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| 'It's an important moment': Sydney Biennale's first Asian curator on the role of Asian art in Australia | |
| (35 minutes later) | |
| On 23 April 2016, Taiwanese artist Lee Mingwei invited the public to destroy his own art. Channeling Buddhist notions of impermanence, audience members were asked to stride over a painstakingly rendered sandpainting on the floor of Sydney’s Carriageworks before the work was swept away by bamboo brooms. | On 23 April 2016, Taiwanese artist Lee Mingwei invited the public to destroy his own art. Channeling Buddhist notions of impermanence, audience members were asked to stride over a painstakingly rendered sandpainting on the floor of Sydney’s Carriageworks before the work was swept away by bamboo brooms. |
| Mingwei was just one highlight of this year’s Biennale of Sydney which, since its inauguration in 1973, has featured more than 1,700 artists from over 100 countries, many in Asia. Despite its longevity and popularity (its most recent rendition attracted 640,000 visits), the Biennale has never had an Asian director – until now. | Mingwei was just one highlight of this year’s Biennale of Sydney which, since its inauguration in 1973, has featured more than 1,700 artists from over 100 countries, many in Asia. Despite its longevity and popularity (its most recent rendition attracted 640,000 visits), the Biennale has never had an Asian director – until now. |
| On Tuesday it was announced that Mami Kataoka – chief curator at Tokyo’s Mori Art Museum (MAM) and a key player in raising the profile of Asian contemporary art abroad – has been appointed as artistic director of the 21st Biennale of Sydney in 2018. | On Tuesday it was announced that Mami Kataoka – chief curator at Tokyo’s Mori Art Museum (MAM) and a key player in raising the profile of Asian contemporary art abroad – has been appointed as artistic director of the 21st Biennale of Sydney in 2018. |
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| The Japanese curator, who was one of 13 international advisors for the 2016 Biennale, says the appointment means a lot to her, and to the region. | The Japanese curator, who was one of 13 international advisors for the 2016 Biennale, says the appointment means a lot to her, and to the region. |
| “You feel so much energy [in south-east Asia]. So much heat and discussion,” Kataoka tells Guardian Australia. “It’s an important moment both for Japan and Australia to reconsider the entire region, where are we situated and where we are going. Art is one of the ways of reconsidering [that].” | “You feel so much energy [in south-east Asia]. So much heat and discussion,” Kataoka tells Guardian Australia. “It’s an important moment both for Japan and Australia to reconsider the entire region, where are we situated and where we are going. Art is one of the ways of reconsidering [that].” |
| Gene Sherman, chairman of Sydney’s Sherman Contemporary Art Foundation, is a long-time champion of Asian art who supports Kataoka’s appointment. “Why now? Because it is inescapable,” Gene says. “Nobody can say that Asia is not where growth and where interest lies anymore.” | Gene Sherman, chairman of Sydney’s Sherman Contemporary Art Foundation, is a long-time champion of Asian art who supports Kataoka’s appointment. “Why now? Because it is inescapable,” Gene says. “Nobody can say that Asia is not where growth and where interest lies anymore.” |
| The question, however, is not just “Why now?”; in a country with inextricable ties to Asia, why has it taken so long? | The question, however, is not just “Why now?”; in a country with inextricable ties to Asia, why has it taken so long? |
| Despite a geographical distance of some 15,000km, Australia has historically looked towards Europe for its cultural influences. When Sydney-based 4A Centre for Contemporary Asian Art first opened its doors two decades ago, it did so to fill a gap. “There wasn’t any Asian art being shown,” recalls director Mikala Tai. | Despite a geographical distance of some 15,000km, Australia has historically looked towards Europe for its cultural influences. When Sydney-based 4A Centre for Contemporary Asian Art first opened its doors two decades ago, it did so to fill a gap. “There wasn’t any Asian art being shown,” recalls director Mikala Tai. |
| Since then there has been a significant shift, from collectors buying up Asian art to the opening of game-changing institutions such as Sydney’s White Rabbit gallery. Above all, the art world is shifting to reflect changing demographics. In the 20th century the majority of immigrants to Australia hailed from Britain or mainland Europe; today, of the quarter of all Australians born overseas, the majority come from countries such as China, Thailand, the Philippines and India. | Since then there has been a significant shift, from collectors buying up Asian art to the opening of game-changing institutions such as Sydney’s White Rabbit gallery. Above all, the art world is shifting to reflect changing demographics. In the 20th century the majority of immigrants to Australia hailed from Britain or mainland Europe; today, of the quarter of all Australians born overseas, the majority come from countries such as China, Thailand, the Philippines and India. |
| Tai believes the Biennale is making an important and symbolic step forward. “This appointment recognises where we actually are in terms of geography,” she says. “It’s a clear signal that we are now looking north rather than to our colonial past.” | Tai believes the Biennale is making an important and symbolic step forward. “This appointment recognises where we actually are in terms of geography,” she says. “It’s a clear signal that we are now looking north rather than to our colonial past.” |
| Kataoka agrees: “How do you want to develop the relationship with Asia? It’s a great opportunity for all of Australians to ask that question through national events like the Biennale.” | Kataoka agrees: “How do you want to develop the relationship with Asia? It’s a great opportunity for all of Australians to ask that question through national events like the Biennale.” |
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| Chinese art in particular has gained attention in Australia (and the world), as illustrated by Melbourne’s summer blockbuster show at the National Gallery of Victoria, Andy Warhol-Ai Weiwei. “There has been so much tragedy in China,” says Sherman. “There had been mass starvation, there has been jailing of dissidents. After that kind of turbulence often comes great art. It’s very content rich.” | Chinese art in particular has gained attention in Australia (and the world), as illustrated by Melbourne’s summer blockbuster show at the National Gallery of Victoria, Andy Warhol-Ai Weiwei. “There has been so much tragedy in China,” says Sherman. “There had been mass starvation, there has been jailing of dissidents. After that kind of turbulence often comes great art. It’s very content rich.” |
| Kataoka is yet to outline what shape the 2018 Biennale will take. But she is certain she wants to expand outwards to include artists from south-east Asia. As countries such as Vietnam and Thailand experience economic change – fuelled by a growing middle class, increasing consumption and rapid urbanisation – art will follow. | Kataoka is yet to outline what shape the 2018 Biennale will take. But she is certain she wants to expand outwards to include artists from south-east Asia. As countries such as Vietnam and Thailand experience economic change – fuelled by a growing middle class, increasing consumption and rapid urbanisation – art will follow. |
| Yet challenges abound. One is educating western audiences in the Asian histories and philosophies that art may reference. More important still is avoiding cliches and stereotypes. “One of the challenges is that the west always expects something of tradition [in Asian art] – traditional Asian art is often more popular than contemporary Asian art,” says Kataoka. “But it’s harder to divide where the line is between tradition and contemporary – so I want to melt that boundary.” | Yet challenges abound. One is educating western audiences in the Asian histories and philosophies that art may reference. More important still is avoiding cliches and stereotypes. “One of the challenges is that the west always expects something of tradition [in Asian art] – traditional Asian art is often more popular than contemporary Asian art,” says Kataoka. “But it’s harder to divide where the line is between tradition and contemporary – so I want to melt that boundary.” |
| For Tai, there is also the danger of the all-sweeping survey exhibition. “You can’t do China Now,” she insists, pointing out the vast disparities in a country of 1.3 billion people. “There is no cohesive idea of art in any one place.” | For Tai, there is also the danger of the all-sweeping survey exhibition. “You can’t do China Now,” she insists, pointing out the vast disparities in a country of 1.3 billion people. “There is no cohesive idea of art in any one place.” |
| One thing is for sure, however. Asia can no longer be ignored. “The future is the Asia Pacific region,” says Sherman. “Nobody can avoid it anymore.” | One thing is for sure, however. Asia can no longer be ignored. “The future is the Asia Pacific region,” says Sherman. “Nobody can avoid it anymore.” |