 APT2002 5 Correspondence with Reihana. Dr Ngahuia Te Awekotuku is a writer and academic, and Professor of Maori Studies at Victoria University of Wellington. 6 See Art and Performance in Oceania, Crawford House, eds Barry Craig, Bernie Kernot & Christopher Anderson, Bathurst, 1999 for a general view of its existence and different expression throughout Micronesia, Melanesia and Polynesia. 7 See in particular these two authors in, 'Special issue: the arts and politics', Pacific Studies, vol.15, no.4, December 1992. 8 It is interesting to note that in their exploration of the 'clowning tradition of Polynesia', Hereniko and Sinavaiana conclude that this form of licensed disrespect ultimately reinforces the status quo and the structure of society. However, the comments by the exponents of this form of theatre in Aotearoa New Zealand suggest a more complex result. See Art and Performance in Oceania, p.24 for a summary of this argument. 9 Fate aitu literally means 'house of spirits'. 'Fate aitu are satirical sketches that commonly serve as interludes between sets of songs and dances in a traditional program of entertainment'. (Sinavaiana quoted in Pacific Studies, vol.15, no.4, December 1992, p.202). 10 Equally, in thinking of hair spray, polyester and catsuits as a veneer for satire and subversion, the work of American director John Waters is particularly pertinent and continues to be very influential. 11 This comment was made in relation to her contentious 'T-shirt' series 2001. Correspondence with Kihara, March 2002. 12 Tekela-Smith is of Rotuman. Futuna, Uvean and Scots descent. Hastings-McFall is of Samoan and Aotearoa New Zealand descent. MICHAEL RILEY - THE EXTRAORDINARY MISTER RILEY (WIRADJURI) pp.92-95 A 'road-kill' is a dead native animal that has been hit by a moving vehicle on the road. 2 Lynette Riley-Mundine, 'Talbragar Reserve', in Yarns from the Talbragar Reserve: Stories by the Original Inhabitants and Former Residents: Photographs by Michael Riley [exhibition catalogue]. Dubbo Regional Gallery, Dubbo, 1999, unpaginated. 3 Koori, Gurri or Koorie: an Aborigine, Aboriginal man or Aboriginal person (Australian Concise Oxford Dictionary, Oxford University Press, Melbourne, 1992). 4 Boomalli artists subsequently opened a permanent venue and gave a voice to urban and rural Indigenous artists who had been largely ignored by mainstream galleries. A younger generation of Boomalli artists continue to hold exhibitions at the Boomalli Aboriginal Artists Co-operative Gallery, Sydney. 5 Avril Ouaill, Marking Our Times: Selected Works of Art from the Aboriginal and Torres Strait Islander Collection at the National Gallery of Australia, National Gallery of Australia, Canberra, 1996, p.66. SONG DONG- THE DIARY KEEPER pp.96-99 From an interview with artist Song Dong by Binghui Huangfu, Director of the Earl Lu Gallery, Lasalle SIA College of the Arts, Singapore for the catalogue of the exhibition 'Shot in the Face', December 2001, unpaginated. Unless otherwise noted all quotes from the artist relate to this interview. 2 Song Dong, Artist's statement, in Fuck Off [exhibition catalogue]. eds Hua Tianxue, Ai Weiwei and Feng Boyi, Eastlink Gallery, Shanghai, 2000, p.112. 3 Wu Hung, 'Still breathing', in Transience: Chinese Experimental Art at the End of the Twentieth Century [exhibition catalogue]. The David and Alfred Smart Museum of Art, University of Chicago, 1999, pp.54-9.