The Sixth Asia Pacific Triennial of Contemporary Art

27 the complex exchange of artistic and cultural ideas from the Middle East, especially Islamic art. It is, in fact, a natural extension, and allows us to acknowledge the considerable influence that Islamic art and culture have across the region. Also included for the first time is a presentation of work from North Korea (DPRK). Working with Beijing-based British filmmaker Nicholas Bonner as co-curator, the discussion about showing art from North Korea began in early 2005. Given Bonner’s long-term relationships with artists and filmmakers in the DPRK, the 13 commissions at the heart of the display have been developed in close consultation with the artists from the Mansudae Art Studio, the curators and the Gallery. One clear aim of the exhibition has been to challenge assumptions, and therefore broaden understanding about what contemporary art is . The APT consistently addresses how artists live and work in diverse conditions. One of the great contributions this exhibition makes to broader discussions about art is the recognition of different, parallel art histories that have developed in the region in locally specific ways. For example, the art historical canons cited in the works from the Mansudae Art Studio include the socialist realist styles that were imported from the Soviet Union and China as revolutionary artistic movements, a form also echoed in the iconography developed in trade union banners in Australia and the English Midlands. Yet, this is not the only stylistic influence. Brush-and-ink painting, or chosunhua , is still considered the most important art form in Korea due to its established place in East Asian art; this is also the case with oil painting, which has its roots in Europe and was most recently taught to Korean artists by the Japanese during the occupation from 1910 to 1945. Such a trajectory is in sharp contrast to the art history that octogenarian Iranian artist Monir Shahroudy Farmanfarmaian draws on in her dazzling mirror mosaic sculptures. The rich traditions that distinguish Islamic architecture are key influences. The geometric structures and the ordered repetition of patterns that were developed as an intrinsic aspect of Islamic shrine and temple Kyong Sik North Korea (DPRK) b. unknown The high-speed construction unit 1988 Linocut on paper / 59.5cm x 72cm / Collection: Nicholas Bonner, Beijing Jae Yong North Korea (DPRK) b. unknown Untitled 1964 Watercolour on paper / 26 x 19cm / Collection: Nicholas Bonner, Beijing