Reflections: Australian Artists Living in Tokyo

Copyright © 2019 Sachiko Tamai.

All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the author except in the case of brief quotations embodied in critical articles and reviews.

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ISBN: 978-1-5043-1757-3 (sc)

ISBN: 978-1-5043-1758-0 (e)

Balboa Press rev. date: 04/29/2019

Contents

Foreword

Acknowledgements

PART I.   The Dawn of Australian Art in Tokyo

◆   The Dawn of Australian Art in Tokyo

Sachiko Tamai

◆   Art Exchanges between Australia and Japan

Emiko Namikawa

◆   My Memories of art projects in Japan

Caroline Turner

◆   My Tokyo Connection

Stelarc

◆   VACB Tokyo Studio

Sachiko Tamai

◆   Zen and the Ryoanji Garden

Noelene Lucas

◆   Global Exchange

Anna Waldmann

PART II.   Reflections on Living in Tokyo by Artists-in-Residence

◆   Dr Elizabeth Coats

◆   Dr. Noelene Lucas

◆   Geoff Kleem

◆   Janet Laurence

◆   Neilton Clarke

◆   Dr Eugenie Keefer Bell, FRAIA

◆   Joan Grounds

◆   John Young

◆   Selina Ou

◆   Dr. Sean O’Connell

◆   Sophie Kaln

◆   Noël Skrzypczak

◆   Tai Snaith

◆   Viv Miller

◆   Jenny Watson

◆   Philip Brophy

◆   Arlo Mountford

◆   Nick Rennie

◆   Tarryn Gill

◆   Karl Logge

◆   Newell Harry

◆   Dr. Megan Walch

◆   Sarah Berners

◆   Akira Akira

◆   Wendy Teakel

◆   Dr Christopher Headley

Foreword

S achiko Tamai OAM has made yet another wonderful contribution to Australian art and diplomatic history by putting together a book about Australian artists who worked in Tokyo in the 1980s and 1990s. The many artists who were able to work in Japan in these decades include those who were fortunate enough to be selected to use the Australia Council’s Artist-in-Residence Studio in Tokyo which opened in 1987. Between that time and the Studio’s closure in 2016, it was occupied by a wealth of Australian painters, sculptors, photographers, 3D and multi-media artists. Some of their stories of deep personal engagement with Japan make up much of this book. It was a remarkably fertile period and the extended residencies of many established and emerging Australian artists provided enormous enrichment to them from their intense intersection with both the traditional and vibrant contemporary cultural resources of Tokyo and Japan more widely.

In Australia we give far too little respect to the voices of our creative artists and we pay far too little heed to our own cultural history. Perhaps we are still too close to our pioneer ancestry and still struggling to find a more sophisticated national identity. We are very fortunate, therefore, that Sachiko Tamai has taken on this important challenge to record the experiences of Australian artists working in Japan over the decades of this study. Our growing links with Asia, and North East Asia in particular, give these pioneering exchanges additional relevance.

Sachiko Tamai worked as the Senior Cultural Officer for the Australian Embassy in Tokyo from 1986 to 2000 and following that worked for the Australia-Japan Foundation. I am confident that she met and assisted almost every one of the Australian artists who took up residencies in Tokyo across the period of this book and is therefore the perfect person to initiate and develop the collection of these valuable studies. In my experience, her close personal networks across both the Australian and Japanese visual and performing arts scenes were unequalled, and she was always ready to put these networks to use for Australia’s advantage.

I personally recall with enormous gratitude her great work in setting up the 1986 tour of the Playbox Theatre Company’s production of King Lear to the Tokyo Globe Theatre and the Aichi Arts Centre in Nagoya. It was an extraordinary personal experience for me to be part of this tour. Playing to the very sophisticated Tokyo audience was a career highlight. It is not surprising, therefore, that the visual artists, who had extended time on their residencies to experience Japan, write with passion and persuasion about the impact of this country on their continuing work.

Like so many of us, Australia owes Sachiko Tamai a debt of gratitude and bountiful congratulations on the production of this book.

Carrillo Gantner AO

Chairman

Sidney Myer Fund

Acknowledgements

O ne day in August 2016. Emiko Namikawa and I, as manager/consultants, were in the VACB Tokyo Studio for its closing at the end of August. It looked the same as usual, but there would be no more visiting Australian artists. After Chris Headley, the last artist–in-residence, left early August, we had to clear the studio to finalise the rent. When we asked the Australia Council how to handle the Council’s property, the answer was: All should be disposed of. Nothing should be left in Tokyo, which sounded natural and correct for the office closure of a governmental institute and we did not ask any further about the intellectual tradition and heritage of over 30 years with more than 100 artists.

Looking at the inventory we reported annually to the Council, we checked and chatted and flashed back to the time of setting up the studio in 1987. We wondered if anybody cared about the story of that time and whether this history should be preserved in some way, particularly when thinking of the loss of people who could no longer share their memories, namely Akio Makigawa, Goji Hamada and John Davis.

Everything has been changing so quickly and a robot works better than me in some areas. Everything is handled and organised so quickly and smoothly by computers. Everything shall be lost or forgotten for good if it is not preserved in digital memory. There are, however, many things including individual names and the invisible connections between people and others that cannot be preserved on the internet, but are still vital in influencing human activities at different levels of society, between different ages and with different spirits. Things that happened in the past are easily forgotten despite having had a vital impact on us.

This book is a collection of written voices from the artists who had experienced staying in Japan, including those in the Australia Council’s Tokyo Studio, and whom Emiko and I could communicate with personally. I asked my friends who could tell me about that time to contribute their writings together with mine and Emiko’s memories. This collection of essays and interviews with artists illustrates a part of the Australian art scene in Japan in the 1970s, 1980s and 1990s.

I hope readers will be able to enjoy such stories which are related to the contemporary art scene in Australia. I did not note the date when the artists wrote their contributions and there may be a time lag in their accounts of what they are doing now and what their future plans are. I regret to say that I could not include any images of their works sent