FUKUTAKE HOUSE

"Fukutake House," the former Fukuda Elementary School, is a venue where people communicate through culture, the common language of the world and reflect on the future through dialogues. This year there are three projects from Asia and Fukuda: "Asian Contemporary Art Exhibition," "Exhibition of the Fukutake House Partners," and "Exhibition of Regional Culture in Fukuda."


In Search of Balance

The diverse cultures and traditions of Asia have undergone dramatic changes in recent times due to the sweeping impacts of globalisation. Each country in the region seeks an adequate response to the specific challenges they face while collectively tackling common issues. Taking food culture as an example, globalization has vastly changed the landscape of food culture in Asia. While ‘fusion’ cuisines have come to typify modern dining, especially in cosmopolitan cities, local dishes that emphasize homegrown ingredients are becoming a key element in this food globalization process that brings attention back to the local. The Fukutake House Asia Art Platform provides a time and a space for artists and audiences to look at the paradox of ‘global-localization’ and consider how this process takes place across the various regions of Asia.

Artists include Rachel Cheung (Hong Kong), Naomi Eller (Australia), Carol Lee (Hong Kong), Maryanto (Indonesia), Minor Adjustment Collective – Hyemin Son and John Reardon (Korea), Arin Rungjang (Thailand), and Lee Yun-shan (Taiwan).

Language of stone, 2016

Naomi Eller’s art practice references the cyclical rhythms of life and associated themes of transformation, ritual, memory, desire, decay, sustenance and renewal. Her work captures a sense of the primordial and communicates moments of becoming and unbecoming and the complex psychological states associated with the human condition. Eller’s artwork for the Fukutake Asian Art Platform focusses on the unique natural forms of Shodoshima Island to reflect on the deep history of the region and its rapidly changing character. Large river stones from Shodoshima selected by Eller and local residents are joined with ceramic pieces Eller created in Australia. These enigmatic sculptural forms comment on cultural fusion and the effects of globalization on ancient cultures and places. Her large-scale collage reflects on the place of the individual within a community and the external and internal forces that sustain such relationships. Featuring images of stones, the work evokes a sense of scripture or language that indicates the continuing existence of these ancient objects in an ever-changing world. Titled Language of stone, Eller’s work evokes the theme of transformation and comments on globalisation as a force that blends and transforms cultures, at times creating beautiful and productive mutations and at others becoming a destructive force that eats at the heart of what makes a place unique.

Artist | Naomi Eller

Born Melbourne, Australia, in 1973 and currently lives and works in Melbourne. Eller has a Diploma of Education and Visual Arts (Painting) from The University of Melbourne (1995). Recent solo exhibitions include If not bones, then stones, The Museum of Modern Art at Heide, Melbourne (2015), Of nature, Tristian Koenig, Melbourne (2014), and To bear witness, Death be kind, Melbourne (2013). She has participated in several group exhibitions in Australia including most recently at Caves, Melbourne (2016), Caves at Switchback Gallery, Federation University, Gippsland (2016), as well as being shortlisted for the Clunes Ceramic prize (2015) and Manningham Ceramic prize (2015).

www.naomieller.com

Curator | Joanna Bosse

An experienced curator and writer and has played a key role in several of Australia’s major visual arts institutions for nearly 20 years. Bosse’s most recent position was Curator, The Ian Potter Museum of Art, the University of Melbourne (2001-15). Prior to this she was Curatorial assistant at the Queensland Art Gallery, Brisbane (1996-2001); and Assistant curator, University Art Museum, University of Queensland, Brisbane (1995). In 2010, Bosse was awarded a coveted Winston Churchill Fellowship to undertake a research project entitled ‘New curatorial practices for art museums to work with Indigenous artists and their communities’, in the United States and Canada. She holds a Bachelor of Arts (Hons.) from University of Queensland, Brisbane (1994-1998).

Pertner | Asialink

Golden Teardrop, 2016

The artist talked about this work Golden Teardrop “My documentary is a presentation of the imperfection of history from any point. It is not an attempt to connect all the information; it is awkward and has no effect apart from the ability of the interpretation and the use of cinema to project the story. It is like putting history on the table and it depends on who picks up or joins together whatever is laid out there. For me this is not dressing up the history.” Representing Thailand at the 55th Venice Biennale, Rungjang’s Golden Teardrop explored the transnational adaptation of a celebrated Thai dessert, uncovering surprising narratives and simultaneities that contradict official history.

Operator: James H.W. Thompson Foundation*
*Named for the American businessman who assembled a Thai and Southeast Asian art collection.

Artist | Arin Rungjang

Arin Rungjang (born 1975, Bangkok; lives and works in Bangkok) is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages. His interest lies in lesser-known aspects of Thai history and their intersection with the present in the sites and contexts of his practice. Objects, which can draw together distant events across time and space, are central to his investigations. He has a practice that spans different media and often involves video and site-specific installation. In his exploration of history and everyday life experiences he deftly dissects material and revisits master-narratives through the agency of the small event. Recent exhibitions include Mongkut – CAPC – Musée d’art contemporain(2015), Bordeaux, Satellite 8, Jeu de Paume, Paris (2015), Finalist Apb Foundation Signature Art Prize (2014), Golden Teardrop, representing Thailand at the 55th Venice Biennale (2013). He has participated in the 18th Biennale of Sydney (2012), the Bandung ‘City Pavilion’ at the Shanghai Biennale (2012), the Third Singapore Biennale at Old Kallang Airport (2011)

Curator | Gridthiya Gaweewong

Co-founded independent arts organization Project 304 in 1996 after she received her MAAA in Arts Administration and Policy from the School of the Art Institute of Chicago, IL, USA. She has organized exhibitions and events including Under Construction, new dimension of Asian Art, Tokyo Opera City Art Gallery and Japan Foundation Forum, Tokyo, Japan (2002). She co-curated with Ong Keng Seng (Theatre Works) the Southeast Asia show, Politics of Fun” at the Haus der Kulturen der Welt, Berlin (2005). And she worked with Rirkrit Tiravanija, as a co-curator of “Saigon Open City” in Saigon, Vietnam (2006–2007), Oberhausen, Germany (2009). In 2005, her extensive curatorial project expanded to South America, which she curated the regional show entitled, “Between Utopia and Dystopia”, at The Museo Universitario Arte Contemporáneo (Contemporary Art Univ. Museum), Mexico City, Mexico (2011). In Thailand, she curated “The Serenity of Madness”, a selected survey of Apichatpong Weerasethakul’s works, MAIIAM Contemporary Art Museum, Chiangmai (2016), commissioned by Independent Curators International, New York, which will travel internationally in the next two years. Gaweewong is currently an artistic director of the Jim Thompson Art Center in Bangkok.

Pertner | The Jim Thompson Art Center

Perceived / Unperceived, 2016

I believe that influential and potent power can be created by gathering every tiny force. This is the initiative of this series of work. On the other hand, with my familiar art medium ‘ceramics’, I try to figure out the possibilities of the material and its characteristics after manipulation and transformation and how it can express its contemporariness. With ‘food’ as the starting point of the exhibition, I think about the relationship of ‘basic needs’ and ‘food’. Since ancient times, the majority and ordinary people survive with the basic needs of life, the luxury is only confined for those minority dignitaries (rich people). Luxury does not exist for need, but for ostentation and enjoyment. It is the same in modern life. The power of mankind is endowed by the nature, while basic elements and food are good enough to nurture human life. This series of work holds ephemerality within eternity by employing the eternal nature of ceramics and the transiency of the organic elements. This aims to induce audience to ponder their attitude towards the allocation of natural resource and the consumption. Whether the universe grows healthily or consumed greedily, it all depends on how everybody utilizes their tiny but powerful energy.

リン・ルンジャン

Artist | Rachel, CHEUNG Wai-sze

Rachel Cheung Wai-sze was born and is based in Hong Kong. After graduating from the BA (Fine Art) programme jointly presented by the RMIT University, Australia and Hong Kong Art School in 2001, with a major in ceramics, she obtained a MA (Glass) from the University of Sunderland in 2004 and another MA (Fine Art) from the Middlesex University in 2009 in the UK. Rachel was a winner of the ‘Hong Kong Art Biennial Exhibition 2001’. In 2002, she won the ‘Artists in the Neighbourhood Scheme II’ award. Her artworks are collected by Hong Kong Museum of Art, Hong Kong Heritage Museum and Taiwan Yingge Ceramics Museum. She is currently a lecturer of Hong Kong Art School.

Pertner | HONG KONG ART CENTRE

Postcard Project—Woven Memories, 2016

The Postcard Project began in 2008. Up to the conclusion of its first stage in 2013, more than 300 postcards were sent out to embark on their own journeys. The journey of each postcard may be a long and winding one, starting from the collection and making of its image to its arrival at the final destination. Each of them is a letter as well as a record of the time and spaces it has travelled through. The postcards exhibited at Sodoshima for the Setouchi Triennale belong to the second stage of the Postcard Project. Entitled Woven Memories, this collection of postcard works combines the patterns of traditional Japanese kimono with soy sauce, which has been brewed at Sodoshima for 400 years. Merging the senses of sight and smell, the works invite visitors to experience the history, culture and daily life of Sodoshima and Japan. Images of the postcards were made by accumulating light and time with the technique of “time drawing”. This echoes with Sodoshima’s brewing of soy sauce, which also takes time and uses light. Visitors are welcome to select a postcard they like, write on it their thoughts and love, and send it to someone in a faraway place.

Artist | Carol Lee Mei Kuen

Carol Lee Mei-kuen received a Bachelor of Arts (Fine Art) with distinction from RMIT University (co-presented with Hong Kong Art School) in 2001, and a Master of Fine Art in 2008 with Outstanding MFA Achievement Award. She was elected a member of the Golden Key International Honour Society in 2001, and was one of founding members of the MIA (Mere Independent Artist). Her painting and installation works were selected for the Hong Kong Art Biennial Exhibition and awarded in the Philippe Charriol Foundation Art Competition. Her glass works were also selected for the Corning Museum of Glass Review in New York for three years. In 2002, Lee organised the open studio activities and talks titled “Kai Zha” in Chai Wan. In 2004, she opened “Too Art”, a private gallery in the Hong Kong Arts Centre, to promote art and collection culture in Hong Kong. She was the Vice-Convener of the Art Container Project in 2008. Lee has participated in many overseas and local exhibitions, and her works are collected by museums, art foundation and private collectors.

Curator | Connie Lam

Graduated from the University of Hong Kong with double majors in Fine Arts and Comparative Literature, Connie Lam joined the Hong Kong Arts Centre (HKAC) in 1997 and has been the Executive Director since 2009. She has been very active in promoting the development of the Hong Kong art scene by serving in a number of committees and panels including the Hong Kong Arts Administrators Association, the Jockey Club Creative Arts Centre, the Hong Kong Film Development Council, the Committee on Venue Partnership of the Leisure and Cultural Services Department, the Sub-committee on Visual Arts under the Advisory Committee on Arts Development of the Home Affairs Bureau of the Government of the Hong Kong SAR, etc. Connie has rich curatorial experience in various art forms including visual art, video and media art, as well as comic art. She co-curated two visual art exhibitions with Mr. Fumio Nanjo and Mr. Eugene Tan, featuring outstanding Asian artists. In 2006, she initiated a series of exhibitions focusing on the development of Hong Kong comic art, which later gave birth to the Comix Home Base in 2013, Hong Kong’s first art community dedicated to local comics and animation, finding its home in a group of revitalised Grade II historic buildings. Connie is also dedicated in audience-building by initiating programmes such as in the Street Music Series, Open Dance and so on; and she is the Executive Producer of both Big Blue Lake and Flowing Stories, Hong Kong Arts Centre’s first home-made full-length film and feature-length documentary released in 2011 and 2014 respectively.

Pertner | HONG KONG ART CENTRE

The Growing Manual, 2016

Collective Ferment is both object and event. A making process – fermented objects & object ferments – that lasts for the duration of the Triennale. The themes and interests of the work developed partly through conversations with newly participating Japanese collectives in the Growing Manual project and partly through how these devolve to local, context specific material conditions in an attempt to capture something of the spirit of Japanese collectivism. At the end of the Triennale the actual contents will be bottled and distributed to the local communities of Shodoshima and nearby islands as well as to museums, art institutions, curators and artist collectives in Japan and beyond. One half of this becomes alcohol to be consumed, the other half becomes three-dimensional objects to be contemplated. Collective Ferment is part of the Growing Manual project. Established in 2012, by the Minor adjustment artist collective – Hyemin Son, John Reardon and invited guests – it explores how artists are organising and improvising in response to the social, political and economic challenges they are currently faced with. It does this through sharing knowledge, materials, resources and opportunities. The Growing Manual project is part publication, exhibition, market place, temporary architecture, experiment in planting and growing, micro-economy, network of relations, and pedagogical project. Newly participating Japanese artist collectives are Art Byte Critique, Artists’ Guild, #Bction, Kiso Geijutsu, Me

Artist | Hyemin Son & John Reardon

Hyemin Son’s work, explores the interrelationship between everyday life, action and the imaginary. Son playfully constructs gatherings, performances and happenings within a specific urban situation. Often these events create tensions and ruptures between the artists’ intention and the situation as they unfold.

Pertner | Seoul Art Space Gumcheong

Intimacy_1、Intimacy_2、Food culture、Prosperity

Project Title | The ‘Deadly’ Exotic Food: e_Tempe

‘e- Tempe’ is an art project based on the family narrative of Indonesian artist, Maryanto and reflects on his personal memory of his family’s home industry making tempe. Tempe is a basic traditional food developed in Java, Indonesia made from fermented soya beans that has long been enjoyed as a staple food in Indonesia. Working in collaboration with culinary expert Rulyani Isfihana, the ‘E-Tempe’ project re-purposes the classroom at the Fukutake House into a typical, local cafetaria that introduces and serves a new global food: The Tempe Burger. ‘e-Tempe’ explores various media such as documentary video, batik, installation, performance and food in order to investigate the social, political and economic impacts currently facing open markets in an age of global food production. Maryanto is interested in these socio-political agendas and their impacts on poverty, politics and government policies on food productions. Maryanto and Rulyani Isfihana as well as the team also looked into food modifications, cooking trends and the work can be seen as a comment on popularized food industries nowadays.

Artist | Maryanto

Maryanto’s (b. 1977, Indonesia) artworks serve as a form of storytelling, often with the strong impression of theatrical stage and/or landscape setting. The story work explores and transfers knowledge through historical research, myths, and stories combined with the artist’s own artistic imagination and constructed forms. The results are dramatic and romantic, black and white installations made of paintings, etchings, huge sizes of charcoal drawings that evoke stories and environments. The subject of his ongoing project that has been commenced several years ago has to do with his curiosity on resources and its effect on a country and politics. In his daily observations of life in Indonesia, combined with his formal training in the arts at the Indonesian Institute of the Arts, Yogyakarta, Indonesia, and his subsequent residencies in the Netherlands at the Rijksakademie van Beeldende Kunsten, as well as the Escuela de Orient programme at Casa Asia Barcelona, Spain, and his gallery solo shows such as Yeo Workshop 2014, he is able to compare and explore the history of colonialism and its role in the allocation of resources. He sees “resource” as a Pandora’s box—that a country with a big amount of resources could cause tension and conflict between the systems that navigate and govern the economy and people’s daily life. Maryanto recently participated in the Yogyakarta Biennale 2015 “Hacking Conflict, Indonesia Meets Nigeria”, creating a large entrance piece, and participated in the Jakarta Biennale 2015 “Neither Forward Nor Back” as curated by Charles Esche with an installation work “Tumpah Ruah di Wonocolo”. His upcoming projects this year include the “Discoveries” section of Art Basel Hong Kong 2016, the Setouchi Triennale 2016, and solo exhibition at Yeo Workshop Gillman Barracks in November 2016.

Artist | Rulyani Isfihana

Born in Banjarmasin, South Kalimantan, Ruly is a performing artist as well as Indonesian culinary expert. Performing art and culinary have been important parts of Ruly’s life since she was young. While studying in high school for culinary program in Samarinda, Borneo, she attended Kalimantan traditional dance and modern dance courses. After graduating from high school, she went to Yogyakarta in 1977 to further develop her profession as a dancer in a modern dance school founded by prominent choreographer of Indonesian modern dance, Bagong Kussudiarja. She began to experience and experiment with modern dance form as well as technique of theatre acting. She became one of Bagong’s avid students. After studying for some intensive years, she started to teach in that school, too. Her growing passion for performing art encouraged her to widen a stage horizon. In 1985 she joined Gandrik Theatre and has been actively performing as a main actor. Considering her stage performances, several Indonesian movie directors had invited her to work as an actor in their productions such as “Anak Borobudur”and “Soekarno”. While enjoying her performing tour around Indonesia, she enhances her experience and knowledge of Indonesian culinary and food culture, experiments with her favourite collection of tastes and recipes in her own kitchen. Ruly considers that cooking is an extension of her creative drive. She often develops her own taste fantasy through subtituting viands and ingredients. She discovers her own version of delicates of Indonesian homemade menus. In 1996, she ran a small restaurant in the middle of ‘up and down’ situation of culinary business in Yogyakarta. In the beginning, both restaurants—Soto Mitos’ (1996-1997) served her experimentation of Javanese soup; and SOBO (2004-2006) brought a concept of Indonesian organic food—were not successful. Then, in 2011, together with her husband and children, she came back in culinary business with an idea of traditional-kitchen-menus-restaurant called ‘Warung Bu Ageng”. “Warung Bu Ageng” has been growing as one of well-known local culinary destinations in Yogyakarta.

Curator | Nindityo Adipurnomo

Born in Semarang, Central Java, Indonesia. Finished his visual art education at STSRI ”ASRI” Yogyakarta in 1988. He went to Amsterdam, the Netherlands, in 1987 for a year residency at The State Academy of Amsterdam. Since then, he has been joining many international/local residency programs as well as workshop for artists and art activists up to now. His works have been presented in the collection of art institutions, such as museums, national galleries, and any other art spaces. They have also been exhibited in important exhibitions such as “The Jakarta Art Council Biennale IX” (1993), “The 2nd Asia Pacific Triennial of Contemporary Art” in Brisbane (1996), “Contemporary Art in Asia: Traditions/Tensions” in New York (1996), “The Havana Biennial” in Havana – Cuba in 1997, “The Second Fukuoka Triennale” in Fukuoka  Japan (2002), “Gwangju Biennale” in Gwangju  South Korea (2002), “Circle Point Open Biennale” in Jakarta (2003), “Busan Biennale” in Busan  South Korea (2004), “Taboo and Transgression in Contemporary Indonesian Art” in Herbert F. Johnson Museum Cornell University  Ithaca  New York (2005), the Museum of Contemporary Photography in Milano Italia (2006), the National Gallery Singapore, and recent Jakarta Biennale (2013). Nindityo has worked collaboratively with Garin Nugroho for Opera Java (movie by Garin Nugroho) in 2005; and also with an Indonesian prominent choreographer, Retno Maruti, for Roro Mendut. He participated in The International Sculpture Exhibition for project ‘Grandeur’ in Sonsbeek Park, Arnhem, Netherlands in collaboration with Mella Jaarsma. Starting in 2010, both Nindityo and Mella have been conducting an artistic research on the idea of cultural hibridity such as ‘peranakan’ in Lasem, Rembang, and Semarang for many reasons in developing the strategy of medium. “Toekar Tambah” was one of the projects out of this ongoing artistic research; presented in Semarang Gallery in 2011. Later, he engaged in “Pseudopartisipative Art Project” with Cemeti Art House in 2013. The recent interdisciplinary collaboration between art activism and religion activism was “Religion Got Talent” (2015) with Linda Mayasari and Doni Maulistyo. Together with his partner, Mella Jaarsma, he founded The Cemeti Gallery in 1988 in Yogyakarta (since 1999 changed into Cemeti Art House), curating monthly exhibitions and art projects of Indonesian as well as international artists in galleries. In 1995, he set up The Cemeti Art Foundation which is now IVAA (Indonesian Visual Art Archive) and is recently functioning as an advisor of the foundation’s Advisory Boards. In 2005, he received A Long Life Achievement Award: John D. Rockefeller’s 3rd Award of the Asian Cultural Council in New York together with Mella Jaarsma. With more artists and art activists as well as architects, Nindityo Adipurnomo is an active think-tank member of the boards of Yogyakarta Biennale Foundation which initiated Biennale Equator in 2011, 2013, 2015.

Pertner | cemeti art house

Memory Scape – Fukuda Rondo, 2016

As we advance in technology, many things have become obsolete during the process; the way we process and store memories have changed too! We create and receive more information than we can process, so more technologies are created to help us remember, whilst a lot of technologies become obsolete quicker than we could remember! As the size of these memory containers become smaller, will we feel safe and content to just keep our memories, or will we continue to search through the scattered memories in our limited life time. Has the way we keep our memories changed the way we remember things? In this forgotten courtyard, the everlasting Fukuda rocks, and recycled CD-Rom that once was a technology breakthrough joins together to create a Rondo that gives us a new view of time. Time passes by and can’t be relived, but the one minute one spends here, is a minute recorded in this courtyard.

Artist | Lee Yun-shan

Lee Yunshan believes that arts provide a way to see and make sense of our world. At first, she was drawn by the placement and expressions of point, line and plane, ever since she’s been committed to promoting arts through exploring the charm of local culture, by applying through different media, and to create art installations that reflect and brings comfort to its audiences. Lee, an independent artist, received M.F.A. from the Graduate Institute of Applied Arts, Tainan National University of Arts, Taiwan.

Curator | Chiu Ruhwa

A pioneer in heritage conservation, Chiu Ruhwa is deeply involved in community empowerment programs in Taiwan and many Asian communities. As an NGO/NPO, she’s dedicated to promote the importance of historical resources management and heritage conservation since 1986. She challenges policy and regulations by bringing in new visions and concepts from the international community; and she conducts training courses, workshops, seminars to train conservationists focusing on local knowledge, craftsmanship, and international exchange. Chiu believes that the new trend is to do conservation and community work through arts; artworks inspire people and brings a new perspective as well as minimizes differences. It’s become a common practice in Taiwan to involve public participation with public art, which creates a platform for general public to understand some of government’s harsh policies.

Pertner | INSTISUTE FOR HISTORICAL RESOURCES MANAGEMENT