Australian Artists At The 23rd Japan International Art Exchange Exhibition

The global landscape of art biennials and triennials has expanded significantly in recent years, nearing 300 events worldwide. Despite this, Australia's representation remains sparse. The Japan International Art Exchange Exhibition (JIAEE) in Tokyo, curated via peer-peer invitations, marks a significant opportunity for Australain artists. JIAEE is an annual, invitation only event that features 250-350 artworks from thirty countries, in 2024 it was presented at the Tokyo Metropolitan Art Museum.

This year, fourteen artists from Australia presented nineteen works, advised by Perth based artist couple Peteris and Jillian Ciemitis, representing a diverse range of artistic practices.

The participating artists from Australia include Jordan Andreotta, Jill Ansell, Michelle Campbell, Jillian Ciemitis, Peteris Ciemitis, Desiree Crossing, Amy Dynan, Helen Forbes, James Gardiner, Andrew McDonald, Jane Pestell-Litten, Ralph Stanton, Jana Vodesil-Baruffi, and Geoffrey Wake.

Artist Profile spoke to some of the participating artists after JIAEE. 

Tells us about the Japan International Art Exchange Exhibition and the openings JIAEE offers for Australian artists?

Peteris Ciemitis:

The JIAEE is annually coordinated by the organising committee headed by Katsu Shimmin, an outstanding, long established Japanese artist and gallerist. From Shimmin’s roots, the program aims to achieve cultural exchange between international artists, curators, and directors.

In terms of the Australian contingent, we likewise sought to bring exposure, connections, and opportunities to Australian artists.

We are also mindful that the project hopes to make a small contribution to ‘Brand Australia’ in Japan. Arts and culture are a crucial pathway for diplomatic and business engagement in countries such as Japan. The soft diplomacy that art offers is a key part of the process of relationship building which involves finding common ground, interest, and respect before engaging in business or other diplomatic dialogue.

Michelle Campbell:

JIAEE provided an opportunity to network with people from around the world, especially Asian regions, to promote the role of arts practice on a global stage and the potential to use these types of activities as a platform within our home states to increase funding opportunities and support for local and national visual artist exhibitions overseas.

Can you tell me more about the collaborative efforts involved in curating a broad spectrum of artistic practices from the Australian region for the Tokyo exhibition?

Jillian Ciemitis:

Peteris and I worked as facilitators or advisors rather than project directors or curators. We aimed to encourage collaboration and a strong sense of positivity and partnership within the group. The Australian artists were proactive and energic and there was an absence of big egos . . . an Australian quality which is one of our cultural strengths internationally.

We embraced a collaborative approach to final curation and hang; the power of many eyes and thoughtful, respectful cooperation.

So, many of the artists participated in the presentation and promotion of JIAEE?

Michelle Campbell:

Well, every artist bought in range of skills and experience that enabled not only a diversity of visual arts practice but individual skills that allowed our group, Australian Artists Abroad, to produce a professional ‘brand’ through which to share promotion of the exhibition such as a website presence, artist specified lanyards, pre-exhibition arts interview radio promotion, Artist Profile promotion, and post exhibition written synopsis all of which can be built on and used in the future.

What role do peer-to-peer invitations play in facilitating the participation of Australian artists in international projects, and how effective have they been in overcoming bureaucratic hurdles?

Peteris Ciemitis:

In Bangladesh at the 18^th Asian Biennale in 2018, we [Jill Ciemitis and I] spoke at length with the Biennale Director and asked why they used peer-to-peer invitations, rather than going through institutional channels. His simple response was that dealing with the bureaucracy of institutional bodies in thirty or forty countries is a nightmare. It is complex, unpredictable with language and effective communication being a major challenge. It would sometimes take months for responses through official channels, so it had become far more effective to use networks of trusted advisors to directly invite artists around the globe. ‘Once an artist is invited, they will usually do whatever is necessary to ensure they can participate.’

Thinking locally then, the peer-to-peer process relies heavily on building networks and trusted advisors . . . the six degrees of separation.

The idea of ‘six degrees of separation’ was a popular notion a few years ago. A more rigorous investigation of this notion however reveals that the idea only works when our network connections go outside our own ‘bubbles,’ and when connections are made with people well outside our usual spheres of colleagues or acquaintances. This underscores the importance for artists to transcend the boundaries of their usual ‘bubbles’ and connect with as many other practitioners as they can, both geographically, culturally and in practice approach.

Can you elaborate on the challenges Australia faces in terms of participating in international art exhibitions, particularly in comparison to other countries?

Jane Pestell-Litten:

Australia is a relatively remote country which, in my opinion, to date insufficiently prioritises the visual arts. The cost for participants to engage in and travel to an international exhibition is not usually supported by funding.

James Gardiner:

Australia’s isolation means that major curators rarely come to Australia, and hence Australian artists find it more difficult to get their work shown overseas.

The cost of shipping work overseas is also high, this creates a barrier especially for emerging artists. The cost to freight artwork can easily strip away half of the price of the work, and then you may have to ship the artwork back unsold. This presents a big risk for Australian artists, some may get lucky, it would be great to find a way around this issue.

The JIAEE found a way around this problem by allowing artwork to be sent rolled up and then stretched and framed by the institution. This really helped keep costs down for many of the exhibiting artists.

What do you see as the benefit of the Tokyo exchange exhibition?

James Gardiner:

By far the biggest benefit of this (and other exchange) exhibition(s) is showing my artwork work outside of Australia. It is often hard to show work in another city, so the opportunity to show work overseas is really valuable.

Exchange exhibitions open opportunities, to show work to a different culture, perhaps one that appreciates art in a different way. It is easy to think small, finding a larger audience for your work much harder. Showing work at a major institution such as the Tokyo Metropolitan Museum of Art is a major opportunity to broaden my career outside of Australia.

Geoffrey Wake:

The action of bringing together a group of artists in an event like this is . . . excellent for the development of community, of camaraderie, inspiration and survival of art. The development of a group dynamic is essential for feeling a sense of belonging and of contribution. The fact that an exhibiting group of Australians can represent their country and get to know each other is invaluable, not forgetting the exchange of ideas from individual artists from other countries.

Ralph Stanton:

The ‘exchange’ part of the title of the exhibition means just that. A real exchange occurs – between the artists from different countries, and particularly in terms of seeing, in real time so to speak, the art itself. An important aspect in the exercise is its non-commercial tone. We are there for the art itself. There is no ‘buy me buy me’ push.  Contacts made may lead somewhere in the future, but that’s something that may or may not develop.

Helen Forbes:

JIAEE has been the most exciting and rewarding experience due to the interchange of ideas and practice between artists of different nationalities and cultures. This is especially important for artists who spend so much of their time isolated (by choice) in their studios, making this opportunity even more important. Also, the distance between Australia and the rest of the world adds to this.

The best thing from my point of view is to be with a group of people who are so generous and of one accord: To be immersed in their art practice.

EXHIBITION
Japan International Art Exchange Exhibition
15-20 June 2024
Tokyo Metropolitan Art Museum, Tokyo, Japan