This summer, Asia Society is collaborating with major cultural institutions around the Big Apple to launch the inaugural Triennial of Asia—a month-long celebration of the best of contemporary art from the region. The festival’s curators reveal what to expect
Hybrid flags representing an amalgam of countries around the globe will be popping up at cultural hotspots across New York City this summer. These nationless, borderless images are the work of Kimsooja, who was born in Korea in 1957 and now lives between New York, Paris and Seoul, one of some 40 artists featured in the inaugural Asia Society Triennial, focusing on contemporary art from and about Asia. The flags will serve as a unifying visual emblem for the freewheeling, interdisciplinary core exhibition We Do Not Dream Alone, unfolding from June 5 to August 9 at Asia Society, Lincoln Center, Times Square and Governor’s Island, with additional programming at the New-York Historical Society and the New York Botanical Garden, among other venues.
The idea of launching a triennial had been germinating at the Asia Society since Boon Hui Tan moved to New York from Singapore in December 2015 to take the helm at the Asia Society Museum. “The fact that I came from Asia [meant that] I had a very strong sense of the creative ferment that is going on,” says Tan, artistic director and co-curator of the triennial with Michelle Yun, senior curator of Asian contemporary art at the Asia Society Museum.
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Their research found that no more than 10 per cent of exhibitions in New York at any one time focused on Asian art, whether contemporary or traditional. “We really felt there was a dearth of representation and a lack of an adequate platform for such a growing demographic of artists and an area of the world that has been gaining prominence across the fields of business and politics,” says Yun.
Championing Asian Art
With the triennial, they also aim to reassert the Asia Society’s position at the forefront of championing contemporary Asian art and build on seminal shows there from the late 1990s, including Inside Out: New Chinese Art and Contemporary Art in Asia: Traditions/Tensions. “Asia Society was really the first big institution to project the idea that there was an Asian contemporary [view] that was very distinctive,” says Tan. Yun, who was born in Michigan and is of Chinese descent, says that seeing Inside Out in 1998 motivated her to shift her focus from western to Asian contemporary art. “I remind myself when things are challenging with the triennial how transformative that exhibition was for me as a young scholar,” she says.