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The expectations modern art has to fulfill are of various kind. Modern art is to be a seismograph of societal developments and thus sensitive to political and economic themes. Thus, Western (critical) contemporary art is in the dilemma to deal with and challenge capitalism in mostly bourgeois frameworks of musealized exhibitions, criticizing political leadership and social inequalities and presenting it largely to exactly the established classes. Here contemporary art’s task lies in both the individual and arts self-reflection and self-critique. Creating awareness of individual and collective historical processes and being able to sense and experience societal antagonisms can be described as conscious making by the means of critical modern art. Taking in account that to learn (socio-historically) art and thus to be able to sense dissonances is a pre-condition to understand modern art the question arises: How to deal with contemporary art from foreign cultures and unfamiliar civilizations? How to understand Asian critical contemporary art with a Western sensual kind of sensing and understanding? It is the question of universality and uniqueness of modern art and/or the integrating power of Western capitalism and consumerism within the sphere of critical art. Is it possible to sense and understand Chinese or Japanese art with a Western education and different socio-historical and political-economical understanding? How to decipher and contextualize modern art without “cultural expertise”? This contribution deals with the contradictions between the (cultural) particular and the general serving as gatekeepers for sensing societal and historical grown antagonisms and sensing of cultural and social dissonances in modern art production. Is modern art by definition Western? By experiencing Asian modern art the purpose of this research is to find the particularities and the general of (Asian) critical modern art.

Contemporary Asian art and Western societies: cultural “universalism” or “uniqueness” in Asian modern art