Knowledge Forum 2003 Transcripts - Hsu
Knowledge in working with the arts
and Asia
Transcripts
Forum 2003: | Introduction | Summary | Transcripts |
Claire Hsu | Kanaga Sabapathy | Philip Yampolsky | Lauren Bain
Claire Hsu, Director, Asia Art Archive, Hong Kong
Knowledge in the Arts and Asia
Collecting– Managing– Sharing– Generating
(click here for PDF version)
A) Knowledge Management - Sharing Knowledge
The fact that developments in the contemporary Asian visual art scene have led to the existence of a considerable body of material is an important step. But, how do people really know what is available? How do you go about managing this data? And, how do you make it easily accessible?
These questions were the impetus for the founding of the Asia Art Archive (AAA) in Hong Kong in 2001. Firstly to create a depository for material, both printed and digital, and then to systematically catalogue it into an online database, thus making it easy to find and disseminate.
While the task is relatively straight forward, the issues involved in creating a
comprehensive mapping of material available on contemporary Asian art are complex. Asia is vast, and from the beginning, the importance of emphasising Asia not as a single entity, but as multifaceted and diverse, made up of numerous religions, ethnic groups, geographies, economics and languages, was a key concern.
The word 'archive' has its origins in ancient Greece, where "archeion" was used to refer to government records belonging to an office. The concept of an archive for contemporary Asian visual art is a very different one, and extremely new. You would think that individuals would jump at the chance to send material in to a place that would systematically sort, catalogue and make it available, recording their work and life in the process. Yet the reality is very different. Many of the individuals we contact are relatively young and, while seeing the benefits of an archive, will too easily delay sending in material because, a). It needs sorting out, and b.) There is always next year. This is where human resources play a large par - you need a team whose job it is to chase, follow up and act as a constant reminder.
Trust is another factor that comes into play for an independent archive. As much of the material donated is very personal and, often, the only copy, individuals want assurances that they are donating it to an organisation that will be around in decades to come. An organisation whose priority it is to preserve the material and, at the same time, share it. Trust is something that can be gained only with time and perseverance.
A depository for materials is all very well, but you have to let people know that you exist in the first place. In a region the size of Asia, with varying degrees of communication systems in place, getting the word out is a mammoth task. The establishment of a network of individuals experts and organisations (an Academic Advisory Board, in the case of the AAA) throughout the region is perhaps one of the best solutions, as such people and groups will be able to get the word across in their respective circles, as well as provide much needed guidance as to who the Archive should be contacting and how to develop the collections.
At the same time, as in the case of Asia Art Archive, we believe that research posts set up throughout the region provide a constant channel of communication and information, which not only provides a continuous presence in and bridge between the respective countries, but is also the most convenient way to get material back and forth. Just a few weeks ago, for example, a German curator who was giving a lecture on Performance Art in Asia, emailed us to see whether we had a slide of Lost Body III an early performance work in Taiwan (1983) by artist Chen Chieh-jen. We did not, but asked our researcher in Taiwan who, within hours, was able to email us a high resolution copy having also obtained permission from the artist.
Our ability to gain access to material depends on the strength of our relationship with individuals, and their institutions. Geographical proximity and financial constraints, will inevitably lead to a focus on certain areas, more than others. This is to be expected, as I do not believe that one Archive for contemporary Asian art has the resources and expertise to cover the depth and vastness of the field. The editorial role plays a vital factor in making sure that the Archive becomes a valuable
resource, and not a pool of endless or repetitive information. It is also important to
identify a direction or focus with regards its development and vision. For example, what material should be kept and what needs to be discarded should be carefully considered. We, for example, at the Archive, also collect private view invitations and leaflets, for many of these pieces of printed material are at times the only records of an exhibition or event.
While the word "Archive" can conjure up a stuffy room in the darkest deepest recesses of a building, the role of archives and the archivist is shifting. A "contemporary" archive means that you must always be on the front line, always aware of what is going on and trying to make sure that important events and exhibitions are documented. We are unconventional at the AAA in the fact that we not only receive material but also actively go out and document exhibitions and art events. On a recent trip to the Venice Biennale, for example, the AAA documented the Asian participation, conducting over 20 video interviews with artists and curators, while simultaneously ensuring that all related printed material be collected and sent directly to Hong Kong for cataloguing. We feel that it also our duty to capture these important times and provide another source of primary material. At the same time, the speed in which things move today means that it is impossible to be able to record or capture everything. Once again, it is important to identify priorities and a focus.
Suggestions for the future of knowledge management and sharing in the visual art scene in Asia would be the establishment of a number of specialist Archives, for an art medium, country or period, for example, in say, Mumbai, Singapore, Bangkok, and Seoul. These could be set up independently or under the umbrella of an existing organisation. This would simultaneously see that solid foundations for permanent channels of communication and information exchange be created.
The advent of the IT revolution has meant that information can be accessed at just a click of a button, at home, in the office or in a café. For those with access to a computer, never before has information been so readily and easily available. It is through the internet that great strides in the dissemination of material can be made, by putting databases, catalogues and material directly on line. Attention should of course be paid to storage and preservation but also how vast numbers of records can easily be accessed and retrieved.
While I do not insist that the AAA tailor-made database act as the "ultimate model" for future archives of contemporary Asian art, I would urge anybody with similar goals of setting up an archive or database to work closely with us and other archives. This helps avoid unnecessary duplication, that wastes both time and resources. What becomes important is communication and partnership between organisations with similar goals. In this way, a network of Archives compatible with one another could be established. Whether physical make up differs from one database to the other, collaboration will ensure that a common platform is built, allowing for the sharing and exchange of knowledge. Thus, one click of the button will allow for knowledge to be pulled out of a number of resources in one go.
2. Taking the role of the Archive one step further from "collating, managing and sharing' to 'generating'
Existing and future archives for contemporary Asian art should play an important role in generating greater awareness and knowledge in the field. The reason for this is the urgent need for in depth research, discourse and critical writing within this complex area, often due to the lack of this within existing organisations with art from Asia as their focus.
Despite the frequent output of publications and the organisation of forums, symposiums and workshops, there have been very few efforts at engaging, in depth, with the issues and questions that emerge. There are few individuals in the field who venture out of their comfort zones, and the need for a regional perspective or outlook becomes increasingly clear.
A quick analysis of the material that we have collected at the Archive for the past year and a half might give a few clues to the kind of publications we should be aiming for in the near future. Most of the published materials we have collected are exhibition catalogues and artist monographs. The quality of these publications vary from country to country, a number of which can be badly designed, poorly edited and, where English is included, inaccurately translated. At the same time, the content is almost always limited to that particular country, very rarely venturing or engaging further a field.
The reference section of the AAA is very thin, which, in a way, is understandable in a field which is not much more than twenty years old. What becomes clear, however, is the need for a solid plan and focus as to the kind of publications that are needed in the near future. A few suggestions might include:
- In-depth comparative writings which could compare the histories and national art traditions of a handful of countries in, say, a certain period.
- Anthologies of existing writings, (There is actually a symposium planned in
Singapore in October, which takes as its focus, "How would one produce an
anthology of existing writing on Southeast Asian art?" I am sure T.K Sabapathy
will discuss this in more details) - An annual series of interviews with artists and curators
- An academic Journal for contemporary Asian art (Positions)
- Magazines for contemporary Asian art, of which only two exist, and one of
which, has been out or print for 6 months, having been moved from Sydney to
New York) - Translation of existing material into English - An archive could for example
identify some of the most important and pivotal writings in other Asian languages.
Language is an issue to be carefully considered in the production of future publications as one must ask, who then is the target audience? Translation is time-consuming, expensive and at times inaccurate, but important in that it immediately broadens the audience who can access this knowledge. Efforts should, therefore, be made at bringing out bi/trilingual publications. Where this is unrealistic, suggestions might also include an abstract of the publication in English and Chinese.
Another suggestion for the future generation of knowledge in Asia, might include
'research- in-residency' programmes, which could be established within existing
archives and universities. Thus, substantial bodies of material focused on important
time periods, movements, exhibitions and developments could be established.
To summarise on a few points when considering the daunting topic of Knowledge of the arts and Asia:
- Future goals for the next few years might include the establishment of a network of archives in Asia. By working closely together, via the internet, and through a common platform, a permanent infrastructure of channels for sharing knowledge and communication can be established.
- It's vital that organisations with pools of knowledge should work together towards specific targets for producing a body of publications that will enrich the current visual art scene in Asia, through critical writing and research, as well as research-in-residency programmes.
For further information, please contact:
Alison Carroll
Director, Arts Program
Email: a.carroll@asialink.unimelb.edu.au
Phone: 61-3-8344 4800
Fax: 61-3- 9347 1768