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MULTIPLE IDENTITIES VIA SPIRITUALITY, HISTORIES AND CULTURAL RE-PRESENTATIONS 157The Benesse Art project was founded in 1988, whilethe first museum of the island, the Benesse HouseMuseum, was finished in 1992 with Tadao Ando incharge of the architectural direction. The museum hashosted a personal collection of Soichiro Fukutake thatincluded the works of several internationallyrenowned artists ranging from Gerhard Richter,Donald Judd, Nam June Paik, Robert Rauschenberg,David Hockney, to Andy Warhol, etc. The interiorspace of the museum was specifically allocated for theinstallation of each artwork, while the balance betweenthe artworks and the architecture was creativelycontrolled. 6The museum’s architectural style and the presentationof exhibitions are not entirely different from those ofother museums from the Second Generation.Nonetheless, the location and the hotel facility, whichhave been incorporated as part of the program,differentiate the Benesse House Museum from otherart museum projects. In the meantime, Tadao Ando’sarchitecture does not exactly exhibit any distinctiveevidence of its attempt to create specific interactionsbetween the architecture and the artworks.In 1998, the Benesse Art Site, Naoshima launched TheArt House Project in Honmura district by renovatingseveral old traditional houses that were to serve asexhibition venues for site-specific Installation artpieces. Tatsuo Miyajima was the first artist to ever jointhe project, which was followed by many other similarinstallation art projects. The project did not onlyintend to restore and preserve the old, traditionalJapanese wooded houses, but also interwove localhistory with the contemporariness of the artworks.Some of the works were installed next to the district’sreligious place, causing the artists to reinterpret theirartistic creations under an entirely new surroundingcontext and environment, quite different from theartistic process taking place in the conventional whitecube-like space in a museum properly designed by anarchitect.Benesse House Museum, Architect Tadao Ando (1992). Photos by Aroon Puritat.The Art House Project, Honmura district, Naoshima (1998). Photos by Aroon Puritat.The Work of the 2010/2011 API Fellows
158 Panel 4In 2004, Tadao Ando designed the Chichu ArtMuseum that hosts the works of three legendaryartists: Claude Monet, James Turrell, and Walter DeMaria. The majority of the building is locatedunderground, beneath the grass hill. The architecturewas designed to emphasize each space where each artpiece is installed. For instance, the room where ClaudeMonet’s Water Lilies is exhibited is laid with smallwhite mosaic pieces that accentuate the painting, tomake it even more vivaciously distinctive.Although concrete is the common material used inmost of Ando’s designs, the architect adjusted his ownarchitectural language to suit the presence of theartworks to the Chichu Art Museum. The circulationis controlled by limiting the number of viewers foreach visiting round, while noise making is prohibitedwhen entering the exhibition space. These measuresprotect the art viewing atmosphere from anydisturbance. To illustrate, the museum allows only oneviewer at a time to see James Turrell’s works.Viewers who walk into the museum go through a seriesof empty spaces in the different areas of the museumbefore reaching the artworks. The clash between theartworks and the architecture that takes place insidethe Chichu Art Museum rigorously draws out thecontemporariness of Claude Monet’s Impressionistpaintings.Chichu Art Museum, Architect Tadao Ando (2004). Photos by Aroon Puritat.In 2008, the Inujima Art Project Seirensho made itsdebut on the island of Inujima (Okayama Prefecture)with the Art Museum Seirensho as the first phase toopen for operation in April. The museum wasrenovated from the old copper refinery closed down in1929 after only 10 years of operation. The renovationof the old factory, which was a testament to Japan’sindustrial modernization, was creatively undertakenby the environmentalist architect, Hiroshi Sambuichi.The specialty of this museum was the way the architectdesigned the building to embrace the sea breeze, so asto cool down the museum during summer. On theother hand, natural sunlight was incorporated into thebuilding to generate warmth during winter. Both endswere achieved without use of any electrical power.Wastewater in the museum, meanwhile, is put throughtreatment and later used to water plants.The Art Museum Seirensho is another successfulexample of how the renovation of a deserted buildingcan result in an impressive architectural creation ofgreat aesthetic values and environmentally friendlyfunctionalities. Installed in the building are YukinoriYanagi’s artworks, in which the artist brings in doors,windows, and plug sockets from the house of thefamous Japanese writer Yukio Mishima and reinstallsthem within the space of the museum. Yukio Mishimais one of the most significant Japanese writers whocritiqued the changes that transpired in Japanesesociety during the modernization period.Art Museum Seirensho interweaves thecontemporariness of the present to the days of Japan’sindustrial modernization by bringing back the oldfactory and the deceased writer to life, therebyallowing people of the later generations to appreciateand understand the presence of the past.The 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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