At first I was interested in how the goal of this project “to share awareness regarding the problems of society and art in East Asia” could trigger new perspectives through the participants confronting the concrete situations of their own countries. But, on the other hand, I was also a little concerned about how the history and political situation of East Asia, whose countries are interconnected through mutually complex relationships, would affect the platform of our dialogue. Once the system of “state” gets involved with this project’s aim of building up a platform, the participants must be aware of the relation to their nationality and state. In this situation, their subjective views are identified with those of the respective states and the dialogue between individuals quickly turns into a dialogue about the interests of states and an endless argument on “justice”. However, I think that the participants were – as these conflicts are comparatively intense right now – carefully exploring how they can act as one person engage with the cultural sector without being absorbed by the dynamics of politics.
Born in Hyogo prefecture in 1977. She received a MA in Art History and Theory (20th century) from Goldsmiths College, University of London in 2000 and completed the Critical Studies (Post MA) at the Malmo Art Academy, Sweden in 2006. As independent curator, Che has organized various exhibitions, discursive events and publication projects. Her major curatorial projects include: Omnilogue: Journey to the West (co-curated) at Lalit Kala Akademi, New Delhi, 2012; Fog Dossier at Artsonje Center, Seoul, 2010; The Demon of Comparisons (co-curated) at Stedelijk Museum Bureau Amsterdam, 2009; OK Video Festival (co-curated) at Galeri Nasional Indonesia, Jakarta, 2005.