An article artist Ozawa Tsuyoshi wrote for REALTOKYO caused a stir in the Japanese art world. A work he produced in collaboration with Chinese artist Chen Shaoxiong for the 2nd Guangzhou Triennial (through January 15) was censored by officials from the ministry of cultural affairs, and Ozawa was eventually forced to erase a part of his drawing. As you can read in The Group 1965’s Tokyo Guide, special edition, Ozawa was forced to overpaint the phrase "On 8/15 we commemorate the end of WWII, or Japan’s defeat". Even though Shaoxiong argued that Ozawa was conscientious enough to add "Japan’s defeat", the officials admonished the two not to "touch upon such delicate topics in times like these". The "times like these" are times of a rather tense relationship between Japan and China, fanned among others by prime minister Koizumi Junichiro’s annual visits to Yasukuni Shrine.

As I mentioned in a previous article on the Guangzhou Triennale on this page (OoT vol. 127), in the "red capitalist country" China, contemporary art and international exhibitions are supposed to be expressions of a policy of openness, and at once instruments to display such policy to the world. However, one must not forget that censorship still exists in a totalitarian state. Even in countries that claim to be liberal there can be — and in fact is — censorship or self-control for political reasons to some extent. The role of artists and others related to the art world is to express the necessity to change this situation, and even though it may be David fighting Goliath here, at least Ozawa is fighting bravely.

What are all those Biennales, Triennales and other international art shows good for anyway? Textbook definitions would be "to spread the word of art", "to promote international cultural exchange", or "to stimulate regional development through attracting visitors", but I question that such answers still appeal today. Reading the records of the "Yokohama Kaigi 2004" held in December 2004 (BankART 1929 "Yokohama Kaigi 2004 — Why International Art Shows?") it seems that all the Japanese representative curators seem to be supporting such explanations. They speak of "places to encounter multifariousness" (Hasegawa Yuko), "vitalization of entire regions" (Kitagawa Fram), and "events aimed primarily at citizens" (Nanjo Fumio).

Hasegawa Yuko, presently Artistic Director at the 21st Century Museum of Contemporary Art, Kanazawa, was also the artistic director of the 7th Istanbul Biennial (2001), while Kitagawa is the General Coordinator of the Echigo-Tsumari Art Triennial (2000, 2003, 2006), and Nanjo, at present the Deputy Director of Mori Art Museum, was one of the artistic directors of the 1st Yokohama Triennale (2001). In addition, both he and Hasegawa are experienced commissioners of the Japanese pavilion at the Venice Biennale. At the Yokohama Kaigi, by the way, Isozaki Arata announced his resignation from the post of director of Yokohama 2005. At time he remarked that "international art shows are the best occasions for artists to promote their works", and that "the mechanisms of the international art market are working behind the scenes of such events." Nanjo responded to these statements that they represented "an understanding that was common in the 1960s", and that "reputable international art exhibitions these days don't depend on commercial galleries."

This point Isozaki and Nanjo debated is in various senses an interesting issue, and I'd really like to see this clarified. However, one can't probably expect more than a fruitless dialogue des sourds…The idea Hasegawa Yuko developed in her text titled "Musings of a curator 02" in the latest issue of ART iT magazine (out January 17) seems much more constructive: under the title "New biennale politics: Addressing the site, the community and the public", she writes about last year’s Istanbul Biennale, and the 4th Gwangju Biennale held in 2002, and thoroughly criticizes these events by pointing out concrete, questionable points. The magazine isn't out yet so I won't tell you more details here, but generally speaking Hasegawa’s criticism is targeting the form of presentation and explanation of such events, rather than their contents. In other words, she questions techniques related to artistic expression, before talking about things like ideas and insight. As exhibitions are occasions to "exhibit" things, the techniques of displaying art can't be separated from the art itself, and the respective event’s philosophy and insight. In my opinion there exist far too many artists (in addition to curators) who are obviously not aware of this.

According to Isozaki Arata (in his above-mentioned statement), there are more than 50 international art shows happening around the world. In the Asia-Pacific region, this year will see the Biennale of Sydney, the Echigo-Tsumari Art Triennial, Singapore Biennale, Shanghai Biennale, Gwangju Biennale, Asia-Pacific Triennial, Busan Biennale, Taipei Biennial… (the event in Singapore is held for the first time, with Nanjo Fumio functioning as artistic director). Let’s wait and see how many of them will manage to display their contents properly. Hasegawa Yuko’s claims and suggestions are of great importance here.

Ozaki Tetsuya / Editor in chief / REALTOKYO