Reception and Transition of the Notion of“Identity” in Asian Contemporary Art from the 1970s to the 1990s

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  • 1970-90 年代アジアの現代美術における「アイデンティティ」概念の受容と変遷
  • 1970-90年代アジアの現代美術における「アイデンティティ」概念の受容と変遷 : 福岡市美術館の「アジア美術展」を参照して
  • 1970-90ネンダイ アジア ノ ゲンダイ ビジュツ ニ オケル 「 アイデンティティ 」 ガイネン ノ ジュヨウ ト ヘンセン : フクオカシ ビジュツカン ノ 「 アジア ビジュツテン 」 オ サンショウ シテ
  • Referring to “Asian Art Show” in the Fukuoka Art Museum
  • 福岡市美術館の「アジア美術展」を参照して

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Abstract

In 1973, International Association of Art (IAA) held a congress in Bulgaria and resolved to emphasize “cultural identity” in each country and region. This notion of “identity” became a key concept for “Asian Art Show” that was held by the Fukuoka Art Museum (FAM) in commemoration of the establishment of the museum in 1979. Since then, the FAM organized “Asian Art Show” almost every 5 years until the fourth show in 1994. These were pioneering exhibitions to introduce Asian contemporary art in Japan. After the 2nd World War, most of countries in Asia emerged from colonial rule and achieved nationhood. In the process of building each nation, the formation of “identity” became an important issue even in visual art field. Indicating the notion of “identity” with different words, the 1st to the 3rd “Asian Art Show” explored commonality rather than difference in Asian Art. On the other hand, however, the 4th show focused on individual artworks and criticized the previous attitude in the past shows. This essay examines the reception and transition of the notion of “identity” in Asian contemporary art, by taking “Asian Art Show” as the early example to deal with the notion in the exhibitions. This essay also analyzes the way of understanding the notion in each “Asian Art Show”. By examining it, the essay emphasizes the necessity to produce discourse for Asian contemporary art as well as to reconsider the attitude of Japan toward Asia.

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