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MULTIPLE IDENTITIES VIA SPIRITUALITY, HISTORIES AND CULTURAL RE-PRESENTATIONS 155Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame, architect Yoshio Taniguchi (1991). Photos by Aroon Puritat.The early 90s was when Installation art andConceptual art became more influential, resulting inthe museum’s readjustment of exhibition space due tothe changing process of artistic creations. Artists didnot just work in their studios and install their works inmuseums anymore. On several occasions, they began toincorporate museums into their artistic projections.Yokohama Museum of Art, Yokohama, architect Kenzo Tange (1989), Photos by Aroon Puritat.One of the interesting museum projects from the late80s is the Yokohama Museum of Art, which began tooperate in 1989. The museum was designed by masterarchitect Kenzo Tange. Globally renowned and one ofthe most influential architects in Japan, he was knownfor his work in stadiums and urban planning projectsin the 60s and the 70s.The Yokohama Museum of Art can be classified as aSecond Generation art museum for its emphases onthe exhibition and preservation of artworks with astrong “institution” image. It projects a great deal ofcontrast with other museums conceived during thetime of transformation, when art museums werebeginning to adjust and adapt themselves. Severalmuseums had then opened up their spaces for morepublic access, connecting the museums to the cityfabric and communicating with a general public morethan they used to.The Work of the 2010/2011 API Fellows
156 Panel 4Watari-Um Museum of Contemporary Art, Tokyo, architect Mario Botta (1990). Photos by Aroon Puritat.The Fourth Generation Art Museums (1990-2000)Opened in this particular period was the small artcontinually. 5 architecture were integrated.museum, the Watari-um Museum of ContemporaryArt, with Mario Botta as architect. This private, The Fourth Generation Art Museums werefamily-operated museum had the Watari family incharge of administration. Koichi Watari, the directorand second-generation successor of the museum,provides an interesting point of view. In an interviewon how the Watari-um is operated, he said, “I organizethe exhibitions that I find interesting, be it art orarchitecture. We don’t really mind whether theconstructed during the age of information andglobalization. It was the period when viewers were ableto access information and began to extend their artisticunderstanding in the form of long-term studies.Through art, viewers became capable of understandingthemselves more under different social roles, be thispolitic, gender, or culture. For their part, art museumscontents we choose to exhibit are popular or not. I were adapted and extended to encompass several otherdiscuss what I want to do with my colleagues and forms and genres.family, and then we make the final decision”. TheDespite the economic recession, the construction ofmuseum has hosted several art and architecturalart museums in Japan continued. Some of the privateexhibitions of many world-class artists and architectsones had to close down after less than two decades ofsuch as Joseph Beuys,Henry Darger, Jean Fabre, operation. In interviews, curators and directors ofFederico Herrero, Mike Kelley, Barry McGee, and several state-funded and provincially-funded artNam June Paik, to name a few.museums revealed that their budgets were cut down by10 percent for 10 consecutive years, while many artMario Botta designed the architecture of the WatariumMuseum of Contemporary Art by emphasizingsymmetrical forms, while the installation of surfacemuseums were required to prove to the general publicthat their organizations were spending the taxpayer’smoney properly and efficiently.materials and the structure were designed in responseto the symmetrical shape of the building. It was a In the late 20 th century, a distinctive example of an artchallenging task, considering the triangular shape of museum conceived with a site-specific program inthe land that made it even harder for Botto to executeJapan was an art project initiated by the group calledhis signature symmetrical architecture.Benesse Art Site Naoshima. This was originated bySoichiro Fujutake, the chairman of Benesse Holdings,Inc. and the Naoshima Fukutake Art MuseumThe Watari-um Museum of Contemporary Art isFoundation. Soichiro Fujutake came up with the ideaconsidered another important piece of architecture ofto build an art museum on Naoshima Island. His aimthe Post-Modern Era. Designed by foreign architects,was for the museum to function not only as a venue forit is also a great example of how a small private exhibiting artworks, but also to serve as a tool thatorganization can manage to operate and function as a would expand the conventional frame of art museums,successful art museum, without having to depend on by taking the art out of the museum context. Thegovernment support. Watari-um still organizes project offered new alternatives and directions forinteresting exhibitions of several artists and architects artistic presentations, where nature, art, andThe Work of the 2010/2011 API Fellows
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CULTURE, POWER AND PRACTICES:THE GL
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viABOUT THE BOOKCULTURE, POWER AND
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viiiACKNOWLEDGEMENTSThe API Coordin
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x(co-authored with Gunawan Wiradi,
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xiiSri Wahyuni is the director of t
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xivThe gap between rich and poor is
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xviand development mainly: Economy,
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xviiiIn closing, I would like to qu
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xxmovements to defend their rights,
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xxiicomplex relationships between f
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xxivIndonesian Academy of Social Sc
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MULTIPLE MODERNITIES: GLOBALIZATION
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POTENTIAL OF LOCAL KNOWLEDGE AND PR
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58 Panel 2(Left) Kurazukuri are anc
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MULTIPLE IDENTITIES VIA THE GLOBALI
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OPENING REMARKS AND OVERVIEWDr. Rat
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247There is also a massive movement
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249need to be looked at, as globali
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251Appendix IWorkshop ScheduleThe T
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25313:00 - 15:00 Concluding PanelCh
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255THAILANDAroon Puritat, Artist an
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257RAPPORTEURSGarry MorrisonMarian
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Communication, Education and Public
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261have used tourism as a mechanism
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263Panel 4: Multiple Modernities vi
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265out how Asian women politicians
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267CONTACT DETAILS (as of March 201
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