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14 SESSION I portals of strategic locations in the art world are kept not by senior curators, but by their successors who are in their early thirties, thus establishing a new hegemonic scheme within a new coterie of curators. Here is a tentative history of the emergence of curators in Indonesia and Thailand, indicating the time of their practice and their educational background. (See Appendix 2) Modes of Practice: Typologies Most of the curators in Southeast Asia work within an institutional framework, structures of which vary: academic institutions, government offices, and cultural centers of foundations and foreign organizations like Alliance Française, Goethe Institute, and the British Council. The art infrastructure in Thailand has been provided a stable ballast with the creation of the Office of Contemporary Art and Culture under the Ministry of Culture in (2002), with Apinan as Director. This ascension of Apinan signals the rapprochement between State and art world, with the curator becoming part of the grants apparatus; in contrast, the government support for the arts in Indonesia is nominal, thus stimulating very unpredictable and animated grassroots initiatives. These divergent states of play are intimately related to the kind of art produced in these ecologies. Independent curators, whose practice is tangential to these institutions, find and create their own spaces for their projects. These spaces oftentimes already move beyond the museum/gallery architecture to provide the appropriate milieu for contemporary expressions like installation, new media, and performance art. Their independence does not, however, mean isolation from customary arrangements; it merely implies a less rigid stance on the part of the curator to engage with various platforms of art making and the hospitable spaces for these to operate. It is also not meant to be anti-hegemonic, but is largely survivalist. In Indonesia where the art market is very strong and ameliorates infrastructure in the conduct of commerce, independent curators sometimes find themselves working with galleries. Within this potentially compromising situation, they insist on creative latitude as they deal with the motivations of gallery owners, who are also collectors, to profit on art. We note, too, the sway of the auction houses in Indonesia such as Larasati, Borobodur, Masterpiece, and Campaka, which opened after the Asian crisis in 1997, to say nothing yet of the aggressive enterprise of Christie’s and Sotheby’s and the auction arm of the government itself. In effect, the crisis induced a surge in art, with banks and other firms unloading their art holdings and rousing a frenzy of buying, selling, and collecting largely through the auction houses. Perusing Ref lections on the Human Condition: Change, Conflict and Modernity The Work of the 2004/2005 API Fellows their catalogues, we discover that these firms do not only trade masters, but artists whose careers have yet to mature. This illustrates that the auction house functions like a gallery that promotes new art, and in doing so conscripts curators as part of the tricky process of validating the art in circulation. This can be espied quite sharply in Jogjakarta, which is home to the most active artists in Indonesia. Here, in view of the relatively few art spaces, curators take art from the site of production to other places, from Semarang to Bandung, for exhibition. Curators, therefore, serve as conduits of art works and careers, facilitating exchange between the art institutions and artists and the public. An impressive illustration can be found in the projects of Mamanoor, a curator based in Bandung. He is one of the curators of the National Gallery, which rents out space for exhibition and fails to implement a sustained program, teaches art theory at ITB, and organizes exhibitions outside the well-trodden loop of Java and Bali. It is only Mamanoor who is able to organize exhibitions and events in such remote places as Sumatra and Sulawesi, courtesy primarily of his network with art galleries and collectors, local art councils, new art programs, artists who take part in competitions like Philip Morris, and his position at the National Gallery. He has also developed links with China and Germany. Patronage of contemporary art in Indonesia is part of a larger speculation industry. Amir Siharta asserts that “the prices of stocks and paintings often have a direct relationship… as many collectors obtain funds to buy works of art from profits they gain from the trading in the stock exchange”. (Sidharta: 2001, 53) He attributes the stimulus to the economic crisis in 1997 that drove the following: the hoarding of art works of new collectors who hoarded dollars before the rupiah plunged; the unloading of art works by collectors and liquidated banks; and the establishment of galleries by collectors. As early as the seventies because of the oil boom, the national oil company Pertamina sponsored art competitions and engaged in collecting. Earlier, Sukarno maintained a vast collection of modern art, which influenced government offices and the elite to amass art. The cumulative effect was to style art as a democratic good or developmental index: The new political outlook that has emerged in Indonesia since Soeharto’s Fall has certainly contributed to a rising appreciation of art. Along with increasing political openness and new freedoms of speech and opinion comes the appreciation of artistic expression. People who in the past were more interested in art for its economic value are now beginning to appreciate ho art’s aesthetic
and cultural value can heighten their quality of life. (Sidharta: 2001, 56) In Thailand, the banks were chief players in the patronage of contemporary art. For instance, in 1975, Bangkok Bank initiated its art collection, which was complemented by an annual art exhibition and competition that handed out handsome prizes. (Phillips, 1992) Other firms followed suit like the Thai Farmers Bank and the Thai Investment and Security Company. As Chavitchai Promatdhattavedi asserts: Supporting art and culture in terms of infrastructure has never been a part of national policy. Over the past two decades we’ve seen many art galleries opening and closing. It seemed to be the fashion. But many people still don’t understand modern art. In the past, art was seen as something rarefied, associated with the Palace. But now that we have a more democratic and less hierarchical society, people are beginning to appreciate art more. (Phatarawadee: 2000, C2) HERITAGE, IDENTITY, CHANGE AND CONFLICT When international exhibitions began to gain a firmer footing in the art scene, channels of curatorial conscription was no longer concentrated in institutions and bureaucrats in government. Exhibition organizers because of their visits and researches in local art worlds met colleagues who practiced beyond the realm of mainstream networks. Curators, whether institutional or independent, have played a key role in representing local artists in the international arena. They have become mediators in the arbitration of contemporary art as far as recognition is concerned. This is more apparent in Thailand as Somporn would point out. But this is not true of Indonesia, except perhaps in the case of Supangkat, with Asmudjo Irianto and Rizki Zaelani, and Effendy; and perhaps at Cemeti, with Mella Jaarsma and Nindityo Adipurnomo coding their artistic tastes as curatorial benchmarks from which international curators took their signal. Speaking of mediation, the type of space in which curators work determines to a large extent the kind of curation they undertake; and we realize, possessing spaces or having access means power to produce art-world schemes, indeed to configure artscapes. Type of Space Indonesia �ailand State-run National Gallery Taman Budaya (Provincial Art Councils) Taman Ismail Marzuki Galerikita National Gallery School-based Galeri Soemardja Silpakorn ISI Chulalongkorn Bangkok University Chiang Mai University Commercial Gallery Edwin Numthong Cemara Galeri 6 Surapon Nadi Thavibu Canna Tang Neka Oktagon Tonson Foundation-supported Cemeti Art House Queen’s Gallery Bentara Budaya About Art and Related Antara Activities Galeri Lontar Tadu CP Art Space Seniwati Jim Thompson House Concrete House The Land Artist-initiated Ruangrupa Mes 56 Taring Padi Rumah Proses If Common Room By the Way 357/Eat Klinik Seni Taxu Umong Sippdhamma Artist’s Museum-funded Sunaryo Popo RefIskandar lections Museum on the Human Condition: Change, Conflict and Modernity Pintu Merah (Sanggar Luhur) Widayat Museum The Work of the 2004/2005 API Fellows Mall/Restaurantoperated Kedai Kebun Playground 15
Page 1 and 2: Reflections on the
Page 3 and 4: CONTENTS About the Book v Acknowled
Page 5 and 6: ABOUT THE BOOK Reflections<
Page 7 and 8: THE CONTRIBUTORS (The information a
Page 9 and 10: University of the Philippines in th
Page 11 and 12: about social change. For example, S
Page 13 and 14: wars—the First World War and the
Page 15 and 16: It will not be easy but I believe t
Page 17 and 18: Before I conclude, allow me to offe
Page 19 and 20: highlighted in this Workshop’s fr
Page 21 and 22: INTRODUCTION Abdul Rahman Embong AG
Page 23 and 24: API Fellowships Program that the 4
Page 25 and 26: in Indonesia and their engagement w
Page 27 and 28: countries as a way of seeking empow
Page 29 and 30: HERITAGE, IDENTITY, CHANGE AND CONF
Page 31 and 32: problem developing with the relatio
Page 33 and 34: I have arrived at this point in my
Page 35 and 36: REFERENCES Bellwood, Peter S. 1985.
Page 37 and 38: PAST PERIPHERY: CURATION IN SOUTHEA
Page 39 and 40: co-location of art around the world
Page 41: arts and design and were not formal
Page 45 and 46: y boat from Bangkok. In this cultur
Page 47 and 48: in the gentrified district of Thong
Page 49 and 50: Supangkat, Jim. 1995. “Contempora
Page 53 and 54: in Bangkok and reassembled at the t
Page 55 and 56: In her article, “The Politics of
Page 57 and 58: legend is unlikely to achieve simil
Page 59 and 60: KHAW SIM BEE AND MODERN PHUKET In t
Page 61 and 62: French, British or Dutch, is less m
Page 63 and 64: More recently, a new interest in lo
Page 65 and 66: Books. pp. 89-126. Journal Articles
Page 69 and 70: of RCSD), Dr. Chainarong Sretthacha
Page 71 and 72: forestry departments and other tech
Page 73 and 74: Although most Southeast Asian gover
Page 75 and 76: of cultivated area, and population
Page 77 and 78: the drought. Since the early 1990s,
Page 79 and 80: In both Peninsular Malaysia and Sar
Page 81 and 82: Affairs under the Ministry of Home
Page 83 and 84: Community Forestry Program (CFP) wa
Page 85 and 86: in Thailand and the Philippines. Ma
Page 89 and 90: that joined the conflict; and (ii)
Page 91 and 92: level of 1%. In addition, since the
Page 93 and 94:
participation in collective action,
Page 95 and 96:
Thompson, M. and M. Warburton. 1985
Page 97 and 98:
trol by Suharto. The approximately
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unit headed by General Prabowo, Suh
Page 101 and 102:
Muhammadiyah bersama kekuatan socia
Page 103 and 104:
who refuse to acknowledge the exist
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For the most part, respondents demo
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Islam Mengejar Ketertinggala. In jo
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ENGAGING MODERNITY: RELIGION, GENDE
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spiritual adaptation—gradual, hig
Page 113 and 114:
But underlying all his views—KH G
Page 115 and 116:
women demand for divorce, they woul
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father tried to convince her to rev
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Happy Birthday, dear Muhammad! SEKA
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cultural particularity cannot provi
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strengthened by Malaysia’s ethnic
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destined to build a civilisation of
Page 127 and 128:
of capitalism has led to an increas
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Because living away from home and i
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leads them to concede that they may
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In Malaysia, on the other hand, the
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hierarchy has not hesitated to util
Page 137 and 138:
Page 139 and 140:
almost 40 years ago—September 30,
Page 141 and 142:
CLEARING THE SPACE: ART AS TRANSPOR
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that we can see more clearly the ar
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women; violence against women is no
Page 147 and 148:
Page 149 and 150:
ALTERNATIVE SPACES IN INDONESIA The
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structural foundations to play thei
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Asian animation companies bid fierc
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Filipino parents, newspaper columni
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digital content creation to find cl
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containing advice and insights on f
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devoted his time to produce the fir
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Figure 2: The Structure of the Japa
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6 5 4 3 2 1 0 Figure 5: Cartoon’s
Page 167 and 168:
mind. GDH shared its production pro
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interesting to note that the audien
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an impression of what their works w
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y passion which was in fashion at t
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movies and other special effects fi
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Otaku culture is just like any othe
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Akihabara Tokyo’s Electric Town,
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ands emerged slowly, and fans of th
Page 183 and 184:
Page 185 and 186:
Apparently, these Otaku subgroups c
Page 187 and 188:
and Practice (6:1), (27-37). Schodt
Page 189 and 190:
CHANGING LIFESTYLES AND HEALTH GLOB
Page 191 and 192:
great divide between availability a
Page 193 and 194:
Figure 3: Weight changes in Japanes
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collected using a questionnaire, in
Page 197 and 198:
Table 10: Self Report on Health (N=
Page 199 and 200:
Table 29: Body mass index (BMI) of
Page 201 and 202:
CHANGING LIFESTYLES AND HEALTH Tabl
Page 203 and 204:
REFERENCES Aekplakorn W., Chaiyapon
Page 205 and 206:
CHANGING LIFESTYLES AND HEALTH TEAM
Page 207 and 208:
noted for HBs antigen (HBsAg) among
Page 209 and 210:
given to the clients confidentially
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GBV- 84 4 8 4 0. 4 9 7 8 9 9 8 7 2
Page 213 and 214:
the detailed characterization on th
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type 2 infection in the Philippines
Page 217 and 218:
DESPERATELY SEEKING MARKETS If mark
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integrated circuits, industrial rob
Page 221 and 222:
that JP’s privatized banking divi
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limited scope for private healthcar
Page 225 and 226:
instances where such individuals ha
Page 227 and 228:
even as public finances improved fo
Page 229 and 230:
The United States could easily desi
Page 231 and 232:
take shape so that they are in line
Page 233 and 234:
Bank itself may be subject to force
Page 235 and 236:
CHANGING LIFESTYLES AND HEALTH RESE
Page 237 and 238:
The indexers extracted the importan
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wound healing from generation to ge
Page 241 and 242:
Figure 3: The list of 21 researcher
Page 243 and 244:
E. F. 1. Regulation of export; and
Page 245 and 246:
com/cybernews/sehat/kapsul/kapsul-s
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government long maintained an inter
Page 249 and 250:
oei. First, beginning with Cambodia
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key issue for Japan is that there i
Page 253 and 254:
Japanese government revised its mar
Page 255 and 256:
Unlike New Komeito which has been b
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(2) type of Article 9 revision; and
Page 259 and 260:
These results depict the tenacity o
Page 261 and 262:
has manifested unilateralist tenden
Page 263 and 264:
Midford, Paul. 2003. “Japan’s R
Page 265 and 266:
“Poll shows fears of war at highe
Page 267 and 268:
THE STATE, DEVELOPMENT AND GLOBALIZ
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and Sri Lanka. Then, the Greater Me
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Table 2: Thailand Trade Value of Ag
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Thailand has been the most intensiv
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In according to the presence of goo
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In case of the losers from FTAs, th
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13 At these years, the world econom
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Nipon Poapongsakorn, Martin Ruhs, S
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RESULTS The Indonesia Railway The w
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Noise Table 1: Results of noise mea
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Maintenance and improvement of reli
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signal to allow the train to procee
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The results of Yamanashi Maglev Tes
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1980. Recently, research focus on e
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comprehensive ones to short-term po
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FRAMEWORK OF THE STUDY The author s
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politicians made the first moves, a
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Compliance Certificate issued by th
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Tubay’s JCADI has its own busines
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the majority political positions in
Page 308 and 309:
280 SESSION IV McCoy, Alfred W. (ed
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282 SESSION IV Table 3: Profiles of
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Table 6: Summary of Case Studies. 2
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286 SESSION IV GENE REVOLUTION AND
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288 SESSION IV During the introduct
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290 SESSION IV state arm to provide
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292 SESSION IV The reason he chose
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294 SESSION IV of RRCanola but he g
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296 SESSION IV should understand th
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298 SESSION IV (Kanniah, 2004). 29
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300 SESSION V EMPOWERING THE URBAN
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302 SESSION V after the Marcos admi
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304 SESSION V Table 2: List of Part
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306 SESSION V a primitive community
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308 SESSION V THE HOMELESS IN THE M
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310 SESSION V Tokyo and Yokohama, b
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312 SESSION V station, Nanba, Nippo
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314 SESSION V Local administrations
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316 SESSION V alternatives. That ma
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318 SESSION V some conclusions coul
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320 SESSION V the children), 15. Th
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322 SESSION V unemployed daily work
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324 SESSION V no common activities
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326 SESSION V Yoseba and Disemploym
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328 SESSION V receive the seikatsu
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330 SESSION V is still a question w
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332 SESSION V can exemplify the rea
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334 SESSION V land and expropriatio
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336 SESSION V JAPANESE AND MALAYSIA
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338 SESSION V The new Child Welfare
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340 SESSION V while at the same tim
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342 SESSION V Chart 1: The Fluctuat
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344 SESSION V Picture 1.b Source: r
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346 SESSION V on education is more
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348 SESSION V REINTEGRATION PROGRAM
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350 SESSION V most migrants, partic
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352 SESSION V Table 3: Changes in t
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354 SESSION V 39 years old. However
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356 SESSION V restaurant entreprene
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358 SESSION V 50 and 59 years old 2
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360 SESSION V order to go work abro
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362 SESSION VI TOWARDS SUCCESSFUL A
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364 SESSION VI the third round had
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366 SESSION VI The Role of the Oppo
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368 SESSION VI peasants in land occ
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370 SESSION VI exposed to open tour
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372 SESSION VI While in Indonesia,
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374 SESSION VI the balance of power
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376 SESSION VI Table 1: Major Human
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378 SESSION VI Table 2: Regional De
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380 SESSION VI Non-docketed complai
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382 SESSION VI Barangay Captain Sol
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384 SESSION VI countries that forei
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386 SESSION VI Rights Education in
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388 SESSION VI by a facilitator. Gr
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390 SESSION VI The true nature of t
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392 SESSION VI Japanese economy is
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394 SESSION VI Table 2: Chronology
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396 SESSION VI Sept. 2000: Filed la
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398 SESSION VI politicians’ quali
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400 SESSION VI Table 5: Organizatio
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402 SESSION VI Table 6: Organizatio
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404 SESSION VI The All Japan Citize
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406 SESSION VI Freedom of informati
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408 SESSION VI for only four second
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410 SESSION VI DEVELOPMENT AND PROB
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412 SESSION VI of the news. Althoug
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414 SESSION VI Efendi Gazali, a mas
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416 SESSION VI Some say that the Ka
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418 SESSION VI Table 3: Indonesian
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420 SESSION VI are helpful in devel
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422 APPENDIX I WORKSHOP SCHEDULE Fo
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424 ASST. PROF. DR. ROSALIE B. ARCA
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426 APPENDIX III ABSTRACTS OF PAPER
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428 of such a challenge, the histor
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430 emergence of creativity and inn
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432 the legal conditions. It also p
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434 followed by I Nyoman Nurjaya fr
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436 Politics and Development in the
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438 of general comments were highli
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