Artists and The People: Ideologies of Art in Indonesia Elly Kent (NUS Press, 2022) and Living Art: Indonesian Artists Engage Politics, Society and History edited by Elly Kent, Virginia Hooker and Caroline Turner (ANU Press, 2023)
Published 16 August 2023
John Kean
Published 02 August 2023
Blak Insights Queensland Art Gallery 3 July - 30 October 2004
Published 01 September 2004
Published March 2000
Published June 2000
Essays by Christine Nicholls and Ian North, Wakefield Press in assoc with SALA Week
Published December 2001
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Institute of Modern Art, Brisbane 16 March 29 April 2000
Although often disguised as an innocent communication tool, language is defined, and, in turn, defines the parameters of all aspects of life, from the most personal and private to socio-political conditions and power structures. Giakoumi discusses this fact in relation to artist's experiences of living and working in countries where language barriers are apparent. Four works by artists Shigeaki Iwai, Xu Bing, Kim Young-Jin and Lee Mingwei are closely examined through this text.
Gallery East or 2000 Perth International Arts Festival 12 February - 5 March and touring for two years
The past 10 years have seen the building of ties between Australians and Asians through the interactions occasioned by the three Asia-Pacific Triennial exhibitions in Brisbane. There are now many personal and binding friendships across the region which did not exist before. This changes our concept of 'region' significantly.
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.
Some of the many complex questions raised by the Asia-Pacific Triennials relate to where artists originate from, how they relate to indigenous issues of their country, and the possibility of dissonant voices being heard through the exhibition which would not be tolerated in their country of origin. This is increasingly important in an Australian political climate which has downplayed our relations with the Asian region.
