Abstract
In 1973, International Association of Art (IAA) held a congress in Bulgaria and resolved to
emphasize “cultural identity” in each country and region. This notion of “identity” became a key
concept for “Asian Art Show” that was held by the Fukuoka Art Museum (FAM) in commemoration
of the establishment of the museum in 1979. Since then, the FAM organized “Asian Art Show” almost
every 5 years until the fourth show in 1994. These were pioneering exhibitions to introduce Asian
contemporary art in Japan.
After the 2nd World War, most of countries in Asia emerged from colonial rule and achieved
nationhood. In the process of building each nation, the formation of “identity” became an important
issue even in visual art field.
Indicating the notion of “identity” with different words, the 1st to the 3rd “Asian Art Show”
explored commonality rather than difference in Asian Art. On the other hand, however, the 4th show
focused on individual artworks and criticized the previous attitude in the past shows.
This essay examines the reception and transition of the notion of “identity” in Asian
contemporary art, by taking “Asian Art Show” as the early example to deal with the notion in the
exhibitions. This essay also analyzes the way of understanding the notion in each “Asian Art Show”. By
examining it, the essay emphasizes the necessity to produce discourse for Asian contemporary art as
well as to reconsider the attitude of Japan toward Asia.
