Anmol Vellani - Japan Foundation · 2018. 5. 9. · Anmol Vellani The Japan Foundation Asia Center deserves accolades for organizing a symposium as complex and ambitious as 'Asia

countries represented in the exhibition. Strangely, rhe question of

religion - or rhe lack of it - was hardly raised in the discussion

about Asia - this is one of the most topical and may be one of rhe

most significant factors when looking at Asia from a world

perspective; economics also played a rather small role. In future

symposia, perhaps, culture should be integrated more into this wider

discussion which is nor only cultural in itself bur also provides a

framework within which culture may develop?

Anmol Vellani

The Japan Foundation Asia Center deserves accolades for

organizing a symposium as complex and ambitious as 'Asia in

Transition: Representation and Identity', inviting scholars, curators

and critics from various countries and continents to speak on this

important subject. If anything, rhe symposium was too ambitious in

the range of issues it tried to address in one and a half days. Still, rhe

ground covered in the available rime was truly impressive, due in no

small part to rhe Japan Foundation Asia Center's careful choice of

speakers, organizational skills and attention to derail.

Perhaps not all speakers stuck srricrly to their briefs, but then

again, the brief itself was relatively open-ended, and stared with a

broad brushsrroke. A background paper or a fuller concept note ,

which one of the speakers could have been asked to develop, might

have provided a useful reference point for all the speakers, and

resulted in a more integrated or closely connected set of presentations.

The fact that the papers in each session were dispersed or, at any rare,

very diverse in their concerns might explain why rhe moderators

found it so difficult ro anchor, energize or properly channelize the

subsequent discussion sessions, which often ended up being desultory

and scattered. The symposium gave more prominence to the visual

arts, as reflected in the choice of speakers. As a result, the audience

was also composed of people with greater interest in rhe visual arts,

judging from the kind of questions rhar came from the floor afrer

each session. This is understandable, given rhat rhe Japan Foundation

Asia Center seems to have been more consistenrly involved with the

visual arts, at least in the recent past, both in the seminars it has

442 Panelists' Comments

organized and the arts presentations it has sponsored. But an

opportunity was certainly lost for exploring the theme of the

symposium in relation to the other arts in greater depth . Would it be

fair to say that cinema and performance received only token

representation at the symposium?

Rey Chow

I fully enjoyed the symposium, which was expertly organized

with meticulous attention to every detail. I was impressed by and

learned from all the papers, which offered thought-provoking

discussions about "Asia" as it is mediated by various cultural forms

across national boundaries . Most of all I appreciated the enthusiasm

of the audience and the professionalism and hospitality of the

organizers. I wish we had had more time for discussion after each of

the presentations, but I understand it was not the most convenient,

given our tight schedule. All in all, this was an excellent event, one

that I will remember with fondness.

Panelists' Comments 443

444

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446 Panelists' Profiles

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Panelists' Profiles 449

Panelists' Profiles

Sakai Naoki Keynote Speech

Professor, Department of Asian Studies, Cornell University

Qapan/USA)

Born in Kanagawa prefecture in 1946. He obtained his Ph.D. from the Ease Language

and Civilization Department at the University of Chicago. Current position since 1997.

His academic fields of interest are cultural theory and history of Japanese thought. Author

of Voices of the Past (1991), published in Japanese in 2002, Shizan sarm, Nihongo •

Nihonjin (I 996), Translation and Subjectivity: On "japan" and Cultural Nationalism

(1997), 'Sekaishi' no Kaitai: Honyaku,Shutai, Rekishi (co-author, 1999), and editor/author

of Globalization no naka no Asia (I 998), and Soryokusen-taisei kara Globalization e (2003).

Also, editor-in-chief of Traces, a multilingual periodical on cultural theory and translation.

Lives and works in Ithaca, New York.

Mizusawa Tsutomu Chief Curator, Museum of Modern Art, Kamakura

Oapan)

Session I

Born in Yokohama in 1952. After comp leting postgraduate course at Keio University in

1978, he joined the Museum of Modern Art, Kamakura, where he is now chief curator.

His area of expertise is German modern/contemporary art and Japanese

modern/contemporary art and its encounter with foreign cultures. Author of Kono Owari

no Toki nimo (1989), Tenzai suru Chushin (co-author/co-editor, 1995), Egon Schiele

(1999) and curator of "Eine Krise Der Kunst: Encarcete Kunst im Dritte Reich" (1995),

"!SAMU WAKABAYASHI" (1996), "MOBO, MOGA/ Modern Boy, Modern Girl:

Japanese Modern Aic 1910-1935 " (1998), and "Life as Ait- ISAKU

NISHIMURA"(2002) exhibitions. Lives and works in Kanagawa prefecture.

Koizumi Shinya Session I

Professor, Faculty of Education, Ibaraki University/ Director , lzura Institute of Arc and Culture Qapan)

Born in Fukushima prefecture in 1953. He completed his postgraduate course at the Tokyo

National Universiry of Fine Aits and Music in 1980. He worked as curator at Iwaki Ciry

Museum of Aic, and chief curator at Koriyama City Museum of Arc, until he joined Ibaralci

University in 1996 where he assumed his current position in 2001. His area of specialization

is art theory and Japanese arc history. Author of "Tenshin Iconography," Okakura Temhin

Album (2000), and Okakura Temhin to Izura (co-author, 1998). Curator of "Sight

Breaching TATSUO KAWAGUCHI Dialogue with Unseen" (1998) and "Deconstruction

and Consuuction" (1999) exhibitions. Lives and works in lbaraki prefecture.

4SO Panelists' Profiles

Wang Hui Professor. Tsinghua University Research Professor, Chinese Academy of Social Sciences (China)

Session I

Born in Yangzhou, Jiangsu province, in 1959. After graduating from Yangzhou Teachers'

College, he obtained M.A. from Nanjing University, and Ph.D. from the Chinese

Academy of Social Sciences, where he has been working since 1996. He is also professor

at Tsinghua University and editor-in-chief of Dushu, an academic journal. His academic

fields of interest are Chinese literature and social theory. He is author of Wang Hui Zi

Xuan Ji (1997) and Si Huo Zhong Wen (2000). His published articles in Japanese include

"Global-ka no naka no Chugoku no jiko-henkaku wo Mezashite" ( 1998) and "Atarashii '.Asia Souzou' no Rekishiteki Joken" (2002). His authored book in English, The Historical Origin of New Liberalism in China is forthcoming. Lives and works in Beijing.

Goenawan Mohamad Senior Editor, TEMPO Weekly newsmagazine (Indonesia)

Session I

Born in Batang, central Java, in 194 I. He studied philosophy at University oflndonesia

and political science at College d'Europe Brugges, Belgium. Worked as editor-in-chief of

the influential Indonesian magazine, TEMPO Weekly newsmagazine (1971-93). A

leading figure in the democratic movements in Indonesia. Also poet and arc critic. Author

of Catan Pinggir (English title: Sidelines), a collection of his articles in TEMPO, and

Kesusastraan dan Kekuasaan (Literature and Power) (1993). He received the International

Press Freedom Award from the Committee to Protect Journalists, USA in 1998. Lives

and works in Jakarta.

Yoshimi Shunya Session II, lil

Professor, Institute of Socio-Information and Communication Studies, University of Tokyo Qapan)

Born in Tokyo in 1957. He completed Ph.D. course in sociology at University of Tokyo

in 1987. His academic fields of interest are sociology and cultural studies, and his research

encompasses subject matters related to Ropular culture and everyday life and their relation

to power and authority. His latest interest concerns national festivals and

Americanization, and cultural historical analysis and theory of consumerist society. He has

published numerous books on these subjects, including Toshi no Doramaturugy (I 987),

Hakurankai no Seijigaku (1992), Mediajidai no Bunka Shakaigaku (1994), Cultural Studies (2000), and Global-ka no Enkinhou (2001). Lives and works in Tokyo.

Panelists' Profiles 4S 1

Lee Yong Woo Executive Direcror, New York Center for Media Arts

(Korea/USA)

Session II

Born in Seoul in 1947. After graduating from Yonsei University, he obtained his M.A. in

art history at Hong-Ik Universiry and Ph.D. at Oxford University. He assumed his

current position in 1998 after teaching as professor at Korea University. His main area of

interest is contemporary art criticism with a focus on media arr. Artistic director of the

First Gwangju Biennale (1995) , Korean commissioner for the Venice Biennale's special

exhibition "Tiger's Tail" (1995), and curator for "Electronic Maple" (2001) exhibition.

Author of Art and Life of Nam jun Paik (2000) and The Origim of Video Art (2002). He

lives and works in Seoul and New York.

Tarehata Akira Professor, Tama Art University

Qapan)

Session II

Born in Kyoto in 1947. After studying literature at Waseda University, he became curator

of the National Museum of Art, Osaka (1976-91) . Assumed current position in 1994.

Critic on contemporary art. He has worked as Japanese commissioner for the Venice

Biennale (1990,1993), artistic director of Yokohama Triennale 2001 and curator for

"Asian Modernism " (1995) and "Private Mythology: Contemporary Art from India "

(1998). He has published anthologies of criticism, Toi naki Kaito (1998) and Mikan no Kako (2000). Also a poet. Lives in Kanagawa prefecture.

Tony Bennett Professor, Faculry of Social Sciences, The Open Universiry (UK)

Session II

Born in Manchester, UK in 1947. Since obtaining his Ph.D. at Sussex Universiry, he has

lectured at institutions in UK and Australia. Professor and director of Australian Key

Centre for Cultural and Media Policy at Griffith Universiry, Brisbane, before taking his

current position in 1998. Author of numerous books on cultural theory including The Birth of the Museum: History, Theory, Politics (1995), Culture: A Reformers Science (1998),

and Culture in Australia: Policies, Publics, Programs (2001). He has been commissioned

many research projects by the government, UNESCO, and Council of Europe. He is also

currently the director of Pavis Centre for Social and Cultural Research. Lives in

Oxfordshire.


David Elliott Dire cto r, Mori Art Museum

(UK/Japan)

Session III

Born in Prestbury, UK in 1949. He obtained a.A. Hons. in Modern Hiscory at

University of Durham and M.A. in History of Art at Courtau ld Institute of Art,

University of London. After assuming position as director of Museum of Modern Art Oxford (1976-96), where he curated exhibitions of Japanese , Chinese, African and

Russian art among others, he became director of Moderna Museet, Stockho lm and

curated "After the Wall: Art and Cu ltur e in Pose-Communist Europe" (1999) and

"Organizing Freedom. Nordic Art of the '90s" (2000) exhibitions. He assumed his

current post in 2001, and is now preparing for the inaugural exhibition at Mori Art Museum in October 2003. Also president ofCIMAM. Lives and works in Tokyo.

Anmol Vellani Executive Director , India Foundation for the Arts

(India)

Session III

Born in Mumbai, India in 1950. He studied philosophy at University of Poona and

University of Oxford, and completed doctorate course at University of Cambridge in

1983. After lecturing at Elphinscone College, Mumbai, he worked at the New Delhi

Office of the Ford Foundation (1986-95), and joined the India Foundation for the Arts

(!FA) as executive director in 1995. !FA makes grants under the themes of arts research

and documentation, arts collaboration, arts education and theater development. He has

served in various advisory boards in India. He has also worked as a cheater director for che

last 30 years. Lives and works in Bangalore.

Rey Chow Professor, Department of Modern Culture and Media Departm ent of Comparative Lireracure, Brown University

(Hong Kong/ USA)

Session III

Born in Hong Kong. After graduating from University of Hong Kong, she obtained

Ph.D. at Stanford University. She taught at University of Minnesota and University of

California, Irvine, prior to raking current position. Her academic fields of interest are

media studies and comparative literature. Author of numerous books including Writing

Diaspora: Tactics of Intervention in Contemporary Cultural Studies (l 993) and Primitive Passiom: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema (1995).

Lives and works in Providence, Rhode Island.

Panelists' Profiles 4S3

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The Japan Foundation Asia Center

Visual Arcs Programs

1990

1. "Narrative Visions in Contemporary ASEAN Arc"

The Japan Foundation ASEAN Culture Center Gallery

2. "Thawan Duchanee: Thailand: In Quest of the Ultimate Sacredness"

Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center Gallery

3. "Tradition, the Source oflnspiration"

Fukuoka Art Museum; The Japan Foundation ASEAN Culture Center Gallery

4. "The New Generation in Contemporary Singaporean Art" The Japan Foundation ASEAN Culture Center Gallery

1991

1. "Conte mporary Indonesian Prims"

The Japan Foundation ASEAN Culture Center Gallery; Mie Prefectural Art Museum; Hokkaido Hakodate Museum of Art

2. "Malaysia: Stage Art of Tragedy - Tan Chin Kuan"

Fukuoka Art Museum, The Japan Foundation ASEAN Culture Center Gallery

3. "Edgar Talusan Fernandez: Contemporary Art of the Philippines "


4. "Contemporary Thai Artist: Monrien Boon ma"

The Japan Foundation ASEAN Culture Center Gallery; Mirsubishi-jisho ARTIUM, Fukuoka

1992

I. "Today's Malaysia Seen Through Art: Contemporary Malaysian Art"


2. "New Art from Southeast Asia 1992"

Tokyo Metropolitan Art Space Exhibition Gallery; Fukuoka Art Museum;

Hiroshima City Museum of Contemporary Art; Kirin Plaza Osaka

3. "Floral Cosmology: Tradition in Dyeing, Weaving, and Ornaments"

Fukuoka City Museum; Laforet Museum Harajuku, Tokyo;

Alpark Tenmaya, Hiroshima; Kirin Plaza Osaka

1993

I. Contemporary Painting from Singapore and Japan "Facing the Infinite Space"


2. Contemporary Thai/Japanese Art Exhibition "Beyond the Border"

P3 art and environment; Silpakorn University Art Gallery

458

1994

I. Contemporary Art Symposium 1994 "The Potential of Asian Thought"

The Japan Foundation Conference Hall

1995

I. "Visions of Happiness: Ten Asian Contemporary Artists"

The Japan Foundation Forum

2. "Asian Modernism: Diverse Development in Indonesia, the Philippines, and Thailand "

The Japan Foundation Forum; Metropolitan Museum of Manila;

The National Gallery, Bangkok; Gedung Pameran Seri Rupa, Departemen Pendidikan dan Kebudayaan

1996

1. "Fang Lijun: Human Images in an Uncertain Age"


1997

I. "Art in Southeast Asia I 997: Glimpses into the Future" Museum of Contemporary Art, Tokyo; Hiroshima Ciry Museum of Contemporary Art

2. "The Mutation: Painstaking Realism in Indonesian Contemporary Painting"


3. Symposium "Asian Contemporary Art Reconsidered "


1998

I. "Private Mythology: Contemporary Art from India"


1999

I. lnternational Symposium I 999 "Asian Art: Prospects for the Future "


459

2000

I. "Serendipity: Photography, video, experimental film and multimedia installation from Asia"


2. Asian Contemporary Artist Solo Exhibition Series I

"Heri Dono: Dancing Demons and Drunken Deities" The Japan Foundation Forum

2001

I. Asian Contemporary Artist Solo Exhibition Series II

"Acul Dodiya - Bombay: Labyrinth/ Laboratory"


2. "Under Construction" Local Exhibitions

Ashiya; Seoul; Mumbai; Bangkok; Manila; Bandung; Beijing

2002

1. "Under Construction" Collective Exhibition

The Japan Foundation Forum I Tokyo Opera City Art Gallery

2. International Symposium 2002 "Asia in Transition: Representation and Identity" The Japan Foundation Conference Hall

2003

I. Asian Contemporary Artist Solo Exhibition Series lil "Lee Bui: Monster"


Noces:

1. The Japan Foundation ASEAN Culture Center was founded in January 1990 as part of The Japan Foundation. le changed its name co The Japan Foundation Asia Center in October 1995 co expand its area of coverage and programs.

2. Exhibition names and venues (cities) are listed in order of the year the first show was held. Some exhibitions have roured and continued over a year.

460

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rel, 03-5562-3892 fax, 03-5562-3897

The Japan Foundation 30th Anniversary

International Symposium 2002 "Asia in Transition: Representation and Identity "

Report

Editor

Assistant Editor

Translated by

Japanese co English

English ro Japanese

Chinese to English

Chinese to Japanese

Phorographer

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Furuichi Yasuko

Hoashi Aki

Stanley N. Anderson

Fujimori Manami, Hoashi Aki, Kasai Hirotaka, Kuroki Minako,

Morishita Masaaki, Motohashi Tetsu ya, Namba Sachiko, Te-zuka Miwako

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March 25, 2003

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Anmol Vellani - Japan Foundation · 2018. 5. 9. · Anmol Vellani The Japan Foundation Asia Center deserves accolades for organizing a symposium as complex and ambitious as 'Asia