CONTENTS 11

Foreword 13

Introduction 15

Essay: Every 23 days... 17-21

Asialink Visual Arts Touring Exhibitions 1990-2010 23-86

Venue List 89-91

Index 92-93

Acknowledgements 94

FOREWORD 13

Asialink celebrates twenty years as a leader in -Asia engagement through business, government, philanthropic and cultural partnerships. Part of the celebration is the publication of this booklet to commemorate the Touring Visual Arts Exhibitions Program which has been a central focus of Asialink’s work over this whole period.

Artistic practice encourages dialogue between different cultures, with visual arts particularly able to transcend language barriers and create immediate and exciting rapport. Asialink has presented some of the best art of our time to large audiences in eighteen countries across Asia through exhibition and special projects, celebrating the strength and creativity on offer in Australia and throughout the region.

The Australian Government, through the Visual Arts Board of the Australia Council and the Department of Foreign Affairs and Trade, is pleased to provide support to Asialink as it continues to present the talents of artists of today to an ever increasing international audience.

The Hon Stephen Smith MP Minister for Foreign Affairs

INTRODUCTION 15

Every 23 Days: 20 Years Touring Asia documents the journey of nearly 80 Australian-based contemporary exhibitions’ history that have toured primarily through Asia as a part of the Asialink Touring Exhibition Program. This publication provides a chronological and in-depth overview of these exhibitions including special country focused projects and an introductory essay reflecting on the Program’s history.

Since its inception in 1990, Asialink has toured contemporary architecture, ceramics, glass, installation, jewellery, , photography, textiles, video, works on paper to over 200 venues in Asia. These exhibitions have been prepared in partnership with museums and galleries around Australia and hosted by collegiate institutions and organisations throughout the region. In these, the work of over 600 Australian and Asian artists have been shown to audiences numbering in the hundreds of thousands. To date, Asialink exhibitions have toured to 18 countries in Asia: Bangladesh, Brunei, China, India, Indonesia, Japan, Hong Kong, Korea, Laos, Malaysia, Nepal, Pakistan, Philippines, , Sri Lanka, Taiwan, Thailand and Vietnam as well as within Australia.

Alison Carroll Director Arts Asialink Sarah Bond Director Visual Arts Asialink

EVERY 23 DAYS... 17

When you ask yourself what has artists from regional centres, and artists achieved the largest audiences for working in special media that often Australian visual culture outside its receive less attention. Asialink has shores, you may not believe it but consciously worked with artists from the mantle must be awarded to the around Australia, from Tasmania to the Asialink Visual Arts Touring Exhibition with special focus Program. With nearly 80 exhibitions exhibitions, as well as urban centres. toured internationally in and around 18 Glassmakers, ceramicists, designers, countries over a 20 year period architects, textile artists, photographers the frequent flyer miles for art are and video artists have all earned a astonishing. To date, there have been special focus through the program. 309 openings, that effectively equates to an exhibition of Australian artwork One may ask why do artists want opening every 23 days in the region. to be involved in touring? There are numerous reasons, but key is being Initially developed and financially able to have their work shown in an supported under the Keating international context and see how it government, the Asialink Arts is received, something increasingly Program began as all things do – important to most artists today. Local modest, full of hope and fuelled by and international see touring passion and determination. The exhibitions in Asia, getting access main aim of the program was and and knowledge more immediately remains to encourage and facilitate than they often get in any other way exchange of cultural material and and exhibition catalogues remain on information between Australia and international curators’ shelves and Asian countries, with a particular desks long after the opening. Asialink focus on contemporary art and arts frequently hears of follow up invitations people travelling from Australia. Like to artists and curators after an event all Asialink programs, the emphasis is due to positive word of mouth and on partnerships between Australia and these works being placed in an Asian colleagues and extending this international setting. More prosaically, to making opportunities for both these the artists receive copies of the colleagues and artists to reach new publication and media; they present audiences in our own region. it and where it was shown on their biodata information, adding to their Central to the partnership is the profile – an all-important part in the arrangement with the artists whose business life of the artist today. work we tour. Looking at the list of recent and current touring exhibitions One special reward to artists is the reads like a who’s who of the Australian amount of media these exhibitions art world. Artists include Brook Andrew, receive, usually far larger than is normal Gordon Bennett, Robin Best, Shaun for contemporary art in Australia. Gladwell, David Griggs, Destiny Patricia Piccinini’s exhibition We are Deacon, Fiona Hall, Akira Isogawa, family in Tokyo received 112 print Tracey Moffatt, Callum Morton, James media articles, with many articles going Morrison, Patricia Piccinini, Judy to literally millions of readers. Asialink Watson and Philip Wolfhagen. But also includes copies of the print press for included are younger, emerging artists, all partners, including exhibiting artists which shows both the attention their a general understanding that culture Modern Art, Brisbane, the Art Gallery work is receiving internationally, and is a rewarding undertaking. There are of , Sydney, the also criticism of the show from a very artists’ talks, forums and seminars Australian Centre for the Moving different cultural point of view – all very around many exhibitions to further the Image, and the Museum useful to practitioners. debate and engagement with the local of Contemporary Art, Sydney, and audience. Each exhibition is sent with a regional galleries from smaller cities who is expected to give special like Devonport in Tasmania or Cairns, talks either in the exhibition or an as well as contemporary spaces, associated venue. The general public university galleries and with ARIs is also invited, and their feedback often (Artist Run Initiatives). Partner galleries the most revealing and honest of all. enable the development of substantial exhibitions with curatorial and logistical Asialink endeavours to count specific support needed for international tours, audience numbers where it can and in turn, Asialink can provide funds (averaging 9,000 visitors per exhibition), for more substantial catalogues, as though this is a practice not universally well as international opportunities for undertaken in the region. This should engagement of the organisation’s be taken in context of course. In Japan, staff and associates. Our Australian almost all venues charge admission, partners are not paid a fee, rather equivalent to AUD10. For our first Asialink asking that they see some three-year Japan program we were reason for developing a tour with us, able to count figures: nearly 300,000 whether professional development visitors for seven exhibitions. of staff, a broader international experience for their whole program, or The Exhibition Touring Program, in the support for Australian arts’ visibility Australian terms, is enduring, and overseas. Asialink has not produced our modus operandi has remained the program internally, rather believing Patricia Piccinini’s work featured on the front cover of: BT Magazine, vol.56, 2004 constant. Our focus is on being flexible that partnerships bring in different and responsive; as noted before it is views and ideas than Asialink could The build up of knowledge or even on partnerships and also on ‘value- engender, as well as views from around subliminal awareness that Australian art adding’. We endeavour to remain the country, while it also means we exists as part of the world cultural map unbound by (unnecessary) rules. share the use of resources. is important, so continuity of a program Asialink works in a cross-cultural is vital, repeating the message that environment, with people coming A vital part of the program is sending Australia has artists of note and wants an together with very different perspectives curators with their exhibitions to the audience for them. An outcome is that and expectations. The trick is trying to first venue, and then other colleagues gradually Asian-based curators increase see the end point and how to get there to later venues, spreading the their knowledge of what happens in in the best and easiest way possible. opportunity to work internationally. Australia, many travel to inspect further We work with others. It is obvious to us This is key to building lasting and and follow up on contacts to make that if everyone agrees to a project and effective relationships in the region as it new collaborative projects. The energy wants it to happen, the best way is to offers an opportunity for Australians to of engagement is central to this, and pool resources and work together. No enlarge their professional experience of keeping it focused, of high quality, and contract will see one through a tricky working in Asia, encouraging personal of substance crucial to the long-term project – as almost all cross-cultural contacts, on-going communication enjoyment of the work made. ones are – like the trust built between and further projects. They are exposed people through partnership. professionally to a different culture in The audience for these exhibitions which they are engaging, as well as varies. The art world comes, artists Our exhibition partners in Australia are thinking through new projects for the come, and the opening party attracts as diverse as the artists we include. future. As one curator memorably said key people of the community, from As a national body, Asialink generates in the early days ‘you could never have politicians to business leaders, to opportunities for Australian visual told me what it would be like’. leading members of society. Art arts organizations to build profile and has a special attraction for many in opportunity in Asia. We work with Our partners in the region have ranged prominent positions in Asia, seen as some of Australia’s leading bodies from Karachi to Kupang to Kuching. an important part of life, either through including the National Gallery of We have worked in almost every Confucian appreciation of the arts, or Victoria, Melbourne, the Institute of country of the region: from the most spectacular national museums to the and venues with Singapore; Saisampan Visiting Hanoi in 2010, Alison 19 smallest gallery space, as long as it paired Thai and Australian artists to Carroll recalls a visit there 20 meets our conservation and security work together to create new work for years ago, when almost no needs. Almost all Australian heads of show; and Patterning asked curators in other Australian arts person had mission have been asked to officiate Indonesia and Pakistan to respond to visited. She stayed in a military at these events, and they do so with the Australian work with art from their hotel, walked the streets with few eloquence, as well as providing support own cultures on this theme, all shown consumer goods and those only for the opening events, and equally together. smuggled from China, bought a importantly support with promotion to couple of unloved but excellent the media. water puppets, and listened to the eagerness of both young We have worked closely with a core artists and older cadres so keen group of Cultural Officers at our to engage. The artists were so Embassies and High Commissions keen to talk, to see what was and trust their judgements and can not happening overseas – in this do this work without their in-country case in Australia – to have their knowledge and hard work. Piyarat work seen and valued elsewhere: Suksiri in Thailand stands out for her a group of young artists milling enthusiastic realism, understanding and around her, talking, her slightly commitment to working on a program embarrassed by the desire and such as ours over a long period of how to respond to it. Her talking Professor Salima Hashmi opens the exhibition time. We are all lucky to have people Patterning: In Contemporary Art, Layers of Meaning: with the head of the Artists like her to work with. Charmaine Toh, National College of the Arts, Lahore, Pakistan Association and again seeing Bo-Young Lim and Willa Santiago that desire, with the dignity of are some of the others we gratefully Recently exchanges with Korean and authority, in that person’s eyes as acknowledge and whom we thank. Japanese curators have been at the well. Out of that experience came forefront, leading to major exhibitions her request to the Queensland Art of work from those cultures shown in Gallery’s committee meeting for Australia. Asialink has initiated these the inaugural Asia Pacific Triennial exchanges and is glad they have to include Vietnam in the 1993 had on-going impact in Australia, APT and the first official invitation illustrating how it needs just a little pro- from a foreign museum to a activity to release a great deal of good contemporary Vietnamese artist. will and response from colleagues Much has happened with Australian overseas. The recent exchange with art and artists in Vietnam since, Eastern Indonesia4, creating new much of it through both this touring work, shown there and in Australia program and the associated Artist

Artist Georgia Chapman lights the flame to open marks a new focus in working with in Residency scheme, a response the exhibition Foundations of Gold in Mumbai more marginal cultural contexts. All to this universal desire to ‘engage’. these projects have been initiated by While the core program has been Australia, something Asialink believes touring Australian art in Asia, Asialink we need to keep doing with focus and has developed exchange programs energy. This is not an aid program and special region or country focused per se, though cultural development programs in South Asia1, in Korea2 and and capacity building occurs in all in Japan3 and expect this to be the way cases. We ask of partners overseas of the future. Projects like Fire and Life to contribute what they can – whether in India included curators and artists it is equal intellectual contributions from both places and shown in both or equal funding. It makes for good places; Foundations of Gold included partnerships and good relationships, artists from five Business Partner Cities relationships that have continued to networks (that Melbourne was a part grow throughout our history. This is of) to celebrate the discovery and use also important: that continuity, time, of gold in Victoria, creating an exhibition knowledge, and commitment are there which toured to all cities; Rapport was and acknowledged, virtues strongly an early exchange of artists, curators valued in Asia. Salima Hashmi. In India, our focus has interesting in their variation – showing been on key events like the Australian how things can move. The first iteration promotion in 1996, with a 10-city came from Asialink advertising to the collaboration of Australian and Indian public gallery sector for expressions artists that still resonates today. Friends of interest which eventuated in seven made on that project, like Shireen projects being realised in Japan. Five Gandhy in Mumbai, are friends today. were straight exhibitions of Australian Chaitanya Sambrani who came to art, two collaborations. The five Australian for this project, remains here included a major Aboriginal show as a key expert on South Asian art. from Melbourne Museum being at the Korea was a focus in the mid 1990s wonderful Echigo Tsumari Triennial, and again is one today. Asialink did and Patricia Piccinini’s nine projects, with key support from show, at the Hara Museum (receiving the Australia-Korea Foundation and the highest attendance ever for that individuals within the Department museum), to smaller ventures. The of Foreign Affairs and Trade (Alison second iteration was much more remains grateful to Paul Molloy for collaborative from the start – with his enthusiastic, sensible support of forums, curatorial visits, and joint this early venture), initially asking four exhibitions the feature. One great leading, younger Korean curators to outcome is leading younger curator come to Australia, speaking at the Shihoko Iida spending two years in Included in the exhibition Trace Elements, as part of Museums Australia conference and Australia (2009-2011), supported by Asialink’s Japan program was: Genevieve Grieves Warriors production still detail from ‘Picturing the Old then travelling and meeting Australian the Japanese Government, a wonderful People’, 2005, 5 channel video and audio installation colleagues. One of those curators, Kim example of professional involvement Sun Jung, remains a key colleague that will surely lead to the next step of in Korea to this day. We did three activity. Another outcome is the Utopia Our South Asia focus followed an major exhibitions at the Seoul Arts project, a roving biennial art event for announcement from then Howard Centre: Gabrielle Pizzi’s collection of the whole Asia Pacific.6 Government Minister Tim Fischer for Aboriginal art, a craft/design show the 1997 Year of South Asia, wanting curated by RMIT University Gallery Along with these specific programs to be build contacts there, and is an and an exhibition curated by Tim Asialink has interwoven special example of the way even within one Morrell, then Curator of Contemporary exhibitions that respond to local region of Asia the circumstances are Art at Queensland Art Gallery. It got conditions. We were asked to include so various. In Bangladesh our focus major coverage in the Korean press, the regions of the Philippines, not just was the Bangladesh Biennale, a huge including full-page colour articles, going to focus on Manila. So Kawing was and very enjoyable fiesta of South Asia to an audience of literally millions of born, with artists from the Northern and Islamic-focused countries’ art. people. We also did smaller exchanges Territory going to four regional centres Australian artists won various prizes and projects with colleagues in of the Philippines for an extended stay, and had considerable focus at these Seoul and Australia. One exchange making work and exhibiting it on site. huge events (where for example the project, between Art Sonje and the It meant that Techy Machero showed Prime Minister welcomed the audience National Gallery of Victoria lead to a her huge bamboo on local of thousands of people seated in a major Australian show in Korea and Palawan beach, a notable trouble site huge auditorium and Australian High the first (and still only) major Korean for foreigners, but with the locals saying Commissioners leapt up to accept contemporary art exhibition, Slowness they would look after her, and 400 prizes on behalf of their countrymen). of Speed, in Australia – in 1998. guests travelling from Puerto Princesa In contrast, in Colombo, our focus was for the opening. Asialink ‘returned’ 10 small and personal, working with the From that came the beginning of artists who had undertaken residencies beautiful, small spaces of the privately Asialink’s Japan program5. Asialink was in Malaysia for an exhibition called run Barefoot Gallery, rooms opening invited to take a group of Australian Sekali Lagi, ‘once again’, making new out onto fish ponds and gardens. visual arts curators to Japan, to see work together, staying at our partner In Lahore, the connection was with and meet likely partners, but it needed venue Rimbun Dahan. We asked something else again: the venerable, support to actually initiate projects from artist-run-initiatives of Australia and the beautifully housed Raj-built red brick this. The Australia Japan Foundation region to work together on projects, rooms of the College of Arts Gallery, stepped in as a core supporter of two and memorable interchanges occurred presided over by one of the key people three-year programs of visual arts focus in Ho Chi Minh City and Singapore as working in South Asian art, Professor with Japan. The two programs are well as Australia. We did a series of small shows we called Bright Sparks, engaged but all with a similar interest. It Post-script 21 with small catalogues aimed at ease must also be acknowledged that there The Touring Exhibition Program and cost effectiveness. is much more international activity than was born from Alison Carroll’s there was 20 years ago and Asialink desire to develop a structure Asialink has also extended visual celebrates this shift. Asialink was early around the experience of arts into cross media programs in on the scene in Hanoi, and many other independently curating the Indonesia, where cultural forms are places, and the access and opportunity exhibition Art from Australia, Eight much more harmoniously integrated, is now vastly more sophisticated, Contemporary Views, which she so Megan Kirwan Ward’s project complex and varied but what remains toured from the late 1980s into with women in Sumatra to extend and key to a rich and engaging future, 1990 around the National Galleries their textile skills to objects that have are the relationships. of South East Asia. This was at a audience’s internationally is included time when such a general ‘national’ in the Swimming with the Tide arts & Alison Carroll show was appropriate. Gaining community program, and where print Director Arts Asialink some initial tour support from the and paper making skills refined in Sarah Bond Australian Exhibitions Touring workshops by Northern Territory artists Director Visual Arts Asialink Agency, Carroll, from a State are used by confreres in West Timor, Gallery background and with little leading to exhibitions of their work in hands-on experience, had to learn Darwin, Kupang and Melbourne. to do the mechanics of touring quickly: freight, packing, insurance, Visual arts training programs for registration. This was all a new museum professionals from Asia, with world and one result was that specific art museum workshops in she had learned the tools of the Kuala Lumpur, Singapore and Australia, trade. So, looking for a structure, and visual arts professionals included and after an initial meeting with in training programs for visitors from Jenny McGregor, then Consultant other countries like Vietnam have been to the Commission for the Future, developed and supported by Asialink. working on the Asia agenda, it With support from the Ford Foundation was decided to pool resources: in Jakarta we have produced booklets art knowledge and organisational on arts management practice for use in umbrella to form a structure that Indonesia, including one dedicated to has endured for 20 years. Asialink exhibition touring. moved from the Commission to the University of Melbourne, and grew The longevity and the success of the exponentially. Asialink Visual Arts Touring Exhibition Program is accredited to two chief A number of other supporters attributes – passion and support. were influential in this period: Passion and commitment from gallery Neil Manton, then Director of partners and artists both here and Public Diplomacy at Department abroad and the support from bodies of Foreign Affairs and Trade who such as the Australian Government, believed in the program from the The University of Melbourne and the start, and his head Les Rowe, who Myer Foundation that have enabled agreed to give the first funding Asialink to respond, initiate debate and support, and Frances Lindsay, then explore issues in the region through Chair of the Visual Arts Board and important cultural exchange. Noel Frankham, Director of the Board, who were behind the first Australia has the advantage of regional funding from the Australia Council closeness and, we believe, sympathy for the Arts. It is a lesson in helping for the nuances of cultural international new ideas that the people who do shifts, but we have, perhaps more 1. See pages 30, 34, 38. are remembered with affection and 2. See pages 33, 34. than ever, to be proactive about 3. See pages 52, 55, 57, 61, 64, 68, 70, 73, 74, 80, 81, 84. gratitude. 4. See page 80. engagement in this changing world. 5. See pages 52, 55, 57, 61, 64, 68. The desire remains for touring 6. More information on this Japan program is available in two specially Asialink produced booklets: Australian art, new generations are Sun Gazing (2005) and Sun Walking (2009).

ASIALINK 23 VISUAL ARTS TOURING EXHIBITIONS 1990–2010 Compiled by Sarah Bond Alison Carroll Claire Watson 1990–1991 1992 24

This initial period from 1990-1991 saw 6 x 6: A Selection of the development of ideas, gaining Contemporary Australian Prints of funds, setting up committees and Curator Anne Kirker processes and initiating new dialogues Artists Ray Arnold, Diane Mantzaris, with key contacts in the region. The Milan Milojevic, Ann Newmarch, exhibitions 6 x 6 and Vietnam were Graeme Pebbles, Judy Watson developed in this period and paved the Partner Queensland Art Gallery, way for Asialink’s Visual Arts Touring Brisbane Exhibition Program as it stands today. Tour Bangkok, Khon Kaen, Chiang Mai, Brisbane (1992-1993)

The first Asialink touring exhibition was curated by experienced prints curator Anne Kirker, as a tight but lively exposition of a variety of leading Australian artists working within this particular medium. It was known that there was interest in Bangkok in particular in exploring the capacity of printmaking to communicate issues of the day. And indeed reports reflected the success of this initial venture: the ‘exhibition was an important contribution to the life of the university’ (President of Khon Kaen University, Vanchai Vatanasapt), ‘received enthusiastically’ with ‘several hundred students and staff viewing the exhibition during the first few hours. Students who attended made comment about the exhibition’s originality and value to them as a learning experience’ (Robert Pounds, Australian Embassy). In an associated public program, Roger Butler, curator of Australian Prints from the National Gallery of Australia, led a week-long workshop on art museum curatorial issues for twenty art curators, directors and artists in Bangkok, a very early initiative in arts management engagement in Asia. 25

ABOVE Opening event: Silpakorn University, Bangkok (Australian Ambassador John McCarthy, Somporn Rodboon, Anne Kirker) BELOW Publicity in Bangkok 1993 26

Vietnam: Australia Gold: A Project by Contemporary Rozalind Drummond and Geoff Lowe Australian Metalwork Curator Juliana Engberg Curators Ray Stebbins, Peter Timms The interest in the work was reflected Artists Rozalind Drummond, Artists Susan Cohn, Mark Edgoose, by attendance, with on average 4,500 Geoff Lowe Mari Funaki, Marian Hosking, per day visiting the Singapore Design Tour Hanoi, Ho Chi Minh City, Junji Konishi, Andrew Last, Centre, reporting it as the highest Adelaide, Melbourne (1992-1993) Carlier Makigawa, Christopher Mullins, attendance of any show in the venue. Miyuki Nakahara, Beatrice Ray Stebbins reported that the opening Vietnam: A Project by Rozalind Schlabowsky, Janine Tanzer ‘was packed as was the seminar Drummond and Geoff Lowe was a Partner Royal Melbourne Institute conducted by Beatrice Schlabowsky different venture to a tour of existing of Technology, Melbourne and myself.’ Artist Junji Konishi work (like 6 x 6), with work developed Tour Kuala Lumpur, Manila, Tokyo, accompanied the exhibition to Tokyo and made in situ in Vietnam in Singapore, Jakarta, Seoul, Melbourne and commented: ‘l4,000 people per collaboration with local artists – a very (1993-1994) day saw the exhibition at Daimaru. We direct engagement. Responding to then moved the show to the Australia the new interest in engagement with Asialink’s third touring exhibition was Embassy and asked our special Asia of the early 1990s, Geoff Lowe of a different order: a major group guests for an opening party there. reported ‘the Vietnam trip was the best exhibition. Australia Gold presented Many remarked on the quality of the experience of my artistic life…it opened work by Australian metalsmiths, made exhibition. Ray Stebbins gave a lecture doors and opportunities that would in partnership with the leading tertiary (which I translated) at Tokyo University not otherwise have been possible…I institution of the day teaching in this of Fine Art and the staff told me later it received the best response ever to an medium. Metalsmithing remains one was the best lecture by a foreign guest exhibition. What was unique was the of the key media of the design/craft in recent memory.’ high level of engagement in the art at area in Australia, with many highly an opening.’ accomplished practitioners. The team was led by Ray Stebbins, then head of RMIT’s Gold and Silversmith Department and curator Peter Timms. The success of the exhibition was evident, with it being requested and seen in seven cities over two years. The curators and artists traveled with the exhibition, often giving workshops at each host city. 27

Location: Contemporary photo based work from Australia Curator Juliana Engberg Artists Ed Burton, Rozalind Drummond, John Dunkley-Smith, Graeme Hare, Paul Hewson and Linda Maria Walker, Geoff Kleem, Ewen McDonald, Ian North, Robyn Stacey, David Stephenson, Kevin Todd, Anne Zahalka Partner Australian Centre for Contemporary Art, Melbourne Tour Melbourne, Adelaide, Sydney, Tokyo, Manila, Bangkok, Kuala Lumpur, Jakarta (1993-1994)

Location: Contemporary photo based work from Australia presented the work of twelve artists who work with photography and explore the notion of ‘place’. Exhibiting artist Ian North from Jakarta commented: ‘Lively interest on the part of the media, plus conversations with various Indonesians … and the attentive audience at the symposium generally, all indicate that the exhibition is having some impact and that it will continue to do so…’

ABOVE Carlier Makigawa bracelet: 925 silver, monel, 18 ct gold, gold plating (c1992) neckpiece: 925 silver, monel, wood, lacquer, gold leaf, 18ct gold, stainless steel cable, variable dimensions (Australia Gold: Contemporary Australian Metalwork) 1994 28

Eyes on ASEAN Transcultural Painting Coordinated by Marina Mahathir This exhibition included 121 Curators Merryn Gates, Artists Brunei: Mohd Haranadi Bin photographs depicting the people Frances Lindsay Hj Buntar, Hj Jumat, Hj Shamsuddin of the ASEAN region in childhood, Artists Tony Clark, Lindy Lee, Idris, Hj Yacob Dato Paduka Hj at work, at leisure and practising Linda Marrinon, John Young Sunny, Jeanifah Hj Mohd. Yusof their rituals and cultures. Over 60 Partner The University of Melbourne Indonesia: Jack Andu, Tantyo photographers were represented Museum of Art, Melbourne Bangun, Ali Budiman, Christianto, from Brunei, Indonesia, Malaysia, Tour Taichung, Taipei, Hong Kong, Desiree Harahap, Rio Helmi, Johnny Philippines, Singapore and Thailand. Guangzhou, Beijing, Melbourne (1994- Hendarta, Dana Irfan, Koes Karnadi, EYES on ASEAN was devised by 1995) Rully Kesuma, Donny Metri, Agus Asialink to commemorate the 25th Setiawan, Julian Sihombing, Tara anniversary of the Association of South As curator Frances Lindsay explains Sosrowardoyo, Sungkono, Back East Asian Nations in 1992, primarily ‘Transcultural Painting consciously Tohir, Ketut Widiatmika Malaysia: aimed at celebrating the people of the conveys the interactive process by Tommy T.C. Chang, Zainal Abdullah region. which artists absorb and transmute Halim, Samad Hassan, Teoh Siang influences from a range of sources, Hooi, Fok Poon Hung, Loh Chee including cultures other than their Keong, Dennis Lau, David S.T. Loh, own…’ The exhibition focused on the Lau Cheng Tean, Lek Wai-Keong, relationships with China, through Lee’s Ng Chee Kong, Arthur Teng Gin Wah and Young’s cultural backgrounds in Philippines: Melvyn Calderon, Jaime China and Hong Kong respectively, Zobel de Ayala, Romeo Gacad, George and Clark’s interest in the European Gascon, Manuel Goloyugo, Bullit style which paid homage to Chinese Marquez, Edwin Tuyay, Sonny Yabao art, chinoiserie. Reflecting the Singapore: Wendy Chan, Peter Chen, renewed interest in the Asia Pacific Raymond Chua Seng Chye, Patrick region in the early 1990s, artist John Lim, Bit Poh Peng, Ronni Pinsler, Ivan Young in his opening speech at Polunin, Tan Choon Wee, Hui Man Tamsui Arts Centre said: ‘The days Yan, Alex Yong Thailand: Ouemaree when Australia only looked towards Boonyingkul, Siri Buasuriya, Waranun Europe and North America in terms Chutchawantipakorn, Pichit Kacharoen, of contemporary art is a thing of the Choompal Khuirukkhit, Watcharee past. I hope this exhibition will be the Mepotpoa, Chantra Pramkaen, Suthas beginnings of many future cultural Roongsirisilp, Damrong Suntawongsup, exchanges between artists, critics and Sarthip Thongnakkokegruad, Saroj art institutions between this part of the Thongnakkokegruad, Narong Utsichok, world and Australia.’ Rermchai Vedshaporn, Kamol Wangniweskul Tour Melbourne, , Sydney, Adelaide, Cairns (1994-1995) 29

ABOVE John Young On Liberty #1, 1993, oil, acrylic and ink superscan on canvas, 2 panels, each 120 x 213.3 cm 1995 30

Body and Soul: Changing Places: offer diverse perspectives on living and Prints by Vera Zulumovski & Cross-Cultural Art working across or between cultures…. Phillip Doggett-Williams from Australia Each of them has opened him or Presented for Asialink’s program: Presented for Asialink’s program: herself to the influences of unfamiliar Bright Sparks Bright Sparks physical and cultural environments, and 1997 Year of South Asia Curator Judy Kean each has done so for a period of time Curator Roger Butler Artists Annie Franklin, Meng Hoeschle, within one distinctive area of Australia.’ Artists Phillip Doggett-Williams, Robert Kleinboonschate, David Vera Zulumovski Mpetyane, John Smith The exhibition traveled to smaller Partner National Gallery of Australia, Partner Museum and Art Gallery of the centres in Malaysia, with Penelope Canberra Northern Territory, Darwin Aitken of Asialink reporting from Kuching Tour Dhaka, Bangkok, Khon Kaen, Tour Kuala Lumpur, Penang, where the exhibition shared a venue Chiang Mai, Pattani, Songkhla, Satul, Kuching (1995) with other projects: ‘The Changing Colombo, Kathmandu (1995-1997) Places opening by the mayor was A second response to the Bright great. The whole combination of art by Body and Soul was part of a program Sparks program was an exhibition school kids, past Atelier residents from of smaller exhibitions, entitled Bright of artists from the Northern Territory. the Philippines and Bali, current Atelier Sparks, designed to travel to a diverse Curator Judy Kean states: ‘The five members as well as us, guaranteed a range of venues outside of the larger artists included in Changing Places big audience and lots of fun.’ museum network, in this case to venues in southern Thailand and to new countries for Asialink: Bangladesh, Nepal and Sri Lanka. Curator Roger Butler invited two printmakers to be involved, exploring social themes of diversity and belonging.

RIGHT Annie Franklin What do you think of Paris?, 1994, colour screen print from linocut (Changing Places: Cross-cultural art from Australia) 31

Seasons of the Kunwinjku: Shifting Ground: Symbol and Narrative: Aboriginal Art from The Performances, Contemporary West Arnhem Land Prints and Self-Portraits Australian Textiles Artists Tony Bangalang, Danny of Mike Parr Presented for Asialink’s program: Djorlom Nalorlman, Gabriel Curator David Bromfield Bright Sparks Maralngurra, Peter Nabarlambarl, Artist Mike Parr Curator Margaret Ainscow Lofty Nabardayal Nadjamerrek, Partner The University of Artists Moira Doropoulos, Pamela Samuel Namundja, Lawrence , Perth Gaunt, Holly Story, Rose Marie Szulc Nganjmirra, Thompson Yulidjirri Tour Manila (l995) Tour Bangkok, Chiang Mai, Curator Ronni Ellis Kathmandu, New Delhi, Jaipur, Partner Department of The exhibition of large-scale prints of Ahmedabad, Mumbai (1995) Foreign Affairs and Trade self-portraits by Mike Parr was held Tour Shanghai, Beijing, at the Australia Centre, then part Symbol and Narrative, which included Guangzhou, Bangkok, of the Australian Embassy, and the the work of four textile artists Chiang Mai, Hanoi (1995-1996) performance ‘Daybreak’ held over commenting on the modern world 24 hours at the Cultural Centre of the from Perth and Melbourne, was a third Because of experience of touring art Philippines. The Philippines has a visual iteration of the Bright Sparks program, in Asia, Asialink was asked to tour art history of dramatic performance, so and focused on the smaller centres of an existing exhibition of Parr, dressed in bridal finery, lying on South Asia as well as the main cities of by artists from West Arnhem Land a bed surrounded by dead chickens Bombay and New Delhi. The interest Seasons of the Kunwinjku, curated by and much blood, received a very in textiles is apparent from the report the Department of Foreign Affairs and passionate response from an audience of artist Pamela Gaunt in India: ‘I gave Trade, to six Asian venues. of 400 and the press, with one reviewer three talks in Delhi and three in Jaipur. commenting ‘It’s a bizarre blend of the The venues were great. The exhibition exotic, the absurd, the psychotic even’ was very well received; people were (Patrick D. Flores, The Philippines Daily very excited…. I was on radio in Delhi Inquirer, 28 January 1995). and TV in Jaipur and the exhibition had a lot of newspaper coverage.’ 32

Vibration: Works by Three Contemporary Australian Women Artists Presented for Asialink’s program: Bright Sparks Vibration was the first exhibition Curators Seva Frangos, created in partnership between Margaret Moore Asialink and the Art Gallery of Western Artists Louise Forthun, Australia, and a fourth in the Bright Michele Sharpe, Kim Westcott Sparks series. It’s inclusion of the work Partner The Art Gallery of of three women artists dovetailed Western Australia, Perth well into its Beijing showing at the Tour Beijing, Hanoi, Seoul, conclusion of the 4th United Nations Melbourne (1995-1996) World Conference on Women. 1996 33

Alternative Realities: Australia: Voices of the Earth Australian Artists Familiar and Strange Presented for the Asialink program: Working with Technology Presented for the Asialink program: Messages: Art from Australia Presented for Asialink’s program: Messages: Art from Australia Curator Gabrielle Pizzi Bright Sparks Curator Timothy Morrell Artists Jimmy Bungurru, Stephen Curator Rachel Kent Artists Howard Arkley, Eugene Kawulkku, Gladdy Kemerre, Leah Artists Peter Callas, Moira Corby, Carchesio, Dale Frank, Tim Johnson, King Smith, , Ross Harley, Rosemary Laing, Maria Kozic, John Nelson, Madonna Narputta Nangala, Peggy Poulson Patricia Piccinini Staunton, Kathy Temin, Judy Watson, Napurrurla, , William Partner The University of Melbourne Judith Wright Sandy, Alan Winderoo Tjakamarra, Museum of Art, Melbourne Tour Seoul (1996) Ronnie Tjampitjinpa, Mick Namarari Tour Hong Kong, Melbourne, Tjapaltjarri, , Shanghai, Beijing, Seoul, Taipei, Messages: Art from Australia was Fred Ward Tjungurrayi, Gideon Tamsui, Kaohsiung, Bangalore, the title given to a group of Asialink Tjupurrula Jack Chandigarh (1995-1996) exhibitions held simultaneously in Seoul Partner Gallery Gabrielle Pizzi, in 1996 at the major venue the Seoul Melbourne Alternative Realities was the longest Arts Centre. Using three large exhibition Tour Seoul (1996) running Bright Sparks exhibition. spaces, the shows recorded 9,092 Focusing on artists working with visitors, with 874 on the first day. The A second part of the Messages series new media was in these early opening was reported by the Australian was a collection put together by days, the mid 1990s, considered Embassy as being the ‘biggest and Gabrielle Pizzi including major works by groundbreaking. Mark Napier of best attended’ of any Australian cultural many of Australia’s leading Indigenous the Australian Consulate General in event in Korea. artists. Gloria Petyarre paintings Shanghai reporting ‘the exhibition contrasted with Leah King Smith’s left a particularly deep impression installation to bring alive the richness of as there has not previously been this important aspect of Australian art anything like this in here before.’ The for the first time in such a major way in words of curator Rachel Kent found Korea. resonance throughout the region. She wrote ‘these artists explore in different ways the possibilities, as well as the limitations, of technology in their work. The impact of technology upon the body, the urban landscape and the shaping of history is considered, while a critical look is cast at the darker side of technological progress.’

RIGHT Catalogue cover for Alternative Realities LEFT Moira Corby, My Memory Your Past (detail), c.1995, mixed media (Alternative Realities: Australian Artists Working with Technology) Aurora: 34 Australian Wood Metal Glass Fibre Ceramics Presented for the Asialink program: Messages: Art from Australia 1997 Year of South Asia Curators Suzanne Davies, Grant The third part of Messages, Aurora accompanying artist, Andrew Last, Hannan, Ray Stebbins, Rachel Young presented a range of craft/design by reflects the various strands of Artists Bruce Armstrong, Mari Funaki, leading practitioners across the five response that such an exhibition Gwyn Hanssen Pigott, Elizabeth Kelly, media noted in the title, and continued can command: ‘Aurora was the first Bom-Jun Kim, Junji Konishi, Andrew the Asialink partnership with RMIT exhibition of this kind of work seen in Last, Carlier Makigawa, Sally Marsland, Gallery that began with the tour of Bangladesh. About 400 people fronted Richard Morrell, Mark Pascal, Gloria Australia Gold (1993). The exhibition for the opening including the Minister Petyarre and the Victorian Tapestry underscored the high quality of work for Culture (with body guards and Workshop, Prue Venables, Vixen made by these Australian artists in entourage), the Director General of Australia, Kevin White these specialist fields. After being the host academy, the Australian High Partner RMIT Gallery, Melbourne shown in Seoul, the exhibition was Commissioner and myself being of the Tour Seoul, Karachi, Islamabad, Dhaka, requested by a further nine cities. chief notorieties. We all made speeches Singapore, Kathmandu, Colombo, Hanoi, An unexpected one was Dhaka in and made that evening’s late TV news.’ Ho Chi Minh City, Melbourne (1996-1998) Bangladesh, but the report of the

BELOW Installation view: Seoul Arts Centre RIGHT Bom-Jun Kim (L) Bowl 2, 1995, glass, black chrome plated brass and 925 silver, 10.2 x 19.5 cm (R) Bowl 3 (detail), 1995, glass, black chrome plated brass and 925 silver, 13.8 x 30.9 cm Fire and Life Curators Alison Carroll, Julie Ewington, Victoria Lynn, Chaitanya Sambrani Artists Australia: Jon Cattapan, David Jensz, Joan Grounds, Derek Kreckler, Judith Wright India: N.S. Harsha, Surendran Nair, Jayashree Chakravarty, N.N. Rimzon, Pushpamala Tour India: Bangalore, Baroda, Calcutta, Delhi, Mumbai (1996); Australia: Sydney, Melbourne, Brisbane, Canberra, Perth (1997)

Five Australian artists from Brisbane, Sydney, Canberra, Melbourne and Perth traveled to India in September 1996 to spend four weeks working with a partnered Indian colleague in New Delhi, Mumbai, Madras, Calcutta and Bangalore, preparing an exhibition in each city. These opened in October 1996 as part of the Australia India New Horizons celebration. Reciprocal residencies and exhibitions took place in the partners’ five Australian cities in 1997. It was a complex and ambitious enterprise, that involved two partners from India, curator Chaitanya Sambrani and associate Shireen Gandhy, touring Australia and meeting with curatorial colleagues at various times, working together to select artists whose work would resonate in each country, who would work positively with a colleague from another culture, and who could create exhibitions of merit in very short time frames. This demanding itinerary was skillfully managed by Suhanya Raffel and other partners (galleries in each city, hosting organizations and funders) all contributed, with the results being wonderful, insightful exhibitions of new work and new understandings. Working together across cultures and with artists of significant personal achievement is challenging, but to do so with the pressures of creating work with a certain period additionally pressing. Two catalogues and 10 exhibitions later, this project is remembered as ground breaking in both countries.

ABOVE RIGHT Pushpamala Indian Lady, 1997 VHS video production, 100 x 120 cm RIGHT The Fire and Life team in the gardens at Sanskriti Kendra 36

Neil Taylor and Rapport: marking a new partnership between Doh Heung-Rok Eight Artists from international institutions, artists and Curator Chung Mie-Young (Korea) Singapore and Australia cultural workers. The exhibition Artists Australia: Neil Taylor Curators Natalie King (Australia), consists predominantly of art works Korea: Doh Heung-Rok Tay Swee-Lin (Singapore) by younger artists who are working Partner POSCO Gallery, Korea Artists Australia: Hany Armanious, across media from photography to Tour Seoul (1996) Carolyn Eskdale, Christopher Langton, found objects, inflatables to . Nicola Loder Singapore: Amanda The resulting installations negotiate The agreement with POSCO Gallery Heng, , Baet Yeok Kuan, personal issues such as childhood, was part of Asialink’s focus on Korea Matthew Ngui coupling, materiality and spirituality in the mid 1990s, with the additional Partners Monash University Gallery, that are pertinent to each artist’s own link to this space through the giant Melbourne / , cultural background.’ The Australian steelmaker POSCO being the key Singapore artists traveled to Singapore to install partner for Australia’s BHP, hence Tour Singapore, Melbourne, their work, noting the value of such an the focus on two artists working with Canberra, Brisbane (1996-1997) experience. Nicola Loder memorably metal. Bahk Young Taik, curator at said that being in Singapore ‘opened POSCO Gallery explains: ‘These two Rapport was a very early joint a new wing of the library’ for her. artists broaden the range of our visual exhibition created by leading young After being seen by 20,000 viewers perception with their metallic media curators in Australia and Singapore, in Singapore, the exhibition then and at the same time pursue the realm inviting four artists from each place traveled to three cities in Australia, the where people and sculptural works to exhibit in a major exhibition to first major showing of contemporary can interact with each other in a living tour to both countries. The curators Singaporean work to be seen in these space.’ stated: ‘Rapport is a cultural project places.

RIGHT Installation view: Rapport, Singapore Art Museum 1997 37

Giao Luu/Confluence: An Exhibition of Australian & Vietnamese Artists with Common Links Curator Ian Were with Nguyen Xuan Tiep Artists Australia: Donal Fitzpatrick, Helga Groves, Ian Howard, Geoff Lowe and Jacqueline Riva, Katy Munson, Debra Porch, Julie Shiels Vietnam: Dang Thi Khue, Do Minh Tam, Nguyen Luong Tieu Bach, Nguyen Minh Thanh, Nguyen Thu, Nguyen Xuan Tiep, Truong Tan, Vu Dan Tan, Partners Performance Space, Sydney / Object Magazine, Sydney Tour Hanoi, Ho Chi Minh City (1997)

A further example of exhibition collaboration initiated by Asialink was Giao Luu, where all the artists, from both Australia and Vietnam, had had some contact with the other country, meeting, talking, travelling, engaging in each other’s culture in some way. Led by Ian Were, working with Nguyen Xuan Tiep, the opening in Hanoi demonstrated the palpable interest and goodwill created through these connections. The idea of this exhibition complimented the celebration at the time of 25 years of Australia-Vietnam relations. ‘This exhibition tells the story of people meeting over the last few years through their experiences as artists in each others’ countries. This exhibition enables us to participate in the journey which these artists have made’ (Lisa Filipetto, Australian Consul General, Ho Chi Minh City).

ABOVE RIGHT Julie Shiels Ka ra o ke, 1996, paint on canvas, 77 x 77cm RIGHT Installation view: Australian Embassy, Hanoi, 1997 Other Stories: The exhibition followed Body and Patterning: 38 Five Australian Artists Soul, Aurora and Patterning as the In Contemporary Art, Presented for Asialink’s program: fourth exhibition prepared for the 1997 Layers of Meaning 1997 Year of South Asia Year of South Asia. The majority of Presented for Asialink’s program: Curator Alison Carroll the seven-city tour was in South Asia, 1997 Year of South Asia Artists Rosalie Gascoigne, Fiona Hall, with Karachi and Lahore in Pakistan Curator Merryn Gates Mike Parr, Rosslynd Piggott, important venues, as was the less Artists Vivienne Binns, Fassih Keiso, Hossein Valamanesh frequently visited venue of Kathmandu, Damon Moon and Steven Goldate, Tour Dhaka, Kathmandu, Hanoi, where 500 guests, including the Prime Munupi Arts and Crafts Association, Colombo, Karachi, Lahore, Minister and ‘most cabinet ministers’ David Sequeira, Jaishree Srinivasan, Islamabad (1997-1998) attended the opening. Wilma Tabacco, Sara Thorn, Constanze Zikos Other Stories presented the work of The exhibition was Australia’s Partner Canberra School of Art five major Australian artists who tell contribution to the 1997 Bangladesh Gallery, Canberra stories. The focus was planned as a Biennale in Dhaka, which provided Tour Manila, Lahore, Canberra, response to the interest in narrative in a huge audience of locals and also Yogyakarta, Ubud, Bandung, Jakarta South Asia, with the reflection of, in international artists and delegates, (1997-1998) this case, Australia being ‘the other’. as well as a Gold Prize for Hossien With this in mind, Les Murray’s long Valamanesh. The Biennale is regional, This exhibition explored the use of poem The Idyll Wheel: Cycle of a Year of Asian work (including the Middle patterning in a variety of traditional at Bunyah, New South Wales was East), and the positive response to cultures in Australia in contemporary included in the catalogue and had an Australia’s work has led to many further visual practice, including the excellent response from the audience efforts by Asialink to respond to their relationship between decoration, ritual in its own right. requests for involvement. and function. It was seen as an idea that could work well for another new model in curatorial collaboration where the Australian exhibition was met by an equivalent local version curated autonomously in each country. This would provide a specific local context for audiences and media, and allow for more meaningful dialogue between the participants.

The most significant ‘matching’ was in Indonesia where curator Jim Supangkat oversaw a major selection of work to parallel the Australian imagery. The exhibition opening in Yogyakarta took place despite rioting in the streets due to the political situation, with 200 people attending. Asialink was told by people in Yogyakarta that it was important the opening went ahead, to demonstrate the value of culture even in times of political trouble.

LEFT Fiona Hall Peculiar Institution, 1994, mixed media, 100 x 50 cm (Other Stories: Five Australian Artists) 39

ABOVE Fassih Keiso Sasha and Natasha Knead each other in red square, 1996, (documentation of work with performance) acrylic and black and white photographs on board, 306 x 208 cm (Patterning: In Contemporary Art, Layers of Meaning) 1998 40

Sense Affinities: A Common Wealth of Art: Curators Stuart Koop (Australia), eleven artists traditions, imaginations & Jae-Young Kang (Korea) from Korea and Australia independent nations Artists Australia: Fiona Foley, Geoff Curators Yvonne Boag Curators Alison Carroll, Melissa Chiu, Lowe Korea: Kyung-Hee Shin, Ki-Won (in collaboration with Nick Vickers), Michael Snelling, David Williams, Park Therese Kenyon Artists Tim Johnson, Partners Centre for Contemporary Artists Australia: Yvonne Boag, Peter Queenie McKenzie Photography, Melbourne / Whanki E Charuk, Jayne Dyer, Ruth Johnstone, Partner: National Art Gallery, Malaysia Museum, Seoul David Thomas Korea: Yong-Jin Hwang, Tour Kuala Lumpur (1998) Tour Seoul, Melbourne (1997) Won-Chul Jung, Hyun Mi Lee, Won Gi Sul, In Kie Whang, Dong Koo Yun A Common Wealth of Art presented Sense was an exhibition exchange Partners The Tin Sheds Gallery, over 100 works of art from 18 project between Whanki University of Sydney / Walker Hill Art Commonwealth countries, and despite Museum, Seoul, and the Centre Center, Seoul the seemingly traditional nature of for Contemporary Photography, Tour Sydney, Newcastle, Canberra, the venture, the outcome was an Melbourne, where two artists from Seoul (1998-1999) exhibition of dynamic individualism. each country showed in turn at their Asialink contributed to this large- partner’s institution. Rather than joint This exhibition evolved from Australian scale exhibition by touring works of artwork or a joint exhibition, it was artists with interest in engaging Tim Johnson and Queenie McKenzie. a literal exchange, but one that built with peers in Korea, who wished to National Art Gallery Director Wairah relationships and understanding in extend these experiences with a joint Marzuki wrote: ‘The exhibition was a a different way. Four small bilingual exhibition. The paintings, prints and great success attracting a wide range catalogues, boxed together, were installations evoked the richness of our of visitors to view the art works from produced, a good example of the different environments, traditions and various Commonwealth nations.’ individual artists work being able to be symbols. presented by itself and in the context of the whole project. 41

Enjoin Unhomely The Slowness of Speed – Curator Ingrid Hoffman Curator Jason Smith Contemporary Korean Art Artists Merlinda Bobis (with Virginia Artists Howard Arkley, Stephen Birch, Curator Kim Sun Jung (Korea) Hilyard, Jane and Phillip Ulman), Colin Duncan, Tracey Moffatt, Sally Artists Bae Bien-U, Choi Jeong Hwa, Sebastian Di Mauro, Fiona Foley, Smart, Kathy Temin, Louise Weaver, Kim Soo Ja, Kim Young-Jin, Lee Bul, Judith Kentish, Ed Koumans Lisa Young, Anne Zahalka Park Hong-Chun, Yook Keun-Byung Partner Cairns Regional Gallery, Cairns Partners National Gallery of Victoria, Partners National Gallery of Victoria, Tour Manila, Cairns (1998-1999) Melbourne / Artsonje Museum, Melbourne / Artsonje Centre, Seoul Kyongju Tour Melbourne, Sydney (1998-1999) Keen to include galleries’ involvement Tour Seoul, Kyongju (1998) from around Australia, Asialink Following the Unhomely exhibition, approached Cairns Regional Gallery to Unhomely was the first major exhibition leading Korean curator Kim Sun Jung work towards preparing an exhibition of Australian work at the leading from Artsonje curated a reciprocal from their perspective for tour. As Artsonje Center complex in Seoul with exchange exhibition The Slowness of is often the case, the selection and the main component then shown at the Speed to introduce the work of leading focus of artists comes from a different, Artsonje Museum in the regional city Korean artists to Australia for the first important kernel of understanding of Kyongju. Jason Smith stated ‘The time. It was shown at the National than from more major centres, with Australian artists who accompanied Gallery of Victoria and the Art Gallery works that expand the scope of what me to Korea found the experience of New South Wales to a great deal Australian art can be. invaluable to their careers and the of attention. The Slowness of Speed ongoing situation of contemporary remains the most important exhibition Australian art in its international of contemporary Korean art to be seen contexts.’ Exhibiting artist Louise in Australia to this day. Weaver reported ‘The experience of travelling to Korea to install and exhibit my work was extremely rewarding.’ 1999 42

A transit through paradise the interest in Colombo in Fiona Hall’s in Sri Lanka memories, to this day, an Curator Suhanya Raffel work (seen in Other Stories, see excellent example of this program’s on- Artist Fiona Hall previous), and the artist’s own mercurial going reach and impact. Partner Queensland Art interest in the history and environments Gallery, Brisbane of places like Sri Lanka led to a H.E. Kathy Klugman, Australian High Tour Colombo (1999) rewarding experience for all concerned. Commissioner in Sri Lanka stated: ‘The Hall went to Sri Lanka early making opening was terrific. Fantastic response Asialink responded to the interest in new work for the exhibition, staying and a good turn-out. Good press and exhibiting prominent individual artists’ at the Lunuganga Trust’s estate south there is a lot of interest in the Asialink work by asking partners to create solo of Colombo, and became entranced program…. Fiona was well received by exhibitions which might find particular with aspects of Sri Lankan life which the Sri Lankans. responses in particular places. The has led her to return frequently to the combination of Sri-Lankan born curator country and for many there to welcome Her work struck a chord. It was also Suhanya Raffel, with her excellent links her with affection. The influence of terrific to have an artist of her standing to the Lunuganga Trust in Colombo, that project remains in her work, and and with her accomplishments come. This was noticed and appreciated by the Sri Lankans…. The whole experience was a great success. A very positive experience…The visit was also a terrific first step in the partnership with the Lunuganga Trust. As with any young relationship, first impressions matter a lot and Fiona made a good impression. Her visit whet the appetite for future projects. We at the High Commission feel privileged that Australia has managed to develop this relationship.’

LEFT Fiona Hall Plumeria acutisolia: frangipani; araliya; malliya poo, 1999, aluminium and tin, 26 x 18 x 4 cm 43

Internal Travel Sekali Lagi: Curator Alison Carroll Australian Artists Revisit Malaysia Artist Hossein Valamanesh Coordinator Penelope Aitken Partner National College of Arts, Artists Sandra Appleby-Lake, Brian Lahore Ash, Matthew Calvert, David Castle, Tour Lahore (1999) Brigid Cole-Adams, Annette Douglass, Rod McLeish, Anne Neil A similar solo exhibition of leading Partner Rimbun Dahan Australian artist Hossein Valamanesh Tour Kuala Lumpur (1999) was prepared for Lahore, the cultural centre of Pakistan, with Hossein Sekali Lagi, meaning ‘once again’, Dahan, an estate on the outskirts of and Angela Valamanesh traveling presented new work by eight Kuala Lumpur supported by Angela beforehand to prepare new work for artists who had all undertaken and Hijjas Kasturi. Annette Douglass the show. The work by Valamanesh, Asialink Residencies in Malaysia. explained ‘The environment inspired growing up in neighbouring Iran Serendipitously, all eight worked in us all into action. Within 48 hours which is often reflected in his imagery three dimensions, so an exhibition of arriving we were discussing and and aesthetic, was both instinctively of their new work was curatorially sorting ideas, setting up studio areas, understood in Lahore, and provocative sympathetic on this level as well as purchasing and finding materials and because of how he extended this to because of their shared experience. It sharing a general sense of excitement. new ideas and different expressions. was thought to be more effective on We were all curious to hear about each Understanding Urdu, Valamanesh an artistic, as well as financial, level for other’s prior residency experience and provided a foil to the simplistic idea the artists all to travel back to Malaysia, discovered that each was very different of ‘Australia’, as well as producing rather than just sending their (large, and all challenging, rewarding and work that promoted comments from three-dimensional, freight-hungry) pretty fantastic as we talked about the the visitor’s book: ‘I’ve never quite work, all made possible because of the influence it had on us.’ experienced the atmosphere that generosity of partner and host, Rimbun exists in this gallery as I write. This is amazing’ and ‘this is the best one- person exhibition ever at the NCA.’ An image of this exhibition, with the work on the floor made in Lahore, is on the cover of this publication – an evocation of the particularities of place and work that inspires such comments.

RIGHT Sekali Lagi opening event: Rimbun Dahan, Kuang OVERLEAF Rod McLeish Wall Hanging 1999, tape measures, 150 x 40 cm (Sekali Lagi: Australian Artists revisit Malaysia)

45 2000 46

Art and Land: Flow/Arus Between Remote Regions / Contemporary Australian Visions Curators Zanita Anuar (Malaysia), Di antara dua pedalaman Curator Kevin Wilson Wayne Tunnicliffe (Australia) Curators Sharifah Zuriah Aljeffri Artists Scott Avery, Irene Briant, Greg Artists Australia: Robyn Backen, (Malaysia), Niranjan Rajah (Malaysia), Creek, Fiona Foley, Mary Napangardi Stephen Birch, Destiny Deacon, E-Art Justine van Mourik (Australia) Gallagher, Christine James, Catherine ASEAN, Emil Goh, Jon McCormack, Artists Australia: Ian Abdulla, Nyukana K, David Keeling, Leah King-Smith, Patricia Piccinini, Michael Riley Baker, Billy Cooley, Margaret Dagg, Ingo Kleinart, Danny McDonald, Victor Malaysia: Tg. Sabri, Tg. Ibrahim, Ivan Elizabeth Doidge, Siv Grava, Hayden Meertens, Harry Nankin, Patrick Pound, Lam, Liew Kung Yu, Hasnul Jamal Jarrett, Kaltijiti Arts and Crafts, Yvonne Gregory Pryor, Walala Tjapaltjarri, Kevin Saidon, Koolmatrie, Niningka Lewis, Yilpi Todd, David Wadelton, Heather Winter, Partners Art Gallery of New South Marks, Mona Mitakiki, Eva Wanganeen John Wolseley Wales, Sydney / Balai Senai Lukis Malaysia: Raphael Scott Ahbeng, Jainal Partner Noosa Regional Gallery, Noosa Negara (National Art Gallery Malaysia), b Amambing, Mohammed b. Ambi, Tour Chiang Mai, Bangkok, Khon Kuala Lumpur Bong Choo Chew, Norman Choo Si Yau, Kaen, Vientiane, Manila (2000) Tour Kuala Lumpur (2000) Bangie ek Embol, Kilan bt. Husman, Silvester Ikun, Sylvester Wielding Ak Different places in Asia have different Arus/Flow presented contemporary Jussem, Kumbu anak Katu, Adrian experiences and interests. A group electronic media art from Malaysia Dominic Ho Fui Ken, Dato’ Mohammed exhibition on ‘landscape’ was thought and Australia. The works ranged from Yaman Hj Ahmad Mus, Nancy ak to be an ‘introductory’ theme to new very high end electronic media to lo-fi Ngali, Zaimie b. Sahibil, Sarimah bt Hj audiences in smaller centres like Vientiane electronic media: Tg. Sabri, Tg. Ibrahim Samad, Datu Ruslan Sulai, Magdalene in Laos which had never seen Australian and Ivan Lam’s collaborative work Tai, Rohani bt Ukon, Sudan ak utau art before. Curator Kevin Wilson, who using an outdated fax machine, or Partners Country Arts SA / National had accompanied Asialink exhibitions Destiny Deacon’s colour photocopies. Art Gallery of Malaysia, Kuala Lumpur before and was aware of some of the The High Commission Report noted: Tour Port Adelaide, Port Pirie, Whyalla, challenges of smaller centres, created ‘the positive response and media Naracoorte, Kapunda, Berri, Kuala an unusual, elegiac exhibition of subtlety generated underline the fact that Lumpur, Kota Kinabalu, Kuching, Ipoh: and beauty on this theme. such joint projects… are able to very Perak (2000-2001) effectively communicate Australia’s commitment to engaging with this Between Remote Regions was a large region in the spirit of partnership.’ collaboration involving 32 artists from Australia and Malaysia, focusing on the art created in regional centres of both countries. Initiated by Country Arts SA, the exhibition was launched in Adelaide for the Telstra Adelaide Festival 2000 and then toured to several regional towns in South Australia. In 2001, Asialink took on the tour in Malaysia, opening at the National Art Gallery of Malaysia and subsequently touring to several state capital cities in Malaysia including Kuching (Sarawak) and Kota Kinabalu (Sabah).

TOP Fiona Foley Spiral Presence, 1997, coloured sand, wooden boxes, glass bottles, sand, paint on canvas, variable dimensions ABOVE Installation view: Laos Cultural Hall Display 47

ABOVE Yilpi Marks Batik on silk habatui / Batik atas habatul sutera, 1999, Batik on silk, 150 x 103 cm (Between Remote Regions / Di Antara Dua Pedalaman) 48

People in a Landscape: Contemporary Australian Prints Curator Anne Virgo Artists Rick Amor, Rosalind Atkins, Janangoo/Butcher Cherel, Graham Fransella, Euan Heng, Ruth Johnstone, Kitty Kantilla, Lily Karadada, Martin King, Deborah Klein, Kevin Lincoln, Akio Makigawa, Tommy May, Maryanne Mungatopi, Janice Murray, , Freda Warlapinni, Judy Watson, John Wolseley, Pedro Wonaeamirri Partner Australian Print Workshop, Melbourne Tour Manila, Singapore, Colombo, Khon Kaen, Bangkok, Chiang Mai (2000-2002)

People in a Landscape was, in part, an extension of the rewarding Art and Land exhibition which was literally about landscape; this was about people within that space. It was also a celebration of printmaking in Australia, selected from the collection of the Australian Print Workshop to show the depth and engagement of many artists with this medium. The physicality of printmaking was always important, with workshops by the Australian Print Workshop master printers being a central part of the engagement. After being launched in Manila, curator Anne Virgo was instrumental in extending the tour of the work to many venues in Asia and then into Europe. She saw it and the accompanying publication, as a significant opportunity to promote the work of both the artists and the role of the Workshop internationally.

ABOVE Janice Murray Flying Fox, 2000, etching, lift-ground aquatint in 3 colours, printed from 2 copper plates, edition of 30, 89.5 x 59 cm (image), 100 x 70 cm (sheet) 2001 49

Circling the Square: Contemporary Kawing: Four Regional making work while they were away and Metalwork by the Gray St Workshop Philippines Exhibitions to have four small exhibitions running Curator Alexandra Bowen Curator Cath Bowdler more or less concurrently. However, Artists Julie Blyfield, Sue Lorraine, Artists Dennis Bezzant, Jacki Fleet, what developed was a much larger Leslie Matthews, Catherine Truman Winsome Jobling, Techy Masero project both in numbers of individual Partner Object: Australian Centre for Partner 24HR Art - Northern Territory exhibitions (12 in total) and in scope of Craft and Design, Sydney Centre for Contemporary Art, Darwin collaborative work (see main essay for Tour Bangkok, Chiang Mai, Singapore, Tour Manila, Davao, Bagiuo, Cebu, the story of Puerto Princesa). It was Kuala Lumpur, Bandar Seri Begawan Negros, Puerto Princesa, Darwin brought together for a final exposition in (2001-2002) (2001-2002) Darwin, opened by the Chief Minister.

Circling the Square was an exhibition Kawing, a Tagalog word meaning of new work by the members of South link in a chain, was a response to the Australia’s established Gray Street request from the Philippines to focus Workshop – a collectively run jewellery on regional centres rather than just studio and access space based in Manila, so Cebu, Baguio, Davao and Adelaide. Accompanying the exhibition Puerto Princesa were selected as to four of the five venues, the visiting sites for four artists from the Northern artists from Gray Street undertook a Territory to visit and create site-specific series of lectures and workshops for work. Cath Bowdler selected the artists tertiary students, arts associations and and they relished this opportunity. Their BELOW Techy Masero Arandungao It Bura-Burak, 2002, bamboo and raffia the public. aim was to spend one to two months (Kawing: Four Regional Philippines Exhibitions)

Catherine Truman reported: ‘the experience of being able to accompany our exhibition was extraordinary. It was a fantastic opportunity to directly work and communicate with an audience of another culture and exchange views about contemporary western and Asian craft issues’. To date, this is the only exhibition Asialink has toured to Brunei. 50

Tracey Moffatt: FEVER PITCH individual media stories and doubled Foundations of Gold Curator Michael Snelling usual attendances with one Saturday Curators Alison Carroll, Suzanne Artist Tracey Moffatt recording 1,000 visitors alone – a Davies, Beatrice Schlabowsky Partner Institute of Modern Art, Brisbane record number for this prominent Artists Georgia Chapman, Eugene Tour Brisbane, Seoul, Kyongju, venue. The exhibition was well Chua Gin-Minn, Monika Correa, Simon Taipei (1999-2001) promoted by Artsonje which generated Cottrell, Brenda V. Fajardo, Kim Ki-Ra, large banners over six-lane highways, Makiko Mitsunari, Pamela Stadus, This exhibition was prepared to be and prominent signage through the Blanche Tilden, Caroline Williams the major presentation of the IMA in winding streets of the arts quarter Partners City of Melbourne, Melbourne Brisbane for the timing of the 1999 Asia of Seoul (see opening pages of this / RMIT Gallery, Melbourne Pacific Triennial at the Queensland Art publication). Artsonje Center curator Tour Melbourne, Mumbai, Manila, Gallery, a time when many visitors, local Inju Chang commented that: ‘The Seoul, Osaka, Singapore (2001-2003) and international, were in Brisbane, and exhibition of Tracey Moffatt ended with then tour Asia. With Asialink’s financial tremendous success in Seoul. We Foundations of Gold celebrated the support, a major catalogue was are delighted to inform you that it was 150th anniversary of the discovery prepared, distributed in Brisbane and the most highly visited exhibition of of gold in Victoria. A cross-cultural internationally. Artsonje Center, so far.’ collaborative project, it presented 10 artists from Australia and Asia with The tour was a huge success, Moffatt an opportunity to share the beauty, already known in Korea and Taiwan meaning and dreams associated with previously, and this seen as an gold. opportunity to exhibit six significant works by her. She visited Taiwan for Artists from five Asian countries were the opening, and was treated like a invited to Australia and ‘twinned’ to celebrity. At the Artsonje Center in collaborate with a Melbourne artist Seoul, the exhibition generated 500 working in a similar field. Artists represented various disciplines – painters, glass artists and textile artists as well as gold and silversmiths. The pairs were provided with gold, donated RIGHT Artist Talk, Taipei Fine Art Museum, Taiwan BELOW Installation View: Artsonje Centre, Seoul by the Australian Gold Council, and encouraged to create new work exploring the idea of gold in any of its manifestations – physical, aesthetic and cultural.

Artists Georgia Chapman and Monika Correa delivered a lecture in Mumbai to 250 guests at the Taj Mahal Hotel. Correa was quoted in The Indian Express (15 September 2001) as saying: ‘It was really interesting and challenging collaborating with Georgia Chapman. Challenging because one had to make it work…like an arranged marriage! We both worked quite closely and yet I feel the works reflect our backgrounds well.’ 51

Makiko Mitsunari and Blanche Tilden Luck, 2001, 18 ct gold wire and ceramic condensers, approximately 33 x 24 x 15 cm (Foundations of Gold) 2002 52

10th Asian Biennale, Bangladesh Gloss Peter Callas: Anti-terrain Project Manager Penelope Aitken Presented for Asialink’s Curator Stuart Koop Artist Craig Walsh Australia Japan Visual Arts Artist Peter Callas Partner Bangladesh Shilpakala Partnerships Program 2002-2004 Tour Kuala Lumpur, Beijing, Academy, Dhaka Curators Larissa Hjorth (Australia), Mumbai, Seoul (2002-2003) Tour Dhaka (2002) Itaru Hirano (Japan), Eri Otomo (Japan) Artists Candy Factory, Martine Peter Callas: Anti-terrain quite literally Following Other Stories, Craig Walsh Corompt, Larissa Hjorth, Natasha ‘mapped’ the artist’s travels and was invited to participate in the 10th Johns-Messenger, Akira Mori, Saki work from 1986. Colin Khoo from Asian Biennale and presented the Satom, Masato Takasaka, Yasuko The Star described Anti-Terrain work Blurring the Boundaries, where Toyoshima as exploring ‘…themes as diverse he created the illusion that a gallery Partner Centre for Contemporary as the globalisation of the media, was slowly filling with water whilst Photography, Melbourne technological development, nationalism monumental fish swam throughout the Tour Tokyo, Melbourne, and international cultural relations space. Adelaide (2002) inspired from his travels in countries and cultures as diverse as Japan and Gloss was an exhibition by young Brazil.’ Originally not intended for tour Japanese and Australian curators to India, the requests from that country selecting artists from each country made in response to Callas’ experience to participate. Curator Eri Otomo of working there, led to the honour of described the creation of the a solo exhibition at the National Gallery project as a response to the rapid of Modern Art in Mumbai, where, it was broadening of the forms of expression said, the previous solo exhibition had in contemporary art, with a focus been by Picasso. on exhibitions and magazines. Over 45,000 people viewed this exhibition. Exhibiting artist Yasuko Toyoshima noted: ‘It was a great experience to have participated in Gloss – not only in conventional gallery sites but also through the magazine format which made another reality for my art.’ 53

ABOVE Forest Clearing (Sincretismo) from the series Um Novo Tempo: Reimagining Brazil, 1999, digital print on photographic paper, 120 x 212 cm (Peter Callas: Anti-Terrain) LEFT Installation view: National Gallery of Modern Art, Mumbai (Peter Callas: Anti-Terrain) 54

Saisampan: Soul Ties – Australian and Thai Artists in Collaboration Curator Somporn Rodboon Artists Chaiyot Chandratita, Peerapong Duangkaew, Joan Grounds, David Jensz, Noelene Lucas, Bannarak Nakbanlang, Araya Rasdjarmrearnsook, Wendy Teakel Partner Chiang Mai University, Chiang Mai Tour Chiang Mai (2002)

Saisampan: Soul Ties was a visual arts project involving a return visit to Thailand of four leading Australian artists who had undertaken Asialink residencies there since 1991, selected from the group by leading Thai curator Somporn Rodboon. This was a change for Asialink in inviting an overseas curator to select the Australian work, and meant a great ownership on the Thai side, which included a bilingual catalogue. Responses from the artists included Wendy Teakel saying ‘the project Saisampan was difficult and extremely hard work, but aren’t all things that are worth doing? The project was an affirmation of friendships, creativity and the human spirit.’

ABOVE RIGHT Noelene Lucas Wood Water Stone, 2002, mixed media, dimensions variable RIGHT David Jensz Treadmill, 2002, motorcycle tires, steel and gold leaf 2003 55

Dancing up Country: At the time of this exhibition, Dorothy Light Black The Art of Napangardi had recently enjoyed a Presented for Asialink’s Curator Vivienne Webb rapid rise to prominence. Despite this, Australia Japan Visual Arts Artist Dorothy Napangardi a major exhibition of her large paintings Partnerships Program 2002-2004 Partner Museum of Contemporary which reflect her life and people in the Curator Janice Lally Art, Sydney central desert had not been shown in Artists Robin Best, Sue Lorraine, Tour Sydney, Hanoi, Kuala Lumpur Australia or internationally and so it was Catherine Truman (2003-2004) seen as an opportune time to develop Partner Jam Factory Contemporary a solo exhibition of her work. Craft and Design, Adelaide Tour Adelaide, Tokyo, Kyoto (2003)

Characterised by clean lines and refined shapes, the works in Light Black focused on scientific and anatomical phenomena – in particular BELOW Dorothy Napangardi Karntakurlangu Jukurrpa, 1999, synthetic polymer paint on linen, 122 x 128 cm organs and organisms of absorption, filtration, liquid retention and storage – represented in engraved porcelain, heat coloured mild steel and burnished and coloured carved wood. The aesthetic and content of the work was immediately of interest to Japanese curators with the exhibition accepted by the very prestigious National Museum of Modern Art in Tokyo (MOMAT) and also its sister venue in Kyoto. MOMAT produced a beautiful bilingual catalogue for both venues. Robin Best noted how well the work was received and said being in Tokyo for the exhibition was ‘the experience of a lifetime’. Above Michael Riley Untitled 2000, from Cloud, 56 Photographica Australis chromogenic pigment print, 110 x 155 cm Curator Alasdair Foster BELOW Deborah Paauwe Bed Time Story, 1998, type C photographic print, 180 x 180 cm Artists Pat Brassington, Lyndell Brown and Charles Green, Brenda L Croft, Max Doyle, Rose Farrell and George Parkin, Joachim Froese, Philip George, Deborah Paauwe, Polixeni Papapetrou, Scott Redford, Michael Riley, Glenn Sloggett, Darren Sylvester, Martin Walch, Anne Zahalka Partner Australian Centre for Photography, Sydney Tour Bangkok, Singapore, Dhaka, Taipei (2003-2004)

Asialink invited Alasdair Foster to consider extending the showing of his exhibition Photographica Australis, which had been presented in Europe, to tour Asia, acknowledging the interest in photography in the region and the previous lack of a major show of Australian work. The wide-ranging group exhibition was an introduction of the work of the artists to a new audience which responded with extraordinary interest: attendance figures were 5,000 people in Bangkok, 18,000 in Singapore, 50,000 in Taiwan and 68,000 in Dhaka, a total of 140,000, far outweighing the audience of 30,000 in Europe. The article header from The Straits Times, Singapore stated: ‘If you have time for only one event… Photographica Australis’ (18 August 2003).

Foster visited each venue to meet with colleagues, extending his knowledge of Asia and to develop opportunities for exchange. He said, speaking on the exhibition’s presentation within the 11th Asian Art Biennial in Dhaka: ‘the Biennale delegates constituted one of the most diverse and stimulating groups of people I have experienced. It allowed me unprecedented access to talk with individuals from countries with which I have previously had no contact, and, in some case, to discuss possible subsequent projects.’ Michael Riley also was awarded a Gold Prize in Dhaka, later presented to him in Sydney by the Bangladeshi High Commissioner. Time out of Joint Spirit Country: Spirit Country: Contemporary 57 Curator Carmen Grostal Contemporary Australian Australian Aboriginal Art included Artists Helga Groves, Caroline Ho- Aboriginal Art works from the Gantner Myer Bich-Tuyen Dang, Nelia Justo, Hanh Presented for Asialink’s Collection, gifted to and exhibited at Ngo, Trinh Vu Australia Japan Visual Arts the Melbourne Museum, then toured Partner Footscray Community Art Partnerships Program 2002-2004 to Shanghai and Japan. An excellent Centre, Melbourne Curator Jennifer Isaacs partnership with the Melbourne Tour Hanoi, Melbourne (2003) Artists Ian W Abdullah, Joe Museum resulted, with links made to Djembungu, Julie Dowling, Yala Yala Japan on various levels, including to Time out of Joint explored themes Gibbs Tjungurrayi, Willy Gudabi, Philip Indigenous populations in Hokkaido. of dislocation, broken narratives Guthayguthay, Gertie Huddlestone, Carrillo Gantner, Asialink Chair, and and the meanings and impact of James Iyuna, Ellen Jose, Emily Baillieu Myer, Asialink Patron, were memories. The Australian Embassy, Kame Kngwarreye, Mary Kemarre closely involved with the exhibition’s Vietnam, commented ‘the distribution and Family, Mick Kubarkku, Peter tour through Japan, and senior staff of catalogues and the media release Marralwanga, Galuma Maymuru, including Director Patrick Greene resulted in excellent media coverage Queenie McKenzie, Mick Namerari visited it in situ. The exhibition was with nine articles in Vietnamese and Tjapaltjarri, Eubena Nampitjin, a central part of the 2003 Echigo English language print and coverage on Narputta Nangala, Tatali Nangala, Tsumari Triennial, which that year Hanoi Television.’ Anmanari and Mantua Napanangka, focused on Indigenous culture and the and Nyurupayia land, particularly of Japan, and in this Nampitjinpa, Eunice Napanangka, case Australia. The Canadians, on the Biddy Napanangka Hutchinson, Mitjili strength of the Australian involvement, Naparrula, Lorna Napurrurla Fencer, were also invited to include work by Terry Ngamandara, Pijaju Peter their Indigenous peoples. Art Front Skipper, Gloria Petyarre, Prince of Gallery in Tokyo produced a major Wales, Ginger Riley Munduwalawala, catalogue in Japanese that has Linda Syddick Napaltjarri, Billy Thomas, been widely distributed throughout Rover Thomas, Zeta Thomson, Freddie Japan. An international conference Timms, Paddy Tjamatji, Anatjari on Indigenous issues was held with Tjampitjinpa, Ronnie Tjampitjinpa, National Museum of Australia’s Director Walala Tjapaltjarri, Long Tom Dawn Casey invited to speak. After Tjapanangka, Pinta Pinta Tjapanangka, touring to Hokkaido the exhibition Tjumpo Tjapanangka, Helicopter was shown in central Tokyo, with Djon Tjungurrayi, Henry Wambini, Bruce Mundine and two artists preparing Wardungku, Warlukurlangu artists, a sand painting outside the venue, Harry J Wedge, Dhukal Wirrpanda, accompanied by a smoking ceremony. Timothy Wulanjbirr, Jimmy Wululu Spirit Country attracted 28,000 visitors Partners Melbourne Museum, during its three-month tour of Japan Melbourne / Art Front Gallery, Tokyo and was heavily publicised through Tour Melbourne, Shanghai, television, national newspapers and Matsunoyama, Kushiro, Tokyo (2003) radio. The Nikkei Weekly reported it was: ‘One of the biggest draws of the Ancient Future Festival’, the Australian Government’s year of celebration in 2003 (10 November 2003). 58

Un Wrapped: Australian Fashion and Textile Design Curator Meredith Rowe Artists Margaret Ainscow, Breathlesselfh, Billabong, Beauty of Nature, Sarah Crowest, Ernabella Arts Inc, Andrea Geisler, Lorinda Grant, Gwendolynne, Akira Isogawa, Easton Pearson, Julie Ryder, Sara Lindsay, Rosemary O’Rouke, Kerry Pryor, S!X, Tiwi Design and Stewart Russell, Utopia/Brahma Tirta Sari Studio, Vixen Australia, Ilka White, Liz Williamson, Zimmermann Partner Bendigo Art Gallery, Bendigo Tour Bendigo, Kuala Lumpur, Bangkok, Manila, Singapore (2003-2005)

Unwrapped: Australian Fashion and Textiles Design was an exhibition featuring contemporary fashion and textile works by over 20 contemporary designers from across Australia. Unwrapped included a wide range of media including wild kangaroo fur, hand-printed textiles and clothing, wool creations and collaborative artwork combining printed Aboriginal designs with hand quilting. Visitor comments from the exhibition in Singapore included ‘I feel so inspired! Thanks!!’ and ‘Wonderful pieces of work, flabbergasted.’

TOP Opening event, Earl Lu Gallery, Singapore ABOVE Stewart Russell and Tiwi Design Untitled, 2003 textile, mixed media 2004 59

I thought I knew but I was wrong: New Video Art from Australia Curators Alexie Glass, Sarah Tutton Artists Guy Benfield, Philip Brophy, Amiel Courtin-Wilson, Daniel Crooks, DAMP, Destiny Deacon, Virginia Fraser, Shaun Gladwell, Lyndal Jones, The Kingpins, Marcus Lyall, James Lynch, Tracey Moffatt, TV Moore, Patricia Piccinini, David Rosetzky, Ivan Sen, Monika Tichacek, Craig Walsh Partner Australian Centre for the Moving Image (ACMI), Melbourne Tour Bangkok, Singapore, Seoul (2004-2005)

RIGHT The Kingpins Welcome to the Jingle, 2003, digital video, 5:15 min 60

I thought I knew but I was wrong: Dinosaur Designs New Video Art from Australia explored Curator Brian Parkes the impact of video art on Australian Artists Louise Olsen, Stephen contemporary art over the past five Ormandy, Liane Rossler years. Including a diverse selection Partner Object: Australian Centre of video works, the exhibition was a for Craft and Design, Sydney snapshot of the range and breadth Tour Bangkok, Taipei, Singapore of Australian contemporary visual (2004-2005) culture – from the slick to the lo-fi, the luxurious to the raw, and the comic In contrast to a solo painting exhibition to the confessional. The show was by a leading, older Indigenous artist presented as part of the Multimedia like Dorothy Napangardi was the Art Asia Pacific Festival and the SENI show of inner Sydney designers Art Festival in Singapore. In Thailand, Dinosaur Designs. A very successful curator Alexie Glass said ‘the high level design group formed by the three of popular and critical engagement with artists named, they work with unusual this show is very encouraging for future materials – often coloured resins – ventures and for touring moving image’. making simple and distinctive sculptural Comments recorded in the visitor’s objects for people’s wear and domestic book in Bangkok included ‘Thank use. This exhibition yielded impressive you for bringing the show here. More attendance figures, particularly in contemporary Thai artists are exploring Taiwan where they recorded 12,415 the medium, but it is rare to have an ABOVE David Rosetzky Without You, 2003-2004 visitors in three weeks. One comment in single channel digital video, duration: 10:40 opportunity to view video art here.’ (I thought I knew but I was wrong: New Video Art from Australia) the visitor book stated: ‘I never realised that polyester resin could be the medium for making elegant and stylish BELOW Installation view I thought I knew but I was wrong: jewellery until I saw Dinosaur Designs.’ Chulalongkorn University Bangkok 61

Sacred Ground Beating Heart: Living Together is Easy The Art of Judy Watson 1989-2003 Presented for Asialink’s Curator Ted Snell Australia Japan Visual Arts Artist Judy Watson Partnerships Program 2002-2004 Partner John Curtin Gallery, Perth Curators Jason Smith (Australia), Tour Ho Chi Minh City, Eriko Osaka (Japan) Colombo, Manila (2004) Artists Fiona Hall, Rosemary Laing, Kaoru Motomiya, Tetsuya Nakamura, Sacred Ground Beating Heart Samuel Namunjdja, Susan Norrie, presented paintings and prints by David Rosetzky, Taro Shinoda, Ricky Judy Watson, originally prepared by Swallow, Tabaimo, Tadasu Takamine, Ted Snell for show in Australia, and Akira Yamaguchi extended internationally by Asialink as Partners National Gallery of Victoria, part of the focus on individual artists’ Melbourne / Art Tower Mito, Mito work. In the exhibition catalogue Snell Tour Mito, Melbourne (2004) writes ‘her work speaks eloquently of the suffering of Aboriginal Australians, A major part of the Japan Visual Arts the massacres, prejudice and disdain, Partnerships Program 2002-2004, while simultaneously evoking the this joint exhibition evolved from dignity and achievements of Aboriginal leading Japanese curator Eriko Osaka people’. One visitor during its traveling to Australia with the view of presentation in Vietnam commented: investigating the possibility of such a ABOVE Judy Watson Shaol, 1998, pigment, pastel, ‘It was one of the best exhibitions we ink and watercolour on canvas, 180 x 135cm venture and inviting Jason Smith to be had seen in Ho Chi Minh City in the BELOW Exhibition opening, South Saigon Arts Centre, her Australian partner. This brought in Ho Chi Minh City past few years.’ (Sacred Ground Beating Heart: The Art of Judy Watson 1989-2003) the National Gallery of Victoria, to join with Osaka’s Art Tower Mito and the Japan Foundation. It became a model of joint arrangements: organizationally, financially, curatorially, and artistically. It was based on each side agreeing to the principle of the arrangement, then supporting ‘their’ side equally. It makes for a very easy, cost effective arrangement, and, interestingly, remains the last time a significant selection of contemporary Japanese work has been seen in Melbourne. It attracted a large audience of mostly under 40 year olds. The 12 artists in Living Together is Easy presented a variety of works – videos, sculptures, paintings, installations, and photographs, which was seen by over 140,000 people.

OVERLEAF Rosemary Laing groundspeed (Red Piazza) #4, 2001, type C photograph, 110 x 219 cm (Living Together is Easy)

63 64

Shimai-Toshi Patricia Piccinini: We are Family Presented for Asialink’s Presented for Asialink’s Australia Japan Visual Arts Australia Japan Visual Arts Partnerships Program 2002-2004 Partnerships Program 2002-2004 Curator John Kirkman Curator Linda Michael Artists Brook Andrew, Michael Butler, Artist Patricia Piccinini Prins (a.k.a Haro), Regina Walter Partners Australia Council for Partner Penrith Regional Gallery, the Arts / Hara Museum of Emu Plains Contemporary Art, Tokyo Tour Fujieda (2004) Tour Tokyo (2004)

The City of Penrith, near Sydney, We are Family was initially shown as and Fujieda City in Japan’s Shizuoka Australia’s contribution to the 2003 Prefecture have been sister cities Venice Biennale. Taking advantage of since 1984, with the exhibition Shimai- existing interest in Japan of her work Toshi developed to celebrate the 20th and the allure of “Venice”, Asialink anniversary of this relationship. Shimai approached the important Hara toshi means ‘giving of gifts between Museum for their interest in being the sisters’ and the exhibition took the only other international venue. The form of a symbolic offering of gifts Museum accepted with alacrity. The between two regional sister cities and Museum advised that the show was communities. The four artists and ‘a record-breaking phenomenon.’ At curator traveled to Fujieda for the their press conference there were more exhibition and anniversary celebrations, than 30 journalists – more press than along with a delegation of 25 others the Hara Museum had ever had for from the City of Penrith. Curator John any previous exhibition – very much Kirkman made this a very successful aided by the presence of the artist and venture because of long engagement her ability to discuss her work. It was with Japan and has followed this with covered in 112 newspaper articles. further projects. Her catalogue sold out in days and there was standing room only at her University lecture.

Exhibition curator Linda Michael said ‘the showing of We Are Family at the Hara Museum was a complete success. It looked wonderful in the galleries, received a great deal of publicity which translated into high attendance figures, built on existing presence of an Australian artist in Tokyo, and strengthened Australian links with a fine Tokyo museum.’

ABOVE RIGHT Patricia Piccinini discusses her work with Her Imperial Highness Princess Takamado: The Young Family, 2002-3, silicone, acrylic, human hair, leather, timber, 80 x 150 x 110cm (irreg.) RIGHT Patricia Piccinini Still Life With Stem Cells (detail), 2002, silicone, polyurethane, clothing, human hair, dimensions variable 6553 2005 66

Akira Isogawa: Printemps–Été artist’s thinking, a show of a leading range of objects, working drawings, Curator Katie Somerville internationally recognised designer, sounds, images and completed Artist Akira Isogawa and the revelation of how a creative garments, something acknowledged Partner National Gallery person from one strong and influential by visitors at various venues. Said one of Victoria, Melbourne culture like Japan can find greater commentator in Singapore: ‘It’s brilliant Tour Melbourne, Singapore, freedom to explore both his heritage to see Akira Isogawa’s work and also Manila, Bangkok, New Delhi, and his new surroundings, in those his thought/work processes throughout Mumbai (2005-2007) new surroundings. The exhibition the whole collection’. And a reviewer focused on the creative process that in Manila wrote ‘a cursory look at the The impact of this solo exhibition by Isogawa embarked upon over a five exhibit is simply inexcusable, because a leading Australian artist, in this case month period in the lead up to the Isogawa’s works require a thorough Japanese-born but Australian (tertiary) presentation of his spring/summer study… It is well worth the time of educated fashion designer Akira collection in Paris in 2004. This elusive anyone seriously pursuing a career in Isogawa, was multiform: a beautiful process, which is not usually accessible design’ (C. Mendez Legaspi, Business and creative show that revealed the to the public, was revealed through a Mirror, 20 January 2006). 67

Callum Morton: Tomorrow Land Open Letter Curator Stuart Koop Curator Binghui Huangfu Artist Callum Morton Artists Dadang Christanto, Emil Tour New Delhi, Chandigarh (2005) Goh, Selina Ou, Vienna Parreno with Krzysztof Osinski, George Poonkhin Tomorrow Land was Australia’s the Lalit Kala Academy in New Delhi Khut with John Tonkin, Melissa Ramos, contribution to the 11th Triennale India and then in Chandigarh itself, the Koky Saly, Phaptawan Suwannakudt, – attended by over 100,000 people. work included a three dimensional My Le Thi Asialink was invited to be the practical work positioned in the centre of the Partner Asia-Australia touring partner for the project once exhibition space, surrounded by prints Arts Centre, Sydney the selection of Morton had been celebrating architectural icons. Morton’s Tour Bangkok, Manila, made. Morton developed new work work won one of 10 major awards Kuala Lumpur (2005-2006) specifically for the Triennale based on for outstanding work at the Triennale, the Tower of Shadows in Chandigarh judged by an international jury. Binghui Huangfu, Director of 4A in designed by Le Corbusier. Shown at Sydney, selected Australian artists of mostly South East Asian descent to explore the realities of leaving one’s home to live in another culture and how this affects their practice. The exhibition was envisaged as an ‘open letter’ between South East Asia and Australia. The group is part of a generation from this cultural background emerging to take prominent places within the Australian art world. The human side of this exhibition included video interviews with each artist discussing the influence of their background on their work, what it meant to live in Australia and links to the countries of their parents.

ABOVE Callum Morton Tomorrow Land, 2004, digital print, 94.5 x 170 cm FAR LEFT Akira Isogawa, designer Christiane Lehmann, artist Series of paper dolls (detail), 2004, paper, collage LEFT The Queens Gallery, Bangkok (Akira Isogawa: Printemps–Été) 68

Supernatural Artificial Presenting the work of nine people, and the Museum reported ‘we Presented for Asialink’s leading Australian artists working in had so many visitors in comparison Australia Japan Visual Arts photography and video, Supernatural with our usual data…. We’d like to Partnerships Program 2002-2004 Artificial was a highly charged and have more interchange between the Curator Natalie King moody exhibition that uncovered Australian and Japanese art scene’ Artists Pat Brassington, Cherine Fahd, the un-natural and theatrical in and indeed this laid the way for the Eliza Hutchison, Tracey Moffatt, contemporary photographic practice. next exhibition there, with the work of David Noonan and Simon Trevaks, For a major exhibition of Australian Destiny Deacon (see 2006). Due to Darren Siwes, Darren Sylvester, photography to be shown at the the overwhelming response achieved Monika Tichacek, Anne Zahalk Tokyo Metropolitan Museum of in Japan, Supernatural Artifical then Partner Gertrude Contemporary Photography was a coup, and very toured five other countries, including Art Spaces, Melbourne well received by the Tokyo audience. selected works being exhibited at the Tour Tokyo, Bangkok, Hanoi, It attracted 25 print media articles, 2006 Asian Art Biennale Bangladesh in Singapore, Dhaka (2005-2006) with a circulation of nearly 200 million Dhaka. 2006 69

BELOW LEFT Gary Wedd Thong Cycle, 2006, A Secret History of Blue and White: into focus the impact of technology four pieces, hand built, oxidation fired, 1220 Contemporary Australian Ceramics and trade, revealing its effect on degrees C, cobalt underglaze, variable dimensions BELOW The opening event at the Vietnam Fine Curator Stephen Bowers the development, interpretation and Arts Museum, Hanoi Artists Stephen Benwell, Robin Best, evolution of designs and patterns, Bronwyn Kemp, Vipoo Srivilasa, Gerry alluding in the title both (ironically) to Wedd the very well known basis of ‘blue and Partner JamFactory Contemporary white’ ceramics themselves and the Craft and Design, Adelaide (less ironic) less well-known socio- Tour Hanoi, Bangkok, Singapore, economic circumstances surrounding Beijing, Foshan, Sydney, Wagga them. The North Asian basis of the Wagga, Bathurst, Brisbane, Gosford, blue and white concept meant that Tamworth, Adelaide (2006-2009) the Australian works were immediately intriguing to these audiences, curious A Secret History of Blue and White to how such a local idea could be highlighted the diversity and strength of translated by such culturally different Australian ceramics, positioning them artists. As with Akira Isogawa, the within European and Asian design freedom with how such traditions histories. Curator Stephen Bowers can be translated in Australia was identified the assumptions and ceramic provocative and of interest to these histories associated with ‘blue and audiences, and the influence of the white’ from the willow patterns of from exhibition is being seen now in new China coming to Europe as did the works made in a number of the places technique of porcelain. He also brought where it toured.

LEFT Anne Zahalka Santa’s Kingdom, Fox Studios, Sydney, 2003 (from Natural Wonders), type C photograph, 115 x 145 cm (Supernatural Artificial) 70

From an Island South Destiny Deacon: Curator Jane Stewart Walk & Don’t Look Blak Artists Julie Gough, David Keeling, Presented for Asialink’s Jonathan Kimberley (collaborating with Australia Japan Visual Arts poet Jim Everett), Bea Maddock, Partnerships Program 2005-2009 David Stephenson, Richard Wastell, Curator: Natalie King Philip Wolfhagen Artist Destiny Deacon Partner Devonport Regional Gallery, Partners Museum of Contemporary Devonport Art, Sydney / Tokyo Metropolitan Tour Lahore, Kuala Lumpur, Taipei, Museum of Photography, Tokyo Bangkok (2006-2008) Tour Sydney, Tokyo (2006)

The first Asialink exhibition curated The exhibition was the first to travel Following the success of Supernatural from Tasmania, the artists in From an to Lahore for a number of years, and Artificial, this major retrospective Island South explored the complexities the rapt attention of audiences to the prepared for the MCA in Sydney was underlying the island culture, especially words of curator Sean Kelly is palpable shown to great interest at the major through the interpretation of its unique in photographs, belying much of the photography/new media museum in landscape. Curator Jane Stewart simplistic media about that country. Tokyo. This was the first survey by this explained that although each artist ‘… An art student there noted the need leading Australian Indigenous artist to is passionate about the Tasmanian for engagement saying ‘This is the be shown in Japan. Spanning fifteen landscape, their works are more first time I have seen such an artistic years of Deacon’s career, the exhibition than representational depictions of a exhibition featuring new techniques highlighted photographic, video and beautiful place.’ and ideas.’ installation works that established her in the Australian and international art worlds. The exhibition attracted nearly 10,000 visitors with 250 invited guests attending the opening reception.

RIGHT Destiny Deacon promotional poster LEFT Sean Kelly talking about the exhibition themes to students and gallery visitors in Lahore, Pakistan. Work in centre: Julie Gough’s Return, 2005 (From an Island South) OVERLEAF David Keeling Hazards Forest I (detail), 2006, oil on linen, 137.5 x 122 cm (From an Island South)

72 2007 73

Re: search – art collaboration Run Artist Run to face....’ While Asialink initiated this between Australia and Japan Coordinator Sarah Bond series of independent projects, it was Presented for Asialink’s Curators Katie Lee and Dean Linguey, the generosity, passion and will from Australia Japan Visual Arts Mark Feary, David Teh the ARIs that resulted in its ultimate Partnerships Program 2005-2009 Artists Damiano Bertoli, Sue Dodd success and in establishing an ARI Curator Kent Shimizu (Japan) and Bianca Hester, Katie Lee and exchange model for the future. Artists Australia: Alex Davies, David Dean Linguey, Ruark Lewis and Haines and Joyce Hinterding, Craig Jonathon Jones Three exhibitions were presented: Walsh Japan: Norimichi Hirakawa, Partners 1/2doz., Sydney / Intersection, a project by Katie Lee in Lieko Shiga, The Sine Wave Orchestra a little blah blah, Ho Chi Minh City / collaboration with sound artist Dean Partners Experimenta, Melbourne / Conical Inc, Melbourne / Linguey, was an exhibition/residency Sendai Mediatheque, Sendai p-10, Singapore / Plastique Kinetic in association with Ryllega Gallery Tour Sendai (2006) Worms (PKW), Singapore / Ryllega, and a little blah blah. An Index of Hanoi / West Space, Melbourne Kindness, curated by Dougal Phillips Re: search presented new site- Tour Melbourne, Hanoi, Ho Chi Minh for 1/2doz. was a partnership with specific media artworks from Australia City, Singapore (2007) p-10 and involved Ruark Lewis and and Japan as part of a strong Jonathon Jones travelling to Singapore partnership between like organisations, Asialink invited three Australian-based to produce site-specific installations Experimenta in Melbourne and Sendai Artist Run Initiatives to develop a and performances. West Space East Mediatheque based in that northern project in partnership with four Asian- was a project developed by West Japanese city. The selection of artists based Artist Run Initiatives. Asialink’s Space, in partnership with Plastique was based on the hope that they Sarah Bond states ‘run artist run Kinetic Worms (PKW). Curator Mark would find synergies, challenges and was part exhibition, part residency Feary and participating artists Damiano inspiration from each other’s work. but above all collaborative. It was the Bertoli, Sue Dodd and Bianca Hester Ashley Rawlings wrote in The Japan chance for artists and curators who undertook a series of workshops Times ‘what holds Re: search together had previously worked together (both and discussions in Singapore prior to is the strength of the work on show physically and in cyberspace) to meet mounting the exhibition at PKW. – whether the exhibition is defined up and delve deeper into ideas face as international or local, or as a self- questioning product of the globalised age, its concerns are inherently contemporary’ (14 December 2006). Australian artists David Haines and Joyce Hinterding said they were ‘presented an irresistible opportunity to realise a ‘work of our dreams...’ A significant bilingual catalogue was produced.

RIGHT run artist run installation view: (PKW), Singapore, Damiano Bertoli (foreground), Bianca Hester (background) 74

Streetworks: result of it having been in the Venice View Masters – Remix Inside Outside Yokohama Biennale. Could the work of these Presented for Asialink’s Curator David Broker two artists, shown in Yokohama, Australia Japan Visual Arts Artists Shaun Gladwell, Craig Walsh form a new touring show that both Partnerships Program 2005-2009 Partners Canberra Contemporary Art highlighted the specific work and Curator Jane Hindson in collaboration Space, Canberra / Institute of Modern also gave wider access to what had with Kojima Takashi, Osaka Arts Aporia Art, Brisbane been seen in this major exposition in Artists Nathan Gray, Haco, Tour Bangkok, Kuala Lumpur, Japan? David Broker was asked to Miyamoto Hiroshi, Dylan Martorell, Singapore, Jakarta, Yogyakarta curate such a show and the answer Geoff Robinson, Mariko Tajiri, (2007-2008) was a resounding ‘yes’. The exhibition Kojima Takashi, Umeda Tetsuya kept being requested; the response Partner West Space, Melbourne / Streetworks: Inside Outside Yokohama was very positive, concluding its tour Osaka Arts Aporia Project, Osaka featured works by two leading in Indonesia as part of the main visual Tour Osaka (2007) Australian video artists, Shaun Gladwell arts event for the special focus year and Craig Walsh. Their works were a by Australia, in2oz Creative Australia Four Australian artists attended field- highlight at the International Triennale (2008), where both artists and the recording workshops in Osaka with of Contemporary Art Yokohama 2005, curator traveled. Craig Walsh was their Japanese colleagues to create selected for display there in very invited back to participate in the 2009 a new work for exhibition in January different circumstances to making a Jakarta Biennale and it gave curator 2007. The work focused on the new exhibition to tour further. Asialink David Broker his first taste of Indonesia, aural peculiarities and soundscapes had seen the interest in Patricia a place he says he regrets not having of Osaka and Melbourne tramways Piccinini’s work in Japan, partly as a engaged with previously. and train lines. According to Jane Hindson, the collaborative project enabled the artists to ‘continue their ongoing relationship with the Japanese BELOW Craig Walsh, Cross-reference, 35:27:02N/ 139:39:36E, 2005, Yokohama 2005 International Triennale of Contemporary ARI sector while building knowledge Art, three channel synchronized DVD projection, 60 minutes (Streetworks: Inside Outside Yokohama) and experience in hybrid art project management at an international level.’ 75

The World in Painting Curator Zara Stanhope Artists John Citizen, Amanda Davies, Diena Georgetti, Raafat Ishak, James Morrison, Nancy Naninurra Napanangka, Elizabeth Newman, Boxer Milner Tjampitjin Partner Heide Museum of Modern Art, Melbourne Tour Chiang Mai, Bangkok, Manila, Hanoi, Melbourne, Newcastle, Morwell, Warrnambool (2007-2009)

The World in Painting brought together eight of Australia’s most distinguished artists who collectively present personalised worlds through painting, ranging from domestic interiors to dream-like landscapes. Given that painting is a tradition with a history reaching back over thousands of years, the exhibition addressed how painting can manage to retain its contemporary relevance and freshness. As a direct result of Zara Stanhope’s engagement with the touring exhibition in Asia, four Asian artists were invited to contribute to the exhibition at Heide Museum of Modern Art in Melbourne. Asialink partnered with NETS (Victoria) to tour the exhibition within Australia.

ABOVE Exhibition curator Zara Stanhope cuts the ribbon at ABOVE Boxer Milner Tjampitjin Rainstorms and rainbows OVERLEAF James Morrison Elizabeth, 2004, the opening event, Chiang Mai University Gallery at Oolaign, Sturt Creek, 2000, synthetic polymer paint oil on canvas, 100 x 300 cm on linen, variable dimensions

77 2008 78

Brook Andrew: Eye to Eye Curator Geraldine Barlow Artist Brook Andrew Partner Monash University Museum of Art, Melbourne Tour Manila, Singapore, Bangkok (2008-2009)

The first major survey of the artist’s Adopting a combination of traditional Interviews 2007 were shown packed work, Brook Andrew: Eye to Eye and contemporary elements, Andrew full with about 40 students avidly focused the politics of difference and, honours his Wiradjuri ancestors. When watching the questions and replies, closely entwined, the implications presented in Manila, exhibition curator laughing at the humour in the work...’ of ‘the gaze’. Through portraiture, Geraldine Barlow commented: ‘It was a Andrew traveled to Bangkok for the taxidermy, and neon lettering, Andrew great privilege to see Filipino audiences official opening where according to addresses the challenges of intercultural reacting and relating strongly to Brook the Australian Embassy, Eye to Eye communication, making connections Andrew’s work. It was wonderful to see recorded the highest visitation numbers between local and global experiences. the video screening space in which the of any Australian exhibition to date.

RIGHT Brook Andrew Polemics (detail), 2000, internally mirrored animated neon, edition 2/5, 172.5 x 126.0 x 9.0 cm LEFT Brook Andrew Blackblack, 2005 (Hope and Peace series), screenprint, edition 3/5, 100 x 98 cm 79 80

Diorama of the City: In this collaborative project, three practices in installation, performance Between Site & Space Sydney-based artists undertook a and media art. Artspace and Tokyo Presented for Asialink’s six-week residency at Tokyo Wonder Wonder Site are similar organizations, Australia Japan Visual Arts Site, engaging with Japanese artists sited in the centre of major cities in Partnerships Program 2005-2009 and developing work in preparation for both countries, with the position of the Curators Hisako Hara (Japan), a major exhibition in Tokyo. Artspace leading ‘contemporary art space’. Both Reuben Keehan (Australia) reciprocated by hosting the Japanese with their residency opportunities and Artists Exonemo, Alex Gawronski, and Australian artists as they developed interest in international engagement, Paramodel, Gail Priest, Tim Silver, an exhibition in Sydney. The project they are ideal partners for such a Hiraku Suzuki sought to strengthen and expand project. Diorama of the City was one of Partners Artspace, Sydney / artist networks in the Asia-Pacific three ‘Sydney Consortium’ projects and Tokyo Wonder Site, Tokyo region, while introducing audiences in part of the Australia-Japan Visual Arts Tour Tokyo, Sydney (2008-2009) both countries to new and innovative Partnerships Program 2005-2009. 81

Ta Teut Amarasi – Awakening Trace Elements: Curator Joanna Barkmann Spirit and Memory in Japanese Artists Australia: Winsome Jobling, and Australian Photomedia Leon Stainer West Timor: Zarid Presented for Asialink’s Baksuni, I. Gusti (Roy) Desrond, Australia Japan Visual Arts Jubilina Yohana Francis, Agustina Partnerships Program 2005-2009 Obe Koroh, Katarina Kimon Koroh, Curators Bec Dean (Australia), Melsy Mangu Koroh, Mira Samaria Shihoko Iida (Japan) Koroh, Moses Koroh, Quinta (lnta) Artists Phillip Brophy, Jane Burton, Koroh, Robert Maurits Koroh, Simon Alex Davies, Genevieve Grieves, Petrus Obe Koroh, Rafael Mangu, Sophie Kahn, Teiji Furuhashi, Nelson Muni, Markus Muni Partkais, Seiichi Furuya, Chie Matsui, Mel Anderson Natu, Fredy Tamonob, Lieko Shiga, Kazuna Taguchi Johannis Yulianna Partners Tokyo Opera City Gallery, Partners Charles Darwin University, Tokyo / Performance Space, Sydney Darwin / Nomad Art Productions, Tour Tokyo, Sydney (2008-2009) Darwin / Museum and Art Gallery of the Northern Territory, Darwin / Yayasan Another element of the Australia- Reuben Keehan of Artspace and Sally Kelola, Jakarta Japan Sydney Consortium, Trace Breen, where she met Shihoko Iida and Tour Darwin, Kupang, Melbourne (2008) Elements: Spirit and Memory in realized they shared ideas and interests Japanese and Australian Photomedia in common. From this they developed In 2007, Darwin artists Winsome was an exhibition encompassing both a very close relationship and this Jobling and Leon Stainer conducted the traditions and the innovations of exceptional exhibition that was shown a series of workshops in Baun, West photomedia practice, from black and in the important Tokyo Opera City Timor, introducing fine paper-making white photography to interactive video Gallery and then in Performance Space and print-making techniques to installation. It considered the ways in Sydney. Bec Dean said exhibition Sanggar Uim Nima, a community of in which contemporary artists are was ‘the most important exhibition weavers, with the aim of providing addressing the intrinsic relationship of my career to date and sets a opportunities for longer-term economic of photography to time, memory and benchmark for future projects’ (Artlink, benefits and a revival of cultural activity the metaphysical association of the vol. 28, no.4). Shihoko Iida, as a result in the area. The print series was medium to phantasmagoria and the of this project, has decided to spend exhibited in conjunction with traditional semblance of lived experience. The two years working in Australia. textiles from the community and exhibition reached an audience of over presented at the 2008 Darwin Festival 11,000 people. The strong partnership followed by shows in Melbourne and of young curators had been formed on Kupang Museum. a tour of Japan by Bec Dean with

LEFT Paramodel Paramodelic, 2008, graffiti, mixed media, installation view: Tokyo Wonder Site (Diorama of the City: Between Site & Space) 2009 82

Under My Skin Abundant Australia: Curators Sarah Bond, Highlights from the 11th Venice Georgia Sedgwick Architecture Biennale Artists Emil Goh, David Griggs, Creative Directors Neil Durbach, Pat Hoffie, Megan Keating and Vince Frost, Wendy Lewin, Louise Paramor Kerstin Thompson, Gary Warner Tour Manila, Singapore, Architects Various Seoul (2008-2009) Partner The Australian Institute of Architects (AIA) The exhibition Under My Skin selected the casual observer. The exhibition Tour Bangkok, Singapore, Kuala five artists from the hundreds who attracted over 14,000 visitors. In Seoul Lumpur, Canberra (2009-2010) had undertaken Asialink Artists it was part of Platform Seoul 2009 a Residencies in Asia over the 20 years major annual international art event, Abundant Australia was originally of the program, to reflect the influence directed and curated by Kim Sun Jung, presented at the 11th Venice and variety of that experience on who had been involved with the earlier Architecture Biennale and revealed a their work – how the experience had Asialink projects, Tracey Moffatt (1999) diverse range of styles and concepts got ‘under their skin’. Each of the and Unhomely (1998). key to Australian architecture. Asialink five disparate artists (who had been approached the AIA to tour this to the Philippines, Vietnam, Taiwan, highlights exhibition, previously shown India, Singapore and Korea) revealed at Object Galleries, Sydney, as a direct a unique understanding of the worlds response to the growing interest it had in which they were immersed, worlds noted from the region for Australian unknowable to the passing tourist or design and architectural practice. Forums on architecture were held in Bangkok and Kuala Lumpur to coincide with the exhibition. Participating architect Chris Bosse noted in Kuala BELOW Installation view Under my skin: Nanyang Academy of Fine Arts Gallery, Singapore Lumpur that ‘the conference and the exhibition were very well received.’ Brian Parkes Deputy Director of Object, Sydney, installed the show in Singapore and said: ‘The exhibition looked outstanding…and much interest was generated in Australian architecture. I met and have maintained contact with several influential designers, architects and curators.’ 83

BELOW Installation view: Nanyang Academy of Fine Arts, Erased: Contemporary Curator Natasha Bullock invited six Singapore (Vernon Ah Kee, Unwritten 2008) Australian Drawing internationally prominent contemporary Curator Natasha Bullock artists who focused on challenging the Artists Vernon Ah Kee, Christian traditional notions of drawing in their Capurro, Simryn Gill, Jonathan Jones, practice. She states ‘As an inherent Tom Nicholson, Raquel Ormella part of the creative methodology of Partner Art Gallery of drawing, this exhibition highlights how New South Wales, Sydney erasure is a generative strategy, one Tour Singapore, Bangkok, that proposes a future of political, Chiang Mai, Khon Kaen social, environmental and aesthetic (2009-2010) transformations.’ This was the first drawing-based exhibition to tour with Asialink. 84

RIGHT Installation view: Vietnam Fine Arts Museum Louisa Bufardeci; White Hot: BELOW Catalogue cover: Itzell Tazzyman Revealing Our First some material flags Contemporary Australian Glass Nature (Transcendence), 2007, made from assembled parts, a production chair, glue, metal, glass and air, 950 x 430 x 400 mm Louisa Bufardeci & Zon Ito Curators Sarah Bond, Ann Jakle, Presented for Asialink’s Barbara McConchie Australia Japan Visual Arts Artists Nadege Desgenetez, Partnerships Program 2005-2009 Wendy Fairclough, Deirdre Feeney, Curators Rachel Kent (Sydney), Jessica Loughlin, Tom Moore, Fumihiko Sumitomo (Tokyo) Brenden Scott French, Itzell Tazzyman, Artists Australia: Louisa Bufardeci Janice Vitkovsky Japan: Zon Ito Partners Craft ACT, Canberra / Partners Museum of Contemporary Canberra Glassworks, Canberra Art, Sydney / Museum of Tour Bangkok, Hanoi, Taiwan, Contemporary Art (MOT), Tokyo Kuala Lumpur, Manila (2009-2010) Tour Tokyo, Sydney (2009) White Hot united the works of eight Louisa Bufardeci produced 25 large internationally renowned Australian cotton ‘flags’ that hung within huge glass artists who are at the forefront of entry spaces and outside the major contemporary glass practice. Asialink museum for contemporary art in had decided to focus on glass and Tokyo, MOT, and was viewed by over invited Craft ACT and the Canberra 100,000 people. Bufardeci explains: Glassworks to take part following ‘Each flag used basic symbols to the interest in the ceramics exhibition illustrate statistics about fairly mundane A Secret History of Blue and White. habits and behaviours of their citizens. Each artist in White Hot challenges the I wanted to replace the idealism traditional ideas and methods of glass and nationalism of the typical flag making and reflects current Australian iconography with ‘real’ information glassmaking trends. The exhibition about the experiences of the people attracted 53,500 visitors over the 123 who lived in those countries.’ While days of exhibition display. in Japan, Japanese artist Zon Ito was selected to return with her to Sydney Exhibiting artist Brenden Scott French for a joint showing at the MCA, as part accompanied the exhibition to Hanoi of its ‘international pairings’ program. and said: ‘The opportunity to travel This exchange by very well matched such as this, with a professional institutions in Tokyo and Sydney was focus, is always inspiring and upon the third exhibition iteration of the return it was invigorating getting back ‘Sydney Consortium’. into the studio and reflecting on the experiences with a renewed and energised application to my work. It does wonders, in my practice, to know that the possibility of communication is still alive, rigorous and made possible through initiatives such as White Hot.’ 85 2010 86

Face to Face Structural Integrity Curator Kathy Cleland Curators Ulanda Blair, Sarah Bond, Artists Michele Barker and Anna Jeff Khan Munster, Denis Beaubois, Daniel Artists various Crooks, Anna Davis and Partner Next Wave Festival, Jason Gee, Emil Goh, Angelica Mesiti, Melbourne Adam Nash and Mami Yamanaka, Tour Guangzhou, Yogyakarta, David Rosetzky, Rachel Scott, Stelarc, Singapore (2010-2011) John Tonkin Partner d/Lux/MediaArts, Sydney Structural Integrity was a project Tour Bangkok, Singapore, Manila focused on collaborations between (2010-2011) Australian-based and Asian-based Artist Run Initiatives, and builds on the Face to Face’s tour of Asia followed earlier success of run artist run (see a successful Australian national 2007). The project outcomes here – tour. It included a range of media exhibitions, performances, recordings including digital photography, video – were all informed by an initial and interactive installation, all of which residency/exhibition that took place in provide an engaging perspective on Melbourne as part of the 2010 Next how digital technologies are reshaping Wave Festival. This involved artists from our understanding and experience of all over Australia and Asia collectively contemporary identity. Curator Kathy building a large-scale structure or Cleland states: ‘In today’s media ‘pavilion’ that communicated their saturated environment, the archetypal individualistic artistic principles, inside mirror image is only one of many a vast historical building, the Meat technologically mediated images of Market. Asialink in partnership with the human face that are now available Next Wave developed a second stage to us. Over the last 150 years, new focused on a series of residencies imaging and media technologies… being undertaken by three selected have initiated many new ways of Australian ARIs in Asia, working with representing the human face as a visual ARI networks established in the earlier image. These different media forms Melbourne-based project. mirror the human face in different ways and affect how we see and understand ourselves. They also play an important role in creating our sense of self and self-image.’

VENUE LIST 89

Australia Artisan, Brisbane Asia-Australia Art Centre/Gallery, Sydney Bathurst Regional Art Gallery Bendigo Art Gallery, Bendigo Cairns Regional Gallery, Cairns Canberra School of Art Gallery, Canberra Centre for Contemporary Photography, Melbourne Conical Inc, Melbourne Contemporary Art Centre of South Australia, Adelaide Devonport Regional Gallery, Devonport Festival Theatre Foyer, Adelaide Festival, Adelaide Gertrude Contemporary Art Spaces, Melbourne Gosford Regional Art Gallery Heide Museum of Modern Art, Melbourne Hilton Hotel, Cairns Ian Potter Gallery, University of Melbourne, Melbourne The Ian Potter Centre: NGV Australia, Melbourne Institute of Modern Art, Brisbane JamFactory Contemporary Craft & Design, Adelaide Latrobe Regional Gallery, Morwell Monash University Museum of Art, Melbourne National Gallery of Victoria, Melbourne Newcastle Region Gallery, Newcastle Object: Australian Centre for Craft and Design, Sydney Parliament House, Canberra Perth Institute of Contemporary Art, Perth Queensland Art Gallery, Brisbane Queen Victoria Building, Sydney RMIT Gallery, Melbourne Southgate, Melbourne Tamworth Regional Gallery, Tamworth The Art Gallery of New South Wales, Sydney Tin Sheds Gallery, University of Sydney Tolarno Galleries, Melbourne Victorian College of the Arts, Melbourne Wagga Wagga Regional Art Gallery Warrnambool Art Gallery, Warrnambool Watt Space, Newcastle Waverley City Gallery, Melbourne West Space, Melbourne 24HR Art, Darwin

90

Bangladesh Japan National Gallery, Bangladesh, Dhaka Australian Embassy, Tokyo Shilpakala Academy, Dhaka Art Tower Mito, Mito Daimaru Gallery, Osaka Brunei Echigo Tsumari Art Triennial, Echigo Tsumari Centrepoint Hotel, Bandar Seri Begawan Fujieda City Museum, Fujieda Hara Museum, Tokyo China Hillside Forum, Tokyo China Millennium Monument, Beijing Kushiro City Museum, Kushiro Design Institute, Beijing University of Technology, Beijing National Museum of Modern Art, Kyoto Hong Kong Visual Arts Centre, Hong Kong National Museum of Modern Art, Tokyo Lingnan Gallery, Academy of Fine Arts, Guangzhou Museum of Natural Science, Matsunoyama Song He Tang, Beijing Nadiff Bookstore, Tokyo University of Science & Technology, Hong Kong Sendai Mediatheque, Sendai Wangfeng Gallery, Beijing Museum of Natural Science, Matsunoyama Zhongshan Library, Guangzhou Tokyo Opera City Art Gallery, Tokyo Zhu Quizan Gallery, Shanghai Tokyo Metropolitan Art Space, Tokyo Tokyo Metropolitan Museum of Photography, Tokyo India Tokyo Wonder Site, Tokyo Chitrakala Parishath, Bangalore Gallery Chemould, Mumbai Korea Gallery 88, Calcutta Artsonje Center, Seoul Government Museum & Art Gallery, Chandigarh Artsonje Museum, Kyongju Indira Ghandi National Centre for the Arts, New Delhi Cheju Art Association, Cheju Island Jawahar Kala Kendra, Jaipur Gallery Art Beam, Seoul Jehangir Nicholson Museum of Modern Art, Mumbai Gallery Bing, Seoul Karnataka Chitrakala Parishath, Bangalore Gallery Sagak, Seoul Lalit Kala, New Delhi Hong, Seoul MS University Faculty of Fine Art, Baroda Jeonju International Film Festival, Seoul National Gallery of Modern Art, Mumbai Posco Gallery, Seoul National Institute of Design, Ahmedabad Samuso: Space for Contemporary Art, Seoul Prince of Wales Museum, Mumbai Seoul Arts Centre, Seoul Sakshi Gallery, Bangalore Ssamzie Space, Seoul Sanskriti Kendra, New Delhi Walker Hill Gallery, Seoul Taj Gallery, Mumbai Whanki Museum, Seoul YB Chavan Centre, Bombay Laos Indonesia Lao Cultural Hall, Vientiane Australian Chancery, Jakarta Eastern Hall, Institut Teknologi, Bandung Gedung Pamarin Seni Rupa, Jakarta Jogya Gallery, Yogyakarta Museum Puri Lukisan, Ubud The National Gallery of Indonesia, Jakarta National Museum of Indonesia, Jakarta Taman Budaya, Gajah Mada, Yogyakarta

91

Malaysia Sri Lanka Balai Seni Lukis Negara (National Art Gallery), Kuala Lumpur Barefoot Gallery, Colombo Kuching (South) City Hall, Kuching Finomenal Gallery, Colombo Muzium Darul Ridzuan, Perak Gallery 706, Colombo Petronas Gallery, Kuala Lumpur Lionel Wendt Gallery, Colombo Rimbun Dahan, Kuang Sabah Art Gallery, Kota Kinabalu Taiwan Sarawak State Library, Kuching Kaohsiung Museum of Fine Arts, Kaohsiung University Sains Malaysia, Penang Mountain Art Gallery, Kaohsiung Valentine Willie Fine Art Gallery, Kuala Lumpur National Museum of History, Taipei Wei-ling Gallery, Kuala Lumpur Pacific Cultural Foundation Gallery, Taipei Tainan Cultural Centre, Tainan Nepal Taipei Fine Arts Museum, Taipei Annapuma Hotel, Kathmandu Taiwan Museum of Art, Taichung Dwarika’s Hotel, Kathmandu Tamsui Centre of Art, Tamsui Indigo Gallery, Kathmandu Thailand Pakistan Amari Watergate Hotel, Bangkok Alhamra Arts Council, Lahore Art Centre, Chulalongkorn University, Bangkok National Arts Council, Islamabad Australian Embassy, Bangkok National College of Arts, Lahore Bangkok Art and Cultural Center, Bangkok National Art Gallery, Islamabad Chiang Mai University Gallery, Chiang Mai VM Art Gallery, Karachi International School Library, Bangkok Juldis Hat Yai Plaza, Songkhla Philippines Khon Kaen University, Khon Kaen Ateneo Art Gallery, Manila National Gallery, Bangkok Australia Centre, Manila Satul Wattana Conference Hall, Satul Ayala Museum, Manila Silpakorn University, Bangkok Cultural Centre of the Philippines (CCP), Manila Songkhlanakarin University, Pattani Campus, Pattani Dagukan Gallery, Davao Srinakharinwirot University, Songkhla Gallery Luna, Cebu The Queen’s Gallery, Bangkok GSIS Gallery, Manila Metropolitan Museum of Manila, Manila Vietnam Pagdiwata Arts Festival, Puerto Princesa A little blah blah, Ho Chi Minh City Tamawan Village Gallery, Bagiuo Australian Embassy, Hanoi University of the Philippines, Manila Gallery Vietnam, Ho Chi Minh City Yuchengco Museum, Manila Hanoi Art Institute, Hanoi Hanoi University of Fine Arts Gallery, Hanoi Singapore Ho Chi Minh City Museum, Ho Chi Minh City Earl Lu Gallery, LaSalle–SIA Gallery New World Hotel, Ho Chi Minh City Nanyang Academy of Fine Arts Ryllega Gallery, Hanoi P-10 South Saigon Arts Centre, Ho Chi Minh City Plastique Kinetic Worms (PKW) Van Ho Exhibition Centre, Hanoi Singapore Art Museum Vietnam Fine Arts Museum, Hanoi Singapore Design Centre 39 Hang Bai, Hanoi The Esplanade INDEX 92 Every 23 Days: 20 years touring Asia

Page

6 x 6: A Selection of Contemporary Australian Prints 24 10th Asian Biennale, Bangladesh 52 Abundant Australia: Highlights from the 11th Venice Architecture Biennale 82 A Common Wealth of Art: traditions, imaginations & independent nations 40 Affinities: eleven artists from Korea and Australia 40 Akira Isogawa: Printemps–Été 66 Alternative Realities: Australian Artists Working with Technology 33 Art and Land: Contemporary Australian Visions 46 A Secret History of Blue and White: Contemporary Australian Ceramics 69 A Transit Through Paradise 42 Aurora: Australian Wood Metal Glass Fibre Ceramics 34 Australia: Familiar and Strange 33 Australia Gold: Contemporary Australian Metalwork 26 Between Remote Regions / Di antara dua pedalaman 46 Body and Soul: Prints by Vera Zulumovski & Phillip Doggett-Williams 30 Brook Andrew: Eye to Eye 78 Callum Morton: Tomorrow Land 67 Changing Places: Cross-Cultural Art from Australia 30 Circling the Square: Contemporary Metalwork by the Gray St Workshop 49 Dancing up Country: The Art of Dorothy Napangardi 55 Destiny Deacon: Walk & Don’t Look Blak 70 Dinosaur Designs 60 Diorama of the City: Between Site & Space 80 Enjoin 41 Erased: contemporary Australian drawing 83 Eyes on ASEAN 28 Face to Face 86 Fire and Life 35 Flow/Arus 46 Foundations of Gold 50 From an Island South 70 Giao Luu/Confluence: An Exhibition of Australian & Vietnamese Artists with Common Links 37 Gloss 52 Internal Travel 43 I thought I knew but I was wrong: New Video Art from Australia 59 Kawing: Four Regional Philippines Exhibitions 49 Light Black 55 Living Together is Easy 61 Location: Contemporary photo based work from Australia 27 93

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Louisa Bufardeci; some material flags, Louisa Bufardeci & Zon Ito 84 Neil Taylor and Doh Heung-Rok 36 Open Letter 67 Other Stories: Five Australian Artists 38 Patricia Piccinini: We are Family 64 Patterning: In Contemporary Art, Layers of Meaning 38 People in a Landscape: Contemporary Australian Prints 48 Peter Callas: Anti-terrain 52 Photographica Australis 56 Rapport: Eight Artists from Singapore and Australia 36 Re: search – art collaboration between Australia and Japan 73 Run Artist Run 73 Sacred Ground Beating Heart: The Art of Judy Watson 1989-2003 61 Saisampan: Soul Ties – Australian and Thai Artists in Collaboration 54 Seasons of the Kunwinjku: Aboriginal Art from West Arnhem Land 31 Sekali Lagi: Australian Artists Revisit Malaysia 43 Sense 40 Shifting Ground: The Performances, Prints and Self-Portraits of Mike Parr 31 Shimai-Toshi 64 Spirit Country: Contemporary Australian Aboriginal Art 57 Streetworks: Inside Outside Yokohama 74 Structural Integrity 86 Supernatural Artificial 68 Symbol and Narrative: Contemporary Australian Textiles 31 Ta Teut Amarasi – Awakening 81 The Slowness of Speed – Contemporary Korean Art 41 The World in Painting 75 Time out of Joint 57 Trace Elements: Spirit and Memory in Japanese and Australian Photomedia 81 Tracey Moffatt: Fever Pitch 50 Transcultural Painting 28 Under My Skin 82 Unhomely 41 Un Wrapped: Australian Fashion and Textile Design 58 Vibration: Works by Three Contemporary Australian Women Artists 32 Vietnam: A Project by Rozalind Drummond and Geoff Lowe 26 View Masters – Remix 74 Voices of the Earth 33 White Hot: Contemporary Australian Glass 84 ACKNOWLEDGEMENTS 94 Asialink acknowledges the support and dedication of the many artists, curators, galleries, lenders and funders from Australia and Asia who have contributed to the Visual Arts Touring Exhibition Program over the last 20 years.

Director and Founder of the Visual Art Committee (past) Australian Supporters Visual Arts Program: Asialink Penny Amberg Arts ACT Alison Carroll David Ambrose Arts NSW (1990 – 2010) Annabel Anderson Arts NT Chris Caines Arts Queensland Visual Arts/Craft (current) Christopher Cannan Arts SA Sarah Bond Jon Cattapan Arts Tasmania Director (2005 - ) Melissa Chiu Arts Victoria Claire Anna Watson Betty Churcher Australia-China Council Coordinator (2009 - ) Anne Craig Australia Council for the Arts John Davis Australia-India Council Visual Art Committee (current) Max Delany Australia-Indonesia Institute Gabriella Bisetto Geoffrey Edwards Australia International Cultural Council Alexander Bowen Gregson Edwards Australia-Japan Foundation Kelly Gellatly Julie Ewington Australia-Korea Foundation David Haines Noel Frankham Australia Malaysia Institute Fiona Hoggart Mari Funaki Australia-Thailand Institute Lindy Lee David Hansen City of Melbourne Laura McLeod Pat Hoffie Darwin Festival Kim Machan Andrea Hull Department of Foreign Affairs and Trade Gregory Pryor Adrian Jones Gordon Darling Foundation Peter Lancaster Myer Foundation Frances Lindsay NETS Victoria Gerald Lynch University of Melbourne Victoria Lynn WA Department of Culture and the Arts Carlier Makigawa Neil Manton Marco Marcon Linda Michael Jenny McGregor Rod McLeish Richard Palk Julianne Pierce John Quinn Suhanya Raffel Annette Seeman Adrian Sever Mitsuo Shoji Ted Snell Michael Snelling Linda Sproul Anthony Taylor Hossein Valamanesh Anna Waldmann Lisa Warrener David Williams Jenny Zimmer

Every 23 Days: 20 years touring Asia 96 First published 2010 Edition of 2000

Asialink Cataloguing-in-publication data ISBN 978 0 7340 4178 4 4th Floor Sidney Myer Asia Centre The University of Melbourne This publication was organised by Parkville VIC 3010 Australia Asialink at The University of Melbourne. T 61 3 8344 4800 Asialink’s Visual Arts Touring Exhibition F 61 3 9347 1768 Program is supported by the Australia www.asialink.unimelb.edu.au Council for the Arts, The Australian Government’s arts funding and © 2010 Asialink – advisory body, through the Visual The University of Melbourne Arts and Craft Strategy an initiative Images and text copyright of the Australian, State and Territory © the authors and artists. Governments, and the Australian Government through the Department All rights reserved. No part of this of Foreign Affairs and Trade. publication may be reproduced or transmitted in any form or by any Compiled and edited by Asialink: Sarah means, electronic or mechanical Bond, Alison Carroll, Claire Watson including photocopying, recording Proofing assistance: Emilia Johari or any other information storage Catalogue design: Darren Sylvester and retrieval system, without prior Pre-press and printing: Bambra Press permission in writing from the publisher. Disclaimer: Please note, at the time of this publication the tour for the exhibitions Erased, Face to Face and Structural Integrity were still in development.

COVER Hossein Valamanesh Installation view Internal Travel: National College of Arts, Lahore, Pakistan INSIDE COVER Tracey Moffat Fever Pitch banners decorate the streets of Seoul, Korea