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1 Contemporary Asian Art at Biennials © John Clark, 2013

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Asian Biennial Materials

Appendix One: Some biennial reviews, including complete list of those by John Clark. 1

Appendix Two: Key Indicators for some Asian biennials. 44

Appendix Three: Funding of APT and Queensland Art Gallery. 54

Appendix Four: Report on the Database by Thomas Berghuis. 58

Appendix Five: Critics and curators active in introducing contemporary Chinese art outside China. 66

Appendix Six: Chinese artists exhibiting internationally at some larger collected exhibitions and at biennials and triennials. 68

Appendix Seven: Singapore National Education. 80

Appendix Eight: Asian Art at biennials and triennials: An Initial Bibliography. 84

Endnotes 124

2 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix One: REVIEWS

Contemporary Asian art at Biennales Reviews the 2005 Venice Biennale and Fukuoka Asian Triennale, the 2005 exhibition of the Sigg Collection, and the 2005 Yokohama and Guangzhou Triennales 1

Preamble

If examination of Asian Biennials is to go beyond defining modernity in Asian art, we need to look at the circuits for the recognition and distribution of contemporary art in Asia. These involved two simultaneous phenomena.2

The first was the arrival of contemporary Asian artists on the international stage, chiefly at major cross-national exhibitions including the

Venice and São Paolo Biennales. This may be conveniently dated to Japanese participation at Venice in the 1950s to be followed by the inclusion of three contemporary Chinese artists in the Magiciens de la terre exhibition in Paris in 1989.3 The new tendency was followed by the arrival of Chinese contemporary art at the Venice Biennale in 1993. This arrival and circulation intensified until 2005 when China opened its first, officially supported exhibition at Venice to be followed in the future by its own pavilion.4 By that time Hong Kong, Taiwan, Indonesia, Singapore, Thailand and indirectly India were regular participants at Venice in addition to Japan and Korea from earlier.

The second phenomenon was the rise of the Biennial as an international exhibition form in Asia that included the participation of contemporary Asian artists. Actually, this started with the Biennale of Sydney in 1973 when seven out of thirty seven artists exhibited were Asian, but the major impetus came with establishment of biennials and triennials at Gwangju in Korea in 1995, Shanghai in 1996 and Guangzhou in China in

2002. The movement was widespread and simultaneous with the conversion of a series of Asian Art shows at Fukuoka from 1989 into the Fukuoka

Asian Art Triennale from 1999 (preceded by the Fukuoka Asian Art Show since 1989), and the Asia-Pacific Triennial of Contemporary Art at 3 Contemporary Asian Art at Biennials © John Clark, 2013

Brisbane from the same year 1993. These exhibitions exposed many issues concerning the further definition of modernity in Asian art and its circulation internationally as contemporary art which I have looked at elsewhere.5

I intend in this appendix to give something of the experiential flavour of viewing Biennales by looking at the some exhibitions via some of my contemproary reviews. In order to preserve the flavour of a near-contemporary observation, in what follows I will usually keep to the present tense and the first person.

Venice Biennale 20056

It has often been remarked by casual visitors to the Venice Biennale that Venice is not really an appropriate site for a contemporary art exhibition, [ill.A1] let alone for a Biennale because it is sited on a one island in a group of small islands where the city was mostly built before the 19th century, with no economic base other than tourism. Venice it is not a modern cosmopolitan city, but actually a small, regional centre with a very small population. It even has its own ancient buildings garlanded with propped-up sculptures, [ill. A2] and artistic pilgrimage sites.[ill. A3]7 Even in the tourist season in July most of the palazzi on the grand canal have no lights on at night. Venice thus presents itself to the visitor as isolated from the world. The event of the Biennale

ill.A1 entrance 51st Venice Biennale 2005 ill.A2, Chiesa di Gesuiti, Venice, 1730 4 Contemporary Asian Art at Biennials © John Clark, 2013 ill.A3, Plaque marking Titian’s House, Venice, before 1526.

(with its Archicture Biennale in alternate years and the Venice Film Festival) and the small performances which surround it have no local social base with which to interact, unlike Fukuoka, Istanbul, or Liverpool, amongst other biennial sites. Indeed, apart from the circuit of international art exhibitions and the fact that the opening of the Venice Biennale is held at almost the same time as the Basel Art Fair, only some six or so hours away by train, the Biennale would have little meaning in itself. Its significance appears more clearly to depend on a cycle of competitive positions between states where works artists and curators may be inserted into an international circuit of display and influence. This year Venice, next year São Paolo, every five years Documenta, with all the host of smaller events located in between. Indeed it is fascinating how many traces of other Biennales are to be found at Venice itself.

In 2005, for example, I deliberately avoided going to the opening days but was pulled up short as I stepped over the threshold onto the street side of the Brazilian pavilion’.8 [ill. A4]9 I almost stepped on a brochure for the forthcoming 2006 Biennale of Sydney which was lying on the ground.

The Korean pavilion contained promotional material for the 2006 Gwangju Biennale and Busan Biennale, [ill. A5] and the Japanese pavilion actually featured a poster advertising the 2005 Yokohama Triennale which would open a bare three months later. [ill. A6] 5 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A4, Biennale of Sydney 2006 flyer, seen at Venice 2005 ill. A5, Flyer for Busan Biennale 2006 found in Korean pavilion, Venice Biennale 2005

ill. A6, Yokohama Triennale [September 2006] posters at Japan Pavilion, Venice Biennale 2005

The repetitive ‘again-ness’ of the Biennale circuit thus produces an imaginary or virtual quality for seeing any works at this physical site. I have had the same sensation elsewhere about formally different and supposedly conceptually discriminated works by Miyajima Tatsuo, in Brisbane and

Gwangju [A7] and Sydney. ‘Again-ness’ is further sanctioned by the many works in the thematic or curated exhibitions which I have seen or heard of before the Biennale. In a world of extensive printed art media, let alone web communication, this feeling can no longer be restricted to specialists with peculiar access to information or travel opportunities.

Artists suchas the Korean Choi Jeong Hwa have claimed to me that every Biennale is different and every work different, but he also indicated he had worked over time with both Nanjô Fumio and Apinan Poshyananda at Lyon, Liverpool and other international exhibitions.10 He did not feel 6 Contemporary Asian Art at Biennials © John Clark, 2013 he was functioning as the local producer for a multinational corporation, and anyway he met different people and went to different countries, opportunities he would not otherwise have had but for Biennale invitations. In another case, Jun Nguyen- Hatsushiba has done his underwater video pieces in various international sites, but when one sees them together, [ill.39/195 Jun Nguyen-Hatsushiba-Nguyen] as I did in 2004 at Mori Art

Museum in Tokyo, I was left with the

ill. A7, Miyajima Tatsuo work at Gwangju Biennale, 2004 ill. A8, Nguyen-Hatsushiba Jun, 2001, video of rickshaw drivers overwhelming sense that these works were essentially a thematising of the same technique and conceptual problem even if they all had ostensibly different subjects.11 Whatever the artist’s intentions were, and despite the complexities of the works’ execution, only the relation to a repeated or conventionalized notion of significance could allow for their repetitiousness, and this was presumably a notion of a signature style which the artist wanted to maintain but which was reinforced through mediation by a curator, or group of curators.12 The Venice Biennale presents itself to the viewer as essentially three types of exhibitions:

One: the national pavilions and one curated thematic pavilion in the Giardini plus often another and separately curated retrospective exhibition in the Museo Correr in Piazza San Marco. Japan and Korea have permanent Pavilions in the Giardini. It was believed they would be joined there by China in 2007, whose 2003 participation was cancelled because of the SARS epidemic .China had its own dedicated area at the end of the Arsenale in 2005 and 2007 as of which time the prospect of a permanent pavilion in the Giardini had receded for space reasons. . [ill. A9]

Two: one or several thematic exhibitions in the Arsenale, usually organized by sub-curators and whose funding appears to be secured largely by them; [ill. A10]

7 Contemporary Asian Art at Biennials © John Clark, 2013

Three: other small exhibitions dotted around the city, some times of national states, sometimes of sub-state regional arts organizations, sometimes of private collectors, sometimes of a commercial gallery. [ill. A11]

ill. A9, Top left: Italian Pavilion 2005, top right: British Pavilion 1909, Venice, 2003, bottom: Plan of Italian National Art Exposition 1887

ill. A10, Arsenale Yan Peiming in Zones of Urgency, 2003

ill. A11, Sun-Mei Tse work in Luxemburg Pavilion at Venice, 2003.

The functions of contemporary Asian art in these various sites and types of exhibition may be briefly characterized for the exhibiting country:

1. Displaying its artists at an international level, and giving them and their works the cultural consecration to enter overseas commercial art markets; 2. Providing a base for international networking by its artists, curators, and cultural bureaucrats; 3. Securing a reputation for national prowess in a contemporary cultural field which may reinforce other perceptions of national prowess; 8 Contemporary Asian Art at Biennials © John Clark, 2013

4. Demonstrating prestige for the continued fecundity of ‘old’ cultures.

Among those functions which may be categorized for the international art world are:

securing additional national artistic, and curatorial recruits for its own international circuits of recognition and distribution; securing further confirmation of its own artistic criteria and previous consecrations; providing further variation in the production of existing work-types, so reinforcing those practices; or, providing radical departures and innovations which confirm the status of this or that contemporary art as ‘leading edge’.

The national exhibitions at Venice all more or less fall across these functions. Clearly in 2005, the China national area was interested in demonstrating the profound abilities of contemporary Chinese artists to reflect modern cultural and technological change. In the case of Sun Yuan and Peng Yu [ill.43/199, Sun Yuan & Peng Yu 2005] this appeared to be demonstrated by the irony of having a manifestly non-functioning pseudo space vehicle transported, counter cargo-cult direction, to a European place. The projected work of Xu Zhen [ill. A13] in the old oil room of the adjacent end of the Cordelliera and Tese della Virgine was unfortunately almost invisible when shown on the dark oil tanks. [ill. A14] In fact my digital on-site photograph was better than the appearance to the naked eye of the actually projected images.

ill.A12, Sun Yuan & Peng Yu in China Pavilion at Venice Biennale, 2005 ill. A13 [left], Xu Zhen at Venice Biennale, 2005; ill.A14 [right], as shown in Yishu: Journal of Contemporary Chinese Art

It would appear the artist had not been able to investigate the projection conditions, and such difficulties might be obviated by a permanent pavilion whose display conditions were regularized and known. Actually the names of all these artists were well enough known before Venice and Sun Yuan 9 Contemporary Asian Art at Biennials © John Clark, 2013 and Peng Yu had been seen at Gwangju the previous year, so the networking and display of national prowess would appear to have been the function which the exhibition fulfilled, not those of making already known artists even better known.

If exhibiting outside the Giardini, or Arsenale, the choice of site can be very significant both for getting international art curators to visit.

Taiwan has always had a very prominent site, [ill.46/202, Taiwan at Venice, 2005] but the experience of Thailand and Hong Kong may be usefully contrasted. In 2003 Thailand had a temporary so-called ‘Thai’ house at the end of a park, [ill.47/203, Thai pavilion at Venice Biennale, 2003] and produced a kind of street event plus various performance pieces in addition to several works hung inside the ‘house’. The overall impression was an attempt to create a kind of ‘oriental exotic’ as a way of denying the ‘oriental exotic’ category in which the curator thought the Thai contemporary

ill. A15, Taiwan pavilion at Venice Biennale, 2005 ill. A16, Thai pavilion at Venice 2003 artists might have been put. The Thai pavilion in 2005 [ill. A17a & A174b] was far more sober, with only two relatively well-known artists who work with religious or tragic scenes, and was sited in the cloisters of a disused monastic area. The greater aesthetic impact came at the price of distance from the centre of the superficial curatorial action. But I suspect the function of having national prowess in contemporary art recognized was secured by the exhibition of the mature works in 2005, not the counter-discursial razzamattazz in 2003. 10 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A17a & A17b, Montien Boonma works at the Thai Pavilion, San Francisco della Vigna ill.A18, Plan for Parasite installation in Hong Kong SAR Pavilion

In the case of Hong Kong, in 2003 [illA18] there was a rather interesting if brutally simplistic conceptual exhibition in a house directly across from the entrance to the Arsenale, composed of large cushions for repose inside sections of very large-diameter concrete water or sewer pipes. This will have made Hong Kong well enough known as a site of contemporary practice although the identification with the group Para-site may not have functioned so well for the individual artists. In 2005 Hong Kong rented a palazzo on the Grand Canal with rather meretricious upside down model of

Venice by Chan Yuk-keung [ill. A19] and a work composed by the pseudonymous AnotherMountainMan from some blue and white construction plastic wrapped tea utensils as a vestigial kind of Hong Kong café [ill. A20]. This was easy to

ill. A19, Chan Yuk-Keung work in Hong Kong SAR Pavilion, at Venice, 2005

11 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A20, left, Chan Yuk-Keung work in Hong Kong SAR Pavilion, at Venice, 2005, right, AnotherMountainMan [pseudonym of Stanley Ping-pui Wong] access, in a contemporary idiom, but unfortunately there was not enough aesthetic depth in the work to provide for the national and artist-enhancing lift found, for example, in 2003 by Su-Mei Tse at the Luxembourg pavilion. [ill. A11]

Fukuoka Asian Art Triennale 2005

The Fukuoka Asian Art Triennale, the Third of which I visited for the first time in 2005, presented quite a different exhibition spectacle. Here was a permanent, locally sited exhibition within a national state claiming a regional function by its selection of artists and themes. It is Fukuoka’s lack of pretension which is its saving grace.[illA12] Since the exhibition is created by a fully resourced, dedicated Asian Art Museum, which has made purchases extensively from

Ill. A11, Sun-Mei Tse work in Luxemburg Pavilion 12 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A21, Fukuoka Asian Art Triennale, 2005 general views of Hall, 2005 both the Triennales and its preceding Asian Art Show, as well as other purchases between exhibitions. The ability to make curatorial judgments autonomous of existing criteria within the international art world was enhanced. Since there was no national selection, although artists were still listed by national categories, they were chosen not merely on the basis of work through an overlapping and complex series of local referees and selection committees.13

Despite the exhibition by national affiliation, Fukuoka [and also Brisbane’s Asia Pacific Triennale],14 would seem from anecdotal evidence from several artists to function more for the status enhancement of artists rather than national states. Some have spoken of being impressed by the thorough research done on a recurrent basis by Fukuoka curators, [ill. A22] 15 and have found the opportunities for contacting other artists active in the same fields beneficial. It would appear national prowess is a result of independent and distanced external selection but with a local voice in parts of that process, rather than one tied to a domestic choice being presented to international curators.

However, with the advent of the Yokohama Triennale since 2002 it is likely the consecrating or prescriptive function for Biennales in Japan has shifted to Yokohama because of its widening to the Euramerican art world. One may hypothesize that only one such ‘centre’ per nation state is likely to be accepted as prescriptive in an international art system still largely governed by nation states and national art markets.16 Apart from providing a securely based, relatively large-scale and well resourced museum with a research competent curatorial staff,17 Fukuoka has also intended to steadily 13 Contemporary Asian Art at Biennials © John Clark, 2013 increase the participation of local residents with artistic activities via artist workshops and collaborative projects. [ill. 53/210, View of artists’ workshops, Fukuoka, 2005]18 The Fukuoka Asian Art

ill. A22, Amanda Heng, Love, 1996, ill. A23, View of artists’ workshops at Fukuoka Asian Art Triennal 2005.

Museum has made serious efforts to broaden or go beyond conventional definitions of art accepted from Euramerica by the national art museums and more than 1000 other public art museums in Japan.19 It has, very rightly I think, tried to understand that in many Asian cultures, beyond the purview of the local elite and its institutionalized ‘modern’ concepts of art, certain kinds of visual or decorative expression found in public transport or sign decoration are a kind of street ‘art’ [ill. 54/211 Bangladeshi Rickshaw painting, Fukuoka AAM coll.] which at the very least counters that institutional definition.20

However such a placement or re-definition requires collaboration from the institutional side in re-defining art – from other artists, curators and exhibiting institutions in Japan - but this does not seem to have happened. It would appear not to have been possible to get artists and their notion of art works in Japan to move very far towards accommodating this changed placement of art. This was despite moves to open up Japanese art exhibitions in the form of objects from postwar popular culture [ill. A25] or cartoons.21 14 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A24, Bangladeshi Rickshaw painting at Fukuoka Asian Art Museum ill.A25, Japanese Children’s Comics early 1950s

In addition, the 2005 Fukuoka Asian Art Triennale also saw an attempt to expand the geographical range Westwards to include Pakistan.22 But

Fukuoka is not Tokyo, and despite the city government’s plans to raise the status of the city by advertising it as an Asian gateway in Japan and overseas, neither is it an Asian city in terms of population. For instance, 1.1 % of its population is of other-than-Japanese Asian origin, but the other- than-Australian Asian population of Sydney is at least ten times or so higher.23 Australia, one should also recall, is not categorized at Fukuoka or not indeed by the Japan Foundation as an ‘Asian’ country, and is not invited to send artists to exhibit there. This is despite it being obvious that ‘Asia’ is far more part of Sydney life through that city’s population dynamics (before we discuss anything else) than Fukuoka. The Fukuoka Asian Art

Triennale only seems to have been able to impress itself on the Japanese art scene as one kind of specialization and regional activity. This has been the case even though Fukuoka Asian Art Museum, or its predecessor base at the Fukuoka Art Museum, has held many original exhibitions, including some of major art historical significance,24 and despite the laudable and persistently committed efforts of the Japan Foundation with exhibitions at the now defunct Asia Centre. The Asian Art Triennale appears to have functioned neither to redefine the notion of art in circulation in contemporary art circles in Japan, nor to have substantively placed ‘Asian’ contemporary art on the central agendas of the rest of the Japanese museums and contemporary art galleries circuit. 15 Contemporary Asian Art at Biennials © John Clark, 2013

Country-specific collections in Europe

Asian artist participation at Biennales has developed in the presence of private collections, sometimes through the two or three Asian commercial galleries which show at the Basel Art Fair, but usually through direct collecting overseas, and most importantly during the 1990s via international collection of contemporary art from China. There were in 2006 at least four major collections of contemporary Chinese art in Europe, some of which have been exhibited.25 The problematic identification of contemporary ‘Asia’ with ‘China’, no doubt shortly to be joined by ‘India’, was obviously driven by strategic considerations of present and future political and economic importance, ‘art’ merely serving as the sign of a kind of social dynamic or contemporaneity.26

There is almost no working comprehension in Europe and North America of Southeast Asia as a source for contemporary art save perhaps for the two or three artists who have become known internationally as coming from Thailand and Indonesia such as Rirkrit Tiravanija or Heri Dono. But more seriously, there is almost zero understanding of the dialectical and critical relation of a ‘modern Asian art’ to ‘contemporary art’, meaning

‘contemporary art made between Rome, Paris, Frankfurt, London, New York, and Los Angeles’.

It is in this situation that the importance of major collections of contemporary Asian art becomes clear even if these are still largely devoted to

Chinese contemporary art. They change the range of works and artists seen as having been worthy of an impact on contemporary art discourses and definitions of 16 Contemporary Asian Art at Biennials © John Clark, 2013

ill. 26, (left) Guy & Miriam Ullens collection at Musee d’Art Contemporain de Lyon, 2004, graphic overlay ill.A27, (right) work of Lin Yilin, 1995. art, they change the locations which have to be considered in any process of constituting a canon; they force a revision of the cultural histories which have to be considered as capable of constituting a modernity; and perhaps, they increase a small minority of elite focus on a modernity which may redefine what modernity is for all art cultures.27 Since such collections are seen by other European collectors, and by European curators preparing major international Biennales, they change both the sample of countries to be visited and perceptions of the depth of serious attention they require.28

Moreover, if the collector is a significant figure in the business or political elites of a European country, they bring a kind of leadership charisma to their collected works. The collection becomes a set not merely of well-selected exemplars of contemporary art from a particular country, it becomes a category of objects of significance which are worthy of understanding and discussion as representative of cultural constructions or states of social consciousness. They may also constitute signs of powerful, cultural access to countries which are now becoming economically powerful. These perceptions of ‘Asian’ cultural constructions underlie the very forces that bring such elites into contact with contemporary Asian countries.

‘Contemporary art from China’ also begins to stand as an exemplar of ‘contemporary Asian art’ in the minds of those who may not otherwise be 17 Contemporary Asian Art at Biennials © John Clark, 2013 inclined to view it as significant or worthy of contact, let alone a personal symbolic act like attempting to bring a perception of it into their other understandings.

The Sigg collection in Bern is particularly noteworthy [ill. A28] because it was assembled by a Swiss businessman who had been interested in contemporary art since his student days, even though so far as I am aware he did not formally study art history. Thus a profound knowledge of what constitutes modern art as an expression of modern life in Europe informed Ulli Sigg [ill. A29] when he first went to China in 1979 as a business man to secure the first joint company agreement for

ill.A28, Sigg Collection catalogue, Mahjong, Bern Kunsthalle, 2005. the Schindler lift company. He did not collect contemporary art at that time because it might have been to the detriment of his business activity, but when he returned to China in 1994 as Swiss ambassador, the domestic Chinese political intervention in contacts between foreigners and Chinese had considerably lessened. He was able to freely meet artists and collect their work, in part because of the status he had built up in official circles from his earlier stay. It may also be that he had particular diplomatic skills which did not make a great display of his collecting activites, or of dominating a particular interpretation to the ‘West’ by his interventions in contemporary Chinese art. He also did not advertise the fact that he was the patron of 18 Contemporary Asian Art at Biennials © John Clark, 2013 the Contemporary Chinese Art Prize [ill. A30] to assist in the adjudication of which he brought in several famous contemporary art curators from

Europe including Harald Szeemann.29 Undoubtedly the fact that Sigg was both European and Swiss, and not American, may have allowed him some discretionary freedom that other collectors would not have enjoyed. Sigg’s collection is unlike others in his also having carefully collected in historical depth works of the Cultural Revolution which are one historical precursor to the modern art which was to arise in the 1980s. [ill. A31] The wave of experimentation in contemporary art arose partly in reaction against it, partly in

ill. A30, inaugural Chinese Contemporary Art Award ill.A31 Left Shi Xining, 1973, Right Sun Guoqi & Zhang Hongshan unconscious but rebellious tribute to its iconographic power, since many of the contemporary artists had at some time been dominated visually by it.

In some cases, as young student artists in work brigades, they had actually produced it. [ill. A32]

Sigg has also collected what he considers to be a representative selection of most contemporary artists during the 1990s, even if he was able to identify early on that they would not necessarily develop very far. This broad mindedness and long-term historical understanding, let alone with his particular knowledge of the context of Chinese contemporary art, was rarely to be found in China in the 1990s.[ill. A33] It is even now still rare among many international curators of contemporary art as 19 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A32, Wang Guangyi, Untitled, 1986, oil on canvas, 150 x 130 ill. A33, Lin Tianmiao, Braiding, 1999, digital photography & thread testified by the sometimes dreary repetitiveness of their selections of Chinese artists. I am not over-praising Ulli Sigg, but the history of contemporary art is in part structured by what art works are actually found in collections. Many of our more longer term art historical constructions are the result of museum and private collection policies in the 19th century, in the taste for a Rembrandt, a Vermeer, or a Chardin for example. Contemporary art is no exception, beginning with the collections of the Museum of Modern Art in New York and their support by significant sections of the US financial elites in the 1930s. In the structure of actually existing patronage then, the larger the range and historical representativeness of modern Asian art collections, in this case, of China, the more likelihood its complexity and relational importance to contemporary art elsewhere will be seen.

Yokohama Triennale 2005 20 Contemporary Asian Art at Biennials © John Clark, 2013

The Yokohama Triennale of 2005 was the second such event, the first having been in 2001. That had been curated by four different curators but the 2005 Triennale was in contrast curated by a single artistic director. This was originally intended to have been the architect Isozaki Arata who was appointed in June 2004 but he resigned in November 2004. He was replaced at very short notice in an announcement of 10 December by the sculptor Kawamata Tadashi, to be assisted by three professional curators.30 I have examined the 2001 Triennale in detail elsewhere.31 Here I should note that it had been premised on the obsolescence of the scientific approach which would not provide any answers to the problem of ‘how to relate as individuals to the whole, or how the individual can be singled out from the whole’.32 The 2001 exhibition had been grandly envisaged in the title

“Mega-Wave” as ‘drawing in the accomplishments of all fields of human endeavour’.33 As mentioned in detail in Chapter Two in the main text, one of the curators, Tatehata Akira, was wary that supposed mutual respect for cultural difference could also be a ploy by which chauvinist essentialism is let in by the back door.34 The 2001 system of four curators was roundly criticized in a retrospective article by one of them, Nanjô Fumio,35 in which he wished to see it replaced by a single overall director who could take responsibility, together with a non-profit company to take charge of organization. This would be unlike the actual system at Yokohama 2001 where the Japan Foundation, Yokohama City, NHK, and Asahi Shinbun were all on the actual organizing committee. Despite his comments, this system was to be replicated in 2005.

When Isozaki was announced as artistic director in 2003, it became clear he wished to work through local, non-government organizations rather than through mediating curators who he clearly saw as tied up with the commodification of art from which he wished the Triennale to escape.36 It was a measure of his inability to achieve this that he resigned in 2004 leaving the committee - and I understand chiefly the Yokohama city officials - to find a new curator with less than six months to go to the Biennale. Kawamata Tadashi seems to have relied on those artists and artists’ groups known to himself, the curators and other Japanese museum institutions,37 but there may have been a residue of Isozaki’s plans through the 21 Contemporary Asian Art at Biennials © John Clark, 2013 reliance on art groups as referral entities, especially for China and Southeast Asia.38 Clearly there was a note of insider weariness reverberating through the 2005 Triennale title Art Circus [Jumping from the ordinary], and by the self-reference through seaside bunting to the Yokohama Triennale’s

2005 siting in a temporarily unused warehouse area next to a pier. [ill. A34] Whether or not Biennales/Triennales need to mobilize all the positioning possibilities of the site is a debatable issue. Certainly Yokohama is a port with international outlook, which is full of large and high-tech harbourside buildings [ill. A35].

ill. A34, Entrance to Yamashita Pier, site of Yokohama Triennale ill. A35, View towards Minato-mirai Yokohama, from Yamashita Pier

But one could think that art works which were not high-tech might be seen with disfavour because of such environmental cueing from the local architecture in such a Biennale/Triennale. Maybe this seeking for the techno was the reason why there was a very long queue the first day I was there to see what on a subsequent day appeared to be a rather banal attempt at gothic uncanny, but which used various kinds of what I can only think was considered avant garde, ‘of this moment’ techno-punk with a computer calibrated light show over a carefully organized model landscape. One had to remind oneself this was an art work, not a light-and-sound entertainment. The notion too that the city of Yokohama was one with a large, old

‘Chinese’ population, may have stimulated the view that it was somehow open to the outside world, and this allowed the thematizing of buried 22 Contemporary Asian Art at Biennials © John Clark, 2013 cultural possibilities in some video pieces or installations [ill. A36]. It also left room to think why works should be chosen in a happenstance way considering where they were previously sited. [ill. A37] It is a feature of Biennale presentations that this previous siting is unknown to most of the current audience.

ill. A36 (left) Jiang Jie, Swimming Dragon, installation in Yamashita park, Yokohama, 2005 ill. A37, (right) Jiang Jie, Swimming Dragon, installation in Paris, 2004

But a little thought about the likely actual size of the ‘Chinese’ population in Yokohama makes the cultural opening less than it pretends, as we saw above was also true in the case of Fukuoka which has an ‘Asian’ population only one tenth of Sydney’s. When your Biennale/Triennale largely selects artists the curator(s) ‘know’ or from groups ‘known to’ the curator(s), the substitution for more local art critical or curatorial advice will be more a matter of the taste of those ‘known to the organizers’ than a search for innovation or profundity or a piece [re-]installed in a worked relation with the local environment. Some chain of aesthetic demand breaks down, whether conceptually or practice-led. 23 Contemporary Asian Art at Biennials © John Clark, 2013

This became clear at Yokohama 2005 in the thematization of ‘Chinatown’ works mediated by the Long March Group from Beijing where a mixed media installation a dragon in army camouflage cloth, [ill. A38] a video, [ill. A39] an oil painting, [ill. A40] installations and other works were collected into their little corner of the enormous warehouses. A group project can easily

ill.A38, Qiu Zhijie, Slowly approaching ill.A39, Long March Group Yokohama Chinatown Dragon Dance, video

ill.A40, Gao Gang, Chinatown in Soho, mixed media become a kind of art kindergarten assignment [Let’s do a Lion dance / Chinatown theme!] by friends of the group leader who has secured the exhibition ‘spot’ and mobilized the funds to bring the works there. It may have been serendipitous that some of the work was interesting like the video because of its framing or its mixed media effects, but not so much if shown in less than ideal conditions: the passing crowds, the corridor placement, the domestic monitor without full-sound and theatre projection? 24 Contemporary Asian Art at Biennials © John Clark, 2013

Selection which might be by an artist can be beneficial, however. I found myself marveling at the ‘throw-away’ beauty of the paper cut-outs from takeway food bags haphazardly stuck on the side of a container which contained another work. [ill. A41] Perhaps this was a selection of the artistic director, Kawamata Tadashi, a renowned installation sculptor? Then I sat down on a sofa nearby to find myself listening to music coming from a slightly open door, which on closer inspection could not be opened. It was another work by the same artist. [ill. A42] There was a label saying that the recording was of a cello piece made of a performance by Pablo Casals

ill.A41, Teruya Yûken , Notice Forest, paperback, 2004 ill.A42, Teruya Yûken, Title Unknown, sound installation, 2005 for President Kennedy of a Catalan melody he refused ever to play in Spain during the rule of Franco.39 Did Teruya mean that the modern art audience can hear, but not gain entrance? Whatever the artists’ meaning, my impression was that this conceptual and executive simplicity coupled with the awareness of the viewing conditions of the Triennale provoked as deep aesthetic experience in me.

The ability of an artist director with curatorial help to get around mediated selection could be also what allows the Triennale to handle tricky political material which might be censored from a bilateral exhibition. This was, I think, the case with the Taiwanese artist Yao Jui-chung [Yao

Ruizhong], whose installation work The world is for all – China beyond China [ills A43 & A44], Yao Jui-chung [Yao Ruizhong], with its carefully glazed over photographs, its electronically activated gun - which was out of order when I was there - and what was I presume its knowing commentary on 25 Contemporary Asian Art at Biennials © John Clark, 2013 the relationship between images of the past and the way they might be illuminated by violence surely would not have got past some more politically correct curatorial situations.

However well-intentioned or conceptually positioned, I am sure Biennale directors are unable to escape the fashions of a time. This is because the inclusion of certain artists or groups will have an undeniable appeal to a segment of the local audience, even if they are well-known internationally.

This was particularly so in the selection of Nara Yoshitomo & graf, [ill. A45] a Japanese grouping articulated around the mega-success of one artist,

Nara, not only as a gallery collectable artist but also as someone whose collectables include badges and

il. A43 &A44, Yao Jui-chung [Yao Ruizhong], The world is for all ill.45, Nara Yoshitomo & graf, Yokohama seaside tenement house other commodity paraphernalia beloved of children, adolescents and young adults. It may be that such work is worthy of serious attention beyond the level of consumer fashion.40 As I went around the collective work Yokohama seaside tenement house I thought I wanted to give the benefit of the doubt to this position. But when there are so many countries where people live in ‘tenement houses’ and no doubt parts of Yokohama where the hoomuresu [Japanese for ‘homeless’] actually do live in cardboard boxes and plastic sheet tents, I really wanted to see this point brought out in this elaborately labyrinthine passage from one shack wall to another with emblematic kid’s seal drawings all over. [ill. A46] One might have thought this critique was the artists’ intent, until one came to the booth selling drawing albums by Nara, [ill. A47] and 26 Contemporary Asian Art at Biennials © John Clark, 2013

ill.A46 & A47, Nara Yoshitomo & graf, Yokohama seaside tenement house then one realized this was not some subtle and critical allegory of consumer life, but actually a replication of a stylistic mode within its murderous conformities. I can only suppose there is no wonder children kill each other in horrific events in Japan because they see no way out. Nara is certainly not pointing towards one a solution, even if his masks evidence the internalized tyranny.

Among other groups chosen, apparently by reference to other curatorial colleagues with special Southeqast Asian knowledge such as those at

Fukuoka, were the Thai artists. A seedy chill-out, hippy-retro, scruffy café with cushions was called ‘Soi Grocery’. [ill. A48]. Pinaree Sanpitak’s Breast

Stupa Flowers, [ills. A49a & A49b Pinaree Sanpitak] now with mouldings and video, came up with another version of her breast pieces which has had international circulation at least since 1994. 27 Contemporary Asian Art at Biennials © John Clark, 2013

ill. A48, Soi Grocery, 2005 ill.A49a, Soi Project, work of Pinaree Sanitpitak, Breast Stupa, 2005

ill.A49b, Pinaree Sanpitak, Breast Stupa Flowers, 2005

These were works by a good artist with pieces on her familiar trajectory which might work better in another context or installation, but here I was left with a distinct sense of déjà vu. I can almost hear a Japanese critic friend saying, ‘but new in Japan…’ All I can suggest is that if these ideas, if not specific works, have circulated for at least 10 years in the mediascape of international art, then they will have been noticed, not necessarily everywhere, but with a certain degree of frequency at least among artists. Wouldn’t it be fairer to the artist’s reputation to ask for quite new work?

The opposite case is also true, where audiences need to be reminded and artists need to re-visit what is now history, lest we forget. This was the case with the work chosen by Ong Keng Seng’s The Flying Circus Project, which tried to recuperate memory of recent events through selected 28 Contemporary Asian Art at Biennials © John Clark, 2013 interviews in various Southeast Asian countries. [ill. A50]. These were displayed in heavily text-dependent wall-boards, but, probably against their own intent, they made a lot of aesthetic

ill.A50, Reyum Institute, Cambodian memory project, 2004/5 presence in one warehouse, situated on the audience routes to the plastic table-top soccer game of Kosuge1-16+Atelier Bow-Wow+YOKOCOM and high-tech videodrome of Takamine Tadasu in another.

The work[s] which most clearly and participantly embodied the notion of ‘Art Circus’ were the sculptures, audience games, and painting in

Navin Rawanchaikul’s (M)art project. Here the viewer was presented with an in situ studio painting, in process of execution in the 2005 Triennale by two assistants, of faces drawn from the Japanese art world based on the composition of Veronese’s The Marriage of Cana. (1563, Louvre, Paris).41 The work also appeared to conflate the selection of distinguished art world celebrities along the lines of in Raphael’s The School of Athens. Navin had done previous versions of this theme in Bangkok in 2004, [ill. A51] and also a version shown at the Basel Art Fair in 2003 in the section devoted to prospective museum purchase, which had earlier been exhibited at the Palais de Tokyo in Paris. [ill. A52] Perhaps Navin intended an even larger 29 Contemporary Asian Art at Biennials © John Clark, 2013 raspberry at the ‘art world’ by this repletion, one which no doubt sells works which employ the assistants. One of the games was even based on a fictional boxing match between Warhol and Basquiat. [ill. A53] Does the viewer have a more profound aesthetic experience for having the

‘international’ art game presented in such a knowing way?

ill.A51, Navin Rawanchaikul (at Basel 2003) ill.A52, Navin Rawanchaikul (at Bangkok 2004)

ill.A53, Navin Rawanchaikul, Game work at Yokohama, 2005

If we know something of Warhol’s aesthetics of commodity fame or of Basquiat’s self-destructive expressionism, are we forced to construct a game about how they, representing these two art positions, would encounter one another? Do we experience the world more deeply, with more aesthetic subversion of our common conventions, for knowing we are being played with, even as we play? Possibly if the aesthetic experience matched the quality of the game. But I doubt that will ever be the case, and whether redemption comes through irony or tragedy or quotidian pop cynicism I am not sure Navin thinks there is any difference at all between Beethoven and The Beatles (but I feel sure that David Oistrakh did).

Guangzhou Triennale 200542 30 Contemporary Asian Art at Biennials © John Clark, 2013

The 2005 Guangzhou Triennale had for its theme Beyond: an extraordinary space of experimentation for modernization. The Chinese term used or invented to correspond to ‘Beyond’ is bieyang, ‘of a different kind or type’. Hou Hanru signs this as ‘alternative’.43 The exhibition was conceived only as one part of a series of activities the most crucial of which is Delta–Lab or D-lab, delta referring to the Pearl River Delta and the triangular regional linkages between Guangzhou, Zhuhai/Macao, and Hong Kong. D-lab, according to the catalogue, continued through eighteen months of discussion and research sessions by artists and architects every four weeks. So in the intentions of its organizers the works in the exhibition are to be seen as the culmination of or as the markers of a stage of continuous experimentation.

The notion of a different, separate, or ‘true’ type of artistic creativity which is no longer concerned with the fine art object, its now-defunct processes of exhibition and canonization, and an emphasis on the process of artistic and related creation as well as the creative intepretive element contributed by the audience in constituting the art work, comes at the end of a long line of later twentieth century developments in art and architecture. There have also been many changes in the notion of the museum and exhibition space away from a fixed space for works categorized by their collection status and notions of period styles, to one of the museum as a kind of laboratory for works in progress. But these initially radical and counter-establishment notions of art objects and their exhibition interpretation were increasingly institutionalized in late 1980s in some Euramerican art school curricula and artist-run spaces, Kunsthalle and Museums of Contemporary Art. They found one coherent art theoretical expression in

Nicolas Bourriauld’s text for the 1993 Venice Biennale catalogue, his catalogue Traffic of 1996, and his book in 1998/2002 Relational Aesthetics.44

In architecture these changes are evidently derived from post-modernism, to some extent from the positioning of architectural theory to embody the tendencies of a new urbanism found in China and Japan. In biennial contents, this conjunction is exemplified in Hou Hanru and Hans-

Ulrich Obrist’s catalogue for Cities on the Move in 1997, whose intellectual horizon was already that of the Dutch architect Rem Koolhaas and the 31 Contemporary Asian Art at Biennials © John Clark, 2013 theorist of globalization Saskia Sassen. Hou & Obrist’s text, in a transcendent act of high vulgarization, singularly omitted to directly cite any of the architectural theories or sociological data on which their viewpoint was based. If relational reflection is the nexus of the art work, what need for historical dialectics by 2005 at Guangzhou where these tendencies had still not lost their allure? True, the architectural displays in the exhibition were more coherent and allowed the visitor some purchase on their ostensible thematics. One could now interrogate them, not simply accept them as statements of faith. The art works, still heavily dependent on viewers’ interactions with their own perceptions as the subject of the art work, now found themselves in an art museological site which consecrated the works by their singularity, and by their presentation for a differentiated series of audience configurations. The viewer could drift through and choose their works, their aesthetic perceptions, with danger on the ground floor of falling off the pre-stressed concrete wooden mold pieces over which the viewers had to walk in order to enter the exhibition. The return of the illusory art work, of the transpersonal mediation of re-constituted aesthetic experiences, is now articulated through a mega-exhibitory machine.

The force which drove this series of exhibitions was the power of economic expansion in the Pearl River Delta, and the extraordinary lust for goods without which any art materials made from the accumulation of objects, or of plastic garbage, or of building scaffolding rather elegantly transmuted into an Islamic cupbola, [ill. A54] would have been infeasible as art works since they would lack both material and hermeneutic counterpoint. The exhibition was presented on three sites, the major one being the Guangdong Museum of Art, with its ironic traces of earlier exhibitions, [ill.A55] and its other re-contextualising by new and impossibly consumable objets. [ill. A56a & A57] The second was at a distant suburban annex in a new housing complex and paid for by its developer. [ill. A58] The third was at a riverain leisure complex, the Xinyi International

Club, nearer the centre of the city, where the works were put up for one day and the exhibition paid for by another developer. 32 Contemporary Asian Art at Biennials © John Clark, 2013

ill.A54, Wong Hoy Cheong, Fastigium, installation, 2005 ill.A%%, Huang Yongping, Shadow slogan ‘In God we trust’ on the wall of Guangzhou MFA 2005, the shadowy image was left behind from previous work for the Bat Project 2001-2002

ills.A56 &A57 Xu Tan, Wine for 9 September, installation, 2005 ill.A58, Suburban Housing Complex, Guangzhou, 2005

The political and real estate company speeches at the club opening were followed by a female solo violin virtuoso, in a mini-skirt and boots unafraid to jerk her pelvis, playing an electronic version of Vivaldi’s Four Seasons to a disco dancing backing track. [ill. A59] When there was so much cultural expression dependent on real estate selling, this supremely apposite live-musack, public onanism to the ‘classics’ accompaniment was entirely cognate with the pale reflection of a parody of socialist kitsch, Missing Dolly by Lin Yilin visible through the main Museum’s windows down the river. [ill. A60] 33 Contemporary Asian Art at Biennials © John Clark, 2013

ill.A59, Wen Feng’s Eggs in Xinyi International Club, Guangzhou

ill.A60, Lin Yilin, Missing Dolly, Guangzhou MFA ill. A61 reflection in Guangzhou MFA window.

These forlornly overlooked earlier incarnations of high rise frenzy which appeared more like the embodiment of a failed utopia than simply a mere exercise in reflected bad taste. If there was any doubt about the mendacity of high architectural theory allied to brute economic desire it was not possible to pass it by in the cruelly alienated lives indicated by the real-estate models for the new museum annex found in the gallery space site.

[ill.A62]

The Guangzhou Triennale proffered itself as a different kind of recurrent international Biennale/Triennale, one with a continuity between events, sites and concepts. This was largely to be achieved by the holding of pre-Biennale conferences, by the conceptualization of the exhibition site as an experimental laboratory ‘D-Lab’, and by the recycling of conference materials and concepts though the subsequent exhibition catalogues and exhibition conceptions. What this meant in practice, however well-intentioned or grandly positioned in theory, was that it was difficult to receive any sense of engagement with art works, that all three catalogues produced had a great informational and visual redundancy. The Guangdong specificity 34 Contemporary Asian Art at Biennials © John Clark, 2013 of the relational aesthetics of ‘works’ and ‘architectural forces’ disappeared under the weight of randomly ordered references, which could be referring to a newly developing city anywhere. [ill. A63]

ill.A62, Visitor looking at model, Guangzhou Triennale ill.A63, Jiang Jun, Mega-city, Research Plan, Guangzhou Triennale

Indeed what it meant to be a person from Guangdong in this field of forces rarely came to the surface. But curiously the instability of the exhibition’s informational environment closely paralleled the insecurity in the local lived environment where cross-city rush-hour bus journeys can take two hours, and muggings and petty theft are an ever present danger, according to local residents I asked. This is before any serious consideration be given to the enormous inequalities of wealth and life opportunity unleashed by the ongoing urban development. The pressure of such internal dynamics does not make it easy to validate the proposition in the exhibition essay by Hou Hanru that,

…in the end, an international event happening at a specific site……can act as a catalyst for the local community to reinvent their own “locality” with a larger social and geopolitical framework, hence bringing more diversity to the world.45

There would have to be more complex and much more profound and putatively ‘benevolent’ articulation between international ‘catalysts’ and local dynamics to allow this. Because of the inclusion of architects among the 82 participants among whom 25 were Chinese, it is difficult to calculate 35 Contemporary Asian Art at Biennials © John Clark, 2013 the composition ratio of non-Chinese artists to Chinese in the Triennale, there in addition being 23 self-organized groups participating. I would guess that more than half the participants were Chinese. Among the international invitees were the ‘usual Biennale suspects’ such as Jimmie Durham,

Philippe Parreno, Rikrit Tiravanija, Surasi Kusolwong, Wong Hoy Cheong. The re-tread nature of some works was clear in the video shot in

Guangzhou earlier in 2005 by Parreno and Tiravanija which was co-commissioned by the Lyon Biennale where it would again be shown later in the same year. Here both artists and their work appear predestined to enter this closed cycle. For the moments I stayed with it, a crescent moon appeared to be setting slowly. The outstandingly banal title was ‘Stories are Propaganda’, a topic which requires some intellectual sympathy to regard as significant, even from a standpoint in Critical Theory where ‘propaganda’ might need translating as ‘ideology’.

But sympathy does have paradoxically to be given even to some of the international celebrities. Isaac Julien’s interesting split-screen composition was exhibited in small-screen, pitiful conditions, as on a bad home LCD monitor. On the side of the international art shown, one might ask if the effort involved in fronting this Triennale produces such predictable results, for as one widely exhibited Australian painter later commented,

‘Biennales are basically the same exhibition’, then why pretend this is other than a particular kind of group show, at least for the international selections? Why not put the architecture together with the real-estate promotions and separate it from art exhibition? It would not significantly alter the understanding of art born out a particular urban frenzy. And it could have been far more interestingly and honestly produced as a narrow selection from a particular although now rather long-standing and under criticized aesthetic position from the last ten or so years, and thereby made more concrete, moving, or challenging, instead of the pretended inclusion under the catch phrases of ‘generosity’ and ‘tolerance’. The double-binds of the critical language deployed resemble those of Catch 22, ‘and you must love us’. 36 Contemporary Asian Art at Biennials © John Clark, 2013

In addition, given the presence of so many French-sourced participations at various sites including two of the curators, several of the artists, and some visiting artist programmes which coincided with the Triennale, why not just call it ‘The New Paris School’ and display its proper strengths and subject its weaknesses to a more critical gaze. The reply might be, that the modern Asian conurbation in its current construction and development stage is a site of chaos, desire, the lust for goods and wealth, the separation from the economy of need, the formation stage for concrete simulacra. Showing this by bringing the powers of the economy and cultural consecration together at once allows the viewer to see the city as both as a spectacle and as its interstitial sites. These exist in the gaps of architectural topology, or the spaces in the present that are there for discovering, they exist between what the structures of desire and language do not cover, and are manifest as the potential for the discovery and experience of a personal aesthetic.

Some works in the main Guangzhou Museum site did manifest the link between the construction chaos and personal desire, particularly the highly intelligent conceptualization of Leung Chi Wo from Hong Kong.[ill. A64] Here the viewer actually saw with what pleasure and desire the small material signs in familiar objects were put together in and by the possibilities of the architectural spaces which constrained them. The work of

Weng Fen from in the category of ‘Self Organization’, which presumably indicates artist-run spaces and groups, RedSkyArt Space (Haikou), showed the city as a spectacle of product/production which had been given life by the eggs that, lifeless, but life-producing were generated by its communication production lines, and from which its buildings were formed.[ill. A65] The work also seemed to include an ironical comment on

Mori Mariko’s Wave UFO shown at the Venice Biennale earlier in the year. 37 Contemporary Asian Art at Biennials © John Clark, 2013

ill.A64, Leung Chi Wo, Post IKEA display, mixed media, 2005 ill.A65, Weng Fen, Accumulating Eggs Project, 2005

The ‘Self Organization’ Vitamin Creative Space exhibited the French artist Marc Boucherot’s ‘Mobile Cinema Structure’. Boucherot is the 4th visiting artist of the ‘Back to Zhong Guo: Fools Move Mountains’ project with French artists. [ill. A66] It transformed the cinema and kara-oke projection system transportable by motorized tricycle into a farming community in Nanling. In the Triennale exhibition space, [ill. A67] the projector showed digital images that had been made of the cinema

ill.A66, Marc Boucherot, Mobile Cinema Structure, in the countryside ill.A67, Marc Boucherot, Mobile Cinema Structure, in the gallery performances and of their audiences. It is difficult to communicate the delight of those shown on the faces of those rural audiences and the pleasure of seeing this vehicle in the exhibition space, complete with neon fairy lights, for here we were brought in touch with the innocent pleasure of 38 Contemporary Asian Art at Biennials © John Clark, 2013 spectacle, and the joy of participation in producing it in a simple way which was rare in other works. Boucherot’s work was neither done out of a kind of rural nostalgia, nor from aggressive socialist utopianism, but out of a sense of real life values still held and given life by the rural population. It was if a slice had been cut through the urban power schemes of massive buildings, or the semiotically twisted skeins of the threads of modern life, to a world where exactly in the gaps of these structures a whole aesthetic pleasure could be found. Maybe it was the rediscovery of a lost sense of quotidian decency too. But this seems far away, or much more humble and participatory a relation to daily life and lost spaces of art, from the notion of an artist as a kind of grand guerilla semionaut coursing through the architectural forces that oppress him/her. Such was the proposition of Hans-

Ulrich Obrist:

To resist this new totalitarian power of hyper-capitalism, claims for new kinds of freedom and agency, and social, cultural and political justice are made by the society itself. …Artists who search for the freedom of artistic action in cities, where there is too little space for artistic expression, invent their own spaces and channels of expression in the heart of dense urban space.46

Maybe all the artist can ever do is point or warn. Whatever their relevance or resistance, artists do not control their own circulation or that of their works, and the closed loop between elaborate international biennial conceptual frameworks, economic power or political drives, a tight group of selecting curators, and a relatively restricted group of exhibiting artists, begins to resemble the French republican art salons against which it was necessary for an avant garde to be invented. The European avant-garde from 1880s to 1920s consecrated art by concepts of style and art practice not in the control of the salon. It allowed artistic circulation to change, as well as for the group of artists to fragment away from those institutionally recognized. Some think biennials odf the 1990s have opened up again the earlier position of an avant-garde: there is as good a ground for thinking they are actually the remanifestation of the salon. 39 Contemporary Asian Art at Biennials © John Clark, 2013

A functional avant garde today would at most be on the edges of the Biennale system, but probably would exist outside it completely and might not at all be concerned with art practice, but,for example, or with what voices it could make heard, what peoples it could show to themselves. If the

Second Guangzhou Biennale was intending to focus on the conditions for artistic creation in a situation of social chaos engendered by rapid economic and architectural change on a stupendous scale, then it did achieve this.[ill. A67]

It is difficult to see such exhibitions as interventions, or ‘catalysts’ when they appear more part of the maelstrom itself. China may be moving away from a 19th century sense of ordered development with radical shifts but at positionable time-space nodes. Thus a sense of historical order is emerging with which the First Guangzhou Biennale and its retrospective construction of Chinese modern art history may be associated. Guangzhou and its contemporary artists through the representation of ‘self-organized’ groups may now be claiming a more important place within contemporary art centered in bureaucratic and artistic practice on Beijing and Shanghai. It would be an intellectually ambitious task indeed to describe what this current historical order is: but if there were small glimpses of the other avant garde at this Triennale there was too little questioning of the Triennale itself as an avatar of the forces around it which it arose, even if art historians try to have the last word and freeze the contemporary just as it becomes the present. [ill. A68]

Smaller would be more beautiful, and local exhibitions could be held at the Guangzhou Museum of Fine Arts and its surrounding parks, with international components shown at a dedicated and separate, temporary site, like the massive Trade Fair buildings in Guangzhou. But then we would have to leave the future to the vacancy of spectacle itself, and perhaps the curator would not have always to be thinking of the next event, however grand, however insightful. [ill. A69]. Curators should become less visible, and confine their efforts to suggesting indicative pathways. They should relinquish cartographing the future because it is always already the past. 40 Contemporary Asian Art at Biennials © John Clark, 2013

ill.A67, Wall display, Guangzhou Triennale, 2005 ill.A68, The Art Historians’ last words, David Clarke and John Clark

Ill. A69, The Curator’s lot is never done, Hou Hanru on his mobile

Appendix One The text of this appendix is based on two reviews: ‘Contemporary Asian Art at Biennales and Triennales: The 2005 Venice Biennale and Fukuoka Asian Triennale, the Sigg Collection, and the Yokohama and Guangzhou Triennales’, CAA Reviews 9/7/2006 [online to members] ‘A spectacle of questions’, Asian Art News, vol.16, no.1, January/February, 2006.

Other of published reviews by me include the following which are not re-published here: ‘Asian Artists at the 2001 Venice Biennale’, IIAS Newsletter [International Institute of Asian Studies], no.26, November, 2001. ‘Venice Biennale’, Asian Art News, vol.13 no.5, September 2003. ‘Art Basel 2003’ in Art AsiaPacific, new series, no.1, October 2003. ‘Shanghai, Gwangju and Busan: Three recent Biennales in Asia’, Art & Australia, vol.42, no3, Autumn, 2005. ‘The Shanghai and Gwangju Biennales’, Art Monthly Australia, December 2006. ‘Art in the present tense’ [Venice Biennale], Asian Art News, vol.17, no.6, November-December 2007. ‘Uncertain Identity: Documenta 12’, Asian Art News, Volume 17 No.5, September / October 2007. 41 Contemporary Asian Art at Biennials © John Clark, 2013

‘Münster Skulptur Projekte’, World Sculpture News, Winter, 2007. ‘The Taipei Biennial 2006’, Asian Art News, vol. no., January/February 2007.

Illustrations for Appendix One Illustrations for Appendix One A1. 51st Venice Biennale entrance, 2005 , A2. Chiesa di Gesuiti, 1730, photographed by John Clark A3. Plaque marking Titian’s House, Venice, before 1526, plaque erected 400 years later, photographed by John Clark A4. Biennale of Sydney 2006 flyer on threshold of back entrance to Brazilian Pavilion, at Venice Biennale 2005, photographed by John Clark A5. Flyer for Busan Biennale 2006 found in Korean pavilion, Venice Biennale 2005, photographed by John Clark. A6. Yokohama Triennale [September 2005] posters at Japan Pavilion, Venice Biennale, August 2005 A7. Miyajima Tatsuo work at Gwangju Biennale, 2004 A8. Nguyen-Hatsushiba Jun, 2001, video of rickshaw drivers shot underwater A9. Right: Italian Pavilion exterior, Venice Biennale 2005; Left top: British pavilion exterior, 1909 [originally a café from 1887 Italian National Art Exposition]; Left bottom: Plan of Italian National Art Exposition in what is now the Giardini, 1887. A10. Arsenale interior, 2005 see 13 above A11. Su-mei Tse at the Luxemburg pavilion 2003 A12. Sun Yuan & Peng Yu in China Pavilion at Venice Biennale 2005, photographed by John Clark A13. Xu Zhen at Venice Biennale, 2005, left on-site photographed by John Clark A14. Xu Zhen, right: artist’s view from Yishu: Journal of Contemporary Chinese Art September 2005 A15. Taiwan pavilion at Venice Biennale, 2005 Yishu, September 2005 A16. Thai pavilion at Venice Biennale, 2003, ‘If spectacle, carnivalesque revelry, and merriment condition artworks and location of meaning at their destination then Thai artists and Thai pavilion bring to Venice new dreams and conflicts that the viewers will be happy, sad, sensuous, and repugnant with Thai exotica. In this epoch of global trauma, zones and distinctions of good and bad, right and wrong, peace and war are no longer defined.’ Apinan Poshyananda, Curator, Thai Pavilion at Venice Biennale, 2003. A17a & A17b. Montien Boonma works, Venice, 2005. A18. Plan for Parasite installation in Hong Kong SAR Pavilion at Venice Biennale, 2003, photographed by John Clark A19. Chan Yuk-Keung work in Hong Kong SAR Pavilion, at Venice Biennale, 2005, photographed by John Clark A20 left, Chan Yek-Keung, right, AnotherMountainMan [pseudonym of Stanley Ping-pui Wong] work at Hong Kong Pavilion, Venice Biennale, 2005, photographed by John Clark A21. Fukuoka, 2005 general view with painting by Daeng Buasan, photographed by John Clark 42 Contemporary Asian Art at Biennials © John Clark, 2013

A22. Amanda Heng, 1996, Fukuoka Asian Art Museum A23. View of artists’ workshops, Fukuoka Asian Art Triennial, 2005, photographed by John Clark A24. Bangladeshi Rickshaw painting, Fukuoka AAM coll. A25. Japanese Children’s Comics early 1950s A26. Left: Guy & Miriam Ullens collection at Musee d’Art Contemporain de Lyon, 2004, A27. Right: work of Lin Yilin, 1995 A28. Cover of Mahjong catalogue, Bern 2005 A30. Zhou Tiehai, Chinese Contemporary Art Prize-winning work A31.left: Shi Xining, My Name is PLA (Lei Feng), 1973, oil on canvas, 150 x 96 cms, right: Sun Guoqi & Zhang Hongshan, Divert Water from the Milky Way down, (detail) 1973-4, oil on canvas, 180 X 130 cms Sigg Collection. photographed by John Clark A32. Wang Guangyi, Untitled, 1986, oil on canvas, 150 x 130 cms, Sigg Collection A33. Lin Tianmiao, Braiding, 1999, digital photography (400x 250 cms),cotton thread, video, Sigg Collection A34. Entrance to Yamashita Pier, 2005, flags by Daniel Buren, photographed by John Clark A35. View towards Minato-mirai (Port-future) Yokohama, from Yamashita Pier, photographed by John Clark A36. Jiang Jie, Swimming Dragon, installation in Yamashita park, Yokohama, 2005, photographed by John Clark A37. Jiang Jie, Swimming Dragon, installation in Paris, 2004? A38. Qiu Zhijie, Slowly approaching, mixed media and video, 2005, photographed by John Clark A39. Long March Group, Yokohama Chinatown Dragon Dance, video, 2005 A40. Gao Gang, Chinatown in Soho, oil on canvas, 2005, photographed by John Clark A41. Teruya Yûken, Notice Forest, paperback, 2004, photographed by John Clark A42. Teruya Yûken, Title Unknown, sound installation, 2005, photographed by John Clark A43. Yao Jui-chung [Yao Ruizhong], The world is for all – China beyond China, mixed media 1997-2000, photographed by John Clark A44. Yao Jui-chung [Yao Ruizhong], The world is for all – China beyond China, mixed media 1997-2000 A45. Nara Yoshitomo & graf, 2005, photographed by John Clark A46. Nara Yoshitomo & graf, Yokohama seaside tenement house, paintings and mixed media, 2005, photographed by John Clark A47. Nara Yoshitomo & graf, Yokohama seaside tenement house, paintings and mixed media, 2005 [booth selling drawing album of Nara ], photographed by John Clark. A48. Soi Grocery, 2005, photographed by John Clark A49a. Soi Project, work of Pinaree Sanitpitak, Breast Stupa Flowers, 2005, video and fibreglass moldings, photographed by John Clark A49b. Soi Project, work of Pinaree Sanitpitak, Breast Stupa Flowers, 2005, video and fibreglass moldings, photographed by John Clark A50. Ong Keng Seng, The Flying Circus Project, here Reyum Institute memory project, 2004/5, photographed by John Clark A51. Navin Rawanchaikul and assistants, after Veronese’s Marriage at Cana with hints from Raphael’s The ‘School of Athens’, acrylic on canvas, solo exhibition Bangkok 2004 Photograph courtesy Jennifer Gampell 43 Contemporary Asian Art at Biennials © John Clark, 2013

A52. Navin Rawanchaikul and assistants, 2002, Navin Rawanchaikul and assistants, 2002, after Veronese’s Marriage at Cana, with hints from Raphael’s The ‘School of Athens’ acrylic on canvas, at Basel Art Fair, 2003, photographed by Thomas Berghuis. A53. Navin Rawanchaikul and assistants, (M)art, [Warhol vs Basquiat], 2005 at Yokohama Triennale, photographed by John Clark A54. Wong Hoy Cheong, Fastigium, installation, Guangzhou, 2005, photographed by John Clark A55. Huang Yongping, Shadow slogan ‘In God we trust’ on wall of Guangzhou MFA 2005, left behind from previous work for the Bat Project 2001- 2002, photographed by John Clark. A56. Xu Tan, Wine for 9 September, mixed media, installation, exterior view, 2005, photographed by John Clark A57. Xu Tan, Wine for 9 September, mixed media, installation, interior view, 2005, photographed by John Clark A58. Housing construction, Guangzhou, 2005, photographed by John Clark A59. Wen Feng’s Eggs in Xinyi International Club, Guangzhou, 2005, photographed by John Clark A60. Lin Yilin, Missing Dolly, 2005, photographed by John Clark A61. View from Guangzhou Art Museum with Lin Yilin’s sculpture reflected in the window, photographed by John Clark A62. Visitor looking at Museum model, Guangzhou Triennale, 2005, real-estate site, photographed by John Clark A63. Jiang Jun, Mega-city, Research Plan, Guangzhou Triennale, 2005, photographed by John Clark A64. Leung Chi Wo, Post IKEA display, mixed media, 2005, photographed by John Clark A65. Weng Fen, Eggs, courtesy the artist, 2005, Guangzhou Triennale installation at Xinyi International Club A65. Marc Boucherot, Mobile Cinema Structure, in the countryside, Vitamin Creative Space, 2005 A66. Marc Boucherot, Mobile Cinema Structure, in the gallery, Vitamin Creative Space, 2005, installation at Xinyi International Club, photographed by John Clark A67. Wall display, Guangzhou Triennale, 2005, real-estate site, photographed by John Clark A68. The Art Historians’ last words, David Clarke and John Clark in conversation. Photograph courtesy Michael Fitzhenry. A69. The Curator’s lot is never done, Hou Hanru on his mobile telephone in the exhibition, photographed by John Clark.

44 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Two: Indicators for some Asian Biennales Key to columns: A: name of Biennale and name of curator(s); B: year in question; C: periodicity; D: emphasis of selection. (L)ocal, (R)egional, (G)lobal; Ea: Number of artists [including some artist groups] L: Number of Local artists NLa: Number of Non-Local Asian artists NL non-a: Number of Non-local Non-Asian artists Total: Total number of artists exhibited [L/Total and NLa/Total allows calculation of composition ratios showing the relative importance of other-Asian art in the Biennale; NLnon-a/Total allows calculation of a composition ratio showing the relative importance of other-than-Asian or international art in the Biennale. Gender ratios could also be so calculated.] ?: Indicates figure is unknown or is a deduction; Eb: Number of countries; Ec: Number of works; F: Attendances; G: Direct budget $US; H: Indirect budget, $US; usually comprised of the extra funds from sponsors including other national governments, cultural foundations and councils etc. I: Type in revised Bydler schema above. 45 Contemporary Asian Art at Biennials © John Clark, 2013

Some artists of overseas origin are not counted as ‘Asian’ if they reside in the country of exhibition.

Currencies have been converted into US$ values of the time by http://www.x-rates.com/cgi-bin/hlookup.cgi Statistics have been inserted in this table to the extent they have been made available by biennial authorities or have been recorded in published reports. If I have been unable to find or receive data I have left a blank since other colleagues may be able to correct or supply them in future.

G is extremely difficult to calculate reliably because of various uncharged allocations of staff time in kind from hosting institutions, separate and often underestimated budgets for new capital infrastructure, and nominal or zero rental charges on existing infrastructure. H is difficult to calculate because of effective regular subsidy by overseas governments through their direct cultural agencies for funding artist visits or work shipment and loan costs, hidden subsidies by commercial patrons in effect contracting exhibition space to service advertising or their goods’ and services’ promotion, use of foundation funds to purchase works exhibited, and many other factors including in some cases, one suspects, the real costs of obtaining political support.

Sources: the invaluable Asian Art Archive: http://www.aaa.org.hk/onlineprojects/bitri/en/index.asp, Interview with Low Kee Hong, Singapore, 21.6.2006; Okabe, Aomi, ‘Gendaibijutsu no hen’yô to Bijutsuten’, in Omuka Toshiharu, kenkyû daihyôsha, Kansha, Tenji, Kanshô, sono juyô no bijutsushi, [Heisei 14 nendo -16 nendo kagaku kenkyûhi hojokin, Kenkyûhôkokusho no. 1430029] Tsukuba, Tsukuba Daigaku Geijutsugakkei, 2001, p.47-48; some figures for China are in Yin Shuangxi, ‘Shuangnianzhan zhidu yu fei-yingli wenhua shiye’, in Lu Peng, Kong Lingwei, ed.s, Huiyi yu Chenshu - guanyu 1949nianhou de zhongguo yishu yu yishushi, Changsha, Hunan Meishu Chubanshe, 2007; Non-attributable statements by curators or managers in private interview; Relevant catalogues of the Biennales in question where available.

46 Contemporary Asian Art at Biennials © John Clark, 2013

A B C D Ea artists Eb countries Ec F G (US$) H (US$) I year(s) period emphasis L/NLa/NL non-a/total works audience direct budget indirect type budget Tokyo Biennale 1952-1990 2 L/G 8 Triennale-India 3 L/G 6 1968 31 649 1971 47 803 1975 22 606 1978 36 994 1982 45 940 1986 1991 1994 1997 6/38a 38 2001 35/31a 30 2005 43/20a/101/164 33 Biennale of 1973 2 L/G 5 Sydney** Anthony 1973 ?/7a/?/37 Wintherbotham William Wright 1976 ?/17a/?/80 10 Nick Waterlow 1979 ?/0/?/131 19 William Wright 1982 ?/19a/?/209 17 Leon Paroissien 1984 ?/3a/?/66 20 Nick Waterlow 1986 ?/ 7a/?/123 21 Nick Waterlow 1988 ?/4a/?/127 15 René Block 1990 ?/?/?/148 28 Tony Bond 1992/3 ?/6a/?/126 33 Lynne Cooke 1996 ?/5a/?/48 24 Jonathan Watkins 1998 ?/ 21a/?/101 28 Nick Waterlow 2000 ?/7a/?/48 23 250,000+ Richard Grayson 2002 ?/6a/?/56 22 245,393 $21140 (A$41,140) Isobel Carlos 2004 ?/5a/?/51 29 281,351 $42,188 (A$75,000) Charles Merewether 2006 ?/26a/?/85 44 316,811 $388,500 (A$525,000) Asian Art Biennale 1981 2 L/R 6 47 Contemporary Asian Art at Biennials © John Clark, 2013 of Bangladesh 1981 14 1983 13 1986 ?/?/?/316 15 490 1989 14 484 1991 13 447 1993 27 1995 33 1997 35 1999 ?/?/?/323 36 604 2001 ?/?/?/392 43 574 2004 184/93a/33?/300+ 44 2006 168/78a/100/348 31 532 Osaka Triennale 1990-2001 3 L/G 3 2001 3 44/30a/41?/115 60 146 Taipei Biennale 1992 2 L/G 8 1992 1994 1996 Nanjô Fumio 1998 12/23a/?/36 4 128,000 $600,000 Jerôme Sans, Hsu 2000 6/9/ 16?/31 130,049 $618,620-$773,276 Manray Bartomeu Mari, Wang 2002 6/5a/20?/31 108,622 $618,620- Chiachi (Jason) $773,276 Cheng Hueihua 2004 6/13a/13?/32 106,583 $618,620- (Amy), Barbara $773,276 Vanderlinden Dan Cameron, Wang 2006 6/11a/19?/36 Ca 200 $618,620- Junjieh $773,276 Asia-Pacific 3 L/R 5 Triennale of Contemporary Art, Brisbane** 10 Aus+12 non-Aus 1993 18?/58a/0/76 13 >200 60,445 $196,819**** $165,900 [A$289,000,Qld Govt] [A$210,000 Australia Council] 28(7+21) Aus +16 1996 30?/50a/0/80 17 120,000 $215,305**** $39,500 non-Aus [Qld Govt} [A$50,000 48 Contemporary Asian Art at Biennials © John Clark, 2013

Australia Council] 27 Aus + 23 non-Aus 1999 14/63a/0/77 20 155,000 $176,290**** $66,400 [Qld Govt} [A$100,000 Australia Council] 7 Aus 2002 6?/10a/0/16 11 91 220,000 [Qld Govt]? (Doug Hall; Lynne 2006 13?/25a/0/39 19 270 ? [Qld Govt]? $975,000 Sear, Andrew Clark, [A$1,300,000 Suhanya Raffel, Julie Cash & Ewington, Maud contra Page, Kathryn Weir, sponsorship Sarah Tiffin) 8 Aus via QAG Foundation] Gwangju (Kwangju) 2 L/G 8 Biennale Lee Yongwoo 1995 7/20a/?/87 1,640,000 Lee Youngchul 1997 8/9a/?/98 Oh Kangsu 2000 12/24a/?/84 Sung Wankyung 2002 18/40a/?/89 325 556,000 $ 6,300,000 Charles Esche, Hou Hanru Kerry Brougher, 2004 17/13a/?/90 41 542,000 $ 7,087,000 Chang Sukwon, Lee Yongwoo +3 asst. cur. Kim Hongyee, 7 non- 2006 19/22a/?/87 $10,000,000 Korean, 1 Korean asst.cur. Shanghai Biennale L/G 8 1996 1998 Fang Zengxian, 2000 37/18a/12?/67 15 $240,000 Zhang Qing, Li Xu, (Ca2,000,000rmb) Hou Hanru, Shimizu Toshio Xu Jiang, Fan Di’an, 2002 32/11a/15?/68 $360,000 Alanna Heiss, Klaus (Ca3,000,000rmb) Biesenbach, 49 Contemporary Asian Art at Biennials © John Clark, 2013

Hasegawa Yûko Zhang Qing Zheng 2004 55/23a/30?/108 35 Shengtian,Sebastian Lopez, Xu Jiang Huang Du, 2006 33/20a/30?/93 23 Gianfranco Maraniello, Jonathan Watkins, Zhang Qing, Lin Shumin, RheeWonil, Xiao Xiaolan Busan Biennale 2 J/G 1998 12/9a/79?/100 3 Lee Youngchul, Rosa 2000 14/10a/16?/50 Martinez, Hou Hanru, Tom van Bleat Kim Levin, Catherine 2002 16/6/44?/69 36 67 Francblin, Tatehata Akira Choi Taeman, Park 2004 56/25a/9?/90 Manwoo [Manu D.?], Lee Taeho Park Manu D. 2006 32/12a/92?/136 40 140 Fukuoka Asian Art 3 L/R 5 Triennale* 1999 3/52a/0/55 21 120 57,630 $1,290,000 2002 2/36a/0/38 21 122 13,000 $ 710,500 2005 4/44a/0/50 21 120 17,262 $ 900,000 Melbourne 1999 only L/G 3 International Biennial** Echigo-Tsumari 3 L/G 3 Triennial Kitagawa Fram 2000 ?/12a/?/148 32 Kitagawa Fram 2003 ?/11a/?157/ 23 200 Kitagawa Fram 2006 ?/10a/?/200 40 Yokohama 3 L/G 9 Triennale 50 Contemporary Asian Art at Biennials © John Clark, 2013

Kômoto Shinji, 2001 33/21a/55?/109 38 349,179 $6,500,000 Nakamura Nobuo, Nanjô Fumio, Tatehata Akira Kawamata Tadashi 2005 34/13a/39?/86 71 189,568 with Yamano Shingo, Serizawa Takashi, Amano Tarô Mizusawa Tsutomu 2008 with Daniel Birnbaum, Hu Fang, Hans-Ulrich Obrist Auckland 3 L/G 3 Triennial** Allan Smith 2001 ?/?/?/32 Ngahiraka Mason, 2004 ?/4a/?/39 12 Ewen Mcdonald Victoria Lynn 2007 ?/1/?/37 Chengdu Biennale 2001 2 R $360,000 3 (Ca3,000,000rmb) 2007 Guangzhou 2 L/G 8 Triennial (1st Guangzhou 1990s 1992 $153,000 Art Biennale [oil (Ca850,000rmb) painting]) Wu Hung with Wang 2002 55/0a/0/55 1 58 $600,000 Huangsheng, Huang (Ca5,000,000rmb) Zhan, Feng Boyi Hou Hanru, Hans 2005 41/13a/3?/57 20 52,000+30,000 $1,260,000 Ulrich Obrist, Guo = 82,000 Xiaoyan Beijing 2 L/G 9 International Art Biennale (China Oil Painting 1993 $450,000 Biennale) (Ca2,500,000rmb) Liu Dawei, Jin 2003 143?/45a/112?/300 45 577 20,000 $1,120,000 51 Contemporary Asian Art at Biennials © John Clark, 2013

Shangyi, Feng Yuan Liu Dawei, Jin 2005 156/78a/268?/500 69 600 $1,860,000 Shangyi, Feng Yuan Kyoto Biennale 2003 only 2 L 3 CP Biennale, 3 2 L/G 8 3 Jakarta Jim Supangkat, Rizki 2003 78/10a?/28?/128 167 A. Zaelani Jim Supangkat, Marco 2005 56?/13a?/18?/70 Kusmawijaya, Asmujo Jono Irianto, Rizki A. Zaelani Singapore Biennale 2006 2 L/G 5 Nanjô Fumio with 2006 R/G 14/54a/27?/95 [883,300]*** $4,025,157 $1,006,289 9 Roger Mcdonald; Sharmini Pereira, Eugene Tan [originally included Ahmad Mashadi]

* Fukuoka Asian Art Triennale was preceded by several related Asian Art Shows from 1989.

**The four Australasian Biennales, and some minor, short-lived ones I have not mentioned, belong to the Asian art region in virtue of their geographic location, the early exhibition of Asian contemporary art [at Sydney from 1973, twenty years before Venice, sixteen years before the first Fukuoka Asian Art Show], the continued incorporation of Asian contemporary art in many mainstream exhibitions, and the increasing size of their Asian immigrant populations [Asian first and second generation populations are about 20-25% of the total population in Sydney whereas Fukuoka, for example, has about 1% non-Japanese Asian population]47

*** The Biennale ‘attracted 883,300 people and received rave reviews’, according to Lee Suan Hiang, ‘Firing on all fronts’ in State of the Arts, National Arts Council, Annual Report FY 2006/07, Singapore, National Arts Council, 2007 p.3. Mr. Lee was then the Chief Executive Officer of the National 52 Contemporary Asian Art at Biennials © John Clark, 2013

Arts Council. How about 25% of the total Singaporean citizen population can be thought of as visiting the Biennale is unjustified, unless this includes an estimate for those passing works exhibited in public shopping sites such as Orchard Road. This figure is, for example, 3-4 times the number of visitors to the Biennale of Sydney whose visitor figures are known to be quite conservative. Internal and unattributable sources indicate there were two sets of figures arrived at, one for indoor visits which were quite accurate, and one for outdoor visitors to public sites who were assessed as a percentage of those passing but who appear to have been interested in the art works. The 883,000 appears to be a conflation of these two figures.

****According a government statement by Hon. M.J.Foley, Attorney-General and Minister for Justice and Minister for the Arts, reported in the Queensland Parliamentary Hansard for 26 August 1999 pages 3578-3579, the Queensland Government spent A$2.6 million on the APT over nine years, or A$289,000 per annum, so these figures adjusted for annual exchange rates at the time were the minimum expenditure of the Queensland Government on the APT in those years. How the fixed costs of the Queensland Art Gallery Building and the salaries budgets for curators and shipping expenditures and other non-fixed operating costs of the Queensland Art Gallery allocated to the APT were factored into this A$2.6 million, or were in addition but then were set aside, is not clear. Further details are excerpted from this speech in Chapter Six.

53 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Three Funding of Queensland Art Gallery

Richard W. L. Austin was chairman of Trustees of the Queensland Art Gallery 1988-1995 as crucial decisions were made about setting up the Asia- Pacific Triennial of Contemporary Art. His speeches are collected as View from the Chair, Brisbane, Queensland Art Gallery, 1997. He made his first speech in 1988 when there were Queensland exhibitions at the Expo 1988 in Brisbane, and retired in 1995.

He gave a vote of thanks at the opening of Japanese Ways, Western Means, 19th September 1989 which indicated that A$350,000 had been received from four Japanese companies, Nikko Securities, Nomura Securities, Meiji Life Insurance, Japan Travel Bureau to purchase works of art. These sums were matched by the Queensland Government to presumably to make a capital fund for purchase of about A$700,000 [Austin, 1997, p.25]. With the addition of a new donor, Hitachi, and later the forming of the Queensland Exhibitions Development Fund in 1990, the fund had reached A$555,000 [Austin, 1997, p.27, p.34]. If matched by the Queensland Government, this could have given a capital fund for purchases of about A$1,110,000. Depending on capital replenishment rules, this may have meant a possible annual buying expenditure of around A$100,000 per annum. As seen above in Appendix One, the Queensland government itself calculated nine-year expenditure of around A$289,000 per annum on the APT, but whether this included matching the capital for the exhibitions’ fund or was above and beyond that matching, is not clear..

The APT project was launched in 1992, and on the death of Kenneth and Yasuko Myer a donation was made in 1993 donation from Mr and Mrs Michael Myer of A$50,000 for the purchase of art works

The Queensland Cultural Centre Trust which includes the Queensland Art Gallery complex, does not charge rent on premises administered by the Gallery, see Queensland Art Gallery Annual Report, 1992, p.57. As indicated above in Appendix One the Queensland Government thought itself as having invested $A289,000 in the APT per annum for the nine years 1990-1999, or A$2.6 million in total.

54 Contemporary Asian Art at Biennials © John Clark, 2013

From Queensland Art Gallery Annual Reports, to 1st June each year, in A$ [APT was usually held in September] 1993 1994 1995 Operating 9,607,412 9,914,425 9,111,965 expenses Operating 2,307,976 1,766,678 1,859,301 income independent sources Net cost of 7,299,436 8,148,747 7,252,664 services Government 7,671,000 8,024,400 9,326,050 revenue

International 497,343 359,806 597,070 programmes Acquisitions 660,891 900,578 75,993

Depending on when costs were charged to budget lines these figures indicate there was an A$849,111 increase in net cost of services between 1993 and 1994, and an A$239,687 increase in acquisitions for the same period. Since APT I fell within the 1994 reporting period this indicates that the minimum expenditure on APT I might have been in the region of A$1,088,798. 55 Contemporary Asian Art at Biennials © John Clark, 2013

Australia Council Grants to Queensland Art Gallery [source: annual reports of Australia Council for the Arts, A$]

2004-5 $80,000 2003-4 $50,000 2002-3 $108,000 2001-2 $94,130 2000-1 Nil 1999-2000 $62,000 1998-99 $97,539 1997-98 $119,000 [APT $100,000] 1996-97 Nil 1995-96 $50,000 [APT $50,000] 1994-95 $80,000 1993-94 Nil 1992-93 $150,000 [APT $150,000] 1991-92 $60,000 [APT $60,000] 1990-91 Nil 1989-90 $55,000

In the case of the APT, other kinds of government, indirect, case-by-case support have been considerable. The catalogue for APT I lists sponsorship by various Australian quasi-governmental and diplomatic organizations including the Australia-China Council, Australia-Indonesia Institute, Australian High Commission in Malaysia, Australia-New Zealand Foundation, Australia High Commission in Papua New Guinea, Australian Embassy in The Philippines, Australian High Commission in Singapore, Australia-Korea Foundation, Australian Embassy in Thailand, and the Australian Embassy in the Socialist Republic of Vietnam. Two Australian overseas legal firms and two foreign cultural bodies are listed as sponsors. Six Japanese companies are listed as supporting the Queensland Art Gallery Exhibitions Development Fund.

Many of the same names recur for APT II and APT III with the addition of the Australia-India Council, and the Australian Film Commission for APT III. 56 Contemporary Asian Art at Biennials © John Clark, 2013

Although the Commonwealth Government sources were disparate and funded through many different agencies, this indicates that at least APT I-III can only be considered a major and substantive foreign cultural relations’ activity at national level.

57 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Four Report on the Database

By Thomas Berghuis for John Clark

Introduction This report provides an overview of the ‘database of artists and curators of Asian art’, which was compiled between 2003 and 2006, as part of the Australian Research Council Project on Asian Art at Biennales and Triennials. It consists of two parts: Part 1 presents an overview of the background and contents of the database; and Part 2 offers notes on the application, including on positioning and on making comparisons. Part 1: Overview Background In 2003 John Clark set up plans for a database that would reflect the structures of participation in recurrent art exhibitions of Chinese artists and Asian artists during the course of the 1990s. The first document that was produced consists of a list of exhibitions and major book publications that involved the participation of Chinese artists (hereafter called ‘China-list’). This list includes artists from the Peoples Republic of China, Taiwan, Hong Kong, Macau, and Chinese artists living elsewhere in the world. Hereafter, a second document was produced, which consists of a list of exhibitions and major publications that feature Asian artists, according to their country of origin (hereafter called ‘Asia-list’).

Overall, the selection of the exhibitions consists of three categories.

The first category is of ‘marker exhibitions’, which involves major overview exhibitions of artworks by artists of one particular country (Inside Out, 1999) or of exhibitions that offer clear indicators of change in their curatorial approach (Magiciens de la Terre, 1988). It has to be noted that the category of marker exhibitions is used extensively for the China-list and less comprehensive for the Asia-list. This is due to the time-limit, and complex infrastructure involved in tracing all the exhibitions. One of the exceptions is the exhibition Cities on the Move, 1997 which is featured in both lists, and provides a good example of a significant ‘marker exhibition’ as it has had clear impact in the art world. 58 Contemporary Asian Art at Biennials © John Clark, 2013

The second category is of ‘regional recurrent exhibitions’, which involves many of the Biennial and Triennial art exhibitions across the world (particular in the Asia-Pacific), which have shown consistency in selecting artists from China and Asia and in attracting continuous attention from the international art scene. These include the Biennale of Sydney, the Fukuoka Asian Art Triennial, and the Kwangju Biennale, amongst others. It is important to notice how some of these exhibitions have a particular function in endorsing a broad range of local artists as part of an internationally-oriented exhibition of contemporary art. This can be clearly seen in the Busan Biennale (formerly known as PICAF).

The third category is of ‘major recurrent exhibitions’. In the process of setting up the list a selection has been made of 3 recurrent exhibitions, which have a significant role in the international dissemination of contemporary art. These are: the Venice Biennale, the São Paolo Biennial, and Documenta. Aside from selecting them on the basis of their long-standing tradition and international attraction, these exhibitions provide a clear discursive function, and are given great attention by the media.

The selection of major book publications is informed by the publication of Cream (1998), Fresh Cream (2000) and Cream 3 (2003), as well as the publications of Art at the Turn of the Millennium (1999) and Art Now (2000). These publications have clearly been set up to inform developments in the dissemination of contemporary artists in the international art scene, and can be seen as an integral part of the recurrent art exhibitions.

Both the China-list and the Asia-list contain the following information-categories:  Exhibition number  Exhibition title  Curator/concept  Artists  59 Contemporary Asian Art at Biennials © John Clark, 2013

Database Contents The main task of the database involves the creation of four tables that will reflect the occurrence of artists and curators in the exhibition list for Chinese artists and Asian artists. These tables are: 1) ASIA Artists Points Database, 2) ASIA Curators Points List, 3) CHINA Artists Points List, and 4) CHINA Artists Points List. Each of these tables contains the following columns:  Position: This list artists and curators according to their occurrence in each of the exhibition categories, as well as in major book publications. For further detail, see Part 2, section on positioning.  Country: The Asia-list identifies the country of origin of the artist, according to international standards (in for India, jp for Japan, etc.)  Full Name: Names for China, Japan, and Korea are generally listed as surname first and first name second. Artists from all other countries (including Indonesia, Philippines, and Thailand) have their first name placed at the front, followed by their family name.  Years of occurrence: This column lists the years in which exhibitions have been held that featured each particular artist. Exhibition ID: Each exhibition has been given a unique number, which is essentially designed to reflect links between curators and artists in the database. Details of these numbers can be found at the beginning of the China-list and the Asia-list.  Points Marker: Each of the ‘marker exhibitions’ reflect 1 point for the curator/ artists in their final positioning  Points Regional Recurrent: Each of the ‘regional recurrent exhibitions’ reflect 2 points for the curator/artists in their final positioning  Points Major Recurrent: Each of the ‘major recurrent exhibitions’ reflects 3 points for the curator/artists in their final positioning  Major Catalogue: Each of the ‘major book publications’ reflects 3 points for the curator/artists in their final positioning  Total occurrence: Reflects the number of times each of the curator/artist is listed  Total points: Reflects the total amount of points for each of the curator/artist, and will determine their final position on the overall list

Part 2: Application Positioning 60 Contemporary Asian Art at Biennials © John Clark, 2013

From the final position-column for each of the curators it can be seen that many share a similar amount of points. As a result it is important to look for a way to list the positioning according to points shared, as well as to produce a list that reflects each shared position according to weight of the exhibitions that the artist/curator participated in.

To solve these issues, another set of four tables have been made. These are: 1) ASIA ARTISTS TOP LIST, 2) ASIA CURATORS TOP LIST, 3) CHINA ARTISTS TOP LIST, and 4) CHINA CURTORS TOP LIST. The two curator-top-tables contain all of the curators that are listed in the original database tables. However, the two artist-top-tables contain artists that have 5 points or more. This seemed like a reasonable cut-off point, as they involve artists that have participated in at least two exhibitions.

All of the top-tables that have been created contain three separate columns, listing the positioning of artists and curators. The first column, ‘Position Points’ contains the original template, which does not reflect correctly the curators/artists that share similar points.

The second column, Position Points Shared provides a correction by listing all the curators/artists according to their sharing of points. It is interesting to see how the ‘shared-point-column’ shows how limited the number of positions actually is when one takes into consideration the shared- mount of points. In the case of China we notice that there are 25 artist positions and 12 curator positions, whereas the list of Asia shows 11 artist positions and 12 curator positions. Hence, these lists signal that there is a very limited degree of variation in the circulation of artists and curators for both China and Asia in setting up ‘marker exhibitions’ and ‘recurrent exhibitions’.

The third column, POSITION MAIN (Points & Occurrence) reflects the weight of the exhibitions that each of the artists has participated in. In order to identify the ‘weight’ one has to look at the exhibition ID-numbers, which clearly indicate the various point-categories of the exhibition. This position-column also takes into consideration some of the attention that each of the artist has received in the media, following their participation in the exhibition.

61 Contemporary Asian Art at Biennials © John Clark, 2013

Comparisons The first comparison that can be made is on the basis of the position-column in comparison to the total amount of artists that have occurred in the database. Below each table one can see the actual number of artists that are listed in the database.

The CHINA Artists Points List features a total number of 882 artists. The ASIA Artists Points List features 1089 artists. However, if we look carefully at the amount of points that have been gathered by each of the artists there is only a small number of artists that have high points and an even smaller number of artists that do not share the same amount of points. One can also notice how there is a clear ‘winner’, which means that both lists feature a distinct margin between the artist listed on the first position and the next runner up.

Looking at the CHINA Artists Points List one can easily identify two broad categories.

There are 160 artists who hold 5 points or more, which means that they have participated in more than one exhibition.

There are 14 artists who hold 20 points or more, which indicates that there are hardly any shared points, and may indicate that these artists are circulated much more than the artists who follow.

Looking at the ASIA Artists Points List the categories are as follows:

There are 102 artists who hold 5 points or more, which means that they have participated in more than one exhibition. There are 19 artists who hold 12 points or more, which indicates that there are hardly any shared points, and may indicate that these artists are circulated much more than the artists who follow. Further analysis is needed to offer a second comparison, by identifying details about patterns of circulation of artists in the list, starting with the top- list of 14 artists. 62 Contemporary Asian Art at Biennials © John Clark, 2013

Four preliminary examples of such comparisons are as follows.

A good comparison is between the data on Zhang Peili and Yang Fudong, two important Chinese video artists. Zhang Peili, number 4 on the list, is a well-known figure in the Chinese art scene and has participated in a broad range of exhibitions that are spread over a long period of time, stating in 1987. However, he is almost on par with Yang Fudong, who has circulated in a rather similar amount of exhibitions, but only since 2001. In fact, both artists have obtained an equal amount of 27 points, but over different periods of time. One can find a similar comparison between the late Montien Boonma and Hatsushiba-Nguyen Jun. Montien Boonma is number 2 on the list, and a highly acclaimed artist who has started to participate in major international recurrent exhibitions since 1990. Hatsushiba-Nguyen Jun, number 4 on the list, arrived on the international scene precisely a decade later, in 2000. However he is listed almost on par with Boonma, and both artists have obtained 20 points in the list.

One of the conclusions that can be made is that after 2000 the circulation of artists becomes more limited in the number of participants, and at the same time their circulation takes place in a much shorter time-span. Obviously, in recent years there is a tight circulation-system being put in place, where new stars rise far more rapidly to the top that their colleagues who entered the circuit a decade before.

Commercial success does not necessarily means that an artist is circulated more in the international art world of recurrent art exhibitions. In fact, looking at the China-list there are a great number of artists who we know are doing well on the art market, but nevertheless do not appear high on the database. Take for example artists such as: Xu Yihui (ceramics, position 236) and Chen Wenbo (oil painting, position 238). One could argue that popularity is based on the type of work that is produced, which is often in the form of large, conceptual installations. However, point 3) seems to indicate some modification is needed of this view. 63 Contemporary Asian Art at Biennials © John Clark, 2013

Similarly Araki Nobuyoshi (photography, position 271) is a well established artist in the commercial art market, but in terms of circulation in the recurrent exhibition scene he is not as highly positioned as for example Atelier Bow Bow (architecture, design, and conceptual installations, position 22)

Artists who hold a particular important position in the local art scene are not necessarily selected on a regular basis for recurrent art exhibitions. Take for example: Ai Weiwei (conceptual artist, position 61), and Huang Rui (conceptual artist, position 361).

Similarly Jakapan Vilasineekul (sculptor, position 341) is a highly respected artist in Thailand, but has only been selected once, in 1996, for a regional recurrent exhibition.

Even the observation that general international circulation and acclaim provides artists with a high ranking on the list of recurrent art exhibitions is not always a valid argument. As can be seen from the ASIA table, Rirkrit Tiravanija (installation/ performance, position 246), who is definitely one of the most circulated artists in the world, does not appear high on the list of circulation in Biennales and Triennials. Similarly, in the CHINA table we find Chen Danqing (oil painting, position 765), who is also a highly acclaimed and well circulated artist. However, his position in the circulation at recurrent art exhibitions is very low. These examples may indicate that curators may hold very exclusive thoughts on medium (performance is often not preferred), or hold particular preference on style (eg. Chen Danqing’s oil paintings are not suitable for the Biennale- and Triennial- context.

Postscript One of the main questions that needs to be answered is how curators and artists are linked. Part of this can already be seen in the tables that are made so far. For example one can see a clear link between artists that have participated in Cities on the Move (1997), curated by Hou Hanru and Hans-Ulrich Obrist, and their subsequent participation in Biennales and Triennials that involved these two curators.

64 Contemporary Asian Art at Biennials © John Clark, 2013

The second important question is whether curators are helping each other to get new positions in Biennales and Triennials. For example, one can see how the 1st Moscow Biennale in 2005 involved Rosa Martinez and Hans Ulrich Obrist. In previous years Martinez is frequently involved with the Istanbul Biennale, whereas Obrist is known to have worked in close collaboration with Hou Hanru. After the Moscow Biennale it was announced that Hou Hanru would become the next artistic director for the 10th Istanbul Biennale in 2007.

In conclusion the database shows how restricted the circulation of curators and artists in Biennales and Triennials is, and this becomes even more clear at the start of the twenty-first century. 65 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Five Critics and curators active in introducing contemporary Chinese art outside China

Since not all the following names will be familiar to all readers, I have drawn up a provisional and broad corpus of names centred on the period 1990- 2004 to indicate those who appear to have been among the most active figures in active in introducing contemporary Chinese art outside China. ‘Chinese’ usually means ‘born in China, Hong Kong, Macao or Taiwan’ but may also include bi-cultural identities. Gallerists and other art dealers are only included below if they are also known as a critic or curator. The sequence is alphabetical by country and then by surname, with East Asian surnames conventionally coming first. Generally speaking Pinyin is used to romanize names from mainland China and Wade-Giles for persons from China-Taiwan, and a Cantonese romanization for China-Hong Kong.

Chinese critics and curators active in introducing contemporary Chinese art abroad: living in China, 1st generation: Ai Weiwei, Fan Di’an, Huang Rui, Huang Zhuan, Li Xianting, Liao Wen, Shao Dazhen, Wang Huangshen, Xu Jiang, living in China, 2nd generation: Feng Boyi, Chen Chaos, Gao Ling, Gu Zhenqing, Hu Fang/ Zhang Wei (Vitamin in Canton), Huang Du, Leng Lin, Lu Jie, Lu Peng, Pi Li, Qiu Zhijie, Shu Yang, Tang Xin, Wu Hong, Wu Meichun, Zhang Qing, Zhang Zhaohui, Zhao Shulin living in Hong Kong: Oscar Ho, Chang Tsong-zung [Zhang Songren], Ellen Pau, living in Taiwan: Hsiao Chong-ray, Hsu Man-ray, Hsu Hsiao-hu [Joan Stanley-Baker], Lai Yingying, Lin Hsing-yueh, Kuo Chi-sheng, Lu Rongzhi [Victoria Lu], Yang Wen-i, Yuan Chuan-ying, living in France: Ch’en Ying-Te, Fei Dawei, Hou Hanru,Yu Hsiao-hwei, living in Canada: Alice Jim Ming-wai, Zheng Hwei-hua, Zheng Shengtian, Annie Wong living in USA: Gao Ch’ien-hwei, Gao Minglu, Huang Hai-min, Liu Han-Ch’ang, Pan An-yi, Shen Kuiyi, Shi Rui-ren, Wu Hung, Alice Yang [deceased], Zhao Li, Zhou Yan

Chinese-speaking non-Chinese critics and curators active in introducing contemporary Chinese art abroad: Australia: Geremie Barmé, John Clark, Susan Dewar [deceased], Nicholas Jose, Claire Roberts; Australia / China: Huangfu Binghui; France: Emanuel Bellefroid, Frédéric le Gouriérec, Marie Holzmann, Odile Pierquin-Tian; Germany/France: Martina Köppel-yang; Holland/Australia: Thomas Berghuis; Holland: Hans van Dijk [deceased]; Germany: Jochen Noth, Andreas Schmid; Italy: Monica Dematté; Italy/Canada: Francesca dal Largo; Japan: Maki Yôichi, Rawanchaikul Toshiko; Korea: Yoon Jae-gap; United Kingdom: Katie Hill, Karen Smith; USA: Julia F. Andrews, Robert Bernell, Britta Erickson, Jonathan Hay, Meg Maggio, Richard Strassberg.

Non-Chinese speaking non-Chinese critics, curators, and collectors active in introducing contemporary Chinese art abroad: Australia: D. J. Huppatz, Charles Merewether; Australia / USA: Melissa Chiu, Benjamin Genocchio; Belgium: Frank Uyterhage, Belgium/Switzerland: Guy Ullens; Canada: Hank Bull, Ken Lum; Finland: Perti Seppälä; France: Chantal Béret, Christine Buci-Glucksmann, Jean-Marc Decrop, Jean- Francois Jaeger, Michel Nuridsany; Thierry Raspail; Jerôme Sans, Alain Sayag; France / Germany: Jean-Hubert Martin; Germany: René Block, 66 Contemporary Asian Art at Biennials © John Clark, 2013

Gabriele Knapstein, Werner Melletin, Wolfger Pöhlmann, Dieter Ronte, Nadja Rottner, Walter Smerling; Holland: Marianne Brouwer, Chris Driessen, Cees Hendrikse, Heidi van Mierlo: Holland/Argentina: Sebastian Lopez; Holland / Germany, Waling Boers, Italy: Achille Bonito Oliva; Japan: Chiba Shigeo, Nanjô Fumio, Shimizu Toshio, Tatehata Akira; Switzerland: Urs Meile, Ulli Sigg; Switzerland/France: Hans-Ulrich Obrist, Switzerland/Germany: Harald Szeemann; United Kingdom: Edward Lucie-Smith; United Kingdom/Hong Kong: David Clarke; United Kingdom / Japan: David Elliott; USA: Ethan Cohen, Joan Lebold Cohen, Michael Goedhuis, Jeff Kelley, Kent Logan.

67 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Six Chinese artists exhibiting internationally at some larger collected exhibitions and at Biennales and Triennales shown sequentially by year, without one-person exhibitions

1987 Beyond the open door, contemporary paintings from the People’s Republic of China, Chang Ming, Chen Haiyan, Chen Jialing, Chen Junde, Chen Ren, Cheng Shihe, Dai Hengyang, Du Jiansen, Geng Jianyi, Guo Zhen, Han Liqin, Hua Xiaoyong, Huang Fabang, Jiang Jianjun, Kong Baiji, Li Jinlong, Li You’en, Lu Guohui, Liu Yonghua, Liu Yousha, Qiu Tao, Shan Deling, Shen Xinggong, Song Ling, Sun Jinggang, Wang Gongyi, Wang Jianwei, Wang Lihua, Wang Xiaoqin, Wang Zhenqiang, Wei Luan, Xu Jiang, Yu Xiaofu, Zhang Jiemin, Zhang Peili, Zhang Zhenhua, Zhao Weiliang, Zheng Zhaoqiang, Zhu Zhennan, [mostly chosen Nielsen, Waldemar A., essay by Strassberg, Richard L., organized by Pacific Asia Museum, Pasadena]

Peintres et Sculpteurs Chinois à Paris 1st Wave, arrived 1947-55: Zhao Wu-ki, Xie Jing-lan, Chu Teh-chun, Tang Hai-wen, Hsiung Ping-ming; 2nd wave, arrived end of 1950s to beginning of 1960s: Li Wen-tsien; 3rd wave, arrived 1964-1970: Chan Kim-chung, Dai Hai-ying, Peng Wan-shi, Ho Shun-pong, Shyu Wei-ping, Wong Tak-tsun, Ho Mojong, Chen Ying-the, Tchen Chi-yao, Chan Kai-yun; 4th wave, arrived 1975-81: Leung, S.H., Sze To-lap, Lau Chin-hung, Chang Yi-siong,Lee Kar-siu, Luk Yan-shing, T’an Chee-jiang, Yang Din, Ruo Yun, Gao Deanna, Hwang Buh-ching, Ung Kim-leung, Shyu Mei-yu, Yu Cheng-feng; 5th wave: Wu De-ch’un, Chen De-hong, Lin Min-yuan, Chai Hieu-hee, LiuK. Sing, Ru Xiao-fan; 6th wave, arrived 1984-1986: Huang Hai-ming, Tchang Tchon-jen, Wang Ke-ping, Ma De-sheng, Li Shuang, Jiang Da-hai, Gao Tian-hua, Liu Bing- jiang, Chen Wei-de, Fang Shi-cong, Chen Zhen, Sun Jing-po, Song Jian-ming, Wang Xue-qing, Zhu Fu-xin, Kao Shi-heng, Chen Ruei-wen, Lee Shou- cheng, Liao Shih-chen [curated by Odile Pierquin-Tian from artists then actually resident in Paris, organized by Centre de Recherches et de Documentation sur la Chine contemporaine, EHSS, 18 May to 3rd June 1987, romanizations for names here are those adopted by the organizers]

1989 Magiciens de la Terre Huang Yongping, Gu Dexin, Yang Jiecang [curated by Jean-Hubert Martin et al, Centre Pompidou Paris]

1990 Venice 44th Biennale no Chinese artists

68 Contemporary Asian Art at Biennials © John Clark, 2013

Art Chinois 1990 Demain pour Hier Cai Guoqiang, Yang Jiecang, Yan Peiming, Gu Wenda, Huang Yongping, Chen Zhen, Chen Qigang [curated by Fei Dawei, organized by Association Française d’Action Artistique & Les Domaines de l’Art at Pourrières]

1991 Exceptional Passage [curated by Fei Dawei, Fukuoka Art Museum] ???

“I don’t want to play cards with Cézanne” and other works¸ selections from the Chinese “New Wave” and “Avant-Garde” art of the eighties, Cao Yong, Chen Haiyan, Chen Jianghong, Dai Hengyang, Geng Jianyi, Guan Ce, Guo You, Hao Ping, He Duoling, Huang Fabang, Li Chao, Liu Zijian, Lü Shengzhong, Mao Xuhui, Meng Luding, Ou Xinwen, Ruan Jie, Shen Xiaotong, Song Gang, Su Xinping, Wang Gongyi, Wang Guangyi, Wang Jieyin, Wei Guangqing,Xiao Huixiang, Xin Hai Zhou, Xu Bing,. Xu Yanzhou, Yang Zhilin, Ye Yongqing, Yu Hong, Yu Xiaofu, Yuan Leping, Zeng Xiaofeng, Zhang Peili, Zhang Xuiaogangm, Zhou Changjiang, Zhou Jirong, Zhu Xiaohe, Zhu Zhengeng, Hunan Collective (Zou Jianping, Li Luming, Xiao Peicang, Yao Yanguang) [curated by Strassberg, Richard L., essays by Zheng Shengtian,Tang Qingnian, Lee Ou-fan, organized by Pacific Asia Museum]

1992 New Art From China Chen Haiyan, Fang Lijun, He Jianguo, Lü Shengzhong, Ni Haifeng, Xu Bing, Xu Hong, [curated by Claire Roberts, Art Gallery of New South Wales]

Documenta IX Included no Chinese artists [artistic director Jan Hoet]

1993 China Avant-Garde, Exhibited artists: Ding Yi, Fang Lijun, Geng Jianyi, Gu Dexin, Huang Yongping, Lin Yilin, Ni Haifeng, Wang Guangyi, Wang Jinsong, Wu Shanzhuan, Yan Peiming, Yu Hong, Yu Youhan, Zhang Peili, Zhao Bandi, Zhao Jianren [conception and organization by Han van Dijk, Jochen Noth, Andreas Schmid, 44 other Modern artists also listed and published in a separate list, organized by Haus der Kulturen der Welt]

Fragmented Memory: The Chinese Avant Garde in Exile Huang Yongping, Gu Wenda, Xu Bing,Wu Shanzhuan [curated by Andrews, Julia, F.; Gao Minglu, organized by Wexner Center for the Arts]

Silent Energy: 69 Contemporary Asian Art at Biennials © John Clark, 2013

Cai Guoqiang, Chen Zhen, Gu Wenda, Guan Wei, Huang Yongping, Wang Luyuan, Xi Jianjun, Yang Jiecang [curated by David Elliott and Lydie Mepham, organized by Museum of Modern Art, Oxford]

China’s New Art, Post 1989, with a retrospective from 1979-1989 Ah Xian, Cai Jin, Ding Fang, Ding Yi, Fang Lijun, Feng Mengbo, Fu ZhongwangGeng Jianyi, Gu Dexin, Gu Wenda, Guan Wei, Guo Wei, He Sen, Hong Hao, Li Shan, Liu Dahong, Liu Ming, Liu Xiaodong, Liu Wei, Lü Shengzhong, Mao Xuhui, Ni Haifeng, Pan Dehai, Qi Zhijie, Ren Jian, Shang Yang, Shen Qin, Shen Xiaotong, Song Yonghong, Sui Jianguo, Tang Song, Wang Chuan, Wang Guangyi, Wang Jianwei, Wang Jinsong, Wang Youshen, Wang Ziwei, Wei Guangqing, Wu Shanzhuan, Xia Xiaowan, Xiao Lu, Xin Haizhou, Xinkedu [Wang Luyuan, Gu Dexin, Chen Shaoping] Xu Anming, Xu Bing, Ye Yongqing, Yu Youhan, Zeng Fanzhi, Zhang Yongjian, Zhang Peili, Zhang Xiaogang, Zhou Chunya [curated by Chang Tsong-zung & Li Xianting, organized by Hanart TZ Gallery, Hong Kong]

Venice 45th Biennale In New Chinese Painting: Ding Yi, Fang Lijun, Geng Jianyi, Li Shan, Liu Wei, Sun Liang, Wang Guangyi, Wang Ziwei, Wang Youshen, Xu Bing, Ding Yi, Yu Hong, Yu Youhan, Zhang Peili [advised by Francesca dal Largo for overall curator Achille Bonita Oliva, also with catalogue text on Chinese avant-garde by Li Xianting]; in Aperto, Difference/Indifference: Lee Ming-sheng, Wu Zhanzhuan, Wang Youshen [curated by Kong Chang’an / Lau-k’ung Chan]

First Asia-Pacific Triennial of Contemporary Art Incldued Choi Yan-chi, Chou Irene, Ding Yi, Li Lei,Shen Haopeng, Shi Hui,Sun Liang, Xu Jiang,Yu Youhan, Zhou Changjiang [organized by Queensland Art Gallery]

1994 São Paolo 22nd Biennial Fang Lijun, Li Shan, Liu Wei, Wang Guangyi, Yu Youhan, Zhan Xiaogang [curated by Chang Tsong-zung, organized by Hanart TZ Gallery]

Out of the Centre: Chinese Contemporary Art Artists??? [curated by Ho Hanru, organized by Pori Art Museum, Finland]

4th Asian Art Show Fukoka [ed and pub Fukuoka Art Museum] Fang Lijun, Lü Shengzhong,

1995 Venice 46th Biennale 70 Contemporary Asian Art at Biennials © John Clark, 2013

In The Other Face: Liu Wei, Zhang Xiaogang, Gu Wenda [curated by Chang Tsong-zung]; elsewhere, Yan Peiming; in Transculture: Cai Guoqiang [curated by Nanjô Fumio and Dana Frijs-Hansen, organised by Benesse Foundation]

“Quotation Marks”: Chinese Contemporary Paintings,??? Artists??? [curated by Ronte, Dieter; Smerling, Walter et al, organized by Singapore Art Museum

New Asian Art Show Included Chuu Julia Nee, Li Yongbin, Song Dong, Wang Guangyi, Wang Jianwei, Wang Luyan, Wei Guangqing, Wang Youshen, Yan Jun [curated by Huang Zhuan, organized by Japan Foundation Forum].

Johannesburg 1st Biennale

1996 São Paolo 23rd Biennial Special Exhibition: Qiu Shi-hua, [curated by Chang Tsong-zung, organized by Fundação de São Paolo]

São Paolo 23rd Biennial Ho Siu-kee [curated by Chang Tsong-zung, Hong Kong invited to participate for first time, organized by Hong Kong Arts Development Council]

Reckoning with the past Cheng Tsai-tung, Cheung Lucia, Feng Mengbo, He Duoling, Ho Hing-hay Oscar, Liu Dahong, Mao Lizi, Sze Yuen, Wang Xingwei, Wei Dong, Wu Tien-chang, Yang Yiping, Yu Peng, Yu Youhan, Zhang Xiaogang [curated by Chang Tsong-zung, essays by John Clark, Yan Shanchun, organized by The Fruitmarket Gallery, Edinburgh]

Second Asia-Pacific Triennial of Contemporary Art Included Cai Guoqiang, Chan Yuk-keung, Chen Yanyin, Pau Ellen, Wang Guangyi, Wang Jianwei, Wang Luyan, Wu Tian-chang, Zhang Xiaogang [organized by Queensland Art Gallery]

1997 Venice 47th Biennale Cai Guoqiang [overall curator Germano Celant]; As People’s Republic of China: Chao Ge, Chen Yifei, Hong Ling, Hu Jiancheng, Liu Gang, Liu Xiaodong, Shen Ling, Sun Weimin, Wan Jiyuan, Weng Yuping, Yu Hong, Yuan Yunsheng, Xie Dongmin [commissioners Sun Weimin & Giovanni 71 Contemporary Asian Art at Biennials © John Clark, 2013

Iovane, organiser unclear from Biennale catalogue], in Taiwan pavilion: Fang Marvin Minto, Wu Mali, Tsong Pu [curated by Yan Wen-i & Enrico Pedrini]

Parisien(ne)s, Included Chen Zhen, Huang Yongping, Shen Yuan (curated by Hou Hanru, organized by Camden Arts Centre)

Johannesburg, 2nd Biennale Hong Kong, etc., (curated by Hou Hanru, organized by Johannesburg Biennale)

Documenta X No Chinese artists included, but exhibited one Singaporean artist, Mathew Ngui, included poetry of Yang Lian in documents 1, Documenta X [artistic director Catharine David]

Another Long March: Chinese Conceptual and Installation Art in the Nineties, Chen Xiaoxiong, Chen Yanyin, Feng Mengbo, Geng Jianyi, Gu Dexin, Li Yongbin, Liang Juhui, Lin Tianmiao, Lin Yilin, Liu Xinhua, Ma Liumin, Wang Youshen, Xu Tan, Yin Xiuzhen, Zhang Peili, Zhou Tiehai, Zhu Jia [curated by Marianne Brouwer & Chris Driessen, texts by Fei Dawei, Hou Hanru, Tang Di, organized by Fundament Foundation Breda].

Secession: Cities on the Move Included: Cai Guoqiang, Chang Yonghe, Chen Shaoxiong, Chen Zhen, Geng Jianyi, Huang Yongping; Chan, Edge-Michael; Chang, Gary; Ho, Oscar; Ho Siu Kee; Ho Tao; Chi Ti-nan, Huang Chin-Ho [curated by Hou Hanru and Hans-Ulrich Obrist, organized by Wiener Secession & capc Musée d’art contemporain de Bordeaux]

1998 Per Video Included Chen Shaoping, Qiu Zhijie [curated by Keusen, Elle; Schmidt, Inge; Weihs, Helge, Museum Ludwig] Die Hälfte des Himmels Cai Jin, Chen Haiyan., Chen Hsing-wan, Chen Yanyin, Chi Ying, Hu Bing, Huang Hui, Jiang Jie, Li Jianli, Lin Tianmiao, Liu Liping, Pan Ying, Qin Yufen, Qiu Ping, Shen Yuan, Shi Hui, Teng Feng, Wang Gongyi, Wu Mali, Xu Hong, Yang Keqin, Yin Xiuzhen, Zhang Xin, Zhu Bing [curated by Werner, Chris; Qiu Ping; Pitzen, Marianne, organized by Frauenmuseum Bonn]

Groβschwanzelefant/ Big Tail Elephant Chen Shaoxiong, Liang Juhui, Lin Yilin, Xu Tan [curated by Fibicher, Bernard, organized by Bern Kunsthalle] 72 Contemporary Asian Art at Biennials © John Clark, 2013

Chinese Contemporary, 96-98 Chen Liangyi, Fang Lijun, Guo Wei, Liu Liping, Qi Zhilong, Shen Xiaotong, Su Xinping, Wang Xingwei, Wang Yeqiang, Wu Xiaohang, Xu Zhongguo, Xue Song, Yang Shaobin, Yue Minjun, Zhang Dali, Zhao Nengzhi, Zhou Chunya [curated by Colman, Julia; Bois, Ludovic, organized by Chinese Contemporary Limited].

1999 Venice 48th Biennale In d’APERtutto / APERTO over ALL; Ai Weiwei, Chen Zhen, Fang Lijun, Liang Shaoji, Lu Hao, Qiu Shihua, Wang Du, Wang Jin, Wang Xingwei, Xie Nanxing, Yang Shaobin, Ying Bo, Yue Minjun, Zhang Huan, Zhang Peili, Zhao Bandi, Zhou Tiehai, Zhuang Hui [curated by Harald Szeeman]; in Venice’s Collection Courtyard: Cai Guoqiang [won Golden Lion international prize, sponsored by Annie Wong Foundation]; in Taiwan pavilion: Chen Chieh-jen, Huang Tu-lu, Hwang Buh-ching, Yang Maolin [curated by Shih Ju-jen]; in French Pavilion: Huang Yongping [curated by Hou Hanru with Denys Zacharopoulos curating Jean-Pierre Bertrand]; in VOC: Handle with care, Huang Yongping, Yang Mao-lin [curated by Yang Wen-i], Zhou Tiehai [curated by Monica Dematté];

Representing the People Chen Wenbo, Duan Jianwei, Guo Wei, Huang Hancheng, Liu Rentao, Liu Xiaodong, Ma Baozhong, Song Yongping, Wang Jinsong, Zhuang Hui [Curated by Smith, Karen & Pi Li, organized by The Courtyard Gallery &Newcastle, Tyne and Weir Museums]

Logan Collection, Fang Lijun, Guo Wei, Li Shan, Liu Wei painter, Liu Xiaodong, Luo Brothers, Song Yonghong, Su Xinping, Wang Guangyi, Wang Jinsong, Wei Dong, Xu Yihui, Yue Minjun, Zhang Huan, Zhang Xiaogang, Zheng Fanxhi, [organized by Limn Gallery, San Francisco]

China 1999 Ai Weiwei, Cai Jin, Chen Haiyan, Fang Lijun, Fu Zhongwang, Guo Jin, Guo Wei, Hong Hao, Li Jiansheng, Lin Yan, Liu Wei painter, Liu Xiaodong, Mao Xuhui, Mao Yan, Shen Ling, Song Yonghong, Song Yongping, Su Xinping, Sui Jianguo, Wang Huaiqing, Wang Qingsong, Wang Yuping, Wei Rong, Xu Bing, Xu Yihui, Ye Yongqing, Yu Hong, Zeng Fanzhi, Zeng Hao, Zhan Wang, Zhang Xiaogang, Zhou Chunya [organized by Limn Gallery, San Francisco]

Inside Out: New Chinese Art Cai Guoqiang, Cao Ying, Chen Hui-chiao, Chen Shun-chu, Chu Chiahua, Fang Lijun, Fang Tu, Fang Weiwen, Geng Jianyi, Gu Wenda, Ho Siue-kee, Hong Hao, Hou Chun-ming, Huang Chih-yang, Huang Yongping, Kum Chi-keung, Li Shan, Lin Shu-min, Lin Tianmiao, Liu Wei, Liu Xiaodong, Long tailed elephant group (Lin Yilin, Chen Shaoxiong, Liang Juhui, Xu Tan] Ma Liuming, Man Ching-ying, Mao Xuhui, New Analysis Group (Wang 73 Contemporary Asian Art at Biennials © John Clark, 2013

Luyan, Chen Shaoping, Gu Dexin) Pan Xing-lei, To Weun, Yu Tim, Ma Jian, Qiu Zhijie, Ren Jian, 21st Century Group (Sheng Qi, Kang Mu, Zheng Yuke, Zhao Jianhai) [curated by Gao Minglu, organized by New York Asia Society, catalogue from Berkeley, University of California Press]

Transience: Chinese Art at the End of the 20th Century Cai Jin, Gu Wenda, Liu Zheng, Mo Yi, Qiu Zhijie, Rong Rong, Shi Chong, Song Dong, Sui Jianguo, Wang Jin, Xing Danwen, Xu Bing, Yin Xiuzhen, Yu Fan, Yu Hong, Yuan Dongping, Zeng Hao, Zhan Wang, Zhang Hongtu, Zhang Huan, Zhu Fadong [curated by Wu Hung, Smart Museum University of Chicago]

Truths from the Open Door: Chinese Conceptual Photography An Hong, Geng Jianyi, Huang Shi, Qiu Zhijie, Rong Rong, Wang Zhiwang, Xu Tan, Yan Lei, Zhang Dali, Zheng Guogu, Zhu Jia [curated by Wu Meichun, Zheng Shengtian, Art Gallery of Chulalongkorn University]

Asian Art Triennale, Luo Brothers, Zhang Peili, Zhuang Hui, Xu Bing [?] [organized by Fukuoka Asian Art Museum]

Cologne-Beijing, Beijing-Cologne Exchange Exhibition Included Cai Jin, Jiang Jie, Lin Tianmiao, [curated by Tang Xin & Urle U., organized by Gothaer Kunstforum, Köln]

Melbourne Biennale Li Yongbin, Wang Jianwei [curated by Huang Du]

3rd Asia-Pacific Triennial, Brisbane Cai Guoqiang, Yin Xiuzhen, Zhang Peili

Modern Chinese Art Ai Weiwei, Ding Yi, Geng Jianyi, Gu Dexin, Guo Wei, Hong Hao, Hong Lei, Liu Anping, Liu Wei, Wang Xingwei, Zeng Hao, Zhang Hai’er, Zhang Yajie, Zhao bandi, Zheng Guogu,Zhou Yunxia, Zhuang Hui [curated by Hans van Dijk, essay by John Clark, organized by Modern Chinese Art Foundation]

1st Fukuoka Asian Art Triennale 1999 [5th Asian Art ShowFeng Mengbo, Xu Bing, Zhang Peili, Zhuang Hui, Chen Shunchu, Lin Michael, Wang Jun- jieh, Wu Tien-chang [organized by Fukuoka Asian Art Museum]

Third Asia-Pacific Triennale of Contemporary Art, 1999 74 Contemporary Asian Art at Biennials © John Clark, 2013

Included Li Yongbin, Shieh Wilson, Xu Tan, Yin Xiuzhen, Zhang Peili, Hsia Yan, Wu Mali, Cai Guoqiang,. Chen Zhen, Lee Mingwei, Xu Bing, Ah Xian, Shi Yong, Wang Jun-jieh [organized by Queensland Art Gallery]

2000 Shanghai 3rd Biennale [earlier Biennales were in 1996 and 1998] Included Cai Guoqiang, Chang Yung-ho, Chen Peiqu,Chen Ping, Duan Zhengqu, Fang Lijun, Fang Shaohua, Guan Ce, Hai Bo, Hong Hao, Huang Pu ch’ing, Huang Yongping, Ji Dachun, Jiang Dahai, Li Hua Sheng, Liang Shaoji, Liang Shuo, Liang Zhihe, Lu Fusheng, Qu Fengguo, Ren Chuanwen, Shi Chong, Shi Hui, Tian Liming, Wang Chunji, Wang Huaiqing, Wang Jianwei, Wang Qiang, Wang Yuping, Xie Nanxing, Yan Peiming, Yu Peng, Zhan Wang, Zhang Dongfeng, Zhang Hao, Zhang Peili, Zhao Bandi, Zhou Xiaohu. [artistic director Fang Zengxian, curatorial group: Hou Hanru, Shimizu Toshio, Zhang Qing, Li Xu, organized by Shanghai Fine Arts Museum]

Paris pour escale, Included Chen Zhen, Huang Yongping, Shen Yuan, Wang Du, Yang Jiecang [curated by Hou Hanru & Evelyne Jouanno, organized by Musée d’Art Moderne de la Ville de Paris]

Exhibiting Experimental Art in China Leng Lin, Song Fong, Wu Wenguang [curated by Wu Hung, organized by Smart Museum, University of Chicago]

Fresh Cream Included Cai Guoqiang, Chen Chieh-jen, Qiu Zhijie, and Xu Bing [Williams, Gilda, ed., London, Phaidon, 2000

2001 Venice 49th Biennale In Cai Guoqiang in Plateau of Humanity [curated by Pier Luigi Tazzi, Fabio Cavallucci] Hai Bo, Xiao Yu, Xu Zhen [curated by Harald Szeeman] in Taiwan pavilion Chang Chien-chi, Lin Michael Ming-hong, Lin Shu-min, Liu Shih-fen, Wang Wen-chih [curated by Kao Chien-hui, organized by Taipei Fine Arts Museum]; Hong Kong pavilion: Ho Siu-kee, Leung Chi-wo, Pau Ellen [curated by Chang Tsong-zung, organized by Hong Kong Arts Development Council]

Living in Time 29 zeitgenössische Künstler aus China, Cao Fei, Chang Yung-ho Atelier FCJZ, Chen Shaoxiong, Ding Yi, Feng Mengbooo, Geng Jianyi, Gu Dexin,Hu Jieming, Li Yongbin, Liu Qinghe, Lu Chunsheng, Lu Hao, Ou Ning, Qiu Zhenzhong, Shi Hui, Shi Yong, Song Dong, Wang Gongxin, Wang Jianwei, Xu Zhen, Yang Fudong, Yang Yong, Yang Zhenzhong, Yin Xiuzhen, Yu Hong, Zhang Peili, Zheng Guogu, Thou Tiehai & Zhao Lin, Zhu Jia [curated by Hou Hanru, Fan Di’an, 75 Contemporary Asian Art at Biennials © John Clark, 2013

Gabriele Knapstein, organized by Nationalgalerie im Hamburger Bahnhof Museum für Gegenwart, in cooperation with the Ministry of Culture of PRC and China International Exhibition Agency],

2002 São Paolo 25th Biennial Lu Hao, Wang Jianwei, Wang Gongxin, Yan Lei, Zeng Hao [Curators: Fan Di’an, Pi Li; organised by China International Exhibitions Agency and Chengdu Contemporary Art Gallery]

1st Guangzhou Triennial: Re-interpretation: a decade of Experimental Chinese Art (1990-2000)

1st Guangzhou Triennial: Re-interpretation: a decade of Experimental Chinese Art (1990-2000), Artists?? [curated by Wu Hung with Wang Huangshang & Feng Boyi, organized by Guangdong Museum of Art, included here because of retrospective canonization of 1990s’ artists]

Paris-Pékin [Ullens Collection] Cai Guoqiang, Cang Xin, Chen Danqing, Chen Wenbo, Cheng Tsai-tung, Ding Yi, East Village Artists [Cang Xin, Duan Yingui, Gao Yang, Ma Liuming, Ma Zongren, Wang Shihua, Zhang Bingbing, Zhang Huan, Zhu Min, Zu Zhou] Fang Lijun, Feng Mengbo, Feng Zhenjie, Fung Ming-chip, Geng Jianyi, Gu Wenda, Guo Wei, Hai Bo, He An, Hong Hao, Hou Chun-ming,Hu Jieming, Hu Xiangchen, Huang Yan, Huang Yongping, Leung Chi-wo, Li Shan, Lin Tianmiao, Lin Yilin, Liu Jianhua, Liu Wei [b.1965], Liu Xiaodong, Liu Ye, Liu Zheng [b.1969]Liu Zheng [b.1972], Luo Brothers, Ma Liuming, Mao Lizi, Mao Xuhui, Mao Yan, Pau Ellen, Qiu Zhijie, Rong Rong, Shang Yang, Shao Yinong & Muchen, Shen Xiaotong, Shi Hui, Song Dong, Sui Jianguo, Tang Zhigang, Tsang Tsou-choi, Wang Guangyi, Wang Jianwei, Wang Jin, Wang Qingsong, Wang Xingwei, Wang Ziwei, Wei Dong, Wei Guanqing, Wei Rong, Weng Fen, Wu Shanzhan, Xiang Liqing, Xu Bing, Xu Tan, Xue Song, Yan lei, Yang Fudong, Yang Jiecang, Yangjiang Youth [Chen Zaiyan, Zheng Guogu, Sha Yeya], Yi Xiuzhen, Yu Hong, Yu Youhan, Zeng Fanzhi, Zeng Hao, Zhan Wang, Zhang Hongtu, Zhang Peili, Zhang Xiaogang, Zhao Bandi, Zhao Shaoruo, Zheng Guogu, Zhou Changjiang, Zhou Tiehai, Zhu Fadong, Zhu Wei. [Curated by Chang Tsong-zung, organized by Gallery Enrico Navarra, published by Chinese Century]

Gwangju Biennale Project 1 Pause: Conception, [idea and conception: Sung Wan-kyung; Esche, Charles; Hou Hanru, organized by Gwangju Biennale Foundation] Borges Libereria, Geng Jianyi, Gu Dexin, Hsieh Te-ching, IT Park [Taiwan ], Lin Michael, Lin Yilin, LOFT, Post 8 [Taiwan], Song Dong, Videotage [Hong Kong], Xu Tan, Yang Jiecang, Yan Lei & Fu Jie, Yin Xiuzhen, Young Hay, Zhang Peili Project 1 Pause: Realization, [idea and conception: Sung Wan-kyung; Esche, Charles; Hou Hanru, organized by Gwangju Biennale Foundation]

2nd Fukuoka Asian Art Triennale 2002 76 Contemporary Asian Art at Biennials © John Clark, 2013

Included Chen Shaofeng, Lin Tianmiao, Yin Xiuzhen, Lee Ming-tse, Peng Hung-chih, [organized by Fukuoka Asian Art Museum]

Asia-Pacific Triennial of Contemporary Art Included Lin Michael Ming Hong, Song Dong [organized by Queensland Art Gallery]

Documenta XI Feng Mengbo, Yang Fudong, [artistic director artistic director Okwui Enwezor]

2003 Venice 50th Biennale In Clandestine: Liu Zheng [Curator: Francesco Bonami]; In Zones of Urgency: Canton Express: Chen Shaoxing & Liang Juhui & Lin Yilin & Xu Tan & Jin Jiangbo / Big Tail Elephant Group, Chen Tong & Lu Yi / Borges Libreria World Bookstore, Feng Qianyu & Sha Yeya & Zheng Guogu / Yangjiang Youth, Cao Fei & Ou Ning / Uthèque, Duan Jianyu, Hu Fang [as writer], Jiang Zhi, Liu Heng, Yang Jiecang, Yang Yong; Others in Zones of Urgency: Chang Yu-ho, Cheang Shu-lea, Fu Jie, Gu Dexin, Liu Heng, Huang Yongping [exhibition of Bat Project II, cancelled for reasons of transportation timing, catalogue distributed in Zones of Urgency ], Jin Jiangbo, Liu Jianhua, Ma Qingyun, Tsang Tsou-choi, Yan Lei, Yan Peiming, Yang Fudong, Yang Zhenzhong, Zhan Wang, Zhang Peili, Zhang Wei, Zhu Jia [Zones of Urgency curated by Hou Hanru]; In Utopia Station:Yang Fudong, Ma Qingyun, Wang Jian-wei [curated by Molly Nesbit, Hans-Ulrich Obrist and Rirkrit Tiravanija]; in China pavilion: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang [curated by Fan Di’an, Wang Yong, assistant Huang Du, organised by China International Exhibitions Agency and China Guangdong Museum of Art. Cancelled due to SARS epidemic but works later shown in Guangdong & Beijing]; in Taiwan pavilion Limbo Zone: Daniel Lee, Cheang Shu-lea, Lee Ming-wei, Yuan Goang- mei [curated by Lin Shu-min, organized by Taipei Fine Arts Museum]; in Hong Kong pavilion: Para Site Collective [curated by Para Site, organized by Hong Kong Arts Development Council]

How latitudes become forms Included Song Dong, Wang Jianwei, Yin Xiuzhen, Zhao Liang [curated by Philippe Vergne, Chinese Advisor, Hou Hanru, organized by Walker Art Center]

Shanghai 4th Biennial: ‘Urban Creation’ Many architects and also including Alan Chan, Chen Shapxiong, Lin Tianmiao, Liu Dahong, Liu Qinghe, Lu Hao, Luo Yonglin, Miao Xiaochun, Shi Yong, Tong Hui, Wang Gongxin, Wei Qingji, Weng Peijun (Weng Fen), Wong Joseph, Xiang Liqin, Xu BingYan Lei,Yang QiruiYang Fudong, Yang Zhenzhong,Zhang Jianjun,Zhao Jianren, Zheng Li, Zheng Guogu [curated by Alanna Heiss, Fan Di’an, Xu Jiang, Li Xu, Klaus Biesebach, Hasegawa Yûko, organized by Shanghai Art Museum and Shanghai Gt Courtyard Cultural Investments Ltd.]

77 Contemporary Asian Art at Biennials © John Clark, 2013

Alors, la Chine? Bai Yiluo, Chang Yung-ho, Chen Lingyang, Cui Xiuwen, Fang Lijun, Feng Mengbo, Geng Jianyi, He Jialin, Hong Lei, Kan Xuan, Li Yongbin, Liu Jianhua, Liu Xiaodong, Lu Hao, Lu Qing, Mu Chen & Shao Yinong, Shi Hui, Shi Jinsong, Song Dong, Wang Guanyi, Wang Jian Wei, Wang Peijun (Weng Fen), Xiao Yu, Xing Danwen, Xu Tan, Yan Lei, Yang Fudong, Yang Mao Yuan, Yang Zhenzhong, Zhang Peili, Zhou Tiehai & Zhao Lin, Zhou Chunya, Zhu Jia, Zhuang Hui [curated by Chantal Béret, Alain Sayag, Pi Li et al, organized by Centre Pompidou Paris]

A Strange Heaven: Contemporary Chinese Photography Ai Weiwei, Cang Xin, Chang Chien-chi, Chen Chieh-jen, Chen Lingyang, Chen Shaoxiong, Chen Shun-chu, Ching Chin-wai, Feng Mengbo,Hai Bo, Han Lei, Honh Hao, Hong Lei, Hu Jieming, Huang Yan, Hung Tung-lu, Jin Feng, Leung-Chi-wo, Lin Shu-min, Lin Tianmiao, Liu Zheng, Ma Liuming, Qiu Zhijie, Rong Rong, Shao Yinong & Muchen, Shi Yong, Song Yongping, Wang Jinsong, Wang Ningde, Wan Qingsong, Weng Fen, Wu Shanzhan & Inga Svala Thórsdóttir, Wu Tien-chang, Yang Fudong, Yao Jui-chung, Yin Xiuzhen, Yuan Goang-ming, Zhao Bandi, Zhao Shaoruo, Zheng Guogu, Zhou Xiaohu, Zhuang Hui [curated by Petr Nedoma & Chang Tsong-zung, organized by Hong Kong, Asian Art Archive & Paris, Galerie Enrico Navarra]

Chinese Maximalism/ Zongguo jiduo zhuyi Cao Kai, Ding Yi, Geng Jianyi, Gu Dexin, Hong Hao, Lei Hong, Li Huasheng, Liang Yue, Lu Qing, Qiu Zhijie, Shen Fan, Song Tao, Wu Yiming, Xing Danwen,Xu Hongmin, Yang Zhenzhong, Zhu Jinshi, Zhu Xiaohe, [curated by Gao Minglu, organized by Millenium Art Museum Beijing and University at State University of New York at Buffalo Art Gallery, catalogue Chongqing, Chongqing Chubanshe]

2004 Gwangju, A Grain of Dust, A Drop of Water Yue Minjun, Sun Yuan & Peng Yu, Zhang Jianjun, Sun Xiaofeng. Gwangju, Biennale Ecometro, Lin Tianmiao & Wang Gongxin

Busan Contemporary Art Exhibition, Lu Hao, Shi Qing [video], Yang Fudong [video], Wu Ershan [video] Busan Sea Art Festival Chen Jianhong, Lu Sun Busan Sculpture Project Shuo Liang, Sui Jianguo

São Paolo 26th Biennial Qu Yan [Curator, Huang Du, organised by China International Exhibitions Agency]

Between Past and Future: new photography and video from China 78 Contemporary Asian Art at Biennials © John Clark, 2013

Ai Weiwei, An Hong, Cang Xin, Chen Lingyang, Chen Shaoxiong, Cui Xiuwen, Feng Feng, Feng Mengbo, Gao Qiang, Gao Zhen, Hai Bo, Hong Hao, Hong Lei, Hu Jieming, Huang Yan, Jiang Zhi, Leong Sze-tsung, Li Tianyuan, Li Wei, Lin Tianmiao, Liu Jian, Liu Wei [b.1965], Liu Wei [b.1972], Liu Zheng, Luo Yongbin, Ma Liuming, Miao Xiaochun, Mo Yi, Qiu Zhijie, Rong Rong, Sheng Qi, Song Dong, Sui Jianguo, Sun Yuan, Wang Gongxin, Wang JIanwei, Wang Jin, Wang Jinsong, Wang Qingsong, Wang Wei, Wang Youshen, Weng Fan, Xing Danwen, Xiong Wenyuian, Xu Zhen, Yang Fuding, Yang Yong, Yang Zhenzhong, Yin Xiuzhen, Yu Fan, Zhan Wang, Zhang Dali, Zhang Huan, Zhao Bandi, Zhao Liang, Zhao Qin, Zhao Shaoru, Zheng Guogu, Zhou Xiaohu, Zhu Ming, Zhuang Hui [curated by Wu Hung & Phillips, Christopher, organized by Smart Museum, University of Chicago, & New York, International Center of Photography, catalogue published by Göttingen, Steidl Publishers]

Contemporary Taiwanese Art in the Era of Contention Chen Chieh-jen, Chen Chien-pei, Chen Ying-hsien, Hou Chun-ming, Hou Shur-tzy Lulu, Hung Su-chen, Hung Tung-lu, Kao Chung-li, Ku Shih-yung, Kuop J.C., Kueo Wei-kuo, Lee Ming-tse, Lee Tsu-hsun, Lien Te-cheng, Lin Hsin-I Eva, Lin JU, Lin Shu-min, Lu Hisen-tung, Mei Dean-e, Peng Hung-chih, Shieh Juin, Shi Gong , Wang Jun-tieh, Wu Mali, Wu Tien-chang, Wu Walis Diing-wuu, Yan Ming-huy, Yang Mao-lin, Yao Jui-chung, Yeh C.J.,Yuan Goang-ming [Curated by Pan An-yi with catalogue essays by Yan Chuan-ying, Hsiao Chong-ray, organized by Tapiei Fine Arts Museum and Herbert F. Johnson Museum of Art]

San Giminiano Arte e l’Arte, and 6 Italian cities Included Wang Du [curated by Hou Hanru

Shenzhen 5th System Included Lim, Michael; Liu Wei, Yan Lei, Yang Jiecang, Yang Yong, Xu Zhen, Zheng Guogu, Zhang Zi [curated by Hou Hanru]

79 Contemporary Asian Art at Biennials © John Clark, 2013

Appendix Seven Singapore National Education Data

Population statistics for 2005 [from http://www.singstat.gov.sg/keystats/people.html]

Total Population 4,351,400

Total Singapore resident population Total Chinese Malays Indians Others 3,553,498 2,684,936 484,639 309,265 74,658

The 797,902 difference is accounted for by foreign and migrant labour, or around 18.3% of the actual population. These figures add a slightly acid note to the 2006 Singapore Tourist slogan ‘4 million smiles’ when around one fifth of them were not actually Singaporean.

Polytechnic graduates A B Total fine arts A/B Chinese Malays Indians 205,066 6,198 3% 5,431 545 624 C

University graduates A B Total fine arts A/B Chinese Malays Indians 424,191 5,084 1.2% 4,113 158 1069 D

629,257 11,282 1.8% 9,544 703 1693 C+D

424,121 / 3,553,498 x 100 = 11.9% 629,257 / 3,553,498 x 100 = 17.7% 5,084 / 3,553,498 x 100 = 0.14% or 145 per 100,000 11,282 / 3,553,498 x 100 = 0.32% or 318 per 100,000 714 / 3,553,498 x 100 = 0.02% or 2 per 100,000

80 Contemporary Asian Art at Biennials © John Clark, 2013

According to the Table 28 , Education Statistics Digest of the Ministry of Education, Singapore graduates of the two art schools, La Salle-Singapore Institute of the Arts [founded 1981] and Nanyang Academy of Fine Arts [founded 1938] were as follows for full-time 3-year diplomas in 2005:

LaSalleSIA NAFA 369 345 = 714 or 2 per 100,000 per annum

Figures for those taking fine arts courses and those becoming secondary school art teachers since 1981 at the National Institute of Education of the Nanyang Technological University are buried in overall graduation figures and I have been unable to discriminate these so leave them out, but the teaching of fine arts there appears to be quite lively and broad from my own visit there in late 2003.

However NAFA itself has provided convocation figures for 2004-2006 which may be summed to indicate a far smaller number of graduands in fine arts as follows:

2004 2005 2006 Total diploma and BA 441 355 424 Diploma in Fine Art 33 31 24 Diploma in Visual Communication 138 132 96

Total BAs School of Visual arts 60 60 80 BA Fine Art 13 7 12

So whilst the NAFA convocation internal figures correlate with the Ministry of Education statistics as totals they do point to there only being the following numbers of fine arts diplomas and BAs: 46 in 2004, 48 in 2005, and 36 in 2006 from this institution. This will considerably bring down the 2 per 100,00 figure given above, if we add in the La Salle-SIA figures some of which are not fine arts, perhaps to 417 total fine arts related graduands for 2005 of 0.12% or 1.2 per 100,000.

According to the Australian Vice-Chancellors’ Committee records in a personal communication of Tim Sealy of 7.8.2006, the following are the Australian completions in creative arts [a broader cluster than fine arts but also including media and communications] were as follows. More specific data are awaited for fine arts as such. 2003 13,971 2004 14,679 There were 56,066 students studying creative arts in the first half of 2005, according to David Williams, former Head of Canberra Institute of the Arts and confirmed by Tim Sealy.

The Australian population in 2005 was 20,300,000, according to http://www.abs.gov.au/websitedbs/d3310114.nsf/home/population At 4-year courses this might produce 14,017 graduates per annum or 6.9 per 100,000. These need adjusting for three-year diplomas and a closer definition from ‘creative arts’ to specify ‘fine arts’.

But in a useful rough generalization, the fine arts graduates per annum can be shown per 100,000 of population, the rate by which over time the artistic population is produced, and with decease or inactivity is related to rhe reproduction rate for the population of artists as a whole. The latter figure is one for which we can mostly only speculate because of the inadequacy of data for the number of artists who remain active in the population over artistic lifetimes of variable length, and for their rates of demise, so although it is still possible to juggle some figures I will leave this out. After some years of observation I can only conclude that the number of artists in the art world is some function of the number of those with tertiary fine art training, and if we take role specialization and the training for it to be a direct indicator of modernity, then this simple figure of number of fine arts graduates per 100,000 must have a definite relation to the modernity of the art world in question. Indirectly this will have consequences for many types of art practice.

In sum, there may thus be three to four bands of national production of artists as shown below. The other Asian figures have been achieved after careful research and are included in my book Asian Modernities: Chinese and Thai Art of the 1980s and 1990s, Sydney: Power Publications, 2010.

1 Australia 6.9 [this figure should be revised downward, closer to Japan’s] 2 Japan 4 3 Singapore, Taiwan, Thailand 1.1-1.5 4 China 0.25 [These figures are broadly true and highly indicative but capable of much adjustment]

Appendix Eight Asian Art at Biennales and Triennales: An Initial Bibliography

In addition to references in the notes, this bibliography is grateful for some inclusions from work by Thomas Berghuis, Emma Duffy, Helen Grace, and Francis Maravillas. It is not comprehensive and mostly contains works the author has consulted, with the addition of some he otherwise considers relevant.

Museum & Exhibition Practice Allwood, John The Great Exhibitions, London, Studio Vista, 1977. Aoki Shigeru & Kitazawa Noriaki, ‘Bankoku Hakurankai no Jidai’, in Nihon Yôga Shôshi, Tokyo, Bijutsu Shuansha, 1994 [rev.ed.]. Barker, Emma, ed., Contemporary Cultures of Display. London, Yale University Press, 1999. de Cauter, Lieven ‘The Panoramic Ecstasy: On World Exhibitions and the Disintegration of Experience’, Theory, Culture and Society, Vol. 10, 1993, 1- 23. Bennett, Tony, Pasts Beyond Memory : Evolution, Museums, Colonialism, London, Routledge, 2004. Cerver, Francisco Asensio, The architecture of museums ; New York : Hearst Books International, 1997 Findling, John E. ed Historical Dictionary of World’s Fairs and Expositions 1851 – 1988, Greenwood Press, New York, 1990 Frick Fine Arts Library bibliography, International Exhibitions [Library Guide Series no.42], available online from www.library.pitt.edu/subject- guides/arthistory/ Greenberg, Renee, Ferguson Bruce and Nairne, Sandy , ‘Introduction’ in R. Greenberg, B.W. Ferguson, S. Nairne eds. Thinking about Exhibitions, Routledge, London and New York, 1996. Greenhalgh, Paul ‘Education, Entertainment and Politics: Lessons from the Great International Exhibitions’ in Vergo, Peter ed The New Museology. Reaktion Books, London, 1991, 74-98 Greenhalgh, Paul, Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World’s Fairs, 1851-1939, Manchester, Manchester University Press, 1988. Grynstejn, Madeleine, ‘The Pittsburgh biennial – The Carnegie International: a history in brief’, in Heinrich, B., ed., Das Lied von der Erde / The Song of the Earth, catalogue, Kassel, Museum Fridericianum, 2000. Hotta-Lister, Ayako, ‘Japan’s Participation in Exhibitions’, Appendices A and B to her The Japan British Exhibition of 1910, Richmond, Curzon Press, 1999. Karp, Ivan, ‘Culture and Representation’ in Karp, Ivan & Lavine, S., eds Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution Press, Washington DC, 1991. Kreps, Christine K (2003) Liberating culture : cross-cultural perspectives on museums, curation, and heritage preservation (London ; New York : Routledge). Mitchell, Timothy, ‘The World as Exhibition’, Comparative Studies in Society and History, vol 31, no.2, 1989. Mitchell, Timothy, ‘Orientalism and the Exhibitionary Order’ in N. Mirzoeff ed. The Visual Culture Reader 2nd edition, Routledge, London and New York, 2002. 84 Contemporary Asian Art at Biennials © John Clark, 2013

Pastor Roces, Marion ‘Crystal Palace Exhibitions’ in Mosquera Gerard & Fisher, Jean (eds) Over Here: International Perspectives on Art and Culture , Boston, MIT Press, 2005. Preziosi, Donald, Brain of the earth's body : art, museums, and the phantasms of modernity, Minneapolis, University of Minnesota Press, 2003. Preziosi, Donald & Farago, Claire (eds), Grasping the world : the idea of the museum, Burlington, Ashgate Publishers, 2004 Šola, Tomislav, Essays on museums and their theory : towards the cybernetic museum, Helsinki : Finnish Museums Association, 1997 Sherman Daniel & Rogoff, Irit (eds) Museum culture : histories, discourses, spectacles, Minneapolis, University of Minnesota Press, 1994

Asian Art, Modern and Contemporary Akbar, Shireen, curator, Rickshaw Painting: Traffic Art in Bangladesh, Fukuoka, Fukuoka Asian Art Museum, Fukuoka, 1994Clark, John, ‘Modernities in Art: how are they “other”?’ in World Art Studies: exploring Concepts and Approaches, eds. Wilfried van Damme and Kitty Zijlmans, Amsterdam: Amsterdam University Press, 2006. Clark, John, ‘What Modern and Contemporary Asian Art is [or is not]: the view from MOMA and the view from Asia’, in Clark, John, Maurizio Pelleggi and Kanaga Sabapathy, eds., Eye of the beholder, Sydney, Wild Peony, 2006, 297-319. Clark, John ‘A spectacle of questions’, Asian Art News, vol.16, no.1, January/February, 2006, 68-72. Clark, John, ‘Between the worlds: Chinese art at Biennales since 1993’ in Yishu, A journal of Chinese Contemporary Art, 2005 [Extended version reprinted as Chapter Three here] Clark, John, Entry on ‘Modern and Contemporary Asian Art’ in Grove Art Online / The Dictionary of Art, New York, Oxford University Press, September 2005 Clark, John, on ‘Japanese Contemporary Art and Globalization’ presented at conference ‘Globalization, Localization, and Japanese Culture in the Asia Pacific Region’ organized by the International Center for Japanese Studies, Kyoto, and the Department of Japanese Studies of the National University of Singapore from October 28th to 30th, 2004. [reprinted as Chapter Two here]Clark John, essay for www.anthology-of- art.net ‘What in the context of contemporary art, is your vision of a future art?’, February, 2002. Clark, John, ‘Asian Modernisms’, Humanities Research, 2, 1999 & Marg, March 2002. Clark, John editor and contributor, Chinese art at the end of the millennium, Hong Kong, New Art Media, 2000Clark, John, ‘Modern Asian Art: its construction and reception’, in Asian Contemporary Art Reconsidered, Tokyo, Japan Foundation Asia Center, 1998. Clark, John, Modern Asian Art, Sydney, Craftsman House & Honolulu, University of Hawai’i Press, 1998. Clark, J., ‘The Conditions for Post-Modernity in Japanese art of the 1980s’, in Sugimoto, Y., ed., The Postmodernity Debate and the Japanese Experience, London, Kegan Paul International, 1994 Clark, John, Editor and Contributor, Modernity in Asian Art, Sydney, Wild Peony Press, 1993.Clarke, David, ‘Contemporary Asian Art and its Western Reception’, Third Text, vol. 16, no. 3, 2002, 237-242. Flores, Patrick, ‘Place and Presence: Conditions of Possibilities in Contemporary Asia Art’, unpublished Power Lecture, Museum of Contemporary Art, Sydney, unpaginated, 2002. Friede, Claus, Seyfarth, Ludwig, eds, Kunst aus Megastädten Asiens – Art from Asia Pacific Megacities, Hamburg, Kunsthaus Hamburg ,2000. 85 Contemporary Asian Art at Biennials © John Clark, 2013

Kishi, Sayaka, ‘Bijutsukan “Ajia” to deau toki – Fukuoka Ajia Bijutsukan no setsuritsu to tenkai’, in Hirano Kenichirô, kanshû, Sengô nihon no kokusai bunka kôryû, Tokyo, Chikusô Shobô, 2005 Lee Weng-Choy, ‘Just What Is It that Makes the Term Global-Local So Widely Cited, Yet So Annoying?’ in Flight Patterns, exhibition catalogue, The Museum of Contemporary Art, Los Angeles, 2000 Mertens, Brian, ‘Womanifesto 2001’, Art AsiaPacific, no.36, 2002. McEvilley, Thomas: ‘Towards a World-class City’, Art in America, Sept 1995 Vol 83 No 9 p45 Napack, Jonathan: ‘Alternative visions’: (Art in America Nov 2002 Vol 90 Issue 11) p94-9 Nuridsany. Michel, China Art Now, [tr. Pickford, Susan] Paris, Flammarion, 2004 Poshyananda, Apinan, cur. & ed., Traditions/Tensions, New York, Asia Society, 1995. Sekai Bijutsu Zenshû, Tokyo, Heibonsha, 1928-30 Tipton, Elise; Clark, John, eds, Being Modern in Japan: Culture and Society from the 1910s to the 1930s, Sydney, Australian Humanities Research Foundation and Honolulu, University of Hawaii Press, 2000. Turner, Caroline. Ed., Art and Social Change: Contemporary Art in Asia and the Pacific,, Canberra, Pandanus Books,2005 Vine, Richard: ‘Asian Futures’ Art in America July 1998 Vol 86 No 7 p34-43 Vine, Richard: ‘The Wild, Wild East’, Art in America Sept 2003 Vol 91 Issue 9 p40-9 Wee, C.J. W-L: (2003) ‘Creating High Culture in the Globalized ‘Cultural Desert’ of Singapore’ in The Drama Review, Vol 47, No 4, Winter 2003) Weisenfeld, G., Mavo: Japanese artists and the avant-garde 1905-1931, Berkeley, University of California Press, 2002

Australia, Art and Asia Australian Academy of the Humanities, Knowing Ourselves and others: The Humanities in Australia into the 21st century, 3 volumes, Canberra, Australian Government Publishing Service, 1998 Barnes, Carolyn; Wright, William; John Young, Fisherman’s Bend, Craftsman House, 2005. Birrell, Bob, Rapson, Virginia, ‘Two Australias: Migrant settlement at the end of the 21st century’, People and Place, vol.10, no.1, 2002 Broinowski, Alison , The Yellow lady: Austraian Impressions of Asia, Melbourne, Oxrford Unviersity Press, 1992; Broinowski, Alison ,. ‘Asianization and its Discontents’, Meanjin, vol. 57, no.3, 1998 Butler, Roger, ed., The Europeans: Emigré artists in Australia, 1930-1960, Canberra, National Gallery of Australia, 1997. Chinese Heritage of Australian Federation Project: http://www.chaf.lib.latrobe.edu.au/kwong_sue_duk.htm Chiu, Melissa, ‘Rough Trade: Curating Cultural Exchange in Australia’, in Ang et al eds. Alter/Asians: Asian-Australian identities in art, media and popular culture, Pluto Press, Sydney, 2000. Clark, John, ‘An Australian Creative Space: where is Australian-Asian art now?’, in Waite Dianne, ed., Green, Charles & Stubbs, Mike, curators, 2006/ Contemporary Commonwealth/ , Melbourne, Australian Centre for the Moving Image & National Gallery of Victoria, 2006, 26-33. Clark, John, ‘Art and its ‘others’ - recent Australian-Asian visual exchanges’, in Dever, Maryanne, ed., Australia and Asia: cultural transactions, Surrey, Curzon Press, 1997. Clark, John, Australian Art and Asia -Then and Now’, Occasional Paper No.19, Research Institute for Asia and the Pacific, University of Sydney, 1992 86 Contemporary Asian Art at Biennials © John Clark, 2013

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Museums, Art Centers and other Art Institutions 2000+ ‘Colonialism or Collaboration?: Intercultural Arts Practice and International Arts Organisations’, Forum Transcript, Focas (Forum on Contemporary Art & Society), no.2, July 2001 Akira, Tatehatata, ‘A Trojan Horse?: Multiculturalism in International Art Exhibitions’, Furuichi, Yasuko, ed., “Asia in Transition: Representation and Identity”, Tokyo, The Japan Foundation Asia Center, 2003 ART AsiaPacific, Issue 37 (2003), Special Issue Asian Art Now: 21 Curators and Critics Profile 63 Contemporary Asian Artists Asai, Toshihiro et al ed, Promenade in Asia: Cute, Tokyo: Shiseidô/Mito: Art Tower Mito, 2001. Asia Art Society, http://www.aaa.org.hk/links.html, Links to Online: Resources; Art Organisations; Atsuo, Yamamoto, ‘From Dualism to Oneness’, Mami, Kataoka, Under Construction: New Dimensions of Asian Art, Tokyo: The Japan Foundation Asia Center, 2002 Barucha, Rustom, ‘Beyond the Box: Problematising the New Asian Museum’, Focas (Forum on Contemporary Art & Society), no.2, July 2001 Bharucha, Rustom., ‘The New Asian Museum Beyond the Box: Problematising the New Asian Museum’, in FOCAS: Forum on Contemporary Art & Society, No. 2, July 2001, p.223-237. 89 Contemporary Asian Art at Biennials © John Clark, 2013

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Grasskamp, Martin, ‘For example, Documenta, or, how is art history produced?’ in Greenberg, Rebecca; Ferguson, Bruce W.: Nairne, Sandy, eds., Thinking about Exhibitions, London, Routledge, 1996. Poinsot, Jean-Marc ‘Large Exhibitions: A sketch of typology’ in R. Greenberg, B.W. Ferguson, S. Nairne eds. Thinking about Exhibitions, Routledge, London and New York, 1996 McEvilley, Thomas, ‘Arrividerci Vencie: the Third World Biennials –reviews of Third World international survey exhibitions’, ArtForum, November 1993. Meyric Hughes, Henry, ‘The History and Significance of the Biennale as an instrument of Globalization’ in Art Criticism and Globalisation, Assoçiao Brasiliera de Criticos de Arte, São Paolo, 2006. Okabe, Oomi, ‘Gendaibijutsu no hen’yô to Bijutsuten’, in Omuka Toshiharu, kenkyû daihyôsha, Kansha, Tenji, Kanshô, sono juyô no bijutsushi, [Heisei 14 nendo -16 nendo kagaku kenkyûhi hojokin, Kenkyûhôkokusho no. 1430029] Tsukuba, Tsukuba Daigaku Geijutsugakkei, 2001 Osborne, Peter, ‘The power of assembly –art, world, industry’, in Macdonald, Ewan & Parker, Luke editors, 2006 Biennale of Sydney: Zones of Contact, Sydney, Biennale of Sydney, 2006 Rugoff, Ralph, & Rinder, Larry, ‘In Conversation’, at www.stretcher.org/archives; Rugoff, Ralph, ‘Rules of the Game’, frieze, 44, January-February, 1999Smith Terry, ‘Biennales in the conditions of contemporaneity’, Art and Australia, vol.42, no.4, Autumn 2005. Smith, Terry, What is contemporary art? Contemporary Art, Contemporaneity and art to come, Sydney, Artspace Visual Art Centre, 2001 Stallabrass, Julian, art Incorporated: the story of contemporary art, Oxford, Oxford University Press, 2004 Tama Bijutsudaigaku Geijutsugakuka Tatehatazemi Shimpojiumu kikaku, Isozaki Akira, Okabe Aomi, Kitagawa Furamu, Nanjô Fumio, Hasegawa Yûko, Yokohama Kaigi 2004: Naze Kokusaiten ka?, Yokohama, BankART1929, 2005 Zabel, Igor, ‘What our village needs now….Biennial localisation factors, Biennials in Dialogue conference, Kassel, Documenta Halle, August, 2000

Art, Markets, and the Economy Abbing, Hans, Why are artists poor? The exceptional economy of the arts, Amsterdam, Amsterdam University Press, 2002, 2004. Baudrillard, Jean, For a critique of the political economy of the sign¸ [tr. Levin, Charles], New York, Telos Press, 1981. [see the chapter: ‘The Art Auction: sign exchange and sumptuary value]. Burn, Ian, ‘The art market: affluence and degradation’, Artforum, April 1975; Harrison, Charles & Wood, Paul, ed., Art in Theory, 1900-1990: an anthology of changing ideas, Oxford, Blackwell, 1992. Caves, Richard E., Creative Industries: contracts between art and commerce, Cambridge, Harvard University Press, 2000. ‘China is the world’s second largest exporter of art’, The Art Newspaper, XX, 66, February 2006. ‘Christie’s going going to China to hold auctions’, New York Times, 20 October 2005 De Monthoux, Pierre Guillet, The Art Firm: aesthetic management and metaphysical marketing, Stanford, Stanford Business Books, 2004. Galenson, David W., Artistic Capital, New York & London, Routledge, 2006. Ginsburg, Victor; Weyers, Sheila, ‘Creativity and the life cycles of artists’, Journal of Cultural Economics, 30, 2006 93 Contemporary Asian Art at Biennials © John Clark, 2013

Greffe, Xavier, Arts and Artists from an Economic perspective, Paris, Economica/UNESCO, 2002. [review Snatagata, Walter, Journal of Cultural economics, Aug 2004. Vol. 28, Iss. 3] Guillet De Monthoux, P., The Art Firm: Aesthetic Management and Metaphysical Marketing, Palo Alto, Stanford University Press, 2004. Linde, Rohr-Bongrad, et al, Kunst=Kapital, Der Capital Kunstkompass von 1970 bis heute, Köln, Salon Verlag, 2001 McCain, Roger, A., ‘Markets for works of art and “Markets for lemons” ’,in Hendon William S., Shanahan, James L, McDonald, Alice J., Economic Policy for the Arts¸ Cambridge, Mass., Abt Books, 1980. Moulin, Raymonde, Le Marché de l’art: mondialisation et nouvelles technologies, Paris, Flammarion, 2000. Moulin, Raymonde, L’artiste, l’institution et le marché, Paris, Flammarion, 1997. Moulin, Raymond; Quemin, Alain, ‘La certification de la valeur de l’art, Experts et expertises’, Annales, vol. 48, no. 6, Novembre-Décembre, 1993. Napack, Joanathan, ‘An Art Market with Chinese characteristics’, Asian Art Archive newsletter, May 2006. Quemin, Alain, ‘Globalization and mixing in the visual arts’, International Sociology, vol.21 (4), July 2006. Quemin, Alain, L’art contemporain international: entre les institutions et le marché (Le rapport disparu) Nîmes, Éditions Jacqueline Chambon/Artprice, 2002 Quemin, Alain, ‘L’art contemporain international à l’heure de la «globalisation». La place de la France dans le concert des nations’, Pratiques: Réflexions sur l’art, no.12, Printemps 2002. Quemin, Alain, Le rôle des pays prescripteurs sur le marché et dans le monde de l’art contemporain, Paris, Ministère des Affaires Étrangères, 2001. Rifkin, Jeremy, The Age of Access: The new culture of hypercapitalism where all of life is a paid-for experience, New York, Jeremy P. Tarcher/Putnam, 2000. Ruccio, D, Graham, J. Amariglio, J., ‘ “ The Good, the Bad and the Different”: Reflections on Economic and Aesthetic Value’, in: Klamer, Arjo, (ed) The Value of Culture: On the Relationship between Economics and Arts, Amsterdam, Amsterdam University Press, 1997. Schuster, J. Mark, review of Wu Chin-tao, Privatising Culture: corporate art intervention since the 1980s, London, Verso, 2002, in Journal of Cultural Economics, 7, 2003. Shell, Marc, Art & Money, Chicago, University of Chicago Press, 1995. Simmel, Georg, on ‘Money and Commodity Culture’, in Frisby, David; Featherstone, Mike, Simmel on Culture¸ London, Sage Publications, 1997 Singer, Leslie P., ‘Phenomenology and economics of art markets: an art historical perspective’, Journal of Cultural Economics, vol. XII, no.1, June 1988. Singer, Leslie P., ‘Rivalry and externalities in secondary art markets’, Journal of Cultural Economics, vol. V, no.2, June 1981 Singer, Leslie P., ‘Microeconomics of the art market’, Journal of Cultural Economics, vol. II, no.2, 1978 Skinner, Sarah J., ‘Estimating the real growth effects of blockbuster art exhibits: a time series approach’, Journal of Cultural economics, no.30, 2006, p.109-125. Swedburg, Richard, ‘The cultural entrepreneur and the creative industries’, Journal of Cultural Economics, 13 October 2006 online [sociological additions to Caves 2000, above] Throsby, ‘An artistic production function: theory and an application to Australian visual artists’, Journal of Cultural Economics, 30, 2006. Throsby, David, ‘Determining the value of cultural goods: how much (or how little) does contingent value tell us?’, Journal of Cultural Economics, 27, 2003 Throsby, David, Economics and Culture¸ Cambridge, Cambridge University Press, 2001 [review by Dimaggio Paul, in Journal of Cultural Economics, vol.27, 2003] 94 Contemporary Asian Art at Biennials © John Clark, 2013

Throsby, David, ‘Economic and Cultural Value in the work of creative artists’, in Avrami, Erica, ; Mason, Randall, de la Torre, Marta, Values and Heritage Conservation, Los Angeles, The Getty Conservation Instuitute, 2000. Van den Bosch, Annette, The Australian Art World: Aesthetics in a global market, Sydney, Allen & Unwin, 2005 Velthuis, Olav: Talking Prices : Symbolic Meanings of Prices on the Market for Contemporary Art, Princeton, Princeton University Press, 2005. [review by Valsan, Calin, The Journal of Cultural Economics, vol.30, 2006] Velthuis, Olav, Imaginary Economics: contemporary artists and the world of big money, Rotterdam, NAi Publishers, 2005. Wijnberg, Nachoem M., in Journal of Cultural Economics vol.30, 2006, review of English, James F., The Econnomy of prestige: Prizes, Awards, and the circulation of cultural value, Cambridge, Mass., Harvard University Press, 2005. Wu, Chin-tao, Privatising Culture: corporate art intervention since the 1980s, London, Verso, 2002.

Art Dealers: Beckmann, Michael, ‘Art auctions and bidding rings: empirical evidence from German auction data’, Journal of Cultural Economics, no 28, 2004, 125-141. De Coppet, Laura; Jones, Alan, The Art Dealers: the powers behind the scene talk about the business of art, New York, Clarkson N. Potter, 1984. Goldstein, Malcom, Landscape with Figures: a history of art dealing in the United States, Oxford, Oxford University Press, 2000. Jensen, Robert, Marketing Modernism in Fin-de-Siècle Europe, Princeton, Princeton University Press, 1994 Marquis, Alice Goldfarb, The art biz : the covert world of collectors, dealers, auction houses, museums, and critics, Chicago, Contemporary Books, 1991 Moulin, Raymonde; Quemin, Alain, ‘La Certification de la valeur de l’art: experts et expertises’, Annales ESC, novembre-décembre¸1993, no.6. Secrest, Meryle, Duveen: A life in Art, Chicago, University of Chicago Press, 2004 Simpson, Colin, Artful partners, The partnership: the secret association of Bernard Berenson and Joseph Duveen, London, Bodley Head, 1987. Paas, Martha White, review of Goldstein Malcom, Landscape with figures, a history of art dealing in the United States, Oxford, Oxford, University Press, 2000 in Journal of Cultural Economics, Aug 2002. Vol. 26, Iss. 3. ‘The Top Ten’ [Collectors] as of 02/12/2002] at www.telegraph.co.uk White, Harrison C. & Cynthia A., Canvases and Careers: institutional change in the French painting world, New York, John Wiley & Sons, 1965.

Cultures and Commodities: Clunas, Craig, ‘Modernity Global and local: Consumption and the Rise of the West’, American Historical Reivew, December 1999 De Marchi, Neil, Review of Phillips & Steiner, eds, Unpacking Culture: Art and Commodity in Colonial and Post-Colonial worlds, Berkeley, University of California Press, 1999 in The Journal of Cultural Economics, Aug 2002, Vol. 26, no. 3 Mitchell, W.J.T., ‘Gombrich and the Rise of Landscape’, in Bermingham, Ann; Brewer, John, eds., The Consumption of culture 1600-1800: Image, Object, Text, London, Routledge, 1995.

Hybridity, Post-coloniality and Globalization [Selected] Appadurai, Arjun ‘Introduction: Commodities and the Politics of Value’ in A. Appadurai ed. The Social Life of Things: Commodities in Cultural Perspective, Cambridge University Press, Cambridge, 1986. 95 Contemporary Asian Art at Biennials © John Clark, 2013

Appadurai, Arjun, Modernity at large: cultural dimensions of globalization, Minneapolis, University of Minnesota Press, 1996. Bhabha, Homi K., The Location of Culture, London, Routledge, 1994. Canclini, Néstor García, Hybrid Cultures: Strategies for entering and leaving modernity, Minneapolis, University of Minnesota Press, 1995. Canclini, Néstor García, ‘Contradictory modernities and globalization in Latin America’, in Vivian Schelling ed., Through the kaleidoscope: the experience of modernity in Latin America, London, Verso, 2000, 37-52. Canclini, Néstor García, ‘The state of war and the state of hybridization’, in Paul Gilroy, Lawrence Grossberg, and Angela McRobbie, eds., Without Guarantees: In Honour of Stuart Hall, London, Verso, 2000, 38-51. Canclini, Néstor García, ‘Remaking Passports: Visual Thought in the Debate on Multiculturalism’, in Prezioso Donald & Farago Claire (eds) (2004) Grasping the world : the idea of the museum (Ashgate Publishers) Chakravarty, Dipesh, Provincialising Europe: Postcolonial thought and historical difference, Princeton, Princeton University Press, 2000 Dirlik, Arif, The Postcolonial Aura: Third World Criticism in the Age of Global Capitalism, Boulder, Westview Press, 1997. Erjavec, Aleš, Aesthetics and/as Globalization: International Yearbook of Aesthetics, volume 8, 2004. Enwezor, Okwui et al, Créolité and creolization: Documenta 11_Platform 3, Kassel, documenta und Museum Fridericianum-Veranstaltungs Gmbh, 2003 Enwezor, Okwui, ‘Between worlds: postmodernism and African artists in the Western metropolis’, in Oguibe, Olu; Enwezor, Okwui, Reading the contemporary: African Art from Theory to Marketplace, London, in IVA, 1999 Glissant, Édouard, Le Discours Antillais, Paris, Éditions du Seuil, 1981 Grewal, Inderpal; Gupta, Akhil; Ong, Aihwa, guest editors, ‘Special Issue: Asian Transnationalities’, positions: east asia cultures critique, vol.7, no.3, winter 1999. Hall, Stuart, ‘The West and the Rest: discourse and power’ in S. Hall and B. Gieben eds. Formations of Modernity, Polity Press, Cambridge, 1992. Hannerz, Ulf, Cultural complexity: studies in the social organization of meaning, 1992, New York, Columbia University Press, 1992 Hoffmann, Frank: ‘Monoculture and Its Discontents’ Art in America Nov 2000 Vol 88 Issue 11 King, Anthony D., 1991, ed., Culture, Globalization and the World-System, Basingstoke, Macmillan, 1991. Lavrijsen, Ria, Global encounters in the world of art: collisions of tradition and modernity, Amsterdam, Royal Tropical Insititute, 1998. Miyoshi, Masao: A Borderless World? From Colonialism to Transnationalism Over the Decline of the Nation-State (Critical Inquiry, 19, Summer 1993. Reprinted in David, Catherine, Chevrier, Jean-François (eds) Documenta X – The Book (Cantz Verlag, 1997) Ong, Aihwa, Flexible Citizenship: the cultural logics of transnationality, Durham, Duke University Press, 1999. Parry, Benita , ‘Overlapping Territories and Intertwined Histories: Edward Said’s Postcolonial Cosmopolitanism’ in M. Sprinkler ed. Edward Said: A Critical Reader, Blackwell Press, Oxford, 1992 Poi, Cesare, ‘From the suburbs to the global village, afterthoughts on Magiciens de la Terre’, Third Text, no.14, Spring 1991. Rogoff, Irit, Terra Infirma: Geography’s Visual Culture, Routledge, London and New York, 2000 Said, Edward, Culture and Imperialism, Chatto and Windus, London, 1994. Said, Edward, ‘Secular Interpretation, the Geographical Element, and the Methodology of Imperialism’ in G. Prakash ed. After Colonialism: Imperial Histories and Postcolonial Displacements, Princeton University Press, Princeton, 1995. 96 Contemporary Asian Art at Biennials © John Clark, 2013

Sassen Saskia: ‘The Topoi of E-Space: Global Cities and Global Value Chains’ in: David, Catherine, Chevrier, Jean-François (eds) Documenta X – The Book (Cantz Verlag, 1997) Thomas, Nicholas, Possessions: Indigenous Art/Colonial Culture, Thames and Hudson, London, 1999. Walcott, Derek, ‘The Muse of History’ in his What the Twilight Says: Essays, London, Faber & Faber, 1998. Walcott, Derek, Omeros, London, Faber & Faber, 1990. Walcott, Derek, Tiepolo’s Hound, New York, Farrar, Straus and Giroux, 2000. Walcott, Derek, ‘Exasperating Theory’, ‘More than criticism’, ‘The Length of the Breath’, in Enwezor et al, 2003. Weibel, Peter, Inklusion/Exklusion: Kunst im Zeitalter von Postkolonialismus und Globaler Migration, Graz, Neue Galerie 1996 Wilson, Rob, Reimagining the American Pacific: From South Pacific to Bamboo Ridge and Beyond, Duke University Press, Durham, 2000.

Other Theories and Histories: Augé, Marc, Non-places: introduction to an anthropology of supermodernity [1992, translated by John Howe] (London: Verso, 1994) Bal, Mieke, Double Exposures: The Subject of Cultural Analysis, Routledge, New York, 1996. Bateson, Gregory, Steps to an Ecology of Mind, New York, Ballantine Books, 1972 Baudrillard, Jean 1983 ‘The Precession of Simulacra’, Simulations, Semiotexte, Columbia University Press, New York. Baudrillard, Jean, The Conspiracy of Art (tr, Hodges, Anne), New York, Semiotext(e), 2005. Belting Hans, The End of the History of Art, (tr. Wood, Christopher S.), Chicago, University of Chicago Press, 1987 Bourdieu Pierre, La distinction:critique sociale du jugement, Paris. Les Éditions de Minuit, 1979. Bourdieu, Pierre, Outline of a Theory of Practice, [tr.Richard Nice], Cambridge, Cambridge University Press, 1977 Bourdieu, Pierre, The Field of Cultural Production, [ed.and tr. Johnson, Randal], Cambridge, Polity Press, 1993, 2000 Bourriaud, Nicolas, Postproduction, New York, Lukas & Sternberg, 2002, 2nd edition 2005 Bourriaud, Nicolas, Relational Aesthetics, (1998) [tr. Pleasance Simon; Woods, Fronza; with Copeland, Mathieu], Dijon, les presses du réel, 2002 Burkhardt, Jacob, The Civilization of the Renaissance in Italy,(1860) [tr. Middlemore, S.G.C.] London, Phaidon, 1951 Castells, Manuel, ‘Informationalism, networks, and the network society: a theoretical blueprint’, in Castell,s M., ed., The Network Society: a cross-cultural perspective¸ Cheltenham, Edward Elgar, 2004. Eagleton, Terry, The Ideology of the Aesthetic, Oxford, Blackwell, 1990, 2000 Foster, Hal ; Rosalind Krauss, Yve-Alain Bois, Benjamin H.D. Buchloh, Art since 1900: modernism, antimodernism, postmodernism, London, Thames & Hudson, 2004 [See reviews by Clark in Yishu: Journal of Contemporary Chinese Art , no.15, December 2005, and McNeil David, ] Groys, Boris, Art Power, Cambridge, Mass.: MIT Press, 2008. Guillory, John, ‘Canon’ in Lentricchia, Frank; McLaughlin, Thomas, Critical Terms for Literary Study, Chicago, University of Chicago Press, 1990. Habermas, Jürgen The Theory of Communicative Action, 2 vols, [tr. Thomas McCarthy], London, Heinemann, 1984 Heidegger, Martin , ‘The Age of the World Picture’, The Question Concerning Technology and Other Essays, trans. W. Lovitt, Harper, New York, 1977. Heinich, Nathalie, Le triple jeu de l’art contemporain, Paris, Les Éditions de Minuit, 1998; [summary in Schaeffer, Jean-Marie: Think Art, Rotterdam, Witte de With, 1998] 97 Contemporary Asian Art at Biennials © John Clark, 2013

Holmes, Brian, ‘Maps, Global Solidarities’, Paris, Piet Zwart Institute, 2003 [from pzwart.wdka.hro.nl] Homes, Brian, ‘Flowmaps, the imaginaries of global integration’, Paris, Piet Zwart Institute, 2003 Sakai, Naoki,‘‘You Asians’: On the Historical Role of the West and Asia Binary’, The South Atlantic Quarterly, vol. 99, no.4, 2001, 789-817. Sakai, Naoki ‘Modernity and Its Critique: The Problem of Universalism and Particularism’ in M. Miyoshi and H.D. Harootunian eds. Postmodernism and Japan, Duke University Press, Durham and London, 1989.

Biennales and Triennales by Site: [This only lists material available to John Clark, terminus is usually 2006] Beijing: 2003 The First Beijing International Art Biennale, China 2003, Promotional Brochure, Beijing International Art Biennale Office The Conference of the First Beijing International Art Biennale, China 2003 – Originality: Contemporaneity and Locality, Handbook, Beijing International Art Biennale Office, 2003 2005 The Second Beijing International Art Biennale, China 2005, Promotional Booklet, Beijing International Art Biennale Office, 2005

Brisbane: Asia-Pacific Triennial of Contemporary Art [APT] Overall Marravillas, Francis, ‘Cartographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary’, a paper presented at the Our Modernities: Positioning Asian Art Now Conference, Asia Research Institute, National University of Singapore, Singapore, 19-22 February 2004, revised version in John Clark, Maurizio Peleggi and T.K. Sabapathy, eds., Eye of the beholder, Sydney, Wild Peony, 2006 Turner, Caroline, ‘Cross-Cultural Engagements in Asian Art: The Fukuoka Triennale and the Asia-Pacific Triennial’ paper presented at the Our Modernities: Positioning Asian Art Now Conference, Asia Research Institute, National University of Singapore, Singapore, 19-22 February 2004, revised version in John Clark, Maurizio Peleggi and T.K. Sabapathy, eds., Eye of the beholder, Sydney, Wild Peony, 2006 APT I 1993 [reviews and articles] Artlink, 13, 3 & 4, November-March 1993/95; Art Monthly Australia 65, November 1993; Asian Art News, vol.3, no.6, November-December 1993; Britton, Stephanie, ‘Review of the Conference Identity Tradition and Change: Contemporary Art of the Asia Pacific Region’, Artlink, Vol. 13, No.3&4, November-March 1993/94, correspondence: Art Monthly Australia, no.67, March 1994; no.68, April 1994, Ewington, J., ‘Identity, Tradition & Change: Photography at the Asia-Pacific Triennale, Photofile, 40, 1994; Ewington, J., Nguyen Quan, Torres, E. in Art & Asia Pacific, vol.1, no.2, 1994; Gallagher, Jane, An analysis of critical categories operant in the Asia-Pacific Triennale, B.A. Unpublished Honours Thesis, Power Department of Fine Art, University of Sydney, 1994; 98 Contemporary Asian Art at Biennials © John Clark, 2013

Hall, Doug, Queensland Asia Pacific Triennial Bulletin, vol. 1 no.2, 1992 . Hoffie, P., ‘1993 Asia Pacific Triennial’, Art & Asia Pacific, supplement to Art & Australia, September 1993; Hogan, J., ed., The First Asia-Pacific Triennal of Contemporary Art, Brisbane, Queensland Art Gallery, 1993. Mendelssohn, Joanna, ‘Review: First Asia-Pacific Triennial of Contemporary Art, Queeensland Art Gallery’, Artlink, Vol. 13, No.3&4, November- March 1993/94; Roces, Marion Pastor, ‘A certain critical mass’, Art Monthly Australia, , no. 63, Nov 1993; Turner, C., ed., Tradition and Change, Contemporary Art of Asia and the Pacific, Brisbane, University of Queensland Press, 1993. Turner, Caroline, ‘Introduction – From Extraregionalism to Intraregionalism’, in The First Asia Pacific Triennial of Contemporary Art, exhibition catalogue, Queensland Art Gallery, Brisbane, 1993. Wallace, Linda, ‘The Asia-Pacific Triennial of Contemporary Art’, Review, Art & Text 47, January 1994; Williamson, Claire, ‘Remapping the Asia-Pacific’, Art Monthly Australia, no.65, Nov 1993; APT II 1996 Clark, J. & Gutman, P., ‘The Second Asia-Pacific Triennial of Cotemporary Art: A Conversation’, Eyeline, no.32, 21-23 Ewington, Lee, Ushiroshoji, Losche in ART AsiaPacific, no.15, 1997 Flores, Mehta, Kent, in Eyeline: contemporary visual arts, no.32, summer 1996; Gibson in Flash Art, Jan- Feb 1997; McDonald, J. Sydney Morning Herald, 5th October 1996; Mendelsohn, Hall & McCulloch, Thomas, Turner, Howard, McCulloch, in Asian Art News, vol.7, no.1, Jan/Feb 1997; Stein in Art in America, June 1997; Turner, C. & Devenport, Rhana, [catalog] The Second Asia-Pacific Triennale of Contemporary Art, Brisbane, Queensland Art Gallery, 1996 Turner, C. & Devenport, Rhana, [Explanatory pull-out] in ART AsiaPacific, no.13, 1997; Clark, John 1996 ‘The Second Asia-Pacific Triennial of Cotemporary Art: A Conversation’, Eyeline, no.32, 21-23.Turner, C., Devenport, R. eds., Present Encounters: papers from the conference of the Second Asia-Pacific Triennale of Contemporary Art, Brisbane, Queensland Art Gallery & Griffith University, 1996; APT III 1999 Artlink, Vol. 20, No. 2, July 2000, Special Issue, ‘the long stare: seeing contemporary asian art now’; Carroli, Linda, ‘A virtual region’, Art AsiaPacific, 27, 2000; Chiu, Melissa, ‘Duplicitous Dialogue’, Art AsiaPacific, 27, 2000; Clark, John, ‘Panel Report on Commodification/Patronage/Censorship’ in C. Turner and M. Low eds. Beyond the Future, Conference Proceedings, The Third Asia-Pacific Triennial of Contemporary Art, Brisbane, Queensland, 2000. Dale, Robert 1999/2000 ‘Reviews: The Third Asia-Pacific Triennial of Contemporary Art’, Eyeline, no.41. Fink, Hannah, ‘Fizzle’, Art AsiaPacific, 27, 2000; Jackson, Beth, ‘Improbable Architectures’, Art AsiaPacific, 27, 2000; Foley, Matt 1999 Ministerial Statement, Queensland Parliamentary Hansard, 26 August 1999. Gibson, Jeff, ‘Third Asia-Pacific Triennial of Contemporary Art’, Artforum International, Vol.38, Issue 5, January 2000; 99 Contemporary Asian Art at Biennials © John Clark, 2013

Green, Charles, ‘Beyond the Future: The Third Asia-Pacific Triennial’, Art Journal, vol. 58, no. 4, 1999, 81-87. Hall, Doug The Courier-Mail, 23 April 1999. Hall, Doug, ‘Foreword’, in Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art, exhibition catalogue, Queensland Art Gallery, Brisbane, 1999. Hall, Doug, The Age, 10 September 1999. Holder, Jo & Moore, Catriona ‘Going Glocal – APT3: Beyond the Future’, Realtime, 34, p.24. Low, Morris, ‘Hybrid transplants at the Queensland Art Gallery’, Artlink, Vol. 20, No. 2, July 2000; McNamara, Andrew, ‘The Third Asia-Pacific Triennial of Contemporary Art: To the point of distraction! Entertaining Diversity’, Eyeline, no. 42, Autumn/Winter, 1999/2000, 31-33. Miki, Akiko, ‘Evaluating the Asia-Pacific Triennial’, Artlink, Vol. 20, No. 2, July 2000; Taylor, Roger, ‘A dynamic of cultures’, Asian Art News, vol.9, no.6, 1999; Turner, Caroline & Devenport Rahan, Beyond the Future:The Third Asia-Pacific Trennial of Contemporary Art, [catalogue] Brisbane, Queensland Art Gallery, 1999. Turner Caroline, Low, M. eds, Beyond the Future: papers from the conference of the Third Asia-Pacific Triennale of Contemporary Art, Brisbane, Queensland Art Gallery & Griffith University, 1999; Turner, Caroline, ‘Introduction’ in C. Turner and M. Low eds. Beyond the Future, Conference Proceedings, The Third Asia-Pacific Triennial of Contemporary Art, Brisbane, Queensland, 2000. Turner, Caroline, ‘Journey Without Maps: The Asia Pacific Triennial’ in Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art, exhibition catalogue, Queensland Art Gallery, Brisbane, 1999. Turner, Caroline; Hoffie, Pat; Carroll, Alison; and Raffel, Suhanya, ‘on understanding the Asia-Pacific Triennial’, Artlink, Vol. 20, No. 2, July 2000; Ushiroshoji, Masahiro, ‘The APT and Fukuoka: a comparison’, Artlink, Vol. 20, No. 2, July 2000 APT IV 2002 Eastburn, Melanie, ‘A Decade Of Challenges’, APT4 Review, Asian Art News, vol. 12, no. 6, November/December, 2002 Gibson, Jeff, ‚Asia-Pacific Triennial of Contemporary Art’, Artforum International, Vol.41, Issue 1, September 2002 Grace, Helen, ‘Asia-Pacific Triennial of Contemporary Art 2002: islands of promise in the dark waters of a new world order’, Eyeline, no. 50, 2002/2003, 24-27. Ng., Elaine W. ‘Queensland Looks East’, ArtAsiaPacific, no. 45, 2005 (APT 4 and new Qld art gallery) Sambrani, Chaitanya, ‘Austerity – Excesss – Invention: the Asia-Pacific Triennial 2002’, Art Monthly Australia November 2002, no.155; Seear, Lynne, Ed., Asia-Pacific Triennale of Contemporary Art, Brisbane, Queensland Art Gallery, 2002. Thomas, Morgan, ‘Asia-Pacific Triennial 2002: we are not the world’, Eyeline, no. 50, 2002-03, 32-33. Wu Hung, ‘Mapping Contemporaneity’ in APT 2002: Asia Pacific Triennial of Contemporary Art, exhibition catalogue, Queensland Art Gallery, Brisbane, 2002 APT V 2006 Fairlie, Gina, ‘Connections and the Future’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007 (review of Fifth Asia Pacific Triennal, Brisbane) 100 Contemporary Asian Art at Biennials © John Clark, 2013

Seear, Lynne; Raffel, Suhanya, The 5th Asia Pacific Triennial of Contemproary Art, Brisbane, Queensland Art Gallery Publishing, 2006.

Fukuoka: Overall [Fukuoka Ia] Asian Artists Exhibition Part I: Contemporary Asian Art Show, Fukuoka, Fukuoka Fine Arts Museum, 1980. [Fukuoka Ib] Asian Artists Exhibition Part I: India, China & Japan, Fukuoka, Fukuoka Fine Arts Museum, 1979. [Fukuoka II] 2nd Asian Art Show, Fukuoka; Special Section: Art of Bali, Fukuoka, Fukuoka Fine Arts Museum, 1985 [Fukuoka III] 3rd Asian Art Show, Fukuoka, Fukuoka, Fukuoka Fine Arts Museum, 1989. Fouser, Robert, ‘Asia as a state of mind’, Art AsiaPacific, 24, 1999; Fukuoka Asian Art Museum Art Exchange Programs, Annual Report 00-01, Fukuoka: Fukuoka Asian Art Museum, 2001; Fukuoka Asian Art Museum Art Exchange Programs, Annual Report 01-02, Fukuoka: Fukuoka Asian Art Museum, 2002 Fukuoka Asian Art Museum Art Exchange Programs, Annual Report 99-00, Fukuoka Asian Art Museum, 2000; Fukuoka Asian Art Museum, Asian Collection 50: Fukuoka: Fukuoka Asian Art Museum, 2000; Matsuura, Jin, ‘Notes on Artist in Residence Program’, Winds of Artists in Residence 2001-, Fukuoka: Fukuoka Asian Art Museum, 2001; Murata, Makoto, ‘Asia as an Art Museum’, Art AsiaPacific, 24, 1999; 1994 4th Asian Art Show 4th Asian Art Show Fukoka, ed and pub Fukuoka Art Museum 4th Asian Art Show Fukuoka: Realism as an Attitude, Fukuoka, Fukuoka Art Museum, 1994.

1999 1st Fukuoka Asian Art Triennale 1st Fukuoka Asian Art Triennale 1999 [5th Asian Art Show] Jin, Matsuura and Masae, Kamachi, The First Fukuoka Asian Art Trienale [The 5th Asian Art Show], Seminar: “Asian Art – Towards the 21st Century”, Fukuoka: Fukuoka Asian Art Museum, 1999; Jin, Matsuura and Masae, Kamachi, The 1st Fukuoka Asian Art Triennale 1999 [The 5th Asian Art Show]: Document of Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999; Kuroda, Raiji, The First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999; Ushiroshoji, Masahiro, ‘The APT and Fukuoka: a comparison’, Artlink, Vol. 20, No. 2, July 2000

2002 2nd Fukuoka Asian Art Triennale Kuroda Raiji ‘Ajibi no 5-nen – kôryûjigyô wo chûshin ni’, in Fukuoka Asian Art Museum Collection Now: Soul of Asia, Sapporo, Hokkaidôritsu Kindaibijutsukan, 2004 Matsuura Jin, ‘Notes on the artist-in-residence programme’, in Artisto in rejidensu seikaten, Fukuoka, Asian Art Museum, 2002. Ushiroshôji Masahiro, ‘ “Ajia Bijutsukan” to iu arikata – sono imi, hôhô, shisutemu’, Ritsumeikan Gengo Bunka Kenkyû, vol.13, no.4, 28 February 2002 Fouser, Robert J., ‘2nd Fukuoka Asian Art Triennale’, ART AsiaPacific, Issue 36 (2002) 101 Contemporary Asian Art at Biennials © John Clark, 2013

Kondo Kazuyo, Tomomichi, Nakao; and Yuko, Yamaki, ed., Imagined Workshop: The 2nd Fukuoka Asian Art Triennale 2002, Fukuoka: Fukuoka Asian Art Museum, 2002; Turner, Caroline, 'Imagined Workshop', 2nd Fukuoka Asian Ar Triennial Review, IIAS Newsletter, No. 29, November 2002; Nakao Tomomichi hoka hen, Dai 2 kai Fukuoka ajia bijutsu toriennare 2002 : the 2nd Fukuoka Asian art triennale 2002, Fukuoka-shi : Fukuoka Ajia Bijutsukan, 2002.

2005 3rd Fukuoka Asian Art Triennale The 3rd Fukuoka Asian Art Triennale 2005, Igarashi, Rina, ed., Fukuoka, Fukuoka Asian Art Museum, 2005 Nagoya, Satoru, ‘Yokohama and Fukuoka Triennials Report’, Flash Art, vol. XXXIX, no. 246, Jan-Feb, 2006 Rawanchaikul, Toshiko, ‘How were the artists selected?’, in The 3rd Fukuoka Asian Art Triennale 2005, Igarashi, Rina, ed., Fukuoka, Fukuoka Asian Art Museum, 2005.

Guangzhou: Guangzhou Triennale 2002 Wu Hung with Wang Huangshang & FengBoyi, 1st Guangzhou Triennial: Re-interpretation: a decade of Experimental Chinese Art (1990-2000), Guangzhou, Guangdong Museum of Art, 2002 2005 Clark, John, ‘A Spectacle of Questions’, Asian Art News, vol. 16, no. 1, 2006. Koegel, Eduard, ‘How to Urbanise a Special Economic Zone? The 2005 Biennale of Urbanism and Architecture in Shenzhen’, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 2, Jun 2006. Goodbody, Bridget, ‘Beyond the Delta’, ArtAsiaPacific, no. 46, 2005. (Guangzhou triennial) Pi Li, ‘The Second Guangzhou Triennial’, Flash Art, vol. XXXIX, no. 246, Jan-Feb, 2006 Spalding, David, ‘Second Guangzhou Triennale’, Artforum, vol. 44, Iss. 8, 2006 Vine, Richard, ‘Cities on the make: reflecting China's runaway building boom, the second Guangzhou Triennial examined the forces driving today's urban development and globalized art’, Art in America, 94.8 (Sept 2006) Vine, Richard, ‘Through a Chinese Lens’, review, Art in America, vol. 93, iss. 6, Jun-Jul, 2005 (Guangzhou photo biennial) 2006 D-Lab/The Second Guangzhou Triennial BEYOND: an extraordinary space of experimentation for modernization, Guangzhou, Lingnan Chubanshe, 2006. (Artistic Curator: Hou Hanru; Curators: Hou Hanru, Hans Ulrich, Guo Xiaoyan). The Second Guangzhou Triennial BEYOND: an extraordinary space of experimentation for modernization (Exhibition Catalogue), Guangzhou, Lingnan Chubanshe, 2006. (Artistic Curator: Hou Hanru; Curators: Hou Hanru, Hans Ulrich, Guo Xiaoyan). The Second Guangzhou Triennial BEYOND: an extraordinary space of experimentation for modernization (Exhibition Guide), Guangzhou, Lingnan Chubanshe, 2006. (Artistic Curator: Hou Hanru; Curators: Hou Hanru, Hans Ulrich, Guo Xiaoyan).

Gwangju/Kwangju Biennale: 1995 Kim Hwan et al. ’95 Kwang-ju International Contemporary Art Festival Catalogue. Kwang-ju, Kwnag-ju City Gallery 1995. Jin Young-sun & Chung Joon-mo (Editors), The First Kwangju International Biennale. Volume 1. International Exhibition of Contemporary Art: Beyond the Borders. Seoul, Life & Dream Publishing Co. 1995. (Director General of Visual Arts: Lee Yongwoo). Lee, James B., ‘Pursuing global stature’, (Asia: Korea) ARTnews Nov 1995 v94 n9 p224(2) Lee, James B, The call to globalization: a booming economy has meant a proliferation of artists, galleries, and museums. But when will the West catch on? (Korea '95) (includes related articles on artists Lee Bul and Lee Sang-Hyun) ARTnews April 1995 v94 n4 p126(4) Heartney, Eleanor: Into the international arena. (contemporary art, Kwangju Biennale, South Korea) Art in America April 1996 v84 n4 p50(5) 1997 Kim, Su-ki (Editor), 97 Kwangju Biennale: Unmapping the Earth, Kwangju, Kwangju Biennale Press. (Artistic Director: Lee Young-chul) 1998 Jay, Martin: ‘Kwangju: From Massacre to Biennale. Salmagundi Fall 1998 I Issue 20 p15-26) Vine, Richard: Asian futures: status of South Korea in art world. Art in America July 1998 v86 n7 p34-43)) 2000 Cho, Sung-kwan (Editor), Kwangju Biennale 2000 Man + Space, Kwangju, Kwangju Biennale Press 2000. (Artistic Director: Oh Kwang-su) Cho, Sung-kwan (Editor), Kwangju Biennale 2000 Man + Space: The Special Exhibition, Kwangju, Kwangju Biennale Press 2000. (Artistic Director: Oh Kwang-su) KwangjuBiennale 2000 Man + Space. Exhibition Guide 2002 Chung, Guyon (Editor), Gwangju Biennale 2002 Project4 Connection, Gwangju, Gwangju Biennale Press 2002. (Curator: Chung Guyon). Gwangju Biennale 2002 Project 1 PAUSE, Project 2:THERE , Project 3 Stay of Execution. Exhibition Guide. Gwangju, Gwangju Biennale Press 2002 Hou Hanru, ‘Event city and pandora’s box: curatorial notes on the 2002 Gwangju Biennale’, Yishu, vol.1, no.2, 2002; Kee, Joan, ‘2002 Gwangju Biennale’, ART AsiaPacific, Issue 36 (2002);; Kim, Youngna, ‘Let’s Pause & Talk, Let’s Pause & Drink’, IIAS Newsletter, No. 28, July 2002 Lee Weng Choy, ‘Biennale time and the specters of exhibition’, FOCAS, vol. 4, 2002 Min, Yong Soon (Editor), Gwangju Biennale 2002 Project2:THERE: Sites of Korean Diaspora, Gwangju, Gwangju Biennale Foundation 2002. (Artistic Director: Sung Wan-kyun). Napack, Jonathan, 'Alternative Visions', Gwangju Biennial Review, Art in America, Vol. 90, Issue 11, November 2002 Park, Manu (Editor), Gwangju Biennale 2002 Project 1 PAUSE: Conception, Gwangju, Gwangju Biennale Press 2002. (Curators : Sung Wan-kyung, Charles Esche, Hou Hanru). Park, Manu (Editor), Gwangju Biennale 2002 Project 1 PAUSE: Realization, Gwangju, Gwangju Biennale Press 2002. (Curators : Sung Wan-kyung, Charles Esche, Hou Hanru). Sung, Wan-kyung (Editor), Gwangju Biennale 2002 Project3 Stay of Execution, Gwangju, Gwangju Biennale Press 2002. (Curator: Sung Wan-kyun). 103 Contemporary Asian Art at Biennials © John Clark, 2013

Sung Wan-kyung; Esche, Charles; Hou Hanru [idea and conception] Project 1 Pause: Conception & Project 1 Pause: Realization, Gwangju, Gwangju Biennale Press, 2002 2004 Gwangju Biennale 2004 Viewer-Participants Discission Papers: The Audience, Who Are They?, Gwangju Biennale Foundation, 2004 Gwangju Biennale 2004. Press Open, (Press briefing for Biennale Opening, In Korean), Gwangju Biennale Foundation, 2004 Gwangju Biennale 2004, A Grain of Dust, A Drop of Water, Gwangju, Gwangju Biennale Press, 2004 Gwangju, Biennale Ecometro,

Busan Contemporary Art Exhibition, Busan Sea Art Festival Busan Sculpture Project São Paolo 26th Biennial Breuvart, Valerie, ‘Gwangju Biennale 2004’ review, Artforum, vol 46, iss. 5, Jan 2005. Clark, John, ‘Three Recent Biennales in Asia: Gwangju, Busan and Shanghai’, Art and Australia, vol. 42, no. 3, 2005 Heartney, Eleanor, ‘Report from Korea I: Biennial Anxiety’, Art in America, vol. 93, iss. 5, May 2005 (Gwangju, Busan biennials) Jheon Soocheon, Social landscape, 2004 Gwangju Biennale, Seoul, Jheon Soocheon, 2004 Judd, Craig, ‘Gwangju Biennale 2004: A Viewer-Participant Memoir’, Eyeline, no. 56, Summer 2004-5 Kim, Hyun-do (Editor), Gwangju Biennale 2004 A Grain of Dust. A Drop of Water. Gwangju, Gwangju Biennale Foundation 2004. (Artistic Director: Lee Wong-yu). Kim, Hyun-do (Editor), Gwangju Biennale 2004 A Grain of Dust. A Drop of Water .:Korea Express Site 2 Gwangju, Gwangju Biennale Foundation 2004. (Curators: Shim Jae-wook & Jung Gun-ho). 2006 Gwangju Biennale 2006, ‘Fever variations: Press Release’, Gwangju Biennale Foundation, 2006 Gwangju Biennale 2006, Open Forum: World Contemporary Art and International Biennales, Gwangju Biennale Foundation, 2006 Clark, John, ‘A Narrowing of Horizons: The Shanghai and Gwangju Biennales 2006’, Art Monthly Australia, no. 196, December 2006-February 2007. Fenner, Felicity, ‘Gwangju Biennale’, Art and Australia, vol. 44, no. 3, 2006. Han Kyung ah (Editor), Gwangju Biennale 2006: Fever Variations, Seoul, Designhouse Co. Ltd, 2006. (Artistic Director: Kim Hong-hee. Curators: Wu Hung, Binghui Huangfu, Shaheen Merali, Jacquelynn Baas, Cristina Ricupero, Beck Jee-sook, Chris Gilbert, Cira Pascual Marquina). Lee, Pamela M., ‘2006 Singapore Biennale/6th Gwangju Biennale’ Artforum, vol. 45, Iss. 3, 2006 Lee, Weng-Choy, ‘Eastern Front’ (Singapore, Shanghai and Gwangju Biennales), Artforum, vol. 45, Iss. 1, 2006

Istanbul: International İstanbul Biennial 1987 1st Biennial 1989 2nd Biennial 1992 3rd Biennial 1995 4th Biennial 104 Contemporary Asian Art at Biennials © John Clark, 2013

Block, René, ‘What is a Biennale, and what will it mean for the art scene in Istanbul’, [speech of 13th September 1995] from http://www.iksv.org/bienal/english/arsiv.asp?ms=3 1997 5th Biennial Martinez, Rosa, ‘On life beauty, translations and other difficulties’, from http://www.iksv.org/bienal/english/arsiv.asp?ms=3 1999 6th Biennial Colombo, Paolo, ‘Concept’ from http://www.iksv.org/bienal/english/arsiv.asp?Page=Ifca&Sub=Archive&biennial=6&content=kavcer 2001 7th Biennial Atagök, Tomar; Plate, Susan, ‘The Istanbul Biennial: the digestible other’, Third Text, 55, 2001, 103; Schwabsky, Barry, ‘Istanbul Biennial’, Artforum International, Vol.40, Issue 1, September 2001; Hori, Motoaki, ‘Between East and West: The 7th International Istanbul Biennial’, ART AsiaPacific, Issue 35 (2002); Shawa, Wendy, ‘Art among the myths of globalism: the Istanbul Biennial’, Third text, 58, vol.16 1, 2002; [Istanbul Biennale] review, Art in America, March 2002; Hori, Motoaki, ‘Between East and West: The 7th International Istanbul Biennial’, Art AsiaPacific, no.35, 2002. 2003 8th Biennial Cameron, Dan, ‘Concept’, from http://www.iksv.org/bienal/english/arsiv.asp?ms=3 Nahas, Dominique, ‘Preview: The 8th International Istanbul Biennial’ in Art Asia Pacific, No. 38 (Fall 2003), pp.25-26; Heartney, Eleanor, ‘Mending the Breach’ in Art in America (January 2003), pp. 74-79; Kent, Rachel, ‘2003 Istanbul Biennial: Poetic Justice’ in Art & Australia, Vol. 41, No. 3 (Autumn 2004), pp. 278-279 2005 9th Biennial Esche, Charles & Kortun, Vasif, ‘Concept’ from http://www.iksv.org/bienal/bienal9/english/?Page=Concept Esche, Charles & Kortun, Vasif, ‘Interview’ in MetropolisM, Amsterdam, September 2005, from Esche, Charles, Interview with Jelena Vesic, Prelom Magazine, Beograd, from Gregos, Katarina, ‘Email interview with Vasif Kortun and Charles Esche’, Flash Art, May 2005, Henrikkson, Minna, ‘Email interview with Vasif Kortun and Charles Esche’, Framework , Issue 3, June 2005 [Finnish art review] [four items above are from: http://www.iksv.org/bienal/bienal9/english/?Page=Curators&Sub=Interview]

Kassel: Documenta General Texts: Blok, René; Glaser, Martin, et al, Das Lied von der Erde / The Song of the Earth, Kassel, Museum Fridericianum, 2000 Glasmeier, Michael; Stengel, Karin, eds., 50Jahre/Years documenta, Archive in Motion, [bilingual retrospective catalogue & texts], Göttingen, Steidi Verlag, 2005 1992 Documenta IX Galloway, David: ‘Documenta 9 The Bottom Line’ Art in America Sept 1993 v81 n9 p55 105 Contemporary Asian Art at Biennials © John Clark, 2013

1997 Documenta X artistic director Catharine David 2002 Documenta XI artistic director artistic director Okwui Enwezor] Downey, Anthony: (2003) . ‘The Spectacular Difference of Documenta XI’ Third Text, Volume 17, Number 1 (March 2003), pp. 85-92 Enwezor, Okwui, et al, Documenta IX: Platform Five, Exhibition catalogue, Hatje Cantz Verlag, 2002 Enwezor, Okwui et al, Créolité and creolization: Documenta 11_Platform 3, Kassel, documenta und Museum Fridericianum-Veranstaltungs Gmbh, 2003 Lopez, Sebastian, 'Starting Points: 'Documenta'', IIAS Newsletter, No.25, July 2001 Nochlin, L, Holert T., Higgs, M. Meyer, J., ‘Platform Muse: Documenta 11’ Artforum International Sept 2002 v41, 1, p160 (10). Heartney, Eleanor: ‘A 600-hour Documenta’ Art in America Sept 2002 v90 i9 p86(10) Lee Weng Choy, ‘Biennale time and the specters of exhibition’, FOCAS, vol. 4, 2002

Johannesburg 1995 Johannesburg 1st Biennale

1997 Johannesburg, 2nd Biennale Hong Kong, etc., (curated by Hou Hanru, organized by Johannesburg Biennale) Becker, Carol ‘Interview with Okwui Enwezor’. (artistic director of the Second Johannesburg Biennale art exhibition) Art Journal, Summer 1998 1998 Vol 57 No 2 p101-8 Becker, Carol, ‘The second Johannesburg Biennale’, Art Journal, Summer 1998 v57 n2 p86(15) Diawara, Manthia, ‘Moving company, the Second Johannesburg Biennale’ Artforum International, March 1998 Vol 36 No 7 p86 Heartney, Eleanor, ‘Mapping the postcolonial’ Art in America, June 1998 v86 n6 p51(4)

Kitakyushu Biennale 2003 Inaga, Shigemi et al. 7th Kitakyushu Biennale : Art for Sale: Intimacy between Aesthetics and Economy.. Kitakyushu, Kitakyushu Municipal Museum of Art 2003. (Curator: Makiko Matake).

Liverpool Biennial: 2000 Bond, Antony, curator, Trace: The International Exhibition, Liverpool, Liverpool Biennial of Contemporary Art, 2000. 2002 106 Contemporary Asian Art at Biennials © John Clark, 2013

Biggs, Lewis, ed., International 2002, Liverpool, Liverpool Biennial of Contemporary Art, 2002. 2004 Domela, Paul, ed., international 04, Liverpool, Liverpool Biennial of Contemporary Art, 2004. 2006 Domela, Paul, ed., international 06, Liverpool, Liverpool Biennial of Contemporary Art, 2006

Lyon Biennial 2001 Budge, Andrew, ‘Partage d’exotismes’; do ‘magicians’ grow wise or just old’, Third Text 58, vol.16, 1, 2002 Prat, Thierry & Raspail, Thierry (Artistic Directors), Partage D’Exotismes, Volume , 5th Biennale d’Art Contemporrin de Lyon, 2000

Manifesta: [site varies] Domela, Paul, ed., Manifesta: Coffee Break, Liverpool, Liverpool Biennial, 2005

Moscow:

New Delhi: India Triennale 1991 Hideki Nakamura, JAPAN, Triennale India 1991- Yoshio Kitayama, Mio Shirai, Miran Fukuda, The Japan Foundation, 1991

Osaka Triennale 1995 Osaka Prefectural Government (Editor & Publisher). Osaka Triennale 1995. Sculpture. 6th International Contemporary Art Competition. Osaka 1995. ( Curator: Hiroyuki Nakatsuka, Planning Office, Contemporary Art & Culture Centre, Osaka Prefectural Government.)

São Paulo: São Paulo Bienal 1991 1994 Leffingwell, Edward: ‘The Extraterritorial Zone: the 26th Sao Paulo Bienal (Art in America, Feb 2005) 1996 1998 Leffingwell, Edward, ‘Cannibals All - 24th Sao Paulo Bienal’, Art in America, May 1999. 2002 2004 107 Contemporary Asian Art at Biennials © John Clark, 2013

2006

Singapore: 2006 Artstrings: National Arts Council Annual Report 2005/06. Singapore, National Arts Council, 2006. Chang, T.C., ‘Renaissance Revisited: Singapiore as a “Global City for the Arts”’, International Journal of Urban and Regional Research, vol.24, no.4, December 2000. Cruikshank, Alan, ‘Interview: Fumio Nanjo Artistic Director Singapore Biennale 2006’, Broadsheet, vol. 35, no. 3, 2006. Gill, Simryn, Guide to the Murals at Tanjong Pagar Railway Station, Singapore, Singapore, Simryn Gill & Singapore Biennale 2006 Kirker, Anne, ‘Decentralisation Works: Singapore Biennale 2006’, Eyeline, no. 62, Summer 2006-7. Lee, Pamela M., ‘2006 Singapore Biennale/6th Gwangju Biennale’ Artforum, vol. 45, Iss. 3, 2006 Lee Weng Choy, ‘Calibrated Expectations: A Roundtable on the Inaugural Singapore Biennale 2006’, Broadsheet, vol. 35, no. 3, 2006. Lee, Weng-Choy, ‘Eastern Front’ (Singapore, Shanghai and Gwangju Biennales), Artforum, vol. 45, Iss. 1, 2006 Lee Weng Choy, ‘The public remainder: Singapore goes to Venice, the Biennale comes to Singapore’, Broadsheet, 32/2, June –August 2005 Thompson, Jonathan, ‘A Willingness to Engage’, Asian Art News, vol. 16, no. 6, Nov-Dec 2006, (review of First Singapore Biennale) Kendzulak, Susan, ‘Interview with Fumio Nanjo, Artistic Director of the Singapore Biennale’, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 4, Dec 2006. Hill, Jo Martin, ‘A Tale of Two Biennales: Singapore and Shanghai’, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 4, Dec 2006 Slater, Ben, editor, belief: Exhibition Short Guide, Singapore, National Arts Council, 2006 Yap, June, ‘Hope: [Regarding Belief]’, Eyeline, no. 62, Summer 2006-7 (Singapore Biennale).

Shanghai: 1996

1998 ’98 Shanghai Art Biennale Exhibition Catalogue (in Chinese), Shanghai Art Museum, 1998

2000 Shanghai Biennale 2000 Exhibition Guide, Shanghai Art Museum, 2000 Chen Long (Editor), Shanghai Biennale 2000: Shanghai Spirit., Shanghai, Shanghai Shuhua Chubanshe, 2000. Curator’s Group: Fang Zengxian, Hou Hanru, Shimizu Toshio, Zhang Qing, Li Xu Hou Hanru, ‘A naked city, Art AsiaPacific, 31, 2001; Hou Hanru, Shimizu Toshio, Zhang Qing, Li Xu, 2000 Shanghai Biennale, Shanghai, Shanghai Shuhua Chubanshe, 2000. Wu Hung, ‘The 2000 Shanghai Biennale’, Art AsiaPacific, 31, 2001 108 Contemporary Asian Art at Biennials © John Clark, 2013

2002 4th Biennial Withers, Rachel, ‘Shanghai Biennale’, Artforum International, Vol.41, Issue 1, September 2002; Genocchio, Benjamin, ‘Letter from Shanghai’, Art Monthly Australia, Number 157, March 2003 Xu Jiang & Li Xiangyang (Chief Editors), 2002 Shanghai Biennale: Urban Creation.. Shanghai, Shanghai Art Museum 2002. Curator’s Group: Fan Di-an, Alanna Heiss, Wu Jiang, Li Xu, Klaus Biesenbach, Yuko Hasegawa. Wu changfu & Lu Yongyi (Editors), Urban Creation: Selected Works of International Students’ Exhibition, Shanghai Biennale 2002, 2003 5th Biennial Urban Creation curated by Alanna Heiss, Fan Di’an, Xu Jiang, Li Xu, Klaus Biesebach, Hasegawa Yûko, organized by Shanghai Art Museum and Shanghai Gt Courtyard Cultural Investments Ltd. Vine, Richard: ‘Shanghai Accelerates’: Art in America Feb 2005 Vol 93 Issue 2 p104-113) Clark, John, ‘Three Recent Biennales in Asia: Gwangju, Busan and Shanghai’, Art and Australia, vol. 42, no. 3, 2005 Lu, Carol, ‘A Flawed Biennale’ (Shanghai Biennale 2004), Flash Art, vol. XXXVIII, no. 240, Jan-Feb, 2005 2004 Fang Zengxian & Xu Jiang (Chief Editors), 2004 Shanghai Biennale. Techniques of the Visible. Shanghai, Shanghai Fine Art Publishers, 2004. (Chief Curator: Xu Jiang. Curators: Sebastian Lopez, Zheng Shengtian, Zhang Qing. 2006 Clark, John, ‘A Narrowing of Horizons: The Shanghai and Gwangju Biennales 2006’, Art Monthly Australia, no. 196, December 2006-February 2007. Fang Zengxian & Xu Jiang (Chief Editors), 2006 6th Shanghai Biennale: HyperDesign.. Shanghai, Shanghai Fine Art Publishers, 2006. (Artistic Director: Zhang Qing. Curators: Zhang Qing, Huang Du, Lin Shumin, Wonil Rhee, Jonathan Watkins, Gianfranco Maraniello). Hill, Jo Martin, ‘A Tale of Two Biennales: Singapore and Shanghai’, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 4, Dec 2006 Koop, Stuart, ‘A Busy Week in a Frantic Century: Shanghai Biennale’, Eyeline, no. 62, Summer 2006-7. Lee, Weng-Choy, ‘Eastern Front’ (Singapore, Shanghai and Gwangju Biennales), Artforum, vol. 45, Iss. 1, 2006 Slater, Ben (Editor), Belief: Exhibition Short Guide, Singapore Biennale 2006. Singapore, National Arts council Singapore, 2006. (Artistic Director: Fumio Hanjo) Tinari, Philip, ‘6th Shanghai Biennale’, Artforum, vol. 45, Iss. 3, 2006 Zhang Qing, ‘The Undesignable’ (Shanghai biennale 06), Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 4, Dec 2006.

Sharjah, Sharjah International Biennial: 2003 Peter Lewis (Editor), Sharjah International Biennial 6 Guide. United Arab Emirates, Sharjah International Biennial, 2003. (Director: Hoor Al-Qasimi). Turner, Grady, ‘Fast Forward in the Persian Gulf (Report From the U.A.E.’ in Art in America (November 2003), pp. 86-91.

Paroissien, Leon, ‘Australian art and biennial and triennial exhibitions’, in Cree, Laura Murray, ed., Twenty: Sherman Galleries 1986-2006, Sydney, Craftsman House, 2006. 2002 Chen Hsiang-chun, Elsa, ‘ Identity Politics? Allegorical Existence? On the way to the fantastic’, Yishu, vol.1, no.2, 2002; Duncan, Michael, 'Self-created worlds', Sydney Biennale Review, Art in America, Vol. 90, Issue 10, October 2002 2006 Macdonald, Ewan & Parker, Luke editors, 2006 Biennale of Sydney: Zones of Contact, Sydney, Biennale of Sydney, 2006 Merewether, Charles, ‘Zones of Contact’, Art & Australia, vol.43, no.4, Winter 2006. Merewether, Charles, ‘Interview’, Broadsheet, Contemporary Visual Arts + Culture, June-August, 2006 Merewether Charles, ‘Taking Place: acts of survival for a time to come’, Macdonald, Ewan & Parker, Luke editors, 2006 Biennale of Sydney: Zones of Contact, Sydney, Biennale of Sydney, 2006 Mordue, Mark, ‘Cultural Chamelon’ [interview with Charles Merewether], The Weekend Australian, May 20-21, 2006, R6.

Taipei: Taipei Biennial 1996 Lee Yulin (Chief Editor), 1996 Taipei Biennial: The Quest for Identity (Essays), Taipei, Taipei Fine Arts Museum, 1996. (Executive Curator: Alice B.H. Lin). Lin, Alice B.H., 1996 Taipei Biennial: The Quest for Identity 11 Exhibition Catalogue, Taipei, Taipei Fine Arts Museum, 1996. (Curator in Chief: Yulin Lee). 1998 Chang, Fangwei & Miki, Akikio (Editors), Site of Desire 1998 Taipei Biennial Exhibition Catalogue, Taipei, Taipei fine arts museum, 1998. (Associate Curators:Chang Fangwei & Miki Akikio). 2000 The Sky is the Limit 2000 Taipei Biennial exhibition Catalogue, Taipei, Taipei Fine Art Museum, 2000. (Curators: Jérôme Sans & Manray Hsu). 2002 Taipei Biennial Great Theatre of the World Exhibition Guide, Taipei, Taipei Fine Art Museum 2002. (Curators: Bartomeu Mari & Chia Chi Jason Wang). Yu, Sharleen (Editor), 2002 Taipei Biennial Great Theatre of the World Exhibition Catalogue, Taipei, Taipei Fine Art Museum 2002. (Curators: Bartomeu Mari & Chia Chi Jason Wang). 2004 Huang, Andrew, ‘Art into Life’ (Taipei Biennale 2004), Asian Art News, vol. 15, no. 1, 2005. Vanderlinden, B. (Editor), Do You Believe in Reality Taipei 2004 Exhibition Catalogue, Taipei, Taipei Fine Art Museum, 2004. (Curators: Barbara Vanderlinden & Amy Huei-hua Cheng). 2006 Clark, John, ‘Global Intentions’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007 (Taipei biennial) Kendzulak, Susan, ‘Do You Believe in Reality’ (Taipei Biennial 2004), Flash Art, vol. XXXVIII, no. 240, Jan-Feb, 2005. 110 Contemporary Asian Art at Biennials © John Clark, 2013

Yu, Sharleen & Chou, Freya (Editors), Dirty Yoga 2006 Taipei Biennial Exhibition Catalogue, , Taipei, Taipei Fine Art Museum, 2006. (Curators: Dan Cameron & Jun-jeh Wang).

Venice: La Biennale di Venezia Overall: Alloway, Lawrence, Venice Biennale, 1895-1968: from Salon to Goldfish Bowl, London, Faber & Faber, 1969. Di Martino , Enzo: (2005) The History of the Venice Biennale 1895- 2005 (Venezia, Italy Papiro Arte). Jachec, Nancy, Politics and painting at the Venice Biennale, 1948-1964, Italy and the Idea of Europe, Manchester, Manchester University Press, 2007. Moravia, Alberto in dialogue, Capellini, Lorenzo, photographs, 1974-78 Cronache della nuova Biennale, Milano, Electa, 1978. Rizzi, Paolo & Di Martino, Enzo Storia della Biennale 1895-1982. Electa, Milano, 1982.

Main Catalogues and general texts by year: 1990 44th Biennale 1993 45th Biennale New Chinese Painting, advised by Francesca dal Largo for overall curator Achille Bonita Oliva, also with catalogue text on Chinese avant-garde by Li Xianting in Aperto, Difference/Indifference: curated by Kong Chang’an / Lau-k’ung Chan Blackall, Judith, ‘The Transit of Venice’, Art & Text 46, September 1993; Verzotti, Giorgio, ‘”Aperto 93”: The better biennale’, Artforum International, Vol.32, Issue 2, October 1993; McEvilley, Thomas, ‘1993 Venice Biennale: Venice the Menace’, Artforum International, Vol.32, Issue 2, October 1993 1995 46th Biennale Lasschuyt, Helga, ‘The Venice Biennale Game’, Asian Art News, vol.5, no.5, Sep/Oct 1995. Nanjô Fumio, Dana Frijs-Hansen et al (Editors), La Biennale di Venezia 1995:TransCulture, [Bilingual], The Japan Foundation & Fukutake Science and Culture Foundation, Tokyo, 1995. (Curators: Nanjô Fumio, Dana Frijs-Hansen) 1997 47th Biennale Bryson, Norman and Gilbert Rolfe, ‘XLVII Venice Biennale’, Art & Text 59, Nov. 1997-Jan. 1998; Kent, Rachel, ‘The Venice Biennale: Japan, Korea and Taiwan’, Art AsiaPacific,no.18, 1998 Cai Guoqiang [overall curator Germano Celant]; As People’s Republic of China: Chao Ge, Chen Yifei, Hong Ling, Hu Jiancheng, Liu Gang, Liu Xiaodong, Shen Ling, Sun Weimin, Wan Jiyuan, Weng Yuping, Yu Hong, Yuan Yunsheng, Xie Dongmin [commissioners Sun Weimin & Giovanni Iovane, organiser unclear from Biennale catalogue] 1999 48th Biennale Huang Yong Ping & Jean-Pierre Bertrand, French Pavilion Catalogue,48th Biennale di Venezia, Association Francaise d’Action Artistique, 1999. (Commissioners: Hou Hanru & Denys Zacharopoulos Schwabsky, Barry, ‘48th Venice Biennale’, Art & Text 67, Nov. 1999-Jan. 2000 Szeeman, Harald, d’APERtutto / APERTO over ALL, 1999 111 Contemporary Asian Art at Biennials © John Clark, 2013

Stringa, N., Terrecotte Cinesi dalla 48th Biennale di Venezia ( Cai Guoqiang), Cornuda, Garfiche Edizioni 2003. Withers, Rachel, ‘Allied Forces’, Venice Biennial Review (CHECK), Artforum International, Vol.37, Issue 9, May 1999. 2001 49th Biennale Szeeman, Harald, Plateau of Humanity, 49th Biennale di Venezia, 2001. Clark, John, ‘Review of Asian Art at the Venice Biennale’, IIAS Newsletter International Institute for Asian Studies, Holland, November 2001. Clark, John, ‘Asian Artists at the 2001 Venice Biennale’, IIAS Newsletter November, no.26, 2001 Siegel, Katy, ‘Human, all too human, Venice Biennial Review, Artforum International, Vol.40, Issue 1, September 2001 Birnbaum, Daniel, ‘More is less’, Venice Biennial Review, Artforum International, Vol.40, Issue 1, September 2001; Pijnappel, Johan, ‘Asia at Venice’, Asian Art News, vol.12, no.1, 2002; Chua, Kevin, ‘ In Venetian Waters: Singapore at the 49th Venice Bienale’, Focas (Forum on Contemporary Art & Society), no.3, January 2002; Choy, Lee Weng, ‘Biennale Time and the Specters of Exhibition’, Focas (Forum on Contemporary Art & Society), no.3, January 2002 2003 50th Biennale Clandestine: Liu Zheng, Curator: Francesco Bonami Clark, John., ‘Venice in Full Flow’, in Asian Art News, Vol.13, No.5, Sep/Oct, 2003, p.46-50.; Dreams and Conflicts: the Dictatorship of the Viewer: La Biennale di Venezia: 50th International Art Exhibition, La Biennale di Venezia 50th:2003, Venezia, Marsilio, 2003. (Director: Francesco Bonami). Genocchio, Benjamin, ‘The Big One Venice – Conflicting Agendas: No Buzz at Venice 2004’ in Art Asia Pacific, No. 38 (Fall 2003), pp.42-47; Lenzi, Iola., ‘The Pioneering Sprit’, in Asian Art News, Vol.13, No.5, Sep/Oct, 2003, p.51-53; Utopia Station Obrist Hans-Ulrich & Nesbit Molly & Rirkrit Tiravanija, at 50th Biennale di Venezia, 2003. Vetrocq, Marcia E., ‘Venice Biennale’: “Every Idea But One” in Art in America (September 2003), pp. 76-87 Vetrocq, Marica E., ‘New curator for the Venice Biennale’, Art in America, Vol. 90, Issue 5, May 2002; Vetrocq, Marica E., 'Venice Biennale takes shape', Art in America, Vol. 91, Issue 2, February 2003; Zones of Urgency: curated by Hou Hanru, see also Li Luming, ed., Guangdong Kuaiche / Canton Express, Changsha, Hunan Meishu Chubanshe, 2003. 2005 51st Biennale Always a Little Further: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di Venezia 50th:2003, Venezia, Marsilio, 2003. (Director: Rosa Martinez). Participating Countries/Collateral Events: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di Venezia 50th:2003, Venezia, Marsilio, 2003. The Exoperience of Art: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di Venezia 50th:2003, Venezia, Marsilio, 2003. (Director: Maria de Corral). Raza, Sara, ‘West and Center: An Asian presence at 51st Venice Biennale’, ArtAsiaPacific, no. 45, 2005 Nagy, Peter, ‘The Home and the World’ Art India, volume X, issue iii, quarter iii, 2005. (unofficial Indian pavilion – Venice)

Makabe Kaori, Mikami Yutaka, Yokohama Triennale office, eds., [curators: Nakamura Nobuo, Nanjô Fumio, Tatehata Akira, Kohmoto Shinji], Yokohama 2001, Yokohama, The Organizing Committee of the Yokohama Triennale, 2001. Yokohama, 2001, statements from the Triennale’s curators are at http://www.jpf.go.jp/yt2001/2/info.html aica Japan Newsletter no.2, in November 2001 ‘Yokohama Toriennaare 2001 kôki – sono tenmatsu no kojinteki memorandamu’. 2005 Cash, Stephanie, ‘Yokohama Triennale Trouble’, Art in America, vol. 93, iss. 2, Feb 2005. Isozaki Arata, statement on the Yokohama Triennale, www.jpf.go.jop/yt2005/e/inquiry.htm accessed on 13th October 2004 Kondo, Ken’ichi , ‘Yokohama 2005: International Triennale of Contemporary Art’ (review), ArtAsiaPacific, no. 48, 2006 Koplos, Janet, ‘On the Waterfront: the second Yokohama Triennale, set in warehouses in an active port zone, had a subtext of international movement’, Art in America, 94.4 (April 2006) Nagoya, Satoru, ‘Yokohama and Fukuoka Triennials Report’, Flash Art, vol. XXXIX, no. 246, Jan-Feb, 2006 Shinoda Takatoshi, Koyama Naomi, Tabata Mikiko, Yokohama Triennale, The Second Yokohama Triennale, Yokohama, Yokohama, The Organizing Committee for Yokohama Triennale, 2005. Tama Bijutsudaigaku Geijutsugakuka Tatehatazemi Shimpojiumu kikaku, Isozaki Akira, Okabe Aomi, Kitagawa Furamu, Nanjô Fumio, Hasegawa Yûko, Yokohama Kaigi 2004: Naze Kokusaiten ka?, Yokohama, BankART1929, 2005

National Exhibitions at Biennales: China: São Paolo: Chang Tzong-zung, Chinese Contemporary Art at São Paulo: 1 – The remaking of Mass Culture; 11 – Wakefulness and the Weightless Present, at 22nd Biennial of São Paolo, Hong Kong, Hanart TZ Gallery, 1994 Chang Tzong-zung, Catalogue of Five Chinese artists in 22nd Biennial of São Paolo, 1994 Chang Tzong-zung, Ho Siu-kee, Hong Kong Arts Development Council, at 23rd São Paolo Biennial, 1996 Chang Tsong-zung, Special Exhibition: Qiu Shi-hua, Fundação de São Paolo, at 23rd São Paolo Biennial, Hong Kong, Hanart TZ Gallery, 1996. (Curator: Chang Tsong-zung) Fan Di’an & Pi Li (Editors), The 25th São Paulo Biennial: Here and now: Chinese art in the process of urbanization, [curated by Fan Di’an, assistant Pi Li], Beijing, China International Exhibition Agency, 2002 Huang Du, The 26th São Paolo Biennial: Chinese Pavilion: Landscape of Deterritoralization [artist: Qu Yan]¸ Beijing, China International Exhibition Agency, 2004 Pong, Melanie , Josette Balsa, Stephen T.N Cheung, Una Shannon & Louisa Teo (Editors), The Other Face: Three Chinese Artists ar the Centenary Exhibition. Milan, Zanzibar 1995. (Curator : Chang Tsong-zung). Venice: Dal Largo, Francesca, ‘New Chinese Painting’ in Catalogue 45th Biennale di Venezia, 1993 113 Contemporary Asian Art at Biennials © John Clark, 2013

Dal Largo, Francesca, ‘Chinese art at the Venice Biennale’ in Clark, John ed., Chinese art at the end of the millennium, Hong Kong, New Art Media, 2000, 158-166. Chang Tsong-zung, The other face, in Catalogue 46th Biennale di Venezia, 1995 Goodbody, Bridget, ‘No Introductions Necessary’, ArtAsiaPacific, no. 45, 2005 (China pavilion at Venice Biennale 05) Huang Du (Editor), Synthi-Scapes, 50th Venice Biennale 2003, Chinese Pavilion, Exhibition Guide, Beijing, China International Exhibition Agency, 2003. (Curators : Fan Di’an & Wang Yong). Huang Du & Van Dong (Editors), Synthi-Scapes, 50th Venice Biennale 2003, Chinese Pavilion, Beijing, China International Exhibition Agency, 2003. Szeeman, Harald, d’APERtutto / APERTO over ALL, 1999, including Venice’s Collection Courtyard: organized by Cai Guoqiang, [later published as Stinga, Nico, Terrecotte Cinesi dalla 48A Biennale di Venezia, Nove, Antiga Edizioni, 2003] Szeeman, Harald, ‘Harald Szeeman talks to Chinese artists about Venice, CCAA and curatorial strategies’ in Wu Hung, ed., Chinese Art at the Crossroads: between past and future, between East and West, Hong Kong, New Art Media, 2001 Hou Hanru, Canton Express, project for “Z.O.U – Zone of Urgency”, 50th Biennale di Venezia, Changsha, Hunan Arts Publishing House, 2003. Hou Hanru, One Man, Nine Animals: Huang Yong Ping’s project for the French pavilion in Venice Biennale, Paris, Association Française d’Action Artistique, 1999 Fan Di’an, Wang Yong, assistant Huang Du, China National Pavilion, 50th Biennale di Venezia, Beijing, China International Exhibitions Agency & Guangzhou, China Guangdong Museum of Art, 2003 Lu Jie, ‘About the Chinese Presentation at the 2005 Yokohama Triennale’, Yishu: Journal of Contemporary Chinese Art, vol. 4, no. 4, Dec. 2005. Yishu: Journal of Contemporary Chinese Art, vol. 4, no. 3, Sep. 2005, issue focusing on artists from PRC, Hong Kong, Taiwan and Singapore at the Venice Biennale/ Chinese presence at other biennale/triennial event. Regular  Fragile – Liu Jianhua. Project for the 50th Biennale Di Venezia – China Pavilion, Shanghai, ShangHART, 2003. China-HongKong: Chang Tsong-zung, Hong Kong pavilion, at 49th Biennale di Venezia, Hong Kong, Hong Kong Arts Development Council, 2001 Chang Tsong-zung, Venice Hong Kong, Magic at Street Level, Hong Kong pavilion, at 49th Biennale di Venezia, Hong Kong, Hong Kong Arts Development Council, 2001. Para Site Collective,[curated by Para Site], Navigating the Dot, artists from Hong Kong, China Hong Kong, Arts Development Board, 2003 Thompson, Jonathan, ‘Challenges and Questions’ (Hong Kong Art Biennial) Asian Art News, vol. 16, no. 2, 2006. Investigation of a journey to the west by micro+polo: artists from hohg kong china, at 51st Biennale di Venezia Hong Kong, Hong Kong Arts Development Council, 2005. Navigating the Dot, Artists from Hong Kong, China, at 50th Biennale di Venezia, Hong Kong, Hong Kong Arts Development Council, 2003. (Commissioner: Darwin Chen; Curator: Para/Site Collective). Indonesia: review, (CP Biennale 2006, Indonesia), Asian Art News, vol. 15, no. 6, 2005. Review (Yogyakarta Biennale), Asian Art News, vol. 16, no. 1, 2006. 114 Contemporary Asian Art at Biennials © John Clark, 2013

Pruss, Jaana & Ochs, Alexander (Editors), Arahmaiani I 11June 2002 (catalogue for 50th Biennale di Venezia with essay About Arahmaiani by Kraus, Werner) , Berlin, Pruss & Ochs Gallery, 2003. Iran: Aghdashiou, A., H. Khosrojerdi, Dreams & Conflicts, Venice Biennale 2002, pamphlet. Ahmad Nadalian: Dreams and Conflicts, 50th Biennale di Venezia, 2003, brochure. Behrooz Daresh, brochure for 50th Biennale di Venezia, 2003. Japan: Bangladesh: Kuroda, Raiji (Commissioner), Document: Japanese Artists in the 7th Asian Art Biennial Bangladesh 1995,Exhibition Catalogue, the Japan Foundation, 1995 Makoto Nakamura & Masayuki Kuriyama (Editors) Japan, Asian Art Biennale Bangladesh 1999, Exhibition Catalogue, The Japan Foundation, 1999 Makoto Nakamura (Commissioner) Report on Japan’s participation in the 9th Asian Art Biennale Bangladesh 1999, The Japan Foundation, 1999 Yuri Mitsuda (Commissioner & Editor), Embracing Life, Japan at the 10th Asian Art Biennale Bangladesh, Exhibition Catalogue, The Japan Foundation, 2002 Yuri Mitsuda (Commissioner & Editor), Embracing Life, Japan at the 10th Asian Art Biennale Bangladesh, Report, The Japan Foundation, 2002 Mori Tsukasa, Tsubaki Noboru, Kitayama Yoshio & Domoto Yuum:, Report on Japan’s Participation, 11th Asian Art Biennale, Bangladesh 2003, The Japan Foundation, 2003 Tsubaki Noboru, Kitayama Yoshio & Domoto Yuum: Japan at the 11th Asian Art Biennale, Bangladesh, 2003, Exhibition BrochureThe Japan Foundation, 2003 São Paolo: Tadayasu Sakai, Japan at the 10th Sao Paulo Bienal: Akira Kamiyama, Katsura Funakoshi, Kanji Wakae, The Japan Foundation, 1989 Kunio Motoe, Masato Kobayashi : The Art of Luminosity, Tokyo, The Japan Foundation, 1996 Kazuo Yamawaki, Kimio Tsuchiya : After the Deluge, 25th Sao Paulo Bienal, Tokyo, The Japan Foundation, 2002. Shuji Takatori, Toshihiro Kuno, 24th Sao Paulo Bienal, Tokyo, The Japan Foundation, 1998. Venice: City of Girls – Japanese pavilion, Venice Biennalwe : 7th International Architecture Exhibition, 2000 Giappone, La Biennale di Venezia 1996: VI Mostra Internazionale di Architettura, Exhibition Brochure, The Japan Foundation, 1996 Giappone – XLVIII Biennale di Venezia 1999, Dove Va L’Arte? Whither the Arts, Exhibition Catalogue, The Japan Foundation, 1999 Eriko Osaka (Editor), Giappone – XLVIIII Biennale di Venezia 2001: fast and Slow, The Japan Foundation, 2001 Hasegawa, Yuko & The Japan Foundation (Editors), Heterotopias, Japanese Pavilion, the 50th Venice Biennale 2003, The Japan Foundation, 2003. (Organiser: The Japan Foundation; Commissioner: Yuko Hasegawa. The Japan Foundation, ed., Venezia Biennale - Nihonsanka 40nen / The Venice Biennale, 40 years of Japanese participation, [Bilingual], Tokyo, The Japan Foundation & Mainichi Newspapers, 1995 Korea: Kim Yoon-Soo & Li Guang-Jun (Organisers), Korean Painting at the Beijing International Art Biennale, China 2003, The Korean Culture & Arts Foundation, 2003 115 Contemporary Asian Art at Biennials © John Clark, 2013

La Biennale di Venezia, The 49th International Art Exhibition, Korean Pavilion: Do-Ho Suh, Seoul, The Korean Culture and Arts Foundation, 2001. (Commissioner Kyung-Mee Park) La Biennale di Venezia, The 49th International Art Exhibition, Korean Pavilion: Michael Joo, Seoul, The Korean Culture and Arts Foundation, 2001. (Commissioner Kyung-Mee Park) Kee, Joan (Editor), Landscape of Differences, The Korean Pavilion, the 50th Venice Biennale 2003, Seoul, Korean Culture & Arts Foundation, 2003. (Commissioner: Kim Hong-hee). Kim Sunjung, Kim Heejin, & Kim Jang Un (Editors), Secret beyond the door, The Korean Pavilion, the 51st Venice Biennale, Seoul, Korean Culture & Arts Foundation, 2005. (Commissioner: Kim Sunjung). Malaysia Zhang Wubin, ‘The Ascent of the Image’ (review of First Kuala Lumpur International Photography Biennale), Asian Art News, vol. 15, no. 6, 2005. Zhang Wubin, ‘Setting New Goals’, (interview regarding First Kuala Lumpur International Photography Biennale), Asian Art News, vol. 15, no. 6, 2005 Philippines: Flores, Patrick D., M201: In God We Trust, 5oth Biennale di Venezia, 2003, Exhibition Catalogue. Going for a Ride. M201: In God We Trust, 5oth Biennale di Venezia, 2003, Exhibition Pamphlet Singapore: Chua, Kevin, ‘Singapore in the 49th Venice Biennale’, FOCAS, no.3, January 2002, p.274. Clark, John, ‘Venice Biennale’, Asian Art News, vol.13 no.5, September 2003 Khor Koh Wah, commissioner, Mike (Lim Tzay Chuen), Singapore: National Arts Council & Singapore Art Museum, 2005 Langenbach, Ray, ‘Garlands of Love: Socialist Realist aesthetics in Singapore’, in Clark, John; Pelegggi, Maurizio; Sabapathy, T.K. eds, Eye of the beholder, Sydney, Wild Peony Press, 2006. Langenbach, Ray, Hidden Things, (on the occasion of the exhibition ‘A work by Lim Tzay Chuen’), Singapore: LaSalle-SIA, 2005. Lee Weng Choy & Langenbach, Ray, ‘Athens, Singapore’ [a dialogue] in Friede, Claus, Seyfarth, Ludwig, eds, Kunst aus Megastädten Asiens – Art from Asia Pacific Megacities, Hamburg, Kunsthaus Hamburg ,2000. Singapore, Singapore: Singapore Art Museum, National Heritage Board, 2001 Singapore, Tan Swie Hian, Francis Ng, Heman Chong, Singapore: National Arts Council, National Heritage Board, 2003, China-Taiwan: Arttaiwan, 46th Biennale di Venezia, Taipei, Taipei Fine Arts Museum, 1995. (Commissioners: Tsai Chin-fen & Paolo De Grandis. Yang Wen-i & Enrico Pedrini, VOC: Handle with care [Huang Yongping & Yang Maolin], 1997 Taiwan pavilion: curated by Shih Ju-jen, 1999. Yang We-I & Chen, Odile (editors), VOC: Handle With Care, Huang Yong-ping & Yang Mao-lin, 48th Biennale di Venezia, Taiwan, Lin & Keng Gallery, 1999. Kao Chien-hui, Taiwan pavilion at 49th Biennale di Venezia, Taipei, Taipei Fine Arts Museum, 2001 Lei Yi-ting (Editor), Limbo Zone: organized by Taipei Fine Arts Museum, 50th Biennale di Venezia, Taipei, Taipei Fine Arts Museum, 2003. (Guest Curator: Lin Shu-min). 116 Contemporary Asian Art at Biennials © John Clark, 2013

Limbo Zone: organized by Taipei Fine Arts Museum, 50th Biennale di Venezia, Exhibition Guide, Taipei, Taipei Fine Arts Museum, 2003. (Guest Curator: Lin Shu-min). Thailand: Poshyananda, Apinan (Commissioner), Dreams and Conflicts: The Dictatorship of the Viewer,, Thai Pavilion, 5oth Biennale di Venezia,, Office of Contemporary Art & Culture, Ministry of Culture, Thailand, 2003. (Co-ordinators: Somsak Chowtadapong & Samart Chansoon). Poshyananda, Apinan (Commissioner), Those Dying Wishing to Stay, Those Living Preparing to Leave, Montien Boonma & Araya Rasdjarmrearnsook, Thai Pavilion, 51st Biennale di Venezia, Office of Contemporary Art & Culture, Ministry of Culture, Thailand, 2005. (Curators: Panya Vijinthanasarn, Luckana & Sutee Kunavichayanont). United Kingdom: Bowness, Sophie; Phillpot, Clive, eds., Britain at the Venice Biennale, London, The British Council, 1995 Britain and the São Paulo Bienal 1951-1991 / A Grã-Bretanha e a Bienal de São Paulo 1951-1991, with essays by Margaret Garlake and Guy Brett, The British Council Brazil, 1991. Furlong, William et al, Venice Biennale 1999, Wimbledon, Wimbledon School of Art Research Centre in association with Audio Arts Magazine, 1999 Furlong, William et al, Venice Biennale 2001: Research Symposium March 2000, Wimbledon, Wimbledon School of Art Research Centre in association with Audio Arts Magazine, 2000 Furlong William, et al, International; Venice Agendas 2003, a series of three breakfast meetings, Wimbledon, Wimbledon School of Art Research Centre in association with Audio Arts Magazine, 1999

Biennales from an Asian perspective Burke, Gregory, ‘Distance Up Close: The Asian Biennials’, ArtAsiaPacific, no. 50, 2006. Maerkle, Andrew, ‘Curating by Committee: Behind Asia’s Biennials’, ArtAsiaPacific, no. 50, 2006. Sinha, Gayatri, ‘Locating Biennales, Revising Frameworks’, Art India, volume X, issue ii, quarter ii, 2005.

Other Catalogues consulted by Year of Publication 1968 When attitudes became form Bern, Szeeman, Harald, curator, Bern, Kunsthalle, 1968. 1985 Art in the 20th Century, Painting and Sculpture 1905-1985, Joachimides, Christos M.; Rosenthal Norman; Schmied, Wieland, German , London, Royal Academy of Arts & Munich, Prestel Verlag, 1985. Reconstructions: Avant-Garde Art in Japan 1945-1965, Kaido, K., and Elliott, D., Oxford, Museum of Modern Art, 1985 1987 Beyond the open door, contemporary paintings from the People’s Republic of China, mostly chosen Nielsen, Waldemar A., essay by Strassberg, Richard L., organized by Pacific Asia Museum, Pasadena, 1987. 117 Contemporary Asian Art at Biennials © John Clark, 2013

Peintres et Sculpteurs Chinois à Paris, Pierquin-Tian, Odile, typescript catalogue of exhibition, Paris, Centre de Recherches et de Documentation sur la Chine contemporaine, EHSS, 18 May to 3rd June 1987 1989 Magiciens de la terre, Martin, Jean-Hubert, overall curator, Paris, Centre Georges Pompidou, 1989 Europalia 89: Japan in Belgium, Nakahara Yûsuke et al, Gent, Museum van Hedenndaagse Kunst, 1989. [Belgium, 28.10.1989- 7.1.1990] Against Nature: Japanese Art in the 1980s, Halbreich, Kathy; Kômoto Shinji, Nanjô Fumio; Sokolowski, Thomas; New York, New York University Grey Art Gallery, 1989. [Toured USA, 15.6.1989-12..2.1991] 1990 Art Chinois 1990 Demain pour Hier curated by Fei Dawei, organized by Association Française d’Action Artistique & Les Domaines de l’Art, Pourrières & Editions Carte Segrete Tezuka Osamu ten = Osamu Tezuka , Osamu Tezuka, et al, Tokyo, Tokyo Kokuritsu Kindai Bijutsukan, 1990 Japan Art Today, Namba Hideo, Okada Takahiko, Tokyo, Sezon Museum of Art, 1990. [sent to Scandinavia, 24.1.1990-25.8.1991] Japansicher Kunst der Achtziger Jahre, Kondô Yukio; Nanjô Fumio; Weiermaier, Peter; Frankfurt, for the Frankfurter Kunstverein, Edition Stemmle, 1990. , [Frankfurter Kunstverein then 15.2.1991-7.4.1991, Museum der moderner Kunst, Wien] A Primal Spirit, Hara Toshio; Fox, Howard T., Tokyo, Hara Museum of Contemporary Art & Los Angeles, Los Angeles County Museum of Art, 1990. [USA, toured 10.3.1990-22.9.1991] 1991 Exceptional Passage curated by Fei Dawei, Fukuoka Art Museum “I don’t want to play cards with Cézanne” and other works¸ selections from the Chinese “New Wave” and “Avant-Garde” art of the eighties, curated by Strassberg, Richard L., essays by Zheng Shengtian,Tang Qingnian, Lee Ou-fan, organized by Pacific Asia Museum. Gebrochene Bilder, Junge Kunst aus China: Selbstdarstellungen, Köppel-Yang, Martina; Schneckman Peter; Schneider, Ernst R.; Heidelberg, Gesellschaft für Kulturaustausch mit Asien, 1991 Annear, Judy, Tatehata Akira; Zones of Love, Sydney, Museum of Contemporary Art, 1991. [Australia, 5.1991-9.1992 1992 New Art From China curated by Claire Roberts, Art Gallery of New South Wales, 1992. Artists Regional Exchange, Perth, April 1992: Four Views’: Binns, Vivienne, ‘Culture as Transformation’ ; Howard, Ian, ‘Towards a Legitimate Interest’; Kirker, Anne, ‘A Dialogue with Thailand’; and Jones, Adrian, ‘Managing ARX’, Artlink, Vol. 12, No.3, Spring 1992 1993 China Avant-Garde, Pöhlmann, Wolfger et al, Berlin, Haus der Kulturen der Welt& Editions Braus [Berlkin 20 January -16 May, Oxford 4 September- 24 October], 1993 Fragmented Memory: The Chinese Avant Garde in Exile curated by Andrews, Julia, F.; Gao Minglu, organized by Wexner Center for the Arts Silent Energy: curated by David Elliott and Lydie Mepham, organized by Museum of Modern Art, Oxford. China’s New Art, Post 1989, with a retrospective from 1979-1989curated by Chang Tsong-zung & Li Xianting, organized by Hanart TZ Gallery, Hong Kong. 118 Contemporary Asian Art at Biennials © John Clark, 2013

1994 Out of the Centre: Chinese Contemporary Art curated by Ho Hanru, Pori Art Museum, Pori [Finland] Scream against the sky: Japanese Art after 1945, Munro, A., et al., New York, Harry N. Abrams, 1994 1995 Contemporary Art of the Non-Aligned Countries 1995, Jakarta, Indonesia: Programme Book, 1995 Contemporary Art of the Non-Aligned Countries 1995, Jakarta, Indonesia: Catalogue, 1995 Contemporary Art of the Non-Aligned Countries 1995, Jakarta, Indonesia: Contemporary Balinese Art: Continuity in Change, 1995 Contemporary Art of the Non-Aligned Countries 1995, Jakarta, Indonesia: Inity in Diversity in International Art, Seminar Proceedings, 1995 Quotation Marks”: Chinese Contemporary Paintings, Ronte, Dieter; Smerling, Walter et al, , Singapore, Singapore Art Museum, 1995; also published as Dieter Ronte, Walter Smerling, Evelyn Weiss ; mit Beiträgen von Chang Tsong-zung, et al. China : zeitgenössische Malerei, Köln : DuMont, 1996. New Asian Art Show, Huang Zhuan, et al Tokyo, Japan Foundation Forum & Osaka, Kirin Plaza, 1995. Art Taiwan, Yang Wen-i, Jose Nicholas eds., Taipei, Taipei Fine Arts Museum & Sydney, Museum of Contemporary Art, Sydney, 1995. Sengo bunka no kiseki / Japanese culture of the Postwar Years, 1945-1995, Meguro-ku Bijutsukan henshû, Tokyo Asahi Shinbum, 1995 1996 Reckoning with the past, curated by Chang Tsong-zung, essays by John Clark, Yan Shanchun, organized by The Fruitmarket Gallery, Edinburgh Inklusion/Exklusion: Kunst im Zeitalter von Postkolonialismus und Globaler Migration, Weibel, Peter, curated , Graz, Neue Galerie 1996 1997 Parisien(ne)s, included Chen Zhen, Huang Yongping, Shen Yuan (curated by Hou Hanru, organized by Camden Arts Centre) Another Long March: Chinese Conceptual and Installation Art in the Nineties, curated by Marianne Brouwer & Chris Driessen, texts by Fei Dawei, Hou Hanru, Tang Di, organized by Fundament Foundation Breda]. Secession: Cities on the Move curated by Hou Hanru and Hans-Ulrich Obrist, organized by Wiener Secession & capc Musée d’art contemporain de Bordeaux The Birth of Modern Art in Southeast Asia: Artists and Movements, Ushiroshôji Masahiro, supervising curator: Fukuoka Art Museum, 1997 1998 Cream: Contemporary Art and Culture, London and New York, Phaidon, 1998 Die Hälfte des Himmels curated by Werner, Chris; Qiu Ping; Pitzen, Marianne, organized by Frauenmuseum Bonn Groβschwanzelefant / Big Tail Elephant,curated by Fibicher, Bernard, Bern, Kunsthalle 1998. Chinese Contemporary, 96-98 curated by Colman, Julia; Bois, Ludovic, organized by Chinese Contemporary Limited. Modern Boy, Modern Girl: Modernity in Japanese Art, 1910-1935, Menzies, Jackie, ed., (co-curated by Ajioka, Clark, Menzies, Mizusawa); Sydney, Art Gallery of New South Wales, 1998. Per Video, Keusen, Elle; Schmidt, Inge; Weihs, Helge; Köln, Museum Ludwig, 1998 Inside Out, New Chinese Art, curated and written by Gao Minglu, New York, Asia Society & Berkeley, University of California Press, 1998 1999 Art at the Turn of the Millennium, Burkhard Riemschneider and Uta Grosenick, ed., Köln, Taschen, 1999 119 Contemporary Asian Art at Biennials © John Clark, 2013

ARX 5, Lee Weng Choy, ‘Misunderstanding art’, Art AsiaPacific, 23, 1999; ARX 5, Lenzi, Iola, ‘Process and Politics’, Art AsiaPacific, 23, 1999 China 1999 organized by Limn Gallery, San Francisco Cologne-Beijing, Beijing-Cologne Exchange Exhibitioncurated by Tang Xin & Urle U., organized by Gothaer Kunstforum, Köln] Logan Collection, organized by Limn Gallery, San Francisco Melbourne Biennale [China curated by Huang Du] Modern Chinese Art curated by Hans van Dijk, essay by John Clark, organized by Modern Chinese Art Foundation Representing the People Curated by Smith, Karen & Pi Li, organized by The Courtyard Gallery &Newcastle, Tyne and Weir Museums Transience: Chinese Art at the End of the 20th Century [curated by Wu Hung, Smart Museum University of Chicago Truths from the Open Door: Chinese Conceptual Photography, curated by Wu Meichun, Zheng Shengtian, Art Gallery of Chulalongkorn University Toi Toi Toi, Kassel 1999, Garrett, Louise ‘Toi Toi Toi’, Art AsiaPacific, 23, 1999 Transience: Chinese Art at the End of the 20th Century, Wu Hung curated, Chicago, Smart Museum University of Chicago, 1999. Vielfaches echo (manifold echoes),Stuttgart, 1998, Hynes, Victoria, ‘Manifold Echoes’, Art AsiaPacific, 22, 1999 2000 Fresh Cream: Contemporary Art and Culture, London and New York, Phaidon, 2000Paris pour escale, curated by Hou Hanru & Evelyne Jouanno, organized by Musée d’Art Moderne de la Ville de Paris] Exhibiting Experimental Art in China, curated by Wu Hung, organized by Smart Museum, University of Chicago Fresh Cream Williams, Gilda, ed., London, Phaidon, 2000 Shanghe Meishuguan / Upriver Gallery, Tianjin, Tianjin Shehui Kexueyuan Chubanshe, 2000 Papunya Tula: Genesis and Genius¸ Perkins, Hetti; Fink, Hannah, Sydney, Art Gallery of New South Wales in association with Papunya Tula Artists, 2000. 2001 Living in Time 29 zeitgenössische Künstler aus China curated by Hou Hanru, Fan Di’an, Gabriele Knapstein, organized by Nationalgalerie im Hamburger Bahnhof Museum für Gegenwart, in cooperation with the Ministry of Culture of PRC and China International Exhibition Agency Makabe Kaori, Mikami Yutaka, Yokohama Triennale Office, eds, Yokohama Triennale 2001, Yokohama, 2001 Huang Zhuan, Pi Li, Tuxiang jiushi liliang / Image is Power, [at He Xiangning Art Museum] Changsha, Hunan Meishu Chuban she, 2001 Jay, Sian E., ‘Emerging visions’, Asian Art News, vol.11, no2, 2001 (Nokia Art Awards) 2002 Chen Tong, Look, Exhibition Catalogue, Guangzhou, The gallery of Guangzhou Fine Art Academe, 2002 Hu Fang (Curator), Landscape of Sur-consuming, Exhibition Catalogue, Guangzhou, Vitamin Creative Space, 2002 Jewyo Rhii, Warming and Humidifying,Korea 2002 Paris-Pékin Curated by Chang Tsong-zung, organized by Gallery Enrico Navarra, published by Chinese Century Report of the International Symposium 2002, ‘Asia in Transition: Representation and Identity’, Japan, The Japan Foundation Asia Center, 2002; Stay in Shanghai 2002, Exhibition Catalogue, Shanghai, EastLink Gallery, 2002 120 Contemporary Asian Art at Biennials © John Clark, 2013

The Shine of the City Contemporary Art Exhibition 2002, Exhibition Catalogue Yasuko, Furuichi, “Asia in Transition: Representation and Identity”, Japan Foundation Asia Center, 2002

2003 Art/34/Basel/18-23/6/03, Media Documents, Basel, 2003 Basel 2003, Clark, John., ‘Art 34 Basel’, in Art AsiaPacific, Issue 38, Fall 2003, p.48-49.Cream 3: Contemporary Art and Culture, London and New York, Phaidon, 2003 How latitudes become forms curated by Philippe Vergne, Chinese Advisor, Hou Hanru, organized by Walker Art Center Alors, la Chine? curated by Chantal Béret, Alain Sayag, Pi Li et al, organized by Centre Pompidou Paris. A Strange Heaven: Contemporary Chinese Photography curated by Petr Nedoma & Chang Tsong-zung, organized by Hong Kong, Asian Art Archive & Paris, Galerie Enrico Navarra Chinese Maximalism/ Zongguo jiduo zhuyi, Gao Minglu, Beijing, Millenium Art Museum & Buffalo, State University of New York at Buffalo Art Gallery; catalogue Chongqing, Chongqing Chubanshe, 2003 Shanghart 2003, Catalogue of artists represented by ShangART, Shanghai, 2003 Zhang Baoquan & Gu Zhenqing (Editors), Second hand Reality: Pre-Reality – an exhibition of contemporary art at the Today Art Gallery, Hong Kong, China Today Gallery Publishing House Ltd, 1993 (Curator: Gu Zhenqing) Zhang Baoquan & Gu Zhenqing (Editors), Second hand Reality: Post-Reality – an exhibition of contemporary art at the Today Art Gallery, Hong Kong, China Today Gallery Publishing House Ltd, 1993 (Curator: Gu Zhenqing) 2004 Contemporary Taiwanese Art in the Era of Contention ,curated by Pan An-yi, [with catalogue essays by Yan Chuan-ying, Hsiao Chong-ray], Taipei, Tapiei Fine Arts Museum & Ithaca, Herbert F. Johnson Museum of Art, 2004 Between Past and Future: new photography and video from China, Wu Hung & Phillips, Christopher, Göttingen, Steidl Publishers, 2004. The Monk and the Demon: Contemporary Chinese Art, Fei Dawei et al, [Exhibition in Lyon & Guangdong] Milan, 5 Continents Editions, 2004 China Dream: Another Flow in Chinese Modern Art, Rawanchaikul Toshiko & Horikawa Lisa, eds. , Fukuoka, Fukuoka Asian Art Museum, 2004 Ham Jin, Catalogue in conjunction with the exhibition Aewan, Seoul, pkm Gallery, 2004 (Essay by Iris Moon). 2005 Cubism in Asia, unbounded dialogues, Tatehata Akira et al, Tokyo, The Japan Foundation, 2005 Jung Yeondoo, Dreams come true, almost, Seoul, Kukje Gallery, 2005. Little boy : the arts of Japan's exploding subculture, Murakami Takashi, ed., New York: Japan Society & New Haven : Yale University Press, 2005 Mahjong: Contemporary Chinese Art from the Sigg Collection, Fibicher, Bernard; Frehner, Matthias, ed., Ostfildern-Ruit, Hatje Cantz, 2005 2006 Gong Mingguang, ed., Entry Gate: Chinese Aesthetics of heterogeneity, 2006 MoCA Envisage, [Bilingual Catalogue] Shanghai, Shanghai Shuhua Chubanshe, 2006, 121 Contemporary Asian Art at Biennials © John Clark, 2013

Second Shanghai Duolun Exhibition of Yong Artists, [Bilingual catalogue], Shanghai, Duolun Museum, 2006, [curators: Biljiana Ciric, Huang Yuelin, Tang Dixin].

1 Notes for Appendix One I am grateful to many international curators, art historian colleagues, gallerists and collectors for materials and interviews in conducting this research on Biennales. I would particularly like to mention Furuichi Yasuko at the Japan Foundation, Ushiroshôji Masahiro at Kyûshû University, Kuroda Raiji and Rawanchaikul Toshiko at Fukuoka Asian Art Museum, and Ulli Sigg.

2 See John Clark, Modern Asian Art, Sydney, Craftsman House & Honolulu, University of Hawai’i Press, 1998.

3 For some discussion see Chapter Three here.

4 See John Clark, ‘Between the worlds: Chinese art at Biennales since 1993’ Yishu: journal of Chinese contemporary art, vol.4, no.2, 2005, 40-55, revised as Chapter Four here; John Clark, ‘Histories of the Asian ‘New’: Biennales and Contemporary Asian Art’, contribution to a Clark Art Institute conference on new approaches to Asian Art history, April 2006, revised as Chapter One here..

5 See John Clark, ‘Modernities in Art: how are they “other”?’ in World Art Studies: exploring Concepts and Approaches, eds. Wilfried van Damme and Kitty Zijlmans, Amsterdam: Valiz, 2008.

6 The reviews which follow were previously published online as ‘Contemporary Asian Art at Biennales and Triennales: The 2005 Venice Biennale and Fukuoka Asian Triennale, the Sigg Collection, and the Yokohama and Guangzhou Triennales’, CAA Reviews 9/7/2006. It would over-extend this Appendix to re-print all of my Biennale reviews but these are listed above.

7 Although Venice commemorates some artistic revolutionaries like Titian by the ‘heritage’ naming of the site of his former house, some memorials to equally great artistic revolutionaries also go almost un-remarked, such as the absence of reference in my standard guidebook or in the building, to the grave of the composer Monteverdi found in a sub- chapel to the left of the main altar in the Frari church.

8 Even though I later came to regret not going to opening or vernissage days because my view of biennials changed to seeing them as mostly, if not primarily, oriented to other curators and the audience which already had agreed with the curatorial positions the biennials advanced.

9 After three visits to the Venice Biennale in six years there is now, for me, an interesting if slightly phantasmic sense of space for I am beginning to precisely coordinate the moment I saw a work with the different site I saw it within the Giardini and Arsenale complexes of the Venice Biennale, and feel I know these sites better than some of the streets outside through which I may have walked several times.

10 Interview of John Clark with Choi Jeong Hwa in Seoul, conducted in Japanese, 24 September 2004.

11 Nguyen-Hatsushiba’s work seems to have become most ‘consecrated’ at the Yokohama Triennale in 2001, and by his retrospective at the Mori Art Museum, Tokyo, May –June 2004. It is supposed by another artist active on this circuit that Hatsushiba-Nguyen had been over-encouraged in his current direction by particular curators or curatorial idées fixes.

12 Others have told me of being somewhat secretively taken to meetings on private yachts off the coast in the Bay of Finland where they found themselves, to their surprise, in the company of peer curators of contemporary art from all over Europe who proceeded over dinner and alcohol to compare notes on those ‘international’ artists currently active in, or recognized for, certain kinds of practice. Almost all active curators I have met have also been unwilling, on the record, to discuss the role of other curators’ interests and selections in their own choices of artists or works. This can only mean that such professional and commercial information is extremely sensitive among curators.

13 See Rawanchaikul Toshiko, ‘How were the artists selected?’, in Igarashi Rina, ed., The 3rd Fukuoka Asian Art Triennale 2005, Fukuoka, Fukuoka Asian Art Museum, 2005, p. 030- 033.

14 Both Lee Bul and Wong Hoy Cheong would appear to have moved to much greater international prominence after the exposure at the 1st and 2nd Asia Pacific Triennales in 1993 and 1996.

15 One artist has commented that the Fukuoka team came every year, knew about all her latest exhibitions, but curators from Asia-Pacific Triennale came only infrequently and were not so much interested in her work itself but in whether her work could fit in a pre-established curatorial category they had assigned.

16 This statement must be made with some reservations about market sourcing for contemporary art works which saw the post-World War II integration of the European and North American art markets. This tendency showed signs of being extended to Asia during the later 1990s with Asian contemporary art sales by major auction houses such as Christies. Major segments of this market, certainly in higher-priced items and including works by some contemporary Asian artists, may now have become global, but this is a larger issue than I can take up here. See, inter alia, ‘Christie’s going going to China to hold auctions’, New York Times, 20 October 2005.

17 In 2005 there were 6 curators at the Fukuoka Asian Art Museum (not including 3 contracted curators), 9 curators at the Fukuoka Art Museum, and 16 curators at the Fukuoka City Museum. See Kuroda Raiji ‘Ajibi no 5-nen – kôryûjigyô wo chûshin ni’, in Fukuoka Asian Art Museum Collection Now: Soul of Asia, Sapporo, Hokkaidôritsu Kindaibijutsukan, 2004, p.7m, and personal communication.

18 Kuroda, 2004, p.4, notes attendance figures as follows, 2002 2003* Permanent collection: 45,472 56,623 Special Exhibitions 71,375 167,353 Loan of site exhibitions: 40,452 64,827 Total 157,229 288,803 *2003 figures were from a personal communication from Kuroda Raiji of 25 October 2005.

Figures in 2002 were lower because of the low attendance at the 2nd Asian Art Triennale which occupied the whole Museum, and the high attendance in 2003 at Three Great Civilizations of Turkey exhibition. In 2002 The Asian Art Biennale only had 12,989 attendees or 8.26% of the overall annual figure and which even included the attendees for the exhibition of Historical Asian Art at the separate Fukuoka Art Museum.

19 The basic historical context and approach to setting up the Fukoka Asian Art Museum have been analysed in Ushiroshôji Masahiro, ‘ “Ajia Bijutsukan” to iu arikata – sono imi, hôhô, shisutemu’, Ritsumeikan Gengo Bunka Kenkyû, vol.13, no.4, 28 February 2002.

20 See Shireen Akbar, cuartor, Rickshaw Painting: Traffic Art in Bangladesh, Fukuoka, Fukuoka Asian Art Museum, Fukuoka, 1994.

21 As examples of the Japanese museums’ response to popular art and culture in the early 1990s see Meguro-ku Bijutsukan henshû, Sengo bunka no kiseki ,/ Japanese culture of the Postwar Years, 1945-1995, Tokyo Asahi Shinbum, 1995; Osamu Tezuka, et al, Tezuka Osamu ten = Osamu Tezuka , Tokyo, Tokyo Kokuritsu Kindai Bijutsukan, 1990.

22 The Pakistani selection committee member, Salima Hashmi, from Lahore, mentioned in conversation in Fukuoka, 2005, that she had raised the issue of why the Fukuoka definition of ‘Asia’ did not extend to the Arab and other Islamic countries, but I suspect there was disagreement over the kinds of cultural relations and historical ties which might be thought to have linked South, Southeast and East Asia in pre-modern times, in however tenuous and indirect or interrupted a manner.

23 According to the 2001 census out-turns Sydney had a population of 3,961,451, of which 27.2% were born overseas. 7.8% of the whole population were born in NE Asian, SE Asian and South Asian counties [figures for Thailand, Laos, Pakistan, and Bangladesh were not separately available, being below 10,000]. If we assume a low 2-children per couple it is easy to see the true figures for Sydney’s Asian population already in 2001 is 15% or higher. In separately collected statistics, 10.03% of the population speak one of 10 major Asian languages at home. The overwhelming proportion of this fraction have Australian citizenship or permanent residence, many retaining citizenship of their original country. All these communities have clear and accepted own-cultural identities, apart from their identity as Australians. For example, the Thai community can maintain its own week-end Thai Language & Culture school and a separate six-week summer school with 100-150 attendees, and there are similar schools for all the other communities. My own daughter’s public primary school teaches Vietnamese, Italian, Portuguese, and in some years Arabic, as background languages. See http://www.crc.nsw.gov.au/statistics/Nsw/SydneyStatisticalDivision4pp.pdf

There have been considerable increases by the 2011 Census in some populations there now being, for example, 45,465 Thailand born people in Australia in 2011, that an increase of 48.8% from the 2006 census. See http://www.immi.gov.au/media/publications/statistics/comm-summ/textversion/thailand.htm

The 2001 Asian population of around 15% in 2001 compares with Fukuoka where 16,062 registered persons of Asian nationality in Fukuoka [8031 Chinese, 6,387 Koreans, and among others, 104 Thais] or 1.15% of a total population of 1,391,146. This tends, surprisingly for some perhaps, to indicate that the population of Sydney is at least 10 times more ‘Asian’ than that of Fukuoka which makes the most visible commitment in Japan to its being a city with ‘Asian’ links. See http://www.city.fukuoka.jp/cgi-bin/odb- get.exe?Wit_template=AM02022&Gc=456&Ft=AC01022&Bt=AM04022

24 One may mention just two of great significance: Ushiroshôji Masahiro, supervising curator: The Birth of Modern Art in Southeast Asia: Artists and Movements, Fukuoka Art Museum, 1997; Rawanchaikul Toshiko & Horikawa Lisa, eds. China Dream: Another Flow in Chinese Modern Art, Fukuoka, Fukuoka Asian Art Museum, 2004.

25 These are the Guy & Myriam Ullens Collection in France [see Fei Dawei ed., The Monk and the Demon, Lyon, Musée d’Art Contemporain du Lyon, 2004], the Sigg Collection in Switzerland [note 28, below], the Frank Uytterhagen & Pascale Geulleaume collection in Belgium [see Hans Van Dyck, ed., Modern Chinese Art Foundation, Gent, Provincie Oost- Vlanderen, 1999], and in Holland the collection of Cees Hendrikse [see http://www.beeldenaanzee.nl/].

26 The exception is the permanent interest in contemporary art in India found in the United Kingdom, reflecting perhaps the cultural residue of imperial links, the size of the resident population of South Asian origin, and the minority but important role of artists and critics of South Asian origin in British art discourses. The latter have figured in 124 Contemporary Asian Art at Biennials © John Clark, 2013

extensive debates about minority and black arts which have come to occupy a central place in intellectual agendas outside their own communities, and are symbolized by the long- standing presence of journals such as Third Text and organizations such as IniVA. Nothing like this situation exists so far as I am aware in France or Germany, nor in Japan even with the concern of a small number of intellectuals for the largely assimilated Korean minority.

27 They may indeed constitute a concrete provincializing of Europe. For a discussion of these issues see John Clark, Modern Asian Art, Sydney, Craftsman House, and Honolulu, University of Hawai’i Press, 1998, Dipesh Chakravarty, Provincialising Europe: Postcolonial thought and historical difference, Princeton, Princeton University Press, 2000.

28 The Sigg collection in Bern has been visited by the curators of the forthcoming 2007 Documenta and this visit would appear, from my conversation with Ulli Sigg in Bern in August 2005, to have greatly reinforced their perception of the importance of Chinese contemporary art and the amount of time they would have to spend in China in order to select from it. In 2005 The Sigg Collection was exhibited from June to October at the Kunstmuseum, Bern, and thereafter at the Hamburg Kunsthalle. See the catalogue Bernard Fibicher & Matthias Frehner, eds., Mahjong: Contemporary Chinese Art from the Sigg Collection, Ostfildern-Ruit, Hatje Cantz, 2005.

29 Szeeman wrote appreciations of Xie Nanxing, Yang Mian, and Zhou Tiehai in John Clark, ed., Chinese art at the end of the millennium, Hong Kong, New Art Media, 2000, and in ‘Harald Szeeman talks to Chinese artists about Venice, CCAA and curatorial strategies’ in Wu Hung, ed., Chinese Art at the Crossroads: between past and future, between East and West, Hong Kong, New Art Media, 2001.

30 See The Art Newspaper, no.156, March 2005.

31 See Chapter Three below.

32 Makabe Kaori, Mikami Yutaka, Yokohama Triennale Office, eds, Yokohama Triennale 2001, Yokohama, The organising Committee for Yokohama Triennale, 2001, p.18, from Nakamura Nobuo ‘Future for Today’.

33 Yokohama Triennale 2001, p.13.

34 Yokohama Triennale 2001, p.89.

35 See aica Japan Newsletter no.2, in November 2001 ‘Yokohama Toriennaare 2001 kôki – sono tenmatsu no kojinteki memorandamu’.

36 Isozaki’s statement on the advertising broadsheet for the Triennale which was also found on the Japan Foundation’s website, www.jpf.go.jop/yt2005/e/inquiry.htm which I accessed on 13th October 2004. It is worth quoting in full: Yokohama 2005 will demonstrate that the movements driving the development of art up to and including the 20th Century have come to a stop. It will look at how new forms of expression can be created in terms of society, going as far as a fundamental augmentation of the concept of art, and it will bring them together in a single place, including even the newest forms of expression that are still starting to grow. To achieve that, I intend to take apart and re-assemble the framework of an international exhibition, extending its coverage to encompass art, architecture and contemporary culture. I will propose a new theme that does away with the distinctions between genres and between high art and low art. Throwing the system of international art exhibitions into relief – that aim itself will inform the theme of the Second Yokohama Triennale.

37 I understand the Fukuoka Asian Art Museum was consulted on the Asian artist selections.

38 Isozaki’s views post-resignation may be found in the very lively pieces in the Tama Art University symposium of 4th December 2004 organized by Tatehata Akira, whose transcriptions are in Katô Kei et al ed., Naze, Kokusaiten ka [Why International exhibitions, with Isozaki Akira, Okabe Aomi, Kitagawa Furamu, Nanjô Fumio, Hasegawa Yûko], Yokohama: BankART1929, 2005.

39 This was a performance of November 13 1961 at President Kennedy’s White House when Casals played ‘The Song of the bird’. ‘This piece asks the viewer to compare the present political posture of the United States with a former situation in which the U.S.’ President invited Casals, a lifelong pacifist, to the White House in the middle of the cold war’. See Yokohama Triennale 2001, p.172.

40 For an exemplification of this tendency see Murakami Takashi, ed., Little boy : the arts of Japan's exploding subculture, New York: Japan Society & New Haven: Yale University Press, 2005

41 I am grateful to Diana Gisolfi of Pratt Institute for pointing this out. I also discussed the work with Navin’s painter assistants Chatichay Suphin and Utthit Thumthong at Yokohama in November 2005.

42 What follows in this section is largely the text which appeared as ‘A spectacle of questions’, Asian Art News, vol.16, no.1, January/February 2006, 68-72, with some changed emphases and illustrations.

43 Alice Ming Wai Jim, ‘Interview with Hou Hanru’, [of January 8th, 2006], Yishu: Journal of Contemporary Chinese Art, vol. 5, no.1, March 2006, p.71.

44 See Nicolas Bourriaud, Relational Aesthetics, (1998) [tr. Pleasance Simon & Fronza Woods, with Mathieu Copeland], Dijon, les presses du réel, 2002, and Nicolas Bourriaud, Postproduction, New York, Lukas & Sternberg, 2002, 2nd edition 2005.

45 The Second Guangzhou Triennial BEYOND: an extraordinary space of experimentation for modernization (Exhibition Catalogue), Guangzhou, Lingnan Chubanshe, 2006. (Artistic Curator: Hou Hanru; Curators: Hou Hanru, Hans Ulrich, Guo Xiaoyan), p.1.

46 Ibid, p.46.

47 See Clark, 2006, for some sources on population statistics. It is expected the proportions of Asian populations in overall Australian population will increase when the results of the late 2006 census become clear.