Evaluating the Asia-Pacific Triennial

In the ten years since APT was launched, the landscape o f the world's art scene has dramatically changed. It is often said that one absolute centre has now disappeared and instead multiple art centres co-exist around the world.

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Akihabara TV2

Command N, Tokyo 16 - 29 March 2000

Larissa Hjorth

Another Landscape: History/Life/Language

Institute of Modern Art, Brisbane 16 March - 29 April 2000

Edwina Bartleme

Impressions of the 8th Asian Art Biennale in Bangladesh

Zanita Anuar

The Same Sky

Irene Briant CAST Gallery 10 March - 2 April 2000

Jennifer Livett

The Enigma of Japanese Contemporary Art

Japanese culture at the end of the twentieth century was at an intersection of past, present and future. Exhibitions including Against Nature at the Grey Art Gallery in New York (1989), Japanese Ways, Western Means at the Queensland Art Gallery in Brisbane (1989), A cabinet of Signs at the Tate Gallery Liverpool (1991) and Zones of Love at the MCA Sydney (1991) showed for the first time the complex and urban basis of Japanese art in the 1980s, a time of considerable transition in Japanese art practice. Featured artists included Shigeo Toya, Kimio Tsuchiya, Yasamasa Morimura, Takashi Murakami, Emiko Kasahara, Masato Nakamura, Yukinori Yanagi, Katsushige Nakahashi and Tatsuo Miyajima.

Caroline Turner

Home

Art Gallery of Western Australia 5 February - 15 April 2000

Annette Pederson

The Tate goes modern

The Tate Modern opened in May 2000 to great fanfare and applause. The refurbished power station on the Thames now houses the international post-1900 art of the Tate collection. The public has rushed to visit with huge crowds enjoying the experience, but putting pressure on the facility. Critics have questioned the way the work has been arranged by theme rather than by school, chronology or geography.

Stephanie Britton

Shifts and Transitions in Indonesian Art and Society

This article looks at the East Timor crisis and the attempted boycott of the APT 3 at the Queensland Art Gallery subsequent to Indonesian artists participating in the event. Marianto examines this in relation to the shifting powers in Indonesia at the time from the ruling of President Habibie to the fourth leader Abdurrahman Wahid (Gus Dur) and presents a list of what could be considered seven strands of artistic concern within Indonesia: The critical group, alternative art, art for art's sake, conventional art, marginalised individuals, media-influenced art and feminist artists.

Dwi Marianto

Kimono as Canvas

Gallery East or 2000 Perth International Arts Festival 12 February - 5 March and touring for two years

Robyn Taylor

Sonabai at the APT: difference, indifference, formality

Kajri Jain

Asian Engagements: Tubes of Bamboo

In this brief article Turner focuses on the Queensland Art Gallerys Asia-Pacific Triennial. From the beginning, the Asia-Pacific Triennial was conceived as more than an art exhibition. It was equally about creating a network of contacts with artists and art institutions, a research base and permanent collection of contemporary Asian art and a forum for discussion of the art of the region. Artists discussed include Geeta Kapur, Marian Pastor Roces, Xu Bing, Santiago Bose, John Frank Sabado and Dadang Christanto.

Caroline Turner

Chinese contemporary art: a few reflections

Maud Girard-Geslan

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