JAPAN LETTER No.32 January-March, 2002

The solo exhibition “Moon People 1991-2000”

By Kato Shojiro

 FromAugust 2 to 25,2001,at the Art Gallery of Japan Cultural Center Bangkok, a solo exhibition of my work was held under the title “Moon People 1991-2000”.

Seventeen pieces of my art work were selected, from many of my created and publicized art works during the past 10 years for this exhibition, with the idea of recreating Japanese-style painting in the from of modern art work. There has never been such a grand scale exhibition of Japanese Art like this before in Thailand. It particularly attracted public attention through the reports in the newspapers, above all the English language ones including the Bangkok Post and many of the Thai dailies. A successful exhibition could be claimed when it ended.

The situations of modern art in Tokyo and in Bangkok are likewise. The main setting styles of the exhibition are based upon the stationary and movable styles, yet the themes are still ambiguous, which seems to show some structural weaknesses. However, it was fortunate that two aspects happened to properly fall into place, one is the idea of reviewing the Japan Foundation’s fine arts exhibitions’ popularity, and the over is my past experiences in the field of the experimental re-creation of modern art based upon oriental art, which was the outcome of inter-exchanges with Asia’s artists. These two aspects contributed much to this Exhibition.

It was not my desire to let art enthusiasts think that this exhibition is just an opportunity to introduce Japanese style paintings to Thai people. On the contrary, the objective of this exhibition was my further step towards the better understanding of Thai art.

During the period of exhibition, I spent 32 days in Bangkok and almost everyday I visited art exhibition here and there. Moreover , I had visited homes of Thai artists, and gave lectures on the Japanese paintings at Thai Arts Department of Silpakorn University. These were the experiences meaningful to me and gave me a lot of inspiration.

To the opening reception of the exhibition was invited Prof. Panya Wijinthanasan of Sirapakorn University as the honorable guest, who gave me invaluable explanations about Thai original art. He also kindly guided where there are ancient Thai arts’ rehabilitation works going on.

Khun Thawan Datchanee, one of Thailand’s great artists, honored the event with his presence. He refered to my works as “romantic yet energetic”, and he kindly invited me to his home. Incidentally one day before the opening of my exhibition I had a chance to visit his art gallery at UCOM Building, where I could sense the magnificence underling the liberation and gracefulness as well as powerful character of his works. The chance was considered very for me and I was so much impressed with it.

 Moreover, I also had a chance to visit Khun Wasan Sittikhet’s home, the artist whom I wanted to meet for a long time. From his appearance he seems to be an easygoing man, but I had realized his inner force that is directed towards the betterment of society. So I felt like understanding through his personality why his social-criticizing paintings have been widely supported by Thai people.

The impressive exhibition in my opinion was the History & Memory Exhibition at the Academic Exhibition Center of Chulalongkom University. It conveyed the feeling of social concern that should be assumed by contemporary art. In the case of Japanese modem art, it is established as a genre called contemporary art, without reflecting the common feelings of those who are living in the actual situation of contemporary society.

  “The Thailand’s 2544 Excellent Paintings Competition for the 2544 Excellent ASEAN Paintings Award” that was held at the National Art Gallery with the sponsor ship of Philip-Morris, is the very appropriate showcase whereby one can get to know about the contemporary Thai Art movement. However I found there the similar problem with the Japanese art scene: the artists tend to pay little attention to the strong motivation of the content in favor of the contest in favor of technique. Unless they can make a clear expression through their works in response to the question “Why must it be paintings?”, their works shall lose the power to express. Speaking of the adjacent exhibition under the theme of “Thai �W” I felt a good impression about young Thai artists who, faced with the challenge as to how to vitalize Thai traditional painting today, seem to have an intention of rebuilding the concept of painting.

  During the past decade, I have organized my solo and collective exhibitions at various locations around Asia.  I have learnt a lot of things from the artists in Korea, China and Taiwan, and I deeply realized that Japanese-style painting is not necessarily a unique style originated in Japan but constitutes a branch of the larger stream of eastern art. In the compulsory education syllabus of Japan, none of such things were taught, either theoretically or practically, on the oriental arts. Thus the majority of Japanese people tend to think that Japanese-style painting is base on a unique aesthetic and is difficult for Non-Japanese to understand, failing to appreciate the universal value of its expression generated from the long history of the eastern paintings and simply regarding it as a genre of local art.

  I am very much interested in contemporary Thai art, especially in contemporary Thai painting.

  Though both Thailand and Japan are located in the Asian region, the latter has more international background historically and geographically. And Bangkok which enjoys the status of hub city of Asia and a gateway to the western society, can be regarded as one of the centers of cultural exchange not only among Asian countries but also of the world but Thai culture keeps its own identity steadily with a deep and rich substance in this somehow chaotic situation, which touches our heart indeed. Thai Art also shares this characteristic of Thai culture.

  Thai artists seem to be engaged in a serious pursuit of contemporary expression through the succession of a spiritual backbone of traditional painting.

  Recently I received an invitation letter from Silpakorn University to spend 1 year over there as an artist in residence. I believe this is the greatest fruit that I got from this exhibition. In 2002 I am planning to stay in Bangkok on a long term basis to commit myself to draw paintings as well as to study Thai art. I shall be very happy if I can find the possibility of a new painting rooted in Asia through the comparison of differences between Japanese-style painting and Thai art.

  Finally I would like to express my heartfelt thanks to Japan Cultural Center, Bangkok, Silpakorn University and all the nice people I met during my stay in Thailand. I also would like to cordially appreciate Ms.SUZUKI Atsuko, owner of Akko Gallery, and Mr.OGUSHI Yukio, famous collector of Vietnamese modern art works, both of whom kindly introduced many artists to me.