asialink_every23days

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CONTENTS

Foreword

Introduction

Essay: Every 23 days... 17-

Asialink Visual Arts Touring Exhibitions 1990-2010 23-

Venue List 89-

Index 92-

Acknowledgements


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FOREWORD

Asialink celebrates twenty years as aleader in Australia-Asia engagementthrough business, government,philanthropic and cultural partnerships.Part of the celebration is the publication ofthis booklet to commemorate the TouringVisual Arts Exhibitions Program which hasbeen a central focus of Asialinks workover this whole period.

Artistic practice encourages dialoguebetween different cultures, with visual arts

particularly able to transcend languagebarriers and create immediate andexciting rapport. Asialink has presentedsome of the best art of our time tolarge audiences in eighteen countriesacross Asia through exhibition andspecial projects, celebrating the strengthand creativity on offer in Australia andthroughout the region.

The Australian Government, through theVisual Arts Board of the Australia Council

and the Department of Foreign Affairsand Trade, is pleased to provide supportto Asialink as it continues to presentthe talents of artists of today to an everincreasing international audience.

The Hon Stephen Smith MP

Minister for Foreign Affairs


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INTRODUCTION

Every 23 Days: 20 Years TouringAsiadocuments the journey of nearly80 Australian-based contemporaryexhibitions history that have touredprimarily through Asia as a part of theAsialink Touring Exhibition Program. Thispublication provides a chronological andin-depth overview of these exhibitionsincluding special country focused projects

the Programs history.

Since its inception in 1990, Asialinkhas toured contemporary architecture,ceramics, glass, installation, jewellery,painting, photography, textiles, video,works on paper to over 200 venuesin Asia. These exhibitions have beenprepared in partnership with museumsand galleries around Australia and hostedby collegiate institutions and organisationsthroughout the region. In these, thework of over 600 Australian and Asianartists have been shown to audiences

numbering in the hundreds of thousands.To date, Asialink exhibitions have touredto 18 countries in Asia: Bangladesh,Brunei, China, India, Indonesia, Japan,Hong Kong, Korea, Laos, Malaysia,Nepal, Pakistan, Philippines, Singapore,Sri Lanka, Taiwan, Thailand and Vietnamas well as within Australia.

Alison Carroll

Director Arts AsialinkSarah Bond

Director Visual Arts Asialink


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EVERY 23 DAYS...

When you ask yourself what hasachieved the largest audiences forAustralian visual culture outside itsshores, you may not believe it butthe mantle must be awarded to theAsialink Visual Arts Touring ExhibitionProgram. With nearly 80 exhibitionstoured internationally in and around 18countries over a 20 year period

astonishing. To date, there have been309 openings, that effectively equates

to an exhibition of Australian artworkopening every 23 days in the region.

supported under the Keatinggovernment, the Asialink ArtsProgram began as all things do modest, full of hope and fuelled bypassion and determination. Themain aim of the program was andremains to encourage and facilitateexchange of cultural material and

information between Australia andAsian countries, with a particularfocus on contemporary art and artspeople travelling from Australia. Likeall Asialink programs, the emphasis ison partnerships between Australia andAsian colleagues and extending thisto making opportunities for both thesecolleagues and artists to reach newaudiences in our own region.

Central to the partnership is thearrangement with the artists whosework we tour. Looking at the list ofrecent and current touring exhibitionsreads like a whos who of the Australianart world. Artists include Brook Andrew,Gordon Bennett, Robin Best, ShaunGladwell, David Griggs, DestinyDeacon, Fiona Hall, Akira Isogawa,Tracey Moffatt, Callum Morton, JamesMorrison, Patricia Piccinini, JudyWatson and Philip Wolfhagen. But alsoincluded are younger, emerging artists,

artists from regional centres, and artiworking in special media that oftenreceive less attention. Asialink hasconsciously worked with artists fromaround Australia, from Tasmania to thNorthern Territory with special focusexhibitions, as well as urban centres.Glassmakers, ceramicists, designersarchitects, textile artists, photographand video artists have all earned aspecial focus through the program.

One may ask why do artists wantto be involved in touring? There arenumerous reasons, but key is beingable to have their work shown in aninternational context and see how itis received, something increasinglyimportant to most artists today. Locaand international curators see touringexhibitions in Asia, getting accessand knowledge more immediatelythan they often get in any other wayand exhibition catalogues remain on

international curators shelves anddesks long after the opening. Asialinkfrequently hears of follow up invitationto artists and curators after an eventdue to positive word of mouth andthese works being placed in aninternational setting. More prosaicallythe artists receive copies of thepublication and media; they presentit and where it was shown on theirbiodata information, adding to their

business life of the artist today.

One special reward to artists is theamount of media these exhibitionsreceive, usually far larger than is normfor contemporary art in Australia.Patricia Piccininis exhibition We arefamily in Tokyo received 112 printmedia articles, with many articles goito literally millions of readers. Asialinkincludes copies of the print press forall partners, including exhibiting artist


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which shows both the attention theirwork is receiving internationally, andalso criticism of the show from a verydifferent cultural point of view all veryuseful to practitioners.

The build up of knowledge or evensubliminal awareness that Australian artexists as part of the world cultural map

is important, so continuity of a programis vital, repeating the message thatAustralia has artists of note and wants anaudience for them. An outcome is thatgradually Asian-based curators increasetheir knowledge of what happens inAustralia, many travel to inspect furtherand follow up on contacts to makenew collaborative projects. The energyof engagement is central to this, andkeeping it focused, of high quality, andof substance crucial to the long-termenjoyment of the work made.

The audience for these exhibitionsvaries. The art world comes, artistscome, and the opening party attractskey people of the community, frompoliticians to business leaders, toleading members of society. Arthas a special attraction for many inprominent positions in Asia, seen asan important part of life, either throughConfucian appreciation of the arts, or

a general understanding that cultureis a rewarding undertaking. There areartists talks, forums and seminarsaround many exhibitions to further thedebate and engagement with the localaudience. Each exhibition is sent with acurator who is expected to give special

talks either in the exhibition or anassociated venue. The general publicis also invited, and their feedback oftenthe most revealing and honest of all.

audience numbers where it can(averaging 9,000 visitors per exhibition),though this is a practice not universallyundertaken in the region. This shouldbe taken in context of course. In Japan,almost all venues charge admission,

three-year Japan program we were

visitors for seven exhibitions.

The Exhibition Touring Program, inAustralian terms, is enduring, andour modus operandi has remained

and responsive; as noted before it ison partnerships and also on value-adding. We endeavour to remainunbound by (unnecessary) rules.

Asialink works in a cross-culturalenvironment, with people comingtogether with very different perspectivesand expectations. The trick is trying tosee the end point and how to get therein the best and easiest way possible.We work with others. It is obvious to usthat if everyone agrees to a project andwants it to happen, the best way is topool resources and work together. Nocontract will see one through a trickyproject as almost all cross-culturalones are like the trust built betweenpeople through partnership.

Our exhibition partners in Australia areas diverse as the artists we include.As a national body, Asialink generatesopportunities for Australian visual

opportunity in Asia. We work withsome of Australias leading bodiesincluding the National Gallery ofVictoria, Melbourne, the Institute of

Modern Art, Brisbane, the Art Galleryof New South Wales, Sydney, theAustralian Centre for the MovingImage, Melbourne and the Museumof Contemporary Art, Sydney, andregional galleries from smaller citieslike Devonport in Tasmania or Cairns,

as well as contemporary spaces,university galleries and with ARIs(Artist Run Initiatives). Partner galleriesenable the development of substantiaexhibitions with curatorial and logisticasupport needed for international toursand in turn, Asialink can provide fundsfor more substantial catalogues, aswell as international opportunities forengagement of the organisationsstaff and associates. Our Australianpartners are not paid a fee, ratherAsialink asking that they see some

reason for developing a tour with us,whether professional developmentof staff, a broader internationalexperience for their whole program, orthe support for Australian arts visibilityoverseas. Asialink has not producedthe program internally, rather believingthat partnerships bring in differentviews and ideas than Asialink couldengender, as well as views from arounthe country, while it also means weshare the use of resources.

A vital part of the program is sendingcurators with their exhibitions to the

to later venues, spreading theopportunity to work internationally.This is key to building lasting andeffective relationships in the region as offers an opportunity for Australians toenlarge their professional experience oworking in Asia, encouraging personalcontacts, on-going communicationand further projects. They are exposedprofessionally to a different culture inwhich they are engaging, as well asthinking through new projects for thefuture. As one curator memorably saidin the early days you could never havetold me what it would be like.

Our partners in the region have rangedfrom Karachi to Kupang to Kuching.We have worked in almost everycountry of the region: from the most

Patricia Piccininis work featured on thefront cover of: BT Magazine, vol.56, 2004


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spectacular national museums to thesmallest gallery space, as long as itmeets our conservation and securityneeds. Almost all Australian heads of

at these events, and they do so witheloquence, as well as providing support

for the opening events, and equallyimportantly support with promotion tothe media.

We have worked closely with a core

Embassies and High Commissionsand trust their judgements and can notdo this work without their in-countryknowledge and hard work. PiyaratSuksiri in Thailand stands out for herenthusiastic realism, understanding andcommitment to working on a program

such as ours over a long period oftime. We are all lucky to have peoplelike her to work with. Charmaine Toh,Bo-Young Lim and Willa Santiagoare some of the others we gratefullyacknowledge and whom we thank.

While the core program has beentouring Australian art in Asia, Asialinkhas developed exchange programsand special region or country focusedprograms in South Asia

1, in Korea

2and

in Japan3and expect this to be the wayof the future. Projects like Fire and Lifein India included curators and artistsfrom both places and shown in bothplaces; Foundations of Goldincluded

networks (that Melbourne was a partof) to celebrate the discovery and useof gold in Victoria, creating an exhibitionwhich toured to all cities; Rapportwasan early exchange of artists, curators

Visiting Hanoi in 2010, Alison

Carroll recalls a visit there 20

years ago, when almost no

other Australian arts person had

visited. She stayed in a military

hotel, walked the streets with few

consumer goods and those only

smuggled from China, bought acouple of unloved but excellent

water puppets, and listened to

the eagerness of both young

artists and older cadres so keen

to engage. The artists were so

keen to talk, to see what was

happening overseas in this

case in Australia to have their

work seen and valued elsewhere:

a group of young artists milling

around her, talking, her slightly

embarrassed by the desire and

how to respond to it. Her talkingwith the head of the Artists

Association and again seeing

that desire, with the dignity of

authority, in that persons eyes as

well. Out of that experience came

her request to the Queensland Ar

Gallerys committee meeting for

to include Vietnam in the 1993

from a foreign museum to a

contemporary Vietnamese artist.Much has happened with Austral

art and artists in Vietnam since,

much of it through both this touri

program and the associated Artis

in Residency scheme, a response

to this universal desire to engage

the exhibition Foundations of Goldin Mumbai

and venues with Singapore; Saisampanpaired Thai and Australian artists towork together to create new work forshow; and Patterningasked curators inIndonesia and Pakistan to respond tothe Australian work with art from theirown cultures on this theme, all shown

together.

Recently exchanges with Korean andJapanese curators have been at theforefront, leading to major exhibitionsof work from those cultures shown inAustralia. Asialink has initiated theseexchanges and is glad they havehad on-going impact in Australia,illustrating how it needs just a little pro-

activity to release a great deal of goodwill and response from colleaguesoverseas. The recent exchange withEastern Indonesia

4, creating new

work, shown there and in Australiamarks a new focus in working withmore marginal cultural contexts. Allthese projects have been initiated byAustralia, something Asialink believeswe need to keep doing with focus andenergy. This is not an aid programper se, though cultural developmentand capacity building occurs in allcases. We ask of partners overseasto contribute what they can whetherit is equal intellectual contributionsor equal funding. It makes for goodpartnerships and good relationships,relationships that have continued togrow throughout our history. This isalso important: that continuity, time,knowledge, and commitment are thereand acknowledged, virtues stronglyvalued in Asia.

Professor Salima Hashmi opens the exhibitionPatterning: In Contemporary Art, Layers of Meaning:National College of the Arts, Lahore, Pakistan


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Our South Asia focus followed anannouncement from then HowardGovernment Minister Tim Fischer forthe 1997 Year of South Asia, wantingto be build contacts there, and is anexample of the way even within one

region of Asia the circumstances areso various. In Bangladesh our focuswas the Bangladesh Biennale, a huge

and Islamic-focused countries art.Australian artists won various prizesand had considerable focus at thesehuge events (where for example thePrime Minister welcomed the audienceof thousands of people seated in ahuge auditorium and Australian HighCommissioners leapt up to acceptprizes on behalf of their countrymen).In contrast, in Colombo, our focus wassmall and personal, working with thebeautiful, small spaces of the privatelyrun Barefoot Gallery, rooms opening

In Lahore, the connection was withsomething else again: the venerable,beautifully housed Raj-built red brickrooms of the College of Arts Gallery,presided over by one of the key peopleworking in South Asian art, Professor

Salima Hashmi. In India, our focus hasbeen on key events like the Australianpromotion in 1996, with a 10-citycollaboration of Australian and Indianartists that still resonates today. Friendsmade on that project, like ShireenGandhy in Mumbai, are friends today.

Chaitanya Sambrani who came toAustralian for this project, remains hereas a key expert on South Asian art.Korea was a focus in the mid 1990sand again is one today. Asialink didnine projects, with key support fromthe Australia-Korea Foundation andindividuals within the Departmentof Foreign Affairs and Trade (Alisonremains grateful to Paul Molloy forhis enthusiastic, sensible support ofthis early venture), initially asking fourleading, younger Korean curators to

come to Australia, speaking at theMuseums Australia conference andthen travelling and meeting Australiancolleagues. One of those curators, KimSun Jung, remains a key colleaguein Korea to this day. We did threemajor exhibitions at the Seoul ArtsCentre: Gabrielle Pizzis collection ofAboriginal art, a craft/design showcurated by RMIT University Galleryand an exhibition curated by TimMorrell, then Curator of Contemporary

Art at Queensland Art Gallery. It gotmajor coverage in the Korean press,including full-page colour articles, goingto an audience of literally millions ofpeople. We also did smaller exchangesand projects with colleagues inSeoul and Australia. One exchangeproject, between Art Sonje and theNational Gallery of Victoria lead to amajor Australian show in Korea and

contemporary art exhibition, Slownessof Speed, in Australia in 1998.

From that came the beginning ofAsialinks Japan program

5. Asialink was

invited to take a group of Australianvisual arts curators to Japan, to seeand meet likely partners, but it neededsupport to actually initiate projects fromthis. The Australia Japan Foundationstepped in as a core supporter of twothree-year programs of visual arts focuswith Japan. The two programs are

interesting in their variation showing

came from Asialink advertising to thepublic gallery sector for expressionsof interest which eventuated in sevenprojects being realised in Japan. Fivewere straight exhibitions of Australian

included a major Aboriginal showfrom Melbourne Museum being at thewonderful Echigo Tsumari Triennial,and Patricia Piccininis Venice Biennaleshow, at the Hara Museum (receivingthe highest attendance ever for thatmuseum), to smaller ventures. Thesecond iteration was much morecollaborative from the start withforums, curatorial visits, and jointexhibitions the feature. One greatoutcome is leading younger curator

Shihoko Iida spending two years inAustralia (2009-2011), supported bythe Japanese Government, a wonderfexample of professional involvementthat will surely lead to the next step ofactivity. Another outcome is the Utopiaproject, a roving biennial art event for

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Asialink has interwoven specialexhibitions that respond to local

conditions. We were asked to includethe regions of the Philippines, not justto focus on Manila. So Kawingwasborn, with artists from the NorthernTerritory going to four regional centresof the Philippines for an extended staymaking work and exhibiting it on site.It meant that Techy Machero showedher huge bamboo sculptures on localPalawan beach, a notable trouble sitefor foreigners, but with the locals sayinthey would look after her, and 400guests travelling from Puerto Princesafor the opening. Asialink returned 10artists who had undertaken residenciein Malaysia for an exhibition calledSekali Lagi, once again, making newwork together, staying at our partnervenue Rimbun Dahan. We askedartist-run-initiatives of Australia and thregion to work together on projects,and memorable interchanges occurredin Ho Chi Minh City and Singapore aswell as Australia. We did a series of

Included in the exhibition Trace Elements, as part ofAsialinks Japan program was: Genevieve GrievesWarriorsproduction still detail from Picturing the OldPeople, 2005, 5 channel video and audio installation


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POST-SCRIPTThe Touring Exhibition Program

was born from Alison Carrolls

desire to develop a structure

around the experience of

independently curating the

exhibitionArt from Australia,Eigh

Contemporary Views, which shetoured from the late 1980s into

1990 around the National Gallerie

of South East Asia. This was at a

time when such a general nation

show was appropriate. Gaining

some initial tour support from the

Australian Exhibitions Touring

Agency, Carroll, from a State

Gallery background and with little

hands-on experience, had to lear

to do the mechanics of touring

quickly: freight, packing, insuranc

registration. This was all a newworld and one result was that

she had learned the tools of the

trade. So, looking for a structure,

and after an initial meeting with

Jenny McGregor, then Consultant

to the Commission for the Future

working on the Asia agenda, it

was decided to pool resources:

art knowledge and organisationa

umbrella to form a structure that

has endured for 20 years. Asialink

moved from the Commission to tUniversity of Melbourne, and grew

exponentially.

A number of other supporters

Neil Manton, then Director of

Public Diplomacy at Department

of Foreign Affairs and Trade who

believed in the program from the

start, and his head Les Rowe, wh

support, and Frances Lindsay, the

Chair of the Visual Arts Board and

Noel Frankham, Director of the

funding from the Australia Counc

for the Arts. It is a lesson in helpi

new ideas that the people who do

are remembered with affection an

gratitude.

1. See pages 30, 34, 38.2. See pages 33, 34.3. See pages 52, 55, 57, 61 , 64, 68, 70, 73, 74, 80, 81, 84.4. See page 80.5. See pages 52, 55, 57, 61 , 64, 68.6. More information on this Japan program is available in two specially Asialink produced booklets: Sun Gazing(2005) and Sun Walking(2009).

small shows we called Bright Sparks,with small catalogues aimed at easeand cost effectiveness.

Asialink has also extended visualarts into cross media programs inIndonesia, where cultural forms are

much more harmoniously integrated,so Megan Kirwan Wards projectwith women in Sumatra to extendtheir textile skills to objects that haveaudiences internationally is includedin the Swimming with the Tidearts &community program, and where print

workshops by Northern Territory artistsare used by confreres in West Timor,leading to exhibitions of their work inDarwin, Kupang and Melbourne.

Visual arts training programs formuseum professionals from Asia, with

Kuala Lumpur, Singapore and Australia,and visual arts professionals includedin training programs for visitors fromother countries like Vietnam have beendeveloped and supported by Asialink.With support from the Ford Foundationin Jakarta we have produced bookletson arts management practice for use inIndonesia, including one dedicated to

exhibition touring.

The longevity and the success of theAsialink Visual Arts Touring ExhibitionProgram is accredited to two chiefattributes passion and support.Passion and commitment from gallerypartners and artists both here andabroad and the support from bodiessuch as the Australian Government,The University of Melbourne and theMyer Foundation that have enabledAsialink to respond, initiate debate andexplore issues in the region throughimportant cultural exchange.

Australia has the advantage of regionalcloseness and, we believe, sympathyfor the nuances of cultural internationalshifts, but we have, perhaps morethan ever, to be proactive aboutengagement in this changing world.The desire remains for touringAustralian art, new generations are

engaged but all with a similar interest. Itmust also be acknowledged that thereis much more international activity thanthere was 20 years ago and Asialinkcelebrates this shift. Asialink was earlyon the scene in Hanoi, and many otherplaces, and the access and opportunity

is now vastly more sophisticated,complex and varied but what remainsand key to a rich and engaging future,are the relationships.

Alison Carroll

Director Arts AsialinkSarah Bond

Director Visual Arts Asialink


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ASIALINKVISUAL ARTS

TOURINGEXHIBITIONS19902010COMPILED BYSARAH BOND

ALISON CARROLLCLAIRE WATSON


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This initial period from 1990-1991 sawthe development of ideas, gainingof funds, setting up committees andprocesses and initiating new dialogueswith key contacts in the region. Theexhibitions 6 x 6and Vietnamweredeveloped in this period and paved theway for Asialinks Visual Arts TouringExhibition Program as it stands today.

6 X 6: A SELECTION OFCONTEMPORARY AUSTRALIAN PRINTSCuratorAnne KirkerArtistsRay Arnold, Diane Mantzaris,Milan Milojevic, Ann Newmarch,Graeme Pebbles, Judy WatsonPartnerQueensland Art Gallery,BrisbaneTourBangkok, Khon Kaen,Chiang Mai, Brisbane (1992-1993)

was curated by experienced printscurator Anne Kirker, as a tight butlively exposition of a variety of leadingAustralian artists working within thisparticular medium. It was knownthat there was interest in Bangkok inparticular in exploring the capacityof printmaking to communicateissues of the day. And indeed reports

venture: the exhibition was animportant contribution to the life of

the university (President of KhonKaen University, Vanchai Vatanasapt),received enthusiastically withseveral hundred students and staff

few hours. Students who attendedmade comment about the exhibitionsoriginality and value to them as alearning experience (Robert Pounds,Australian Embassy). In an associatedpublic program, Roger Butler, curatorof Australian Prints from the NationalGallery of Australia, led a week-longworkshop on art museum curatorialissues for twenty art curators,directors and artists in Bangkok, avery early initiative in arts managemenengagement in Asia.

19901991 1992


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ABOVEOpening event: Silpakorn University, Bangkok(Australian Ambassador John McCarthy,Somporn Rodboon, Anne Kirker)BELOWPublicity in Bangkok


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VIETNAM:A PROJECT BYROZALIND DRUMMOND AND GEOFF LOWECuratorJuliana EngbergArtistsRozalind Drummond,Geoff LoweTourHanoi, Ho Chi Minh City,Adelaide, Melbourne (1992-1993)

Vietnam: A Project by RozalindDrummond and Geoff Lowewas adifferent venture to a tour of existing

work (like 6 x 6), with work developedand made in situ in Vietnam incollaboration with local artists a verydirect engagement. Responding tothe new interest in engagement withAsia of the early 1990s, Geoff Lowereported the Vietnam trip was the bestexperience of my artistic lifeit openeddoors and opportunities that wouldnot otherwise have been possibleIreceived the best response ever to anexhibition. What was unique was the

high level of engagement in the art atan opening.

AUSTRALIA GOLD:CONTEMPORARY

AUSTRALIAN METALWORKCuratorsRay Stebbins, Peter TimmsArtistsSusan Cohn, Mark Edgoose,Mari Funaki, Marian Hosking,Junji Konishi, Andrew Last,Carlier Makigawa, Christopher Mullins,Miyuki Nakahara, BeatriceSchlabowsky, Janine TanzerPartnerRoyal Melbourne Instituteof Technology, MelbourneTourKuala Lumpur, Manila, Tokyo,Singapore, Jakarta, Seoul, Melbourne(1993-1994)

Asialinks third touring exhibition wasof a different order: a major groupexhibition.Australia Goldpresentedwork by Australian metalsmiths, madein partnership with the leading tertiaryinstitution of the day teaching in thismedium. Metalsmithing remains oneof the key media of the design/craft

area in Australia, with many highlyaccomplished practitioners. Theteam was led by Ray Stebbins, thenhead of RMITs Gold and SilversmithDepartment and curator Peter Timms.The success of the exhibition wasevident, with it being requested andseen in seven cities over two years.The curators and artists traveled withthe exhibition, often giving workshopsat each host city.

1993

by attendance, with on average 4,500per day visiting the Singapore DesignCentre, reporting it as the highestattendance of any show in the venue.Ray Stebbins reported that the openinwas packed as was the seminarconducted by Beatrice Schlabowskyand myself. Artist Junji Konishi

accompanied the exhibition to Tokyoand commented: l4,000 people perday saw the exhibition at Daimaru. Wethen moved the show to the AustraliaEmbassy and asked our specialguests for an opening party there.Many remarked on the quality of theexhibition. Ray Stebbins gave a lecture(which I translated) at Tokyo Universityof Fine Art and the staff told me later itwas the best lecture by a foreign guesin recent memory.


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ABOVECarlier Makigawabracelet: 925 silver, monel, 18 ct gold,gold plating (c1992)neckpiece: 925 si lver, monel, wood, lacquer,gold leaf, 18ct gold, stainless steel cable, variable dimensions(Australia Gold: Contemporary Australian Metalwork)

LOCATION:CONTEMPORARY PHOTOBASED WORK FROM AUSTRALIACuratorJuliana EngbergArtistsEd Burton, RozalindDrummond, John Dunkley-Smith,Graeme Hare, Paul Hewson andLinda Maria Walker, Geoff Kleem,Ewen McDonald, Ian North,Robyn Stacey, David Stephenson,Kevin Todd, Anne ZahalkaPartnerAustralian Centre for

Contemporary Art, MelbourneTourMelbourne, Adelaide, Sydney,Tokyo, Manila, Bangkok, Kuala LumpJakarta (1993-1994)

Location: Contemporary photo basedwork from Australiapresented thework of twelve artists who work withphotography and explore the notionof place. Exhibiting artist Ian Northfrom Jakarta commented: Livelyinterest on the part of the media, plus

conversations with various Indonesia and the attentive audience at thesymposium generally, all indicate thatthe exhibition is having some impactand that it will continue to do so


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EYES ON ASEANCoordinated byMarina MahathirArtistsBrunei: Mohd Haranadi BinHj Buntar, Hj Jumat, Hj ShamsuddinIdris, Hj Yacob Dato Paduka HjSunny, Jeanifah Hj Mohd. YusofIndonesia: Jack Andu, TantyoBangun, Ali Budiman, Christianto,Desiree Harahap, Rio Helmi, JohnnyHendarta, Dana Irfan, Koes Karnadi,Rully Kesuma, Donny Metri, AgusSetiawan, Julian Sihombing, Tara

Sosrowardoyo, Sungkono, BackTohir, Ketut Widiatmika Malaysia:Tommy T.C. Chang, Zainal AbdullahHalim, Samad Hassan, Teoh SiangHooi, Fok Poon Hung, Loh CheeKeong, Dennis Lau, David S.T. Loh,Lau Cheng Tean, Lek Wai-Keong,Ng Chee Kong, Arthur Teng Gin WahPhilippines: Melvyn Calderon, JaimeZobel de Ayala, Romeo Gacad, GeorgeGascon, Manuel Goloyugo, BullitMarquez, Edwin Tuyay, Sonny Yabao

Singapore: Wendy Chan, Peter Chen,Raymond Chua Seng Chye, PatrickLim, Bit Poh Peng, Ronni Pinsler, IvanPolunin, Tan Choon Wee, Hui ManYan, Alex Yong Thailand: OuemareeBoonyingkul, Siri Buasuriya, WaranunChutchawantipakorn, Pichit Kacharoen,Choompal Khuirukkhit, WatchareeMepotpoa, Chantra Pramkaen, SuthasRoongsirisilp, Damrong Suntawongsup,Sarthip Thongnakkokegruad, SarojThongnakkokegruad, Narong Utsichok,Rermchai Vedshaporn, KamolWangniweskulTourMelbourne, Canberra, Sydney,Adelaide, Cairns (1994-1995)

1994

TRANSCULTURAL PAINTINGCuratorsMerryn Gates,Frances LindsayArtistsTony Clark, Lindy Lee,Linda Marrinon, John YoungPartnerThe University of MelbourneMuseum of Art, MelbourneTourTaichung, Taipei, Hong Kong,Guangzhou, Beijing, Melbourne (19941995)

As curator Frances Lindsay explains

Transcultural Paintingconsciouslyconveys the interactive process bywhich artists absorb and transmute

including cultures other than theirown The exhibition focused on therelationships with China, through Leesand Youngs cultural backgrounds inChina and Hong Kong respectively,and Clarks interest in the Europeanstyle which paid homage to Chineseart, chinoiserie

region in the early 1990s, artist JohnYoung in his opening speech atTamsui Arts Centre said: The dayswhen Australia only looked towardsEurope and North America in termsof contemporary art is a thing of thepast. I hope this exhibition will be thebeginnings of many future culturalexchanges between artists, critics andart institutions between this part of theworld and Australia.

This exhibition included 121photographs depicting the peopleof the ASEAN region in childhood,at work, at leisure and practisingtheir rituals and cultures. Over 60photographers were representedfrom Brunei, Indonesia, Malaysia,Philippines, Singapore and Thailand.EYES on ASEANwas devised byAsialink to commemorate the 25thanniversary of the Association of South

East Asian Nations in 1992, primarilyaimed at celebrating the people of theregion.


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ABOVE John Young On Liberty #1, 1993, oil, acrylic and inksuperscan on canvas, 2 panels, each 120 x 213.3 cm


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RIGHTAnnie Franklin What do you think of Paris?,1994, colour screen print from linocut(Changing Places: Cross-cultural art from Australia)

BODY AND SOUL:PRINTS BY VERA ZULUMOVSKI &PHILLIP DOGGETT-WILLIAMSPresented for Asialinks program:

Bright Sparks

1997 Year of South Asia

CuratorRoger ButlerArtistsPhillip Doggett-Williams,Vera ZulumovskiPartnerNational Gallery of Australia,CanberraTourDhaka, Bangkok, Khon Kaen,

Chiang Mai, Pattani, Songkhla, Satul,Colombo, Kathmandu (1995-1997)

Body and Soulwas part of a programof smaller exhibitions, entitled BrightSparks, designed to travel to a diverserange of venues outside of the largermuseum network, in this case tovenues in southern Thailand and tonew countries for Asialink: Bangladesh,Nepal and Sri Lanka. Curator RogerButler invited two printmakers to be

involved, exploring social themes ofdiversity and belonging.

1995

CHANGING PLACES:CROSS-CULTURAL ARTFROM AUSTRALIAPresented for Asialinks program:

Bright Sparks

CuratorJudy KeanArtistsAnnie Franklin, Meng Hoeschle,Robert Kleinboonschate, DavidMpetyane, John SmithPartnerMuseum and Art Gallery of theNorthern Territory, DarwinTourKuala Lumpur, Penang,

Kuching (1995)

A second response to the BrightSparksprogram was an exhibitionof artists from the Northern Territory.

artists included in Changing Places

offer diverse perspectives on living andworking across or between culturesEach of them has opened him or

physical and cultural environments, aneach has done so for a period of timewithin one distinctive area of Australia.

The exhibition traveled to smallercentres in Malaysia, with PenelopeAitken of Asialink reporting from Kuchinwhere the exhibition shared a venue

with other projects: The ChangingPlacesopening by the mayor wasgreat. The whole combination of art byschool kids, past Atelier residents fromthe Philippines and Bali, current Ateliermembers as well as us, guaranteed abig audience and lots of fun.


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SEASONS OF THE KUNWINJKU:ABORIGINAL ART FROMWEST ARNHEM LANDArtistsTony Bangalang, DannyDjorlom Nalorlman, GabrielMaralngurra, Peter Nabarlambarl,Lofty Nabardayal Nadjamerrek,Samuel Namundja, LawrenceNganjmirra, Thompson YulidjirriCuratorRonni EllisPartnerDepartment ofForeign Affairs and TradeTourShanghai, Beijing,Guangzhou, Bangkok,Chiang Mai, Hanoi (1995-1996)

Because of experience of touring artin Asia, Asialink was asked to touran existing exhibition of paintingsby artists from West Arnhem LandSeasons of the Kunwinjku, curated bythe Department of Foreign Affairs andTrade, to six Asian venues.

SHIFTING GROUND:THE PERFORMANCES,PRINTS AND SELF-PORTRAITSOF MIKE PARRCurator

ArtistMike ParrPartnerThe University ofWestern Australia, PerthTourManila (l995)

The exhibition of large-scale prints ofself-portraits by Mike Parr was held

at the Australia Centre, then partof the Australian Embassy, and theperformance Daybreak held over24 hours at the Cultural Centre of thePhilippines. The Philippines has a visualart history of dramatic performance, so

a bed surrounded by dead chickensand much blood, received a verypassionate response from an audienceof 400 and the press, with one reviewercommenting Its a bizarre blend of the

exotic, the absurd, the psychotic even(Patrick D. Flores, The Philippines DailyInquirer, 28 January 1995).

SYMBOL AND NARRATIVE:CONTEMPORARY

AUSTRALIAN TEXTILESPresented for Asialinks program:

Bright Sparks

CuratorMargaret AinscowArtistsMoira Doropoulos, PamelaGaunt, Holly Story, Rose Marie SzulcTourBangkok, Chiang Mai,Kathmandu, New Delhi, Jaipur,Ahmedabad, Mumbai (1995)

Symbol and Narrative, which includethe work of four textile artistscommenting on the modern worldfrom Perth and Melbourne, was a thiiteration of the Bright Sparksprogramand focused on the smaller centres oSouth Asia as well as the main cities Bombay and New Delhi. The interestin textiles is apparent from the reportof artist Pamela Gaunt in India: I gavthree talks in Delhi and three in JaipuThe venues were great. The exhibitio

was very well received; people werevery excited. I was on radio in Delhand TV in Jaipur and the exhibition haa lot of newspaper coverage.


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VIBRATION:WORKS BY THREE CONTEMPORARY

AUSTRALIAN WOMEN ARTISTSPresented for Asialinks program:

Bright Sparks

CuratorsSeva Frangos,Margaret MooreArtistsLouise Forthun,Michele Sharpe, Kim WestcottPartnerThe Art Gallery ofWestern Australia, PerthTourBeijing, Hanoi, Seoul,

Melbourne (1995-1996)

Vibration created in partnership betweenAsialink and the Art Gallery of WesternAustralia, and a fourth in the BrightSparksseries. Its inclusion of the workof three women artists dovetailedwell into its Beijing showing at theconclusion of the 4th United Nations

World Conference on Women.


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ALTERNATIVE REALITIES:AUSTRALIAN ARTISTSWORKING WITH TECHNOLOGYPresented for Asialinks program:

Bright Sparks

CuratorRachel KentArtistsPeter Callas, Moira Corby,Ross Harley, Rosemary Laing,Patricia PiccininiPartnerThe University of MelbourneMuseum of Art, MelbourneTourHong Kong, Melbourne,

Shanghai, Beijing, Seoul, Taipei,Tamsui, Kaohsiung, Bangalore,Chandigarh (1995-1996)

Alternative Realitieswas the longestrunning Bright Sparksexhibition.Focusing on artists working withnew media was in these earlydays, the mid 1990s, consideredgroundbreaking. Mark Napier ofthe Australian Consulate General inShanghai reporting the exhibition

left a particularly deep impressionas there has not previously beenanything like this in here before. Thewords of curator Rachel Kent foundresonance throughout the region. Shewrote these artists explore in differentways the possibilities, as well as thelimitations, of technology in their work.The impact of technology upon thebody, the urban landscape and theshaping of history is considered, whilea critical look is cast at the darker sideof technological progress.

AUSTRALIA:FAMILIAR AND STRANGEPresented for the Asialink program:

Messages: Art from Australia

CuratorTimothy MorrellArtistsHoward Arkley, EugeneCarchesio, Dale Frank, Tim Johnson,Maria Kozic, John Nelson, MadonnaStaunton, Kathy Temin, Judy Watson,Judith WrightTourSeoul (1996)

Messages: Art from Australiawasthe title given to a group of Asialinkexhibitions held simultaneously in Seoulin 1996 at the major venue the SeoulArts Centre. Using three large exhibitionspaces, the shows recorded 9,092

opening was reported by the AustralianEmbassy as being the biggest andbest attended of any Australian culturalevent in Korea.

VOICES OF THE EARTHPresented for the Asialink progra


CuratorGabrielle PizziArtistsJimmy Bungurru, StephenKawulkku, Gladdy Kemerre, LeahKing Smith, Emily Kame KngwarreyeNarputta Nangala, Peggy PoulsonNapurrurla, Gloria Petyarre, WilliamSandy, Alan Winderoo Tjakamarra,Ronnie Tjampitjinpa, Mick NamarariTjapaltjarri, Turkey Tolson Tjupurrula,

Fred Ward Tjungurrayi, GideonTjupurrula JackPartnerGallery Gabrielle Pizzi,MelbourneTourSeoul (1996)

A second part of the Messagesseriewas a collection put together byGabrielle Pizzi including major works many of Australias leading Indigenouartists. Gloria Petyarre paintingscontrasted with Leah King Smiths

installation to bring alive the richnessthis important aspect of Australian ar

Korea.

1996

RIGHT Catalogue cover forAlternative RealitiesLEFT Moira Corby, My Memory Your Past (detail),c.1995, mixed media(Alternative Realities: Australian Artists Working with Technology)


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BELOW Installation view: Seoul Arts Centre

RIGHT Bom-Jun Kim(L) Bowl 2, 1995, glass, black chrome plated brassand 925 silver, 10.2 x 19.5 cm(R) Bowl 3(detail), 1995, glass, black chrome plated brassand 925 silver, 13.8 x 30.9 cm

AURORA:AUSTRALIAN WOOD METALGLASS FIBRE CERAMICSPresented for the Asialink program:



CuratorsSuzanne Davies, Grant

Hannan, Ray Stebbins, Rachel YoungArtistsBruce Armstrong, Mari Funaki,Gwyn Hanssen Pigott, Elizabeth Kelly,Bom-Jun Kim, Junji Konishi, AndrewLast, Carlier Makigawa, Sally Marsland,Richard Morrell, Mark Pascal, GloriaPetyarre and the Victorian TapestryWorkshop, Prue Venables, VixenAustralia, Kevin WhitePartnerRMIT Gallery, MelbourneTourSeoul, Karachi, Islamabad, Dhaka,Singapore, Kathmandu, Colombo, Hanoi,Ho Chi Minh City, Melbourne (1996-1998)

The third part of Messages,Aurora

presented a range of craft/design by media noted in the title, and continuedthe Asialink partnership with RMITGallery that began with the tour ofAustralia Gold(1993). The exhibitionunderscored the high quality of workmade by these Australian artists in

shown in Seoul, the exhibition wasrequested by a further nine cities.An unexpected one was Dhaka inBangladesh, but the report of the

accompanying artist, Andrew Last,

response that such an exhibitioncan command: Aurora exhibition of this kind of work seen inBangladesh. About 400 people frontedfor the opening including the Ministerfor Culture (with body guards andentourage), the Director General ofthe host academy, the Australian HighCommissioner and myself being of thechief notorieties. We all made speecheand made that evenings late TV news


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FIRE AND LIFECuratorsAlison Carroll,Julie Ewington, Victoria Lynn,Chaitanya SambraniArtistsAustralia: Jon Cattapan, DavidJensz, Joan Grounds, Derek Kreckler,Judith Wright India: N.S. Harsha,

Surendran Nair, Jayashree Chakravarty,N.N. Rimzon, PushpamalaTourIndia: Bangalore, Baroda,Calcutta, Delhi, Mumbai (1996);Australia: Sydney, Melbourne,Brisbane, Canberra, Perth (1997)

Five Australian artists from Brisbane,Sydney, Canberra, Melbourne andPerth traveled to India in September1996 to spend four weeks working witha partnered Indian colleague in NewDelhi, Mumbai, Madras, Calcutta andBangalore, preparing an exhibition ineach city. These opened in October1996 as part of the Australia IndiaNew Horizonscelebration. Reciprocalresidencies and exhibitions took place

1997. It was a complex and ambitiousenterprise, that involved two partnersfrom India, curator Chaitanya Sambraniand associate Shireen Gandhy, touringAustralia and meeting with curatorialcolleagues at various times, working

together to select artists whose workwould resonate in each country, whowould work positively with a colleaguefrom another culture, and who couldcreate exhibitions of merit in very shorttime frames. This demanding itinerarywas skillfully managed by SuhanyaRaffel and other partners (galleries ineach city, hosting organizations andfunders) all contributed, with the resultsbeing wonderful, insightful exhibitionsof new work and new understandings.

Working together across cultures and achievement is challenging, but todo so with the pressures of creatingwork with a certain period additionallypressing. Two catalogues and10 exhibitions later, this project isremembered as ground breaking inboth countries.

ABOVE RIGHT Pushpamala Indian Lady, 1997VHS video production, 100 x 120 cmRIGHTThe Fire and Lifeteam in the gardens at Sanskriti Kendra


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RIGHT Installation view: Rapport, Singapore Art Museum

NEIL TAYLOR ANDDOH HEUNG-ROKCuratorChung Mie-Young (Korea)ArtistsAustralia: Neil TaylorKorea: Doh Heung-RokPartnerPOSCO Gallery, KoreaTourSeoul (1996)The agreement with POSCO Gallerywas part of Asialinks focus on Koreain the mid 1990s, with the additionallink to this space through the giant

steelmaker POSCO being the keypartner for Australias BHP, hencethe focus on two artists working withmetal. Bahk Young Taik, curator atPOSCO Gallery explains: These twoartists broaden the range of our visualperception with their metallic mediaand at the same time pursue the realmwhere people and sculptural workscan interact with each other in a livingspace.

RAPPORT:EIGHT ARTISTS FROMSINGAPORE AND AUSTRALIACuratorsNatalie King (Australia),Tay Swee-Lin (Singapore)ArtistsAustralia: Hany Armanious,Carolyn Eskdale, Christopher Langton,Nicola Loder Singapore: AmandaHeng, Salleh Japar, Baet Yeok Kuan,Matthew NguiPartnersMonash University Gallery,Melbourne / Singapore Art Museum,

SingaporeTourSingapore, Melbourne,Canberra, Brisbane (1996-1997)

Rapportwas a very early jointexhibition created by leading youngcurators in Australia and Singapore,inviting four artists from each placeto exhibit in a major exhibition totour to both countries. The curatorsstated: Rapportis a cultural project

marking a new partnership betweeninternational institutions, artists andcultural workers. The exhibitionconsists predominantly of art worksby younger artists who are workingacross media from photography to

The result ing installations negotiatepersonal issues such as childhood,coupling, materiality and spiritualitythat are pertinent to each artists owncultural background. The Australian

artists traveled to Singapore to installtheir work, noting the value of such aexperience. Nicola Loder memorablysaid that being in Singapore openeda new wing of the library for her.After being seen by 20,000 viewersin Singapore, the exhibition thentraveled to three cities in Australia, th

Singaporean work to be seen in theseplaces.


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1997

GIAO LUU/CONFLUENCE:AN EXHIBITION OF AUSTRALIAN& VIETNAMESE ARTISTS WITHCOMMON LINKSCuratorIan Were withNguyen Xuan TiepArtistsAustralia: Donal Fitzpatrick,Helga Groves, Ian Howard, Geoff Loweand Jacqueline Riva, Katy Munson,Debra Porch, Julie Shiels Vietnam:Dang Thi Khue, Do Minh Tam, NguyenLuong Tieu Bach, Nguyen Minh Thanh,

Nguyen Thu, Nguyen Xuan Tiep,Truong Tan, Vu Dan Tan,PartnersPerformance Space, Sydney/ Object Magazine, SydneyTourHanoi, Ho Chi Minh City (1997)

A further example of exhibitioncollaboration initiated by Asialink wasGiao Luu, where all the artists, fromboth Australia and Vietnam, had hadsome contact with the other country,meeting, talking, travelling, engaging

in each others culture in some way.Led by Ian Were, working with NguyenXuan Tiep, the opening in Hanoidemonstrated the palpable interestand goodwill created through theseconnections. The idea of this exhibitioncomplimented the celebration at thetime of 25 years of Australia-Vietnamrelations. This exhibition tells the storyof people meeting over the last fewyears through their experiences asartists in each others countries. Thisexhibition enables us to participate inthe journey which these artists havemade (Lisa Filipetto, Australian ConsulGeneral, Ho Chi Minh City).

ABOVE RIGHT Julie Shiels Ka ra o ke, 1996,paint on canvas, 77 x 77cmRIGHT Installation view: Australian Embassy, Hanoi, 1997


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LEFT Fiona Hall Peculiar Institution,1994, mixed media, 100 x 50 cm(Other Stories: Five Australian Artists)

OTHER STORIES:FIVE AUSTRALIAN ARTISTSPresented for Asialinks program:


CuratorAlison CarrollArtistsRosalie Gascoigne, Fiona Hall,Mike Parr, Rosslynd Piggott,

Hossein ValamaneshTourDhaka, Kathmandu, Hanoi,Colombo, Karachi, Lahore,Islamabad (1997-1998)

Other Storiespresented the work of

stories. The focus was planned as aresponse to the interest in narrative in

this case, Australia being the other.With this in mind, Les Murrays longpoem The Idyll Wheel: Cycle of a Yearat Bunyah, New South Wales wasincluded in the catalogue and had anexcellent response from the audiencein its own right.

PATTERNING:IN CONTEMPORARY ART,LAYERS OF MEANINGPresented for Asialinks program:


CuratorMerryn GatesArtistsVivienne Binns, Fassih Keiso,

Damon Moon and Steven Goldate,Munupi Arts and Crafts Association,David Sequeira, Jaishree Srinivasan,Wilma Tabacco, Sara Thorn,Constanze ZikosPartnerCanberra School of ArtGallery, CanberraTourManila, Lahore, Canberra,Yogyakarta, Ubud, Bandung, Jakarta(1997-1998)

This exhibition explored the use ofpatterning in a variety of traditionalcultures in Australia in contemporaryvisual practice, including therelationship between decoration, rituaand function. It was seen as an ideathat could work well for another newmodel in curatorial collaboration wherethe Australian exhibition was met byan equivalent local version curatedautonomously in each country. This

for audiences and media, and allow fomore meaningful dialogue between the

participants.

was in Indonesia where curator JimSupangkat oversaw a major selectionof work to parallel the Australianimagery. The exhibition opening inYogyakarta took place despite rioting the streets due to the political situationwith 200 people attending. Asialink watold by people in Yogyakarta that it waimportant the opening went ahead, to

demonstrate the value of culture evenin times of political trouble.

The exhibition followed Body andSoul,Auroraand Patterningas thefourth exhibition prepared for the 1997Year of South Asia. The majority ofthe seven-city tour was in South Asia,with Karachi and Lahore in Pakistanimportant venues, as was the less

frequently visited venue of Kathmandu,where 500 guests, including the PrimeMinister and most cabinet ministersattended the opening.

The exhibition was Australiascontribution to the 1997 BangladeshBiennale in Dhaka, which provideda huge audience of locals and alsointernational artists and delegates,as well as a Gold Prize for HossienValamanesh. The Biennale is regional,of Asian work (including the MiddleEast), and the positive response toAustralias work has led to many furtherefforts by Asialink to respond to theirrequests for involvement.


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ABOVE Fassih Keiso Sasha and Natasha Knead each other in redsquare, 1996, (documentation of work with performance)acrylic and black and white photographs on board, 306 x 208 cm(Patterning: In Contemporary Art, Layers of Meaning)


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1998

SENSECuratorsStuart Koop (Australia),Jae-Young Kang (Korea)ArtistsAustralia: Fiona Foley, GeoffLowe Korea: Kyung-Hee Shin, Ki-WonParkPartnersCentre for ContemporaryPhotography, Melbourne / WhankiMuseum, SeoulTourSeoul, Melbourne (1997)

Sensewas an exhibition exchange

project between WhankiMuseum, Seoul, and the Centrefor Contemporary Photography,Melbourne, where two artists fromeach country showed in turn at theirpartners institution. Rather than jointartwork or a joint exhibition, it wasa literal exchange, but one that builtrelationships and understanding ina different way. Four small bilingualcatalogues, boxed together, wereproduced, a good example of the

individual artists work being able to bepresented by itself and in the context ofthe whole project.

A COMMON WEALTH OF ART:TRADITIONS, IMAGINATIONS &INDEPENDENT NATIONSCuratorsAlison Carroll, Melissa Chiu,Michael Snelling, David Williams,ArtistsTim Johnson,Queenie McKenziePartner: National Art Gallery, MalaysiaTourKuala Lumpur (1998)

A Common Wealthof Artpresentedover 100 works of art from 18

Commonwealth countries, and despitethe seemingly traditional nature ofthe venture, the outcome was anexhibition of dynamic individualism.Asialink contributed to this large-scale exhibition by touring works ofTim Johnson and Queenie McKenzie.National Art Gallery Director WairahMarzuki wrote: The exhibition was agreat success attracting a wide rangeof visitors to view the art works fromvarious Commonwealth nations.

AFFINITIES:ELEVEN ARTISTSFROM KOREA AND AUSTRALIACuratorsYvonne Boag(in collaboration with Nick Vickers),Therese KenyonArtistsAustralia: Yvonne Boag, PeterE Charuk, Jayne Dyer, Ruth Johnstone,David Thomas Korea: Yong-Jin Hwang,Won-Chul Jung, Hyun Mi Lee, Won GiSul, In Kie Whang, Dong Koo YunPartnersThe Tin Sheds Gallery,

University of Sydney / Walker Hill ArtCenter, SeoulTourSydney, Newcastle, Canberra,Seoul (1998-1999)

This exhibition evolved from Australianartists with interest in engagingwith peers in Korea, who wished toextend these experiences with a jointexhibition. The paintings, prints andinstallations evoked the richness of ourdifferent environments, traditions and

symbols.


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UNHOMELYCuratorJason SmithArtistsHoward Arkley, Stephen Birch,Colin Duncan, Tracey Moffatt, SallySmart, Kathy Temin, Louise Weaver,Lisa Young, Anne ZahalkaPartnersNational Gallery of Victoria,Melbourne / Artsonje Museum,KyongjuTourSeoul, Kyongju (1998)

Unhomely

of Australian work at the leadingArtsonje Center complex in Seoul withthe main component then shown at theArtsonje Museum in the regional cityof Kyongju. Jason Smith stated TheAustralian artists who accompaniedme to Korea found the experienceinvaluable to their careers and theongoing situation of contemporaryAustralian art in its internationalcontexts. Exhibiting artist LouiseWeaver reported The experience of

travelling to Korea to install and exhibitmy work was extremely rewarding.

THE SLOWNESS OF SPEED CONTEMPORARY KOREAN ARTCuratorKim Sun Jung (Korea)ArtistsBae Bien-U, Choi Jeong HwaKim Soo Ja, Kim Young-Jin, Lee BulPark Hong-Chun, Yook Keun-ByungPartnersNational Gallery of VictoriaMelbourne / Artsonje Centre, SeoulTourMelbourne, Sydney (1998-1999

Following the Unhomelyexhibition,leading Korean curator Kim Sun Jung

from Artsonje curated a reciprocalexchange exhibition The Slowness oSpeedto introduce the work of leadin

time. It was shown at the NationalGallery of Victoria and the Art Galleryof New South Wales to a great dealof attention. The Slowness of Speedremains the most important exhibitioof contemporary Korean art to be sein Australia to this day.

ENJOINCuratorIngrid HoffmanArtistsMerlinda Bobis (with VirginiaHilyard, Jane and Phillip Ulman),Sebastian Di Mauro, Fiona Foley,Judith Kentish, Ed KoumansPartnerCairns Regional Gallery, CairnsTourManila, Cairns (1998-1999)

Keen to include galleries involvementfrom around Australia, Asialinkapproached Cairns Regional Gallery to

work towards preparing an exhibitionfrom their perspective for tour. Asis often the case, the selection andfocus of artists comes from a different,important kernel of understandingthan from more major centres, withworks that expand the scope of whatAustralian art can be.


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1999

A TRANSIT THROUGH PARADISECuratorSuhanya RaffelArtistFiona HallPartnerQueensland ArtGallery, BrisbaneTourColombo (1999)

Asialink responded to the interest inexhibiting prominent individual artistswork by asking partners to create solo

responses in particular places. The

combination of Sri-Lankan born curatorSuhanya Raffel, with her excellent linksto the Lunuganga Trust in Colombo,

the interest in Colombo in Fiona Hallswork (seen in Other Stories, seeprevious), and the artists own mercurialinterest in the history and environmentsof places like Sri Lanka led to arewarding experience for all concerned.Hall went to Sri Lanka early makingnew work for the exhibition, stayingat the Lunuganga Trusts estate southof Colombo, and became entrancedwith aspects of Sri Lankan life whichhas led her to return frequently to the

country and for many there to welcome

that project remains in her work, and

LEFT Fiona Hall Plumeria acutisolia:frangipani; araliya; malliya poo, 1999,aluminium and tin, 26 x 18 x 4 cm

in Sri Lanka memories, to this day, anexcellent example of this programs ongoing reach and impact.

H.E. Kathy Klugman, Australian HighCommissioner in Sri Lanka stated: Th

and a good turn-out. Good press andthere is a lot of interest in the Asialinkprogram. Fiona was well received bythe Sri Lankans.

Her work struck a chord. It was also

and with her accomplishments come.This was noticed and appreciatedby the Sri Lankans. The wholeexperience was a great success. A verypositive experienceThe visit was also

the Lunuganga Trust. As with any youn

lot and Fiona made a good impressionHer visit whet the appetite for future

projects. We at the High Commissionfeel privileged that Australia hasmanaged to develop this relationship.


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INTERNAL TRAVELCuratorAlison CarrollArtistHossein ValamaneshPartnerNational College of Arts,LahoreTourLahore (1999)

A similar solo exhibition of leadingAustralian artist Hossein Valamaneshwas prepared for Lahore, the culturalcentre of Pakistan, with Hosseinand Angela Valamanesh traveling

beforehand to prepare new work forthe show. The work by Valamanesh,growing up in neighbouring Iran

and aesthetic, was both instinctivelyunderstood in Lahore, and provocativebecause of how he extended this tonew ideas and different expressions.Understanding Urdu, Valamaneshprovided a foil to the simplistic ideaof Australia, as well as producingwork that promoted comments from

the visitors book: Ive never quiteexperienced the atmosphere thatexists in this gallery as I write. This isamazing and this is the best one-person exhibition ever at the NCA. Animage of this exhibition, with the work

cover of this publication an evocationof the particularities of place and workthat inspires such comments.

SEKALI LAGI:AUSTRALIAN ARTISTS REVISIT MALAYSIACoordinatorPenelope AitkenArtistsSandra Appleby-Lake, BrianAsh, Matthew Calvert, David Castle,Brigid Cole-Adams, Annette Douglass,Rod McLeish, Anne NeilPartnerRimbun DahanTourKuala Lumpur (1999)Sekali Lagi, meaning once again,presented new work by eight

artists who had all undertakenAsialink Residencies in Malaysia.Serendipitously, all eight worked inthree dimensions, so an exhibitionof their new work was curatoriallysympathetic on this level as well asbecause of their shared experience. Itwas thought to be more effective on

the artists all to travel back to Malaysia,rather than just sending their (large,three-dimensional, freight-hungry)

work, all made possible because of thegenerosity of partner and host, Rimbun

RIGHT Sekali Lagiopening event: Rimbun Dahan, KuangOVERLEAF Rod McLeish Wall Hanging1999,tape measures, 150 x 40 cm(Sekali Lagi: Australian Artists revisit Malaysia)

Dahan, an estate on the outskirts ofKuala Lumpur supported by Angela

and Hijjas Kasturi. Annette Douglassexplained The environment inspiredus all into action. Within 48 hoursof arriving we were discussing andsorting ideas, setting up studio areas

sharing a general sense of excitemenWe were all curious to hear about eaothers prior residency experience andiscovered that each was very differeand all challenging, rewarding andpretty fantastic as we talked about th


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2000

ART AND LAND:CONTEMPORARY AUSTRALIAN VISIONSCuratorKevin WilsonArtistsScott Avery, Irene Briant, GregCreek, Fiona Foley, Mary NapangardiGallagher, Christine James, CatherineK, David Keeling, Leah King-Smith,Ingo Kleinart, Danny McDonald, VictorMeertens, Harry Nankin, Patrick Pound,Gregory Pryor, Walala Tjapaltjarri, KevinTodd, David Wadelton, Heather Winter,John WolseleyPartnerNoosa Regional Gallery, NoosaTourChiang Mai, Bangkok, KhonKaen, Vientiane, Manila (2000)

Different places in Asia have differentexperiences and interests. A groupexhibition on landscape was thoughtto be an introductory theme to newaudiences in smaller centres like Vientianein Laos which had never seen Australianart before. Curator Kevin Wilson, whohad accompanied Asialink exhibitions

before and was aware of some of thechallenges of smaller centres, createdan unusual, elegiac exhibition of subtletyand beauty on this theme.

BETWEEN REMOTE REGIONS /DI ANTARA DUA PEDALAMANCuratorsSharifah Zuriah Aljeffri(Malaysia), Niranjan Rajah (Malaysia),Justine van Mourik (Australia)ArtistsAustralia: Ian Abdulla, NyukanBaker, Billy Cooley, Margaret Dagg,Elizabeth Doidge, Siv Grava, HaydenJarrett, Kaltijiti Arts and Crafts, YvonneKoolmatrie, Niningka Lewis, YilpiMarks, Mona Mitakiki, Eva WanganeenMalaysia: Raphael Scott Ahbeng, Jain

b Amambing, Mohammed b. Ambi,Bong Choo Chew, Norman Choo Si YauBangie ek Embol, Kilan bt. Husman,Silvester Ikun, Sylvester Wielding AkJussem, Kumbu anak Katu, AdrianDominic Ho Fui Ken, Dato MohammeYaman Hj Ahmad Mus, Nancy akNgali, Zaimie b. Sahibil, Sarimah bt HjSamad, Datu Ruslan Sulai, MagdaleneTai, Rohani bt Ukon, Sudan ak utauPartnersCountry Arts SA / NationalArt Gallery of Malaysia, Kuala Lumpur

TourPort Adelaide, Port Pirie, WhyallaNaracoorte, Kapunda, Berri, KualaLumpur, Kota Kinabalu, Kuching, IpohPerak (2000-2001)

Between Remote Regionswas a largecollaboration involving 32 artists fromAustralia and Malaysia, focusing on thart created in regional centres of bothcountries. Initiated by Country Arts SAthe exhibition was launched in Adelaidfor the Telstra Adelaide Festival 2000and then toured to several regionaltowns in South Australia. In 2001,Asialink took on the tour in Malaysia,opening at the National Art Gallery ofMalaysia and subsequently touring toseveral state capital cities in Malaysiaincluding Kuching (Sarawak) and KotaKinabalu (Sabah).

TOP Fiona Foley Spiral Presence, 1997, coloured sand, woodenboxes, glass bottles, sand, paint on canvas, variable dimensions

ABOVE Installation view: Laos Cultural Hall Display

FLOW/ARUSCuratorsZanita Anuar (Malaysia),Wayne Tunnicliffe (Australia)ArtistsAustralia: Robyn Backen,Stephen Birch, Destiny Deacon, E-ArtASEAN, Emil Goh, Jon McCormack,Patricia Piccinini, Michael RileyMalaysia: Tg. Sabri, Tg. Ibrahim, IvanLam, Liew Kung Yu, Hasnul JamalSaidon,PartnersArt Gallery of New SouthWales, Sydney / Balai Senai Lukis

Negara (National Art Gallery Malaysia),Kuala LumpurTourKuala Lumpur (2000)

Arus/Flowpresented contemporaryelectronic media art from Malaysiaand Australia. The works ranged from

electronic media: Tg. Sabri, Tg. Ibrahimand Ivan Lams collaborative workusing an outdated fax machine, orDestiny Deacons colour photocopies.

The High Commission Report noted:the positive response and mediagenerated underline the fact thatsuch joint projects are able to veryeffectively communicate Australiascommitment to engaging with thisregion in the spirit of partnership.


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ABOVEYilpi Marks Batik on silk habatui / Batik atas habatul sutera,1999, Batik on silk, 150 x 103 cm(Between Remote Regions / Di Antara Dua Pedalaman)


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PEOPLE IN A LANDSCAPE:CONTEMPORARY AUSTRALIAN PRINTSCuratorAnne VirgoArtistsRick Amor, Rosalind Atkins,Janangoo/Butcher Cherel, GrahamFransella, Euan Heng, Ruth Johnstone,Kitty Kantilla, Lily Karadada, MartinKing, Deborah Klein, Kevin Lincoln,Akio Makigawa, Tommy May, MaryanneMungatopi, Janice Murray, AndrewSibley, Freda Warlapinni, Judy Watson,John Wolseley, Pedro WonaeamirriPartnerAustralian Print Workshop,MelbourneTourManila, Singapore, Colombo,Khon Kaen, Bangkok, Chiang Mai(2000-2002)

People in a Landscapewas, in part,an extension of the rewardingArt andLandexhibition which was literallyabout landscape; this was aboutpeople within that space. It was also acelebration of printmaking in Australia,

selected from the collection of theAustralian Print Workshop to show thedepth and engagement of many artistswith this medium. The physicality ofprintmaking was always important,with workshops by the Australian PrintWorkshop master printers being acentral part of the engagement. Afterbeing launched in Manila, curator AnneVirgo was instrumental in extendingthe tour of the work to many venues inAsia and then into Europe. She saw itand the accompanying publication, as

work of both the artists and the role ofthe Workshop internationally.

ABOVE Janice Murray Flying Fox,2000, etching, lift-groundaquatint in 3 colours, printed from 2 copper plates, edition of 30,89.5 x 59 cm (image), 100 x 70 cm (sheet)


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2001

CIRCLING THE SQUARE: CONTEMPORARYMETALWORK BY THE GRAY ST WORKSHOPCuratorAlexandra BowenArtists

Leslie Matthews, Catherine TrumanPartnerObject: Australian Centre forCraft and Design, SydneyTourBangkok, Chiang Mai, Singapore,Kuala Lumpur, Bandar Seri Begawan(2001-2002)

Circling the Squarewas an exhibition

of new work by the members of SouthAustralias established Gray StreetWorkshop a collectively run jewellerystudio and access space based inAdelaide. Accompanying the exhibition

artists from Gray Street undertook aseries of lectures and workshops fortertiary students, arts associations andthe public.

Catherine Truman reported: the

experience of being able to accompanyour exhibition was extraordinary. It wasa fantastic opportunity to directly workand communicate with an audience ofanother culture and exchange viewsabout contemporary western and Asiancraft issues. To date, this is the onlyexhibition Asialink has toured to Brunei.

KAWING: FOUR REGIONALPHILIPPINES EXHIBITIONSCuratorCath BowdlerArtistsDennis Bezzant, Jacki Fleet,Winsome Jobling, Techy MaseroPartner24HR Art - Northern TerritoryCentre for Contemporary Art, DarwinTourManila, Davao, Bagiuo, Cebu,Negros, Puerto Princesa, Darwin(2001-2002)

Kawing, a Tagalog word meaning

link in a chain, was a response to therequest from the Philippines to focuson regional centres rather than justManila, so Cebu, Baguio, Davao andPuerto Princesa were selected assites for four artists from the Northern

work. Cath Bowdler selected the artistsand they relished this opportunity. Theiraim was to spend one to two months

BELOWTechy MaseroArandungao It Bura-Burak,

(Kawing: Four Regional Philippines Exhibitions)

making work while they were away ato have four small exhibitions runningmore or less concurrently. However,what developed was a much largerproject both in numbers of individualexhibitions (12 in total) and in scope collaborative work (see main essay fothe story of Puerto Princesa). It was

Darwin, opened by the Chief Minister


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FOUNDATIONS OF GOLDCuratorsAlison Carroll, SuzanneDavies, Beatrice SchlabowskyArtistsGeorgia Chapman, EugeneChua Gin-Minn, Monika Correa, SimonCottrell, Brenda V. Fajardo, Kim Ki-Ra,Makiko Mitsunari, Pamela Stadus,Blanche Tilden, Caroline WilliamsPartnersCity of Melbourne, Melbourn/ RMIT Gallery, MelbourneTourMelbourne, Mumbai, Manila,Seoul, Osaka, Singapore (2001-2003)

Foundations of Goldcelebrated the150th anniversary of the discoveryof gold in Victoria. A cross-culturalcollaborative project, it presented 10artists from Australia and Asia withan opportunity to share the beauty,meaning and dreams associated withgold.

invited to Australia and twinned to

collaborate with a Melbourne artist

represented various disciplines painters, glass artists and textile artistsas well as gold and silversmiths. Thepairs were provided with gold, donatedby the Australian Gold Council, andencouraged to create new workexploring the idea of gold in any of itsmanifestations physical, aesthetic andcultural.

Artists Georgia Chapman and MonikaCorrea delivered a lecture in Mumbaito 250 guests at the Taj Mahal Hotel.Correa was quoted in The IndianExpress(15 September 2001) assaying: It was really interesting andchallenging collaborating with GeorgiaChapman. Challenging because onehad to make it worklike an arrangedmarriage! We both worked quite close

backgrounds well.

TRACEY MOFFATT: FEVER PITCHCuratorMichael SnellingArtistTracey MoffattPartnerInstitute of Modern Art, BrisbaneTourBrisbane, Seoul, Kyongju,Taipei (1999-2001)

This exhibition was prepared to bethe major presentation of the IMA inBrisbane for the timing of the 1999 Asia

Gallery, a time when many visitors, local

and international, were in Brisbane, and

support, a major catalogue wasprepared, distributed in Brisbane andinternationally.

The tour was a huge success, Moffattalready known in Korea and Taiwanpreviously, and this seen as an

works by her. She visited Taiwan forthe opening, and was treated like a

celebrity. At the Artsonje Center inSeoul, the exhibition generated 500

individual media stories and doubledusual attendances with one Saturdayrecording 1,000 visitors alone arecord number for this prominentvenue. The exhibition was wellpromoted by Artsonje which generatedlarge banners over six-lane highways,and prominent signage through thewinding streets of the arts quarterof Seoul (see opening pages of thispublication). Artsonje Center curatorInju Chang commented that: The

exhibition of Tracey Moffatt ended withtremendous success in Seoul. Weare delighted to inform you that it wasthe most highly visited exhibition ofArtsonje Center, so far.

RIGHTArtist Talk, Taipei Fine Art Museum, TaiwanBELOW Installation View: Artsonje Centre, Seoul


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Makiko Mitsunari and Blanche Tilden L2001, 18 ct gold wire and ceramic conden

approximately 33 x 24 x 1(Foundations of G


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2002

10TH ASIAN BIENNALE, BANGLADESHProject ManagerPenelope AitkenArtistCraig WalshPartnerBangladesh ShilpakalaAcademy, DhakaTourDhaka (2002)

Following Other Stories, Craig Walshwas invited to participate in the 10thAsian Biennale and presented thework Blurring the Boundaries, wherehe created the illusion that a gallery

space.

GLOSSPresented for Asialinks

Australia Japan Visual Arts

Partnerships Program 2002-2004

CuratorsLarissa Hjorth (Australia),Itaru Hirano (Japan), Eri Otomo (Japan)ArtistsCandy Factory, MartineCorompt, Larissa Hjorth, NatashaJohns-Messenger, Akira Mori, SakiSatom, Masato Takasaka, YasukoToyoshimaPartnerCentre for Contemporary

Photography, MelbourneTourTokyo, Melbourne,Adelaide (2002)

Glosswas an exhibition by youngJapanese and Australian curatorsselecting artists from each countryto participate. Curator Eri Otomodescribed the creation of theproject as a response to the rapidbroadening of the forms of expressionin contemporary art, with a focus

on exhibitions and magazines. Over45,000 people viewed this exhibition.Exhibiting artist Yasuko Toyoshimanoted: It was a great experience tohave participated in Gloss not onlyin conventional gallery sites but alsothrough the magazine format whichmade another reality for my art.

PETER CALLAS: ANTI-TERRAINCuratorStuart KoopArtistPeter CallasTourKuala Lumpur, Beijing,Mumbai, Seoul (2002-2003)

Peter Callas: Anti-terrainquite literallymapped the artists travels andwork from 1986. Colin Khoo fromThe StardescribedAnti-Terrainas exploring themes as diverseas the globalisation of the media,

technological development, nationalismand international cultural relationsinspired from his travels in countriesand cultures as diverse as Japan andBrazil. Originally not intended for tourto India, the requests from that countrmade in response to Callas experiencof working there, led to the honour ofa solo exhibition at the National Galleryof Modern Art in Mumbai, where, it wasaid, the previous solo exhibition hadbeen by Picasso.


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ABOVE Forest Clearing (Sincretismo)from the seriesUm Novo Tempo: Reimagining Brazil, 1999,digital print on photographic paper, 120 x 212 cm(Peter Callas: Anti-Terrain)LEFT Installation view: National Gallery of Modern Art, Mumbai(Peter Callas: Anti-Terrain)


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SAISAMPAN:SOUL TIES AUSTRALIAN ANDTHAI ARTISTS IN COLLABORATIONCuratorSomporn RodboonArtistsChaiyot Chandratita,Peerapong Duangkaew, JoanGrounds, David Jensz, NoeleneLucas, Bannarak Nakbanlang, ArayaRasdjarmrearnsook, Wendy TeakelPartnerChiang Mai University,Chiang MaiTourChiang Mai (2002)

Saisampan: Soul Tieswas a visualarts project involving a return visit toThailand of four leading Australianartists who had undertaken Asialinkresidencies there since 1991, selectedfrom the group by leading Thai curatorSomporn Rodboon. This was a changefor Asialink in inviting an overseascurator to select the Australianwork, and meant a great ownershipon the Thai side, which included a

bilingual catalogue. Responses fromthe artists included Wendy Teakelsaying the project Saisampanwas

arent all things that are worth doing?

friendships, creativity and the humanspirit.

ABOVE RIGHT Noelene Lucas Wood Water Stone,2002, mixed media, dimensions variableRIGHT David Jensz Treadmill,2002, motorcycle tires, steel and gold leaf


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2003

DANCING UP COUNTRY:THE ART OF DOROTHY NAPANGARDICuratorVivienne WebbArtistDorothy NapangardiPartnerMuseum of ContemporaryArt, SydneyTourSydney, Hanoi, Kuala Lumpur(2003-2004)

BELOW Dorothy Napangardi Karntakurlangu Jukurrpa, 1999,synthetic polymer paint on linen, 122 x 128 cm

At the time of this exhibition, DorothyNapangardi had recently enjoyed arapid rise to prominence. Despite this,a major exhibition of her large paintings

central desert had not been shown inAustralia or internationally and so it wasseen as an opportune time to developa solo exhibition of her work.

LIGHT BLACKPresented for Asialinks



CuratorJanice LallyArtistsRobin Best, Sue Lorraine,Catherine TrumanPartnerJam Factory ContemporaryCraft and Design, AdelaideTourAdelaide, Tokyo, Kyoto (2003)

Characterised by clean lines and LightBlack anatomical phenomena in particulaorgans and organisms of absorption

represented in engraved porcelain,heat coloured mild steel and burnisheand coloured carved wood. Theaesthetic and content of the work waimmediately of interest to Japanesecurators with the exhibition acceptedby the very prestigious National

Museum of Modern Art in Tokyo(MOMAT) and also its sister venue inKyoto. MOMAT produced a beautifulbilingual catalogue for both venues.Robin Best noted how well the workwas received and said being in Tokyofor the exhibition was the experienceof a lifetime.


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PHOTOGRAPHICA AUSTRALISCuratorAlasdair FosterArtistsPat Brassington, Lyndell Brownand Charles Green, Brenda L Croft,Max Doyle, Rose Farrell and GeorgeParkin, Joachim Froese, Philip George,Deborah Paauwe, Polixeni Papapetrou,

Scott Redford, Michael Riley,Glenn Sloggett, Darren Sylvester,Martin Walch, Anne ZahalkaPartnerAustralian Centre forPhotography, SydneyTourBangkok, Singapore,Dhaka, Taipei (2003-2004)

Asialink invited Alasdair Foster toconsider extending the showing of hisexhibition Photographica Australis,which had been presented in Europe,to tour Asia, acknowledging theinterest in photography in the regionand the previous lack of a major showof Australian work. The wide-ranginggroup exhibition was an introductionof the work of the artists to a newaudience which responded withextraordinary interest: attendance

18,000 in Singapore, 50,000 inTaiwan and 68,000 in Dhaka, a total of140,000, far outweighing the audienceof 30,000 in Europe. The article header

from The Straits Times, Singaporestated: If you have time for only oneevent Photographica Australis(18 August 2003).

Foster visited each venue to meet withcolleagues, extending his knowledgeof Asia and to develop opportunitiesfor exchange. He said, speaking onthe exhibitions presentation within the11th Asian Art Biennial in Dhaka: theBiennale delegates constituted one

of the most diverse and stimulatinggroups of people I have experienced.It allowed me unprecedented accessto talk with individuals from countrieswith which I have previously had nocontact, and, in some case, to discusspossible subsequent projects. MichaelRiley also was awarded a Gold Prizein Dhaka, later presented to him inSydney by the Bangladeshi HighCommissioner.

ABOVE Michael Riley Untitled 2000, from Cloud,chromogenic pigment print, 110 x 155 cmBELOW Deborah Paauwe Bed Time Story, 1998,type C photographic print, 180 x 180 cm


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TIME OUT OF JOINTCuratorCarmen GrostalArtistsHelga Groves, Caroline Ho-Bich-Tuyen Dang, Nelia Justo, HanhNgo, Trinh VuPartnerFootscray Community ArtCentre, Melbourne

TourHanoi, Melbourne (2003)

Time out of Jointexplored themesof dislocation, broken narrativesand the meanings and impact ofmemories. The Australian Embassy,Vietnam, commented the distributionof catalogues and the media releaseresulted in excellent media coveragewith nine articles in Vietnamese andEnglish language print and coverage onHanoi Television.

SPIRIT COUNTRY:CONTEMPORARY AUSTRALIAN

ABORIGINAL ARTPresented for Asialinks



CuratorJennifer Isaacs

ArtistsIan W Abdullah, JoeDjembungu, Julie Dowling, Yala YalaGibbs Tjungurrayi, Willy Gudabi, PhilipGuthayguthay, Gertie Huddlestone,James Iyuna, Ellen Jose, EmilyKame Kngwarreye, Mary Kemarreand Family, Mick Kubarkku, PeterMarralwanga, Galuma Maymuru,Queenie McKenzie, Mick NamerariTjapaltjarri, Eubena Nampitjin,Narputta Nangala, Tatali Nangala,Anmanari and Mantua Napanangka,Makinti Napanangka and NyurupayiaNampitjinpa, Eunice Napanangka,Biddy Napanangka Hutchinson, MitjiliNaparrula, Lorna Napurrurla Fencer,Terry Ngamandara, Pijaju PeterSkipper, Gloria Petyarre, Prince ofWales, Ginger Riley Munduwalawala,Linda Syddick Napaltjarri, Billy Thomas,Rover Thomas, Zeta Thomson, FreddieTimms, Paddy Tjamatji, AnatjariTjampitjinpa, Ronnie Tjampitjinpa,Walala Tjapaltjarri, Long TomTjapanangka, Pinta Pinta Tjapanangka,

Tjumpo Tjapanangka, HelicopterTjungurrayi, Henry Wambini, BruceWardungku, Warlukurlangu artists,Harry J Wedge, Dhukal Wirrpanda,Timothy Wulanjbirr, Jimmy WululuPartnersMelbourne Museum,Melbourne / Art Front Gallery, TokyoTourMelbourne, Shanghai,Matsunoyama, Kushiro, Tokyo (2003)

Spirit Country: ContemporaryAustralian Aboriginal Artincludedworks from the Gantner MyerCollection, gifted to and exhibited atthe Melbourne Museum, then touredto Shanghai and Japan. An excellentpartnership with the Melbourne

Museum resulted, with links made toJapan on various levels, including toIndigenous populations in Hokkaido.Carrillo Gantner, Asialink Chair, andBaillieu Myer, Asialink Patron, wereclosely involved with the exhibitionstour through Japan, and senior staffincluding Director Patrick Greenevisited it in situ. The exhibition wasa central part of the 2003 EchigoTsumari Triennial, which that yearfocused on Indigenous culture and thland, particularly of Japan, and in thiscase Australia. The Canadians, on thstrength of the Australian involvemenwere also invited to include work bytheir Indigenous peoples. Art FrontGallery in Tokyo produced a majorcatalogue in Japanese that hasbeen widely distributed throughoutJapan. An international conferenceon Indigenous issues was held withNational Museum of Australias DirecDawn Casey invited to speak. Aftertouring to Hokkaido the exhibition

was shown in central Tokyo, with DjoMundine and two artists preparinga sand painting outside the venue,accompanied by a smoking ceremonSpirit Countryattracted 28,000 visitoduring its three-month tour of Japanand was heavily publicised throughtelevision, national newspapers andradio. The Nikkei Weeklyreported itwas: One of the biggest draws of thAncient Future Festival, the AustraliaGovernments year of celebration in

2003 (10 November 2003).


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UN WRAPPED:AUSTRALIAN FASHIONAND TEXTILE DESIGNCuratorMeredith RoweArtistsMargaret Ainscow,Breathlesselfh, Billabong, Beauty ofNature, Sarah Crowest, Ernabella ArtsInc, Andrea Geisler, Lorinda Grant,Gwendolynne, Akira Isogawa, EastonPearson, Julie Ryder, Sara Lindsay,Rosemary ORouke, Kerry Pryor, S!X,Tiwi Design and Stewart Russell,

Utopia/Brahma Tirta Sari Studio, VixenAustralia, Ilka White, Liz Williamson,ZimmermannPartnerBendigo Art Gallery, BendigoTourBendigo, Kuala Lumpur,Bangkok, Manila, Singapore(2003-2005)

Unwrapped: Australian Fashion andTextiles Designwas an exhibitionfeaturing contemporary fashion andtextile works by over 20 contemporary

designers from across Australia.Unwrappedincluded a wide rangeof media including wild kangaroo fur,hand-printed textiles and clothing, woolcreations and collaborative artworkcombining printed Aboriginal designswith hand quilting. Visitor commentsfrom the exhibition in Singaporeincluded I feel so inspired! Thanks!!and Wonderful pieces of work,

TOP Opening event, Earl Lu Gallery, SingaporeABOVE Stewart Russell and Tiwi Design Untitled, 2003 textile, mixed media


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I THOUGHT I KNEW BUT I WAS WRONG:NEW VIDEO ART FROM AUSTRALIACuratorsAlexie Glass, Sarah TuttonArtists

Amiel Courtin-Wilson, Daniel Crooks,DAMP, Destiny Deacon, Virginia Fraser,Shaun Gladwell, Lyndal Jones, TheKingpins, Marcus Lyall, James Lynch,Tracey Moffatt, TV Moore, PatriciaPiccinini, David Rosetzky, Ivan Sen,Monika Tichacek, Craig WalshPartnerAustralian Centre for the

Moving Image (ACMI), MelbourneTourBangkok, Singapore, Seoul(2004-2005)

2004

RIGHTThe Kingpins Welcome to the Jingle, 2003,digital video, 5:15 min


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DINOSAUR DESIGNSCuratorBrian ParkesArtistsLouise Olsen, StephenOrmandy, Liane RosslerPartnerObject: Australian Centrefor Craft and Design, SydneyTourBangkok, Taipei, Singapore(2004-2005)In contrast to a solo painting exhibitionby a leading, older Indigenous artistlike Dorothy Napangardi was the

show of inner Sydney designersDinosaur Designs. A very successfuldesign group formed by the threeartists named, they work with unusualmaterials often coloured resins making simple and distinctive sculpturaobjects for peoples wear and domestiuse. This exhibition yielded impressive

Taiwan where they recorded 12,415visitors in three weeks. One comment the visitor book stated: I never realised

that polyester resin could be themedium for making elegant and stylishjewellery until I saw Dinosaur Designs.

I thought I knew but I was wrong:New Video Art from Australiaexploredthe impact of video art on Australian

years. Including a diverse selectionof video works, the exhibition was asnapshot of the range and breadthof Australian contemporary visual

luxurious to the raw, and the comicto the confessional. The show waspresented as part of the Multimedia Art Festival in Singapore. In Thailand,curator Alexie Glass said the high levelof popular and critical engagement withthis show is very encouraging for futureventures and for touring moving image.Comments recorded in the visitorsbook in Bangkok included Thankyou for bringing the show here. Morecontemporary Thai artists are exploringthe medium, but it is rare to have anopportunity to view video art here.

BELOW Installation view I thought I knew but I was wrong:Chulalongkorn University Bangkok

ABOVE David Rosetzky Without You, 2003-2004single channel digital video, duration: 10:40(I thought I knew but I was wrong:New Video Art from Australia)


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LIVING TOGETHER IS EASYPresented for Asialinks



CuratorsJason Smith (Australia),Eriko Osaka (Japan)ArtistsFiona Hall, Rosemary Laing,Kaoru Motomiya, Tetsuya NakamuraSamuel Namunjdja, Susan Norrie,David Rosetzky, Taro Shinoda, RickySwallow, Tabaimo, Tadasu TakamineAkira YamaguchiPartnersNational Gallery of VictoriaMelbourne / Art Tower Mito, MitoTourMito, Melbourne (2004)

A major part of theJapan Visual ArtsPartnerships Program 2002-2004,this joint exhibition evolved fromleading Japanese curator Eriko Osaktraveling to Australia with the view ofinvestigating the possibility of such aventure and inviting Jason Smith to bher Australian partner. This brought in

the National Gallery of Victoria, to joinwith Osakas Art Tower Mito and theJapan Foundation. It became a modof joint arrangements: organizationall

It was based on each side agreeingto the principle of the arrangement,then supporting their side equally. Itmakes for a very easy, cost effectivearrangement, and, interestingly,

selection of contemporary Japanesework has been seen in Melbourne.It attracted a large audience ofmostly under 40 year olds. The 12artists in Living Together is Easypresented a variety of works videossculptures, paintings, installations, anphotographs, which was seen by ove140,000 people.

OVERLEAF Rosemary Lainggroundspeed (Red Piazza) #4,2001, type C photograph, 110 x 219 cm(Living Together is Easy)

SACRED GROUND BEATING HEART:THE ART OF JUDY WATSON 1989-2003CuratorTed SnellArtistJudy WatsonPartnerJohn Curtin Gallery, PerthTourHo Chi Minh City,Colombo, Manila (2004)

Sacred Ground Beating Heartpresented paintings and prints byJudy Watson, originally prepared byTed Snell for show in Australia, and

extended internationally by Asialink aspart of the focus on individual artistswork. In the exhibition catalogue Snellwrites her work speaks eloquently ofthe suffering of Aboriginal Australians,the massacres, prejudice and disdain,while simultaneously evoking thedignity and achievements of Aboriginalpeople. One visitor during itspresentation in Vietnam commented:It was one of the best exhibitions wehad seen in Ho Chi Minh City in the

past few years.

ABOVE Judy WatsonShaol, 1998, pigment, pastel,ink and watercolour on canvas, 180 x 135cmBELOW Exhibition opening, South Saigon Arts Centre,Ho Chi Minh City

(Sacred Ground Beating Heart: The Art of Judy Watson 1989-2003 )


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