Beruflich Dokumente
Kultur Dokumente
TONY GODFREY: You are some of the younger curators or critics working
in Southeast AsiaIndonesia, Malaysia, The Philippines, Singaporethe
area Sukarno saw as being a greater Indonesia or Malay world. What I
would like us to contemplate is the state of Art and what is changing in this
region, what is the future for Art? Is the most interesting art being shown,
and is there a regional identity? And what can the forthcoming Singapore
Biennale tell us about the current situation? One thing that struck me when
I moved here from London two years ago was the paucity of direct State
support to artists, the dominance of and the prevalence of speculation in the
art market. Working as curators or critics in this context how do you avoid
being compromised? Could you begin by addressing this latter question?
TESSA GUAZON: I am based in a university and that somehow affords a
certain distance from the bewildering art scene that Manila has developed in
recent years. Not being compromised means writing about artists I believe in
and whose practices are grounded in material realities, the market included.
For commissioned writing, this translates into consistently providing the
bigger picture, the contexts of artistic development. Yet, I think academics
too should be immersed in the panorama of activities that defines the
Manila art scene for us to intimately know its pulse. In my research for the
past six years or so, I have written largely about projects, and artists who
examine urban issues. Not being compromised in this sense, means my
being able to share my critique of their projects and their being open to
such. So artists expect that its not all praise about them or specific projects.
ALAN OEI: In Singapore our art market doesnt exist (completely), while
State funding for the arts is fairly extensive, but expressed in the dominance
of museum and government institutions, which are run for and by the
government. Whether it exists or not in practical and real terms, there isnt
even an ideological understanding that the art institutions need a certain
arms length and independence. Which curator would ever believe or admit
he/she is compromising oneself by being paid to write and plan exhibitions,
etc? So thats something Im less interested in. The most damning compromise
that needs to be examined occurs not on the level of individual curators and
critics but at the institutional level, which is also much more powerful in
influencing the art market. In Singapore, we have a pragmatist government
which does not even conceive that allowing commercial galleries to sponsor
national museum solo exhibitions is problematic. The question I think that
would be more fulfilling answered is where external pressures emerge from in
Southeast Asia, in what structural form and how that form is shaped by the
countrys culture and politics.
TONY GODFREY: You are expanding the issue beyond art market pressures
to the governmental and ideological. Before we move in that direction could
I have some feedback from Agung and Alia who work in Indonesia where
the pressure of the art market is clearly much more powerful, and insidious?
I believe two thirds of the art market in Southeast Asia is connected to
Indonesian art, yet it seems not to receive any State support. Agung, you work
for a private organisation; Alia you for commercial galleries as a freelance
curator. Does this present either of you with any ethical problems?
ALIA SWASTIKA: It is interesting to compare all different answers here.
For me, the question is difficult as I work as curator in commercial galleries.
I feel I have to define what compromise might be for me. As a freelance
curator, it is very difficult to be independent from market pressure. One of
the best practices I do is to select the gallery and help them to develop their
market, building a circle of collectors who will spend moneyalso on noncommercial projects. These are the people who can invest money to build
an art infrastructure, in lieu of government funding. The support needed
is not only financial, but also policy and education. I believe that being a
curator in Indonesia is therefore a big undertaking. There are no art history
departments or art management courses in Indonesia. We curators are best
positioned to be at least part of the source of reference, so that weat least
from my experiencealso educate and share experience and knowledge
with gallery owners, and with collectors. My compromise began when I
started to become part of this market circle. Before, I used to work in a
non-commercial art space (Cemeti Art House) where the pressure of the art
market was never a problem. Another step forward has been developing new
strategiesto arrange gallery programs and to support more young artists
and introduce them to the art market without pushing them to follow the
markets trends, and to introduce established artists into non-commercial
projects and to new collectors.
AGUNG HUJATNIKAJENNONG: I think Tonys first question also
deals with how art curatorship has been developed in the Southeast Asian
region, especially the relationship between the power of market and the State.
Im really interested in responding to this. In Indonesia, the relationship
between art market, the private sector and the State cannot be one of simple
binary opposition. In my experience the connection between the two can also
be analysed differentlyfor instance, looking at how the art market actually
operated under a certain ideology of the State. For example, during the height
of New Order era, especially in the 1980s, the State was involved in directing
the kind of art practice that was considered valid, by censoring and muffling
all arts that expressed a critical voice toward socio-political conditions in
Indonesia. This was presented through the commercial galleries practice of
showing non-political arts. Although the term curatorship did not exist at
the time, I tend to believe that the practice had already been developed by
gallerists or dealers who selected works, put them on display, and asked some
writers (mostly art critics who also wrote in newspapers or magazines) to
give a framework for the public to interpret and understand the exhibition.
This may be too loose a perspective to understand the term curatorship, but
it can be useful as an alternative to reflect upon the paucity of State support
stated by Tony.
The current situation in the Indonesian art sector has become more
complicated and problematic. True, we can still see the continual lack of
government support and the prevailing insidious market. Following the
honeymoon period of the 1990s with international and regional art events,
and the rise of Indonesian independent curator as a new actor on the art
stage, Indonesian art has undergone changes, especially with the new market
boom in the mid-2000s. But with an absence of a professional bond amongst
curatorswhere most have not emerged from the States art institutions or
the academic field, the notion of curatorial practice has always been freefloating. To use my own experience as an example, although I work in a
private and non-profit institution, I still have possibilities to work with other
galleries, artist-run-initiatives, individual artists and the city government,
both for commercial and non-commercial projects. This might also be the
situation for other Indonesian curators. Thus, the compromise cannot be
simply seen from the institution where the curators work, as indicated in
Alias comments; neither can it be examined from one, two, three typical
works/exhibitions that they did.
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TONY GODFREY: I want to go back what Alan Oei said earlier, that there
are a number of external pressures on art making and curating in Southeast
Asia. Some are presumably specific to particular countries, some more
regional. Which are the most problematic for you to deal with? Perhaps, so
we dont get too abstract in talking about this you can each give an example
of an exhibition you have been involved with that dealt with those pressures
forthrightly and successfully.
TESSA GUAZON: External pressures on art making and curation in
Manila? Success in auctions and awards for art competitions become
incentives for younger artists and Ive seen winning or more successful
styles replicated endlessly. I think this kind of pressure impacts upon the
kind of art being made, with little else new being said or more interesting
queries posed through art. So I feel there are more interesting projects
being done outside Manilas orbit. It is worth noting though that auction
purchases are mostly from Filipino collectors. Cross-cultural exchanges also
exert a certain amount of pressure. With little follow through done after
mounting exhibitions one is left wondering about what exactly constitutes
a collaboration. When exchanges are not invested with time and sincere
artworks as brands and stocks. Thats bad news for the art purists. You can see
the effect in the regional auctions that are crammed with so many facsimiles
and derivative artworks. The good news is that more artists just might get a
slice of the action. Theres no guarantee that Art Stage will thrive and/or find
its own niche against Art HK (Hong Kong).
ALIA SWASTIKA: It is interesting for me to see how Art Stage brought
together so many Asian artists in one place. This art fair has become one of the
new important events for the Asian art scene, compared to Art HK its more
broadly international. While focusing on the region, Art Stage could open
opportunities for a more intense interaction and collaboration with Asian art
practitioners, something that is usually blurred by the tendency to go to the
Europe and American art markets. I curated a small exhibition at Art Stage
for Ark Galerie, that gained quite positive responses from Asian and even
American galleries and museums/curators etc. While the distance between
Southeast Asia and America/Europe remains large, this kind of art fair, in a
way, could be a step forward in opening up opportunities for Southeast Asian
artists to present their artistic uniqueness to a broader public, and to develop
a healthy competition and somehow, exchange.
AGUNG HUJATNIKAJENNONG: I dont think an art fair or even a
biennale can change the art world in the region just by having them occur
once or twice. What I can hope from the fair, or from the role of Singapore
in general, is to provide an infrastructural model that at least can trigger
more vibrant art practices in the region, and more robust competition among
the art scenes in the various countries. Singapore may be the only country
in Southeast Asia that has the power and money to follow through with
government art institutions that can develop more extensive collections,
research and publications, as found in more established art scenes in the
West. For the next ten years, such a model is still important to maintain
a better mechanism of validation through curating and exhibition making,
since it can hardly exist in a country like Indonesia.
ALAN OEI: This is interesting. I think both Agung (and Tessa, earlier on)
in some ways posit the institutional/State support as a kind of mediation to
the market and how it inhibits both curatorial and artistic experimentation.
Whereas, I am so tired of government institutions stultifying the market and
artists. I dont think this is necessarily a grass-is-greener symptom though.
TONY GODFREY: We have an odd situation: a lot of State support in
Singapore and not enough private gallery/collector action; the exact opposite
in Indonesia and Malaysia where government support is negligible or
incompetent. Maybe that gives Singapore a potentially important role as
meeting place and arts hub.
AGUNG HUJATNIKAJENNONG: Its also interesting to compare that
situation with the Galeri Nasional Indonesia in Jakarta. Until now, most of
their programs rely on proposals from commercial galleries, which makes
the Galeri Nasional a luxurious space for rent. At its worst, the relationship
between the art market and government institutions is susceptible to nepotism.
This persistent lack of government autonomy has also made me wonder, does
it mean that Indonesian art has submitted to the neo-liberal economic system
since its early inception? You may take my question as sarcasm.
TONY GODFREY: Is it not then significantly appropriate that the next
big overseas exhibition of Indonesian art will apparently be at the LVMH
Foundation (Vuitton Museum )in Paris? Can alternative spaces like your
space, Sankring, Cemeti or Platform compensate for this to any extent?
AGUNG HUJATNIKAJENNONG: As Alan Oei has said, as well as making
art works even more blatantly brand products, in this kind of event (Art Stage)
speculation is highly celebrated; repetition and derivatives are so rampant.
I can see the obvious hierarchy or ranking of an artist by their sale price.
In the Southeast Asian art market, Indonesia is undoubtedly the biggest
player, in terms of speculation. Apart from relying on the auction, with the
new fair the speculators now have a new field of play and it is even closer
than Hong Kong.
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and self-representation comes into play, if at all. Regarding Art Stage: the
very name itself suggested a theatrical platform where entertaining and the
powerful performances of contemporary art are played out by major actors
artists, curators, the market, the State, etc. There was an artificiality to the
proceedings which was then disseminated as concrete reality. Its like a news
cycle that reports and comments constantly on its own news, trading on
hype and visibility. I have no doubt some amazing art was shown and seen,
but the structure itself had its own interests at heart. As artists, curators and
intellectuals, we should ask for more. Its interesting that many Malaysian
galleries took part in Art Stage but not in last years Malaysian art fair,
Art Expo. The idea of Art Stage or Singapore as an exchange hub for
contemporary art in the region is great as long as we remember only a very
specific facet in the development of any local art scene will be represented.
Its the gap between the hype and complex realities that interests me in this
art gameI think curators live, breathe and manipulate that gap.
ALIA SWASTIKA: When I offered my thoughts regarding Art Stage, I
was also aware of the artificiality this event presents. So I wouldnt see it as
something that we should believe in. It is part of the glamour of the global art
market economy that plays a more intense role these days. Artists and curators
of course cant see the art fair as a platform where they achieve everything
they wanted, but how do we engage it strategically in terms of the penetrating
global market? Its not about taking this need of market exchange for granted,
but of requestioning artistic practices in the region. What subversive ideas we
can offer to the market?
SHARON CHIN: I agree, but I question the effectiveness of injecting the
market economy with subversive ideas. I would like more transparency in
curatorial practice such as calling attention to its process of legitimisation
and promotion and how this links directly to economic value. It neednt
be a whole mea culpa thingit can be honest but still be strategic.
The uncovering itself is radical and subversive.
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TESSA GUAZON: Art Stage helped pool audiences, not just for itself but
also for exhibitions that opened during the week of its run. But beyond that,
I am skeptical as to its gains. When we have mammoth events like this, effort
should be given to organising parallel events that do not replicate art market
goals. So it was good to view the Roberto Chabet exhibition at the Instiute
of Contemporary Arts Singapore, and attend Alan Oeis Open House during
this time. I think it is possible to have a parallel State supported event or
exhibition that casts a critical eye on patronage and the art market, less
spectacular and more reflexive. So I expected more from the Collectors
Stage exhibitions both at Singapore Art Museum and Helutrans. (This was an
exhibition of over thirty masterworks of contemporary Asian art borrowed
from leading private collection. Tony Godfrey.) While Art Stage illustrates the
reach of the international art market, it should also be seen as imperative for
organising events from a different perspective; those that promote dialogue,
invite questions, and encourage diverse audiences. These can feed off the art
fair promotion, as parasitic as they are they should not end within the big
event duration. Parallel events should be sustained until such time the next
big state supported event comes along.
made in the future, we can reflect and analyse the personal experience, put it
into a social context and engage political statements. I believe that this social
and political engagement is still part of the value of artistic practices within
what we have discussed. While the tendency to question the intervention of
Western art history and the notion of contemporary art is becoming stronger
these days, there is always some other artistic approach that refers to the
local aesthetic tradition. This leads to some experimental works that differ
from purely Western artistic practices. The question of originality is not very
relevant anymore, but still every artist needs to develop ones own identity.
In this world where we are swamped with visual media, artists are challenged
more to find their own visual language. Interaction with other artistic
practices and languages becomes very important, not only for references and
comparison, but also as a part of building identity. Some of the artists from
Southeast Asia, I note, gather originality from both their personal issues and
unique artistic languages and these become their strength and cultural capital.
Their distance from Western notions of (contemporary) art are contributing
more to their uniqueness, and suggest a new way to present art as a cultural
project.
TONY GODFREY: Lets close there. Curation in the region, like art itself, is
clearly in a dynamic state. There are real problems, difficult issues, but there
are a lot of possibilitiesand clearly a lot of energy and commitment.