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But the experience of Thailand and Hong Kong may be usefully contrasted. Wherever I took my eyes off art for a second, there was advertising for another similar art event. The trend continued with the arrival of Chinese contemporary art at the Venice Biennale in He did not collect contemporary art at that time because it might have been detrimental to his business activity; but when he returned to China in as Swiss ambassador, political intervention into contacts between foreigners and Chinese had considerably lessened, and he was able to freely meet artists and collect their work, in part because of the status he had built up in official circles from his earlier stay. I later came to regret this because my view of biennales changed to seeing them as mostly, if not primarily, oriented to other curators and the audience that already had agreed with the curatorial positions the biennales advanced. Recent Books in the Arts. This was easy to access in a contemporary idiom, but unfortunately there was not enough aesthetic depth in the work to provide for the national and artist-enhancing lift found, for example, in by Tse Su-Mei at the Luxembourg pavilion.

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The Sydney figures compare with Fukuoka inwhere there were 16, registered persons of Asian nationality in Fukuoka 8, Chinese, 6, Koreans, and, among others, Thais or 1.

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This was, I think, the case with the Taiwanese artist Yao Jui-chung Yao Ruizhongwhose Yokohama Triennale installation work— The World Is for All—China beyond Chinawith its carefully glazed over photographs, its electronically activated gun which unfortunately was out of order when I was thereand with what was, I presume, its knowing commentary on the relationship between images of the past and the way they might be illuminated by violence—surely would not have got past less permissive curatorial situations. Asian artist participation at biennales has developed in the presence of private collections, sometimes through the two or three Asian commercial galleries that show at the Basel Art Fair, but usually through direct collecting overseas, and importantly in China. The national pavilions and one curated thematic pavilion in the Giardini plus often another and separately curated retrospective exhibition in the Museo Correr in Piazza San Marco 2. Over examples of cartoon postcards of Japanese military life, colonial rule, and warfare from the s and s comprise the next set. He was replaced at very short notice in an announcement of December 10,by the sculptor Kawamata Tadashi, to be assisted by three professional curators. With over 60 photographs — many on view for the first time in the U.

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