New Models for Survival

Problems of survival of new art without subsidy have created two groups: The Artists' Village, a loose collective of artists who occupied two buildings scheduled for redevelopment, ending up in the Substation near the National Art Gallery. 5th Passage was allowed to occupy an area in a shopping centre where they made performances on environmental themes and ran very popular school holiday art programs for children.

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Testing the Waters

The First Asia Pacific Triennial, at the Queensland Art Gallery was not only a large imaginatively curated exhibition from many Asian countries and Australia but a ground-breaking conference Identity, Tradition and Change: in which historians, curators, administrators and artists all had equal billing. Well funded, it was able to bring hundreds of people together to enjoy as well as critique the event, and feedback was sought to inform the future form of the event.

Stephanie Britton

Vietnamese Lacquer, Silk Painting and Modern Vietnamese Art

1. Lacquer painting is a very old medium which was adapted by 20thC painters including Nguyen Gia Tri. 2. The most famous exponent of Silk painting was Nguyen Phan Chanh (1892-1984) who painted villagers and country life. 3. After 1925 artists adopted oil paint and after absorbing French influences, by the 90s formed a new Vietnamese identity typified by a group of 3 senior artsits. In 1989 a group show of young artists was a turning point.

Ba Van Thai

"Current Issues" in Singaporean Art

A brief history of 20th Century art movements in Singapore and the state of art and art debate in the 1990s. In terms of how non-Singaporeans view and understand current art, the politically motivated performance art of Tang Da Wu and Amanda Heng in 1991-2 appears very similar to performance art in other countries but due to different cultural background it can be misread and those elements which are different are often ignored.

Cheo Chai Hiang

Writing About Craft

What is the relationship between the art or craft object and its maker? This question is put from the Philippines in relation to crafts and compares the importance of the origin or culture of the maker in that country to that in Australia. Students of Philippine crafts have applied the 'mapping' method which helps to understand the depth of tradition and their subsequent evolution into urban variants. Writers on the crafts are developing ways of exploring these questions.

Nola Anderson

Unpredictable Repercussions

The massacre of pro-democracy students in May 1992 was a watershed for Thai artists who began to identify with change, formed associations and took part in rallies, and called for public monuments to the tragedy. The City Art League was formed to present performance art in public places and the Concrete House to draw attention to AIDS through art activities. This brought social and political issues into the realm of art.

Chumpon Apisuk

Culture of Silence: A Reading of Three Malaysian Artists

An overview of the history of Malaysian modernism and the work of three artists who rebelled against their Islamic-style training at the Institute of Teknologi Mara. Riaz Jamil Ahmad, Ahmad Shukri Elias and Tengku Sabri. Riaz and Ahmad paint in a neo-expressionist figurative mode, Tengku makes carved wood sculptures which have echoes of old Malay motifs. After some years of dissent the three have adopted a stratgic self-imposed culture of silence.

Ray Langenbach

Australia Asia: Striking Up Conversations

Collection of items (some by other writers) relating to Asia and Australia: Adelaide Installations, and women in film program both in Adelaide Festival; Aboriginal connections with Indonesia; Australia-Taiwan exchange; art education exchanges throughout the Region; letter from Nguyen Thu of Hanoi College of Art.

Stephanie Britton

Trailblazers Recognised at Last

3 major influences. Nguyen Sang (1923-1988) painted in a politically charged and nationalistic mode but always as a personal expression. Bui Xuan Phai (1920 - 1988) painted small streetscapes depicting the soul of old Hanoi, a nostalgic view. Nguyen Tu Nghiem (1922-) was more innovative looking again at ancient village sculpture in pagodas and paradoxically moves closer to a Modernist style.

Tuong Duong

The Power of Yogyakartan Surrealism

Why has Yogyakarta produced a school of surrealist painters and what do they paint about? Life perhaps offers strange encounters, especially in the meeting of eastern and western elements,but the clue is in traditional attitudes to the ghostly or uncanny. These are transposed into scenes of modern life which are richly varied and powerful. They include one of Indonesia's only woman artists, Lucia Hartini.

Dwi Marianto

An Australian on the Road to Shah Alam

An account of an artist in residency in 1993 at the Institut Teknologi Mara (ITM) at Shah Alam outside Kuala Lumpur. The spatial excitement of the building was not matched by its usability or enlightened curriculum. She produced an installation using local materials and learned about ITM's positive discrimination in favour of bumi putera students (local Malay) and how the school fits into the Islamic State.

Brigid Cole-Adams

Metaphor for a Delicate Balance

Artist Noelene Lucas describes the rationale behind the work The Presence of the Centre which she made at Silpakorn University in Bangkok during a residency. It deals with her perception of the landscape of theAustralian Centre as seen from 11,000 metres flying to Thailand, and the fragmentary way we perceive. It is a metaphor for negotiating our position in the world.

Noelene Lucas

Role of Galleries in Contemporary Art

Around 1983 art dealers first appeared in Indonesia. By 1990-91 there was an art boom, and galleries were operating in Jakarta, Yogyakarta, Surabaya, Bandung, and Bali. Owners come from various walks of life, including oil trading. With some notable exceptions, there is a sameness about the offerings in most of these galleries. A brief history 1930 - 1955 describes the establishment of galleries to supply visitors interested in local art.

Agus Dermawan T.

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