The Seventh Asia Pacific Triennial of Contemporary Art

1 The Asia Foundation helped finance the Bando Gallery, the first commercial gallery in South Korea, as well as defray the shipping expenses of South Korean artists selected to participate in the 1965 Paris Biennale (Asia Foundation, letter to Park Seo Bo, 9 August 1965, collection of Park Seo Bo), while JDR 3rd Fund (the John D Rockefeller Fund) permitted several Japanese artists to study and live abroad, including Yayoi Kusama in 1965 and Shinohara Ushio in 1969. The JDR 3rd Fund established the Asian Cultural Council in 1963, which also became an important source of support for Asian artists. 2 Boitran Huynh-Beattie suggests that US influence had far less of an impact on visual art in South Vietnam in the 1960s than it did on other forms of cultural production. See ‘Modernity versus Ideology’, Cultures at War: The Cold War and Cultural Expression in Southeast Asia , eds Tony Day and Maya HT Liem, Cornell University Press, Ithaca, 2010, pp.87–98. 3 First International Exhibition of Fine Arts of Saigon [exhibition catalogue], Tao-Đàn Garden, Saigon, 1962, p.20. 4 Dao Si Chu, ‘Foreword’, in First International Exhibition of Fine Arts of Saigon [exhibition catalogue], Tao-Đàn Garden, Saigon, 1962, p.75. 5 Julia F Andrews, Painters and Politics in the People’s Republic of China 1949–1979 , University of California Press, Berkeley, 1994, p.203. 6 Mulk Raj Anand, ‘Chairman’s welcome address’, Lalit Kala Contemporary , no.36, September 1990, p.12. 7 Geeta Kapur, quoted in Link , 7 February 1971, p.38. 8 For a discussion of this interest, see Joan Kee, Contemporary Korean Art: Tansaekhwa and the Urgency of Method [forthcoming publication], University of Minnesota Press, Minneapolis, 2013. 9 For an outline of cultural exchange practices in Japan during the 1970s and 80s, see Kishi Seikō,Bijutsukanga ‘ajia’ to deautoki’, [When the museum encountered ‘Asia’], in Sengo nihon no kokusai bunka kōryū [International cultural exchange in postwar Japan], ed. Hirano Kenichirō, Keiso Shobo, Tokyo, 2005, pp.246–7. 10 Kenichirō, p.115. 11 Important conference proceedings published by the Japan Society include Asian Contemporary Art Reconsidered (1997) and International Symposium: Asian Art: Prospects for the Future (1999). 12 Kuroda Raiji, ‘Practice of exhibitions in global society by Asians, for Asians and some associated problems’, in Global Visions: Towards a New Internationalism in the Visual Arts , ed. Jean Fisher, Kala Press in association with the Institute of International Visual Arts, London, 1994, p.144. 13 Julie Ewington, ‘A Moment in a journey: The First Queensland Art Gallery Asia Pacific Triennial of Contemporary Art’, Art and Asia Pacific , vol.1, no.2, April 1994, p.12. 14 Jim Supangkat, ‘Multimodernisms’, in Contemporary Art in Asia: Traditions/Tensions , Asia Society Galleries, New York, 1996, p.80. 15 Hans Belting, Art History After Modernism , University of Chicago Press, Chicago, 2003, p.59. 16 Hou Hanru, ‘Entropy, Chinese artists, Western art institutions: A new internationalism’, Global Visions: Towards a New Internationalism in the Visual Arts , no.80. Some of Hou’s best-known exhibitions include ‘Cities on the Move’ 1997–2000, co-curated with Hans-Ulrich Obrist; the Gwangju Biennale 2002, and ‘Z.O.U. (Zone of Urgency)’ at the 2003 Venice Biennale. 17 Rasheed Araeen, ‘Our Bauhaus, others’ mudhouse’, Third Text , no.6, spring 1989, pp.3–14. 18 Apinan Poshyananda, ‘Positioning Contemporary Asian Art’, Art Journal , vol.59, no.1, spring 2000, p.12. 19 Wu Hung, ‘Mapping contemporaneity’, in APT 2002: The Asia Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery, Brisbane, 2002. 20 See, for example, Yasuko Furuichi, Asia in Transition: Representation and Identity [report], The Japan Foundation Asian Centre, Tokyo, 2002 and Edges of the Earth: Migration of Contemporary Asian Art and Regional Politics: An Investigative Journey in Art by the China Academy of Art , Jiang Xu (ed.), China Academy of Art, Hangzhou, 2003. 21 Rustom Bharucha, ‘The “New Asian Museum” in the Age of Globalization’, Third Text , no.14, summer 2000, p.18. Originally presented as a paper for a symposium hosted by the Vancouver Centre for Contemporary Asian Art, the article has been republished in numerous venues, including the Singapore journal FOCAS: Forum on Contemporary Art and Society , July 2001, The Third Text Reader: On Art, Culture, and Theory , Bloomsbury, New York and London, 2002, and Over Here: International Perspectives on Art and Culture , eds. Gerardo Mosquera, Jean Fisher, and Francis Alÿs, MIT Press, Cambridge, 2004. 22 Patrick Flores, ‘Presence and passage: Conditions of possibilities in contemporary Asian art’, International Yearbook of Aesthetics , no.8, 2004, pp.50–1. 23 Eileen Legaspi-Ramirez, ‘Investigating circulations: The folly of [art] bottom-lines and number-crunching’, Pananaw , no.6, 2007, p.115. 24 Flores, p.54. 25 As art historian David Clarke asserts, the notion of the contemporary, unlike that of the modern, ‘doesn’t really help us much when we want to take the more external perspective on time which historical explanation requires’, in ‘Art now, Beyond the contemporary’, Field Notes , no.1, 2012, <www.aaa.org.hk/FieldNotes/Details/1167> , viewed 20 July 2012. 26 Prominent examples of recent contemporary art museums in Asia include the Ullens Centre for Contemporary Art in Beijing, the upcoming China Contemporary Art Museum on the site of the Urban Futures Pavilion of the 2010 Shanghai World Expo, UUL National Art Museum, the Seoul annex of the National Museum of Contemporary Art located in Kwach’ŏn, Korea (scheduled for completion in 2013), and M+ for the West Kowloon Cultural District in Hong Kong (scheduled for completion in 2017). 27 ‘The Third Guangzhou Triennial, Farewell to Postcolonialism’ (unattributed), <www.gztriennial.org/zhanlan/threeyear/4/24/3/ >, viewed 30 July 2012. The exhibition curators were Gao Shiming, Sarat Maharaj, and Chang Tsong-zung. 28 John Clark, ‘Doing world art history with modern and contemporary Asian art’, World Art , vol.1, no.1, 2011, p.93. 29 Clark, p.94. 30 For examples of such collaborations in Myanmar and India see Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context , Duke University Press, Durham and London, 2011. 71