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8*·11-1'JJ!it•iifli• l.lff ~-~"'C

8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

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Page 1: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

8*·11-1'JJ!it•iifli•

1:'3✓r'~~-M:._~:_ l.lff ~-~"'C

Page 2: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

E3,t•$11'mfl:'Jl~jff,j ~

l::3;Jl'-·"if•;f--$f­tJM'r-1<i:M!x.C:

[Jl(ffi] 1993:q: 12/=l9E3[,t]- 26E3 [E3] P3 art and environment :Eflli­lil~3'/:;JiE¥3lt::Pt'.:P:,;:x:11:;tz:,;$1-th'h:tJ-P3 art and environment E3fiii~~

[/XZJ·~~ J 1994:q:2J=l 14E3 [!=l]- 27E3 [E3] :,,:,;5/'i:J:,;1',~:P-r--·=\Cv5')­±1lli-:.05/\:J/7'.~ lil~3'/:;JiE¥3lt:

Contemporary Thai/Japanese Art Exhibition Beyond the Border

[Tokyo] December 9- 26, 1993 P3 art and environment Organized by The Japan Foundation ASEAN Culture Center With the Cooperation of P3 art and environment Nichiyu Sharyo

[Bangkok ] February 14-27, 1994 Silpakorn University Art Gallery Organized by Silpakorn University The Japan Foundation

Page 3: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993
Page 4: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993
Page 5: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

Contemporary Thai/ Japanese Art Exhibition

Beyond the Border Sansern Milindasuta

Supachai Satsara

Senzaki Chieo

Tsuchiya Kimio

P3 art and environme nt Decemb er 9- 26, 1993 Organ ized by The Japan Foundation ASEAN Culture Cenrer

Page 6: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

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Page 11: 8*·11-1'JJ!it•iifli• l.lff 1:'3 r'~~-M:. ~: ~-~'C · 2018. 7. 18. · Thai / Japanese Exhibition Border Milindasuta Satsara Chieo Kimio P3 art a n environme nt D ecemb 26, 1993

Beyond the Border Tani Arata [ Arr Criri c]

I. From Introduction to Interaction The present exhibition provides the first opportunity for contemporary Japanese and Thai art to interact directly with each other . Similar interaction between Japan and other Asian nations is desirable in the future, and such opportu­nities will probably become much more frequent. To put ic simply, the time is ripe for this, and if Japan's position raises expectations, chose expectations should be met. Indeed, it might be wise to cake a more active seance, even if misunder­standings arise. It is better to deepen cross-cultural ties without worrying about creating misunderstandings than for both parties ro avoid misunderstandings by remaining idle bystanders. True interaction is impossible unless each side examines the other at close range.

A solid foundation for the introduction of contemporary Asian art has already been nurtured in Japan. I am referring, of course , to the trio of Asian Art Shows organized by the Fukuoka Art Museum in the 1980s. These shows functioned , so to speak, as the Olympics of contemporary Asian art . In the latter half of the 1980s, the museum also began holding one-man shows introducing specially selected Asian artists. By eliminating nationality as a basic approach and creating the artists' individual characteristics, this scheme sought to transcend problems caused by differences in national strength, which the Olympic format engenders. (It might be better to speak simply of "differences," since "differences in national strength" presumes specific standards.)

Japanese artists were included in the three Asian Art Shows. Although there are far more artists in Japan than in the other Asian countries, in these shows Ja pan was created as only one of a group of participating nations. In this sort of project, Japanese artists naturally consider Japan the Center; under these circumstances, the relationship with other countries becomes that of one against many . Such an approach clearly permits a wealth of interaction, but makes it difficult to establish a basis for the ties themselves to grow. It can readily be regarded as laying the groundwork for the elements that will enable temporal and historical dimensions to deepen . But that is a subsequent goal; the primary aim of the Olympic format was to place participants on the same playing field.

The second step taken by Fukuoka , namely the format of one-man shows of Asian artists ' works, introduced a different perspective. Speaking in terms of the above types of relation­ships, schematically it represented a one-to-one correspon­dence (namely, an Asian artist vs. Japan) or a correspon­dence between one and many (an Asian artist vs. Japanese viewers). The elimination of national borders enhances the meaning of personal interaction . I am not saying that an Olympic type of format fails to achieve this. Even when personal interaction is valued as a secondary goal predicated on nationality , the Olympic format constitutes interaction between artists representing specific countries . In no way is the individual placed at the forefront.

I am not disputing the twin principles underlying the Fukuoka exhibitions on Asia. The museum has laid the groundwork for new interaction . What I am saying is that,

7

with regard to Asian interaction, the experience of the Fukuoka shows should be taken as a basic premise when considering the kind of perspective to adopt hereafter. It must first fie the progressive historical vision underlying the exhibition format created in the West. The epitome of the Olympic format, needless to say, is the Venice Biennale, which boasts a history of nearly a century. Japan has par­ticipated in the Biennale since the 26th show, which was held in 1952. The Biennale includes an aperto, an exhibition which offers a venue for exhibiting trendy works, regardless of national borders, in a setting other than the main exhibi­tion space. This plan, however, was added later. Interna­tional exhibitions in India and Bangladesh are modeled after the Venice Biennale.

The Documenta in Kassel, Germany represents an app­roach that centers around the selection of artists and works , without regard to nationality . At present, it is the largest scale on which new trends in contemporary art are regularly treated in a comprehensive manner . In the 1970s this exhibi­tion was placed under the control of an independent com­missioner. Japanese artists began to be frequently invited around 1977, when the 6th exhibition was held.

Unfortunately, no exhibition of this kind exists in Asia. Actually, Biennales were once held in Tokyo . As an event chat brought together the latest domestic and international trends, the 10th show, held in 1970, represents a milesrone in the history of contemporary Japanese art. However, this type of large-scale exhibition subsequently disappeared from Japan and hence the entire Asian region.

The question as co whether Japan can shoulder chat responsibility once more depends on whether the times make it inevitable, an extremely difficult matter to judge. Japan, on an equal footing with America and Europe, sends artists to famous international Western exhibitions. If one looks at Asia unblinded by the mirror representing the West, which Japan has traditionally placed in the foreground, one cannot help being struck by how little attention Japan pays co Asia. (In terms of the relationship between Europe and Japan, the mirror has gradually come into closer range, and now di­rectly reflects Japan). What triggers that impression is Japan 's Asiatic elements and hisrory, which, on a conscious level, considerably exceed the awareness of Asia in Europe and the United States. Therein, one could say, still lies Japan's salvation. From the perspective of Japan, even though Asia is included as a general category in the kind of international Western exhibitions mentioned above, it is a troubling fact that Southeast Asia is virtually nonexistent. Last year, the show that is always held in the K18 district of Kassel and other settings in conjunction with the Docu­menta chose a theme, Encountering the Others, which featured non-European nations. Although a great many artists from Asia were represented, the exhibit focused mainly on Ease Asia and the Indian subcontinent, and overlooked Southeast Asia. Even the main Documenta exhibition included only a Filipino artist who lives in the United States. This could not be helped if research failed co turn up any artists who fie the theme of the exhibition, but