To talk about the exhibition alone is to deny the rationale of ARX, as cultural exchange is an intangible, non-product-driven concept. Nevertheless, the statements made by the 15 participants of ARX at PICA (Perth Institute of Contemporary Art) and Weld Square, remain as tangible manifestations of the collaborations and conflicts that constituted the Perth Residency. Among the questions that immediately come to mind when considering the work are: What makes this show a unique representation of cultural exchange? and, How does it set itself apart in the continuing Australian/Asian cultural dialogue?

Artists' Regional Exchange (ARX) has, over the last 11 years, had five reincarnations, with the present ARX being the most ambitious and protracted. Beginning in October/ November 1998 with a residency in Singapore, the project reached its mid-point in Perth in June/July. The project will end in Hong Kong in October. It was proposed that in each residency venue, the 15 artists - 5 each from Singapore, Australia and Hong Kong, spend a few weeks working together towards an exhibition. Thus the exhibition currently on at PICA (9 July - 1 August 1999), is only a hint of the range of collaborative efforts that had already happened between the participants.

Questions of Cultural-identity, with a leaning toward technological media are posed alongside socio/political comments specific to Perth. Superficially, harmonious alliances such as the installation, "Share" by Singaporean Khiew Huey Chian and Hong Kong artist Fiona Wong are apparently the epitome of cultural exchange - members of two of our Northern neighbours collaborating towards a common goal in Perth's neutral space. The wire bricks closing off the top third of the doorway, brings the attention to the original function of the building as a school for boys - children who were undoubtedly overwhelmed by the high ceilings and large rooms. They form a barrier to the larger, less fit members of the audience, allowing only the petite to enjoy the enclosed space with its coiled wire and paper structures. Below, in the main hall, Hong Kong artist Cedric Chan's "Regional exchange possible" - an elongated red flag spans three walls, with the fourth bearing the red markings of Singaporean Jason Lim's opening night performance, a backdrop to his suspended installation "3 sheep, 2 pigs IMC".

Destiny Deacon, in her fleeting encounter with Perth, managed to capture Rose Porteous with her poodles "Perth poodle-oodle-oodle" and "Australia's Rose", alongside pictures taken by school children at Ballidu, "Wheat", and those taken by people at the Earthwise Community Centre, Subiaco, "Street". A 'tourist's' view of the city that includes snapshots of a stuffed black swan, as the real thing was out of reach due to the number of meetings the artist had to attend. Much more telling is her collaboration with Erin Hefferon. A video-statement about the growing number of women in Perth who disappear without trace. The Weld Square installation by Jane Finlay and Joan Grounds, "How many governors does it take to fit a round orange into a green square", draws attention to yet another Perth controversy - the tunnel project. The documentation of this installation can be accessed via the ARX website at www.imago.com.au/arx.

Suzann Victor's "Safe and Sound" - radio voices heard from behind a walled-up studio, references, among other things, the censorship issue that has dogged the Singapore and Perth residencies. It is unfortunate that this issue has hung like a pall over Perth, affecting the dynamic of this project. It brings into sharp focus the whole phenomenon of cultural exchange and cultural sensitivity.

While the management of ARX may have all the good intentions in the world to foster cultural exchange, it becomes evident that theoretical models of exchange fall short of the reality in the rush to embrace Asia as our kin. Since Asia's multiple cultures have agendas that are as old and as varied as their histories, superficial similarities such as technological advancement, race and language may be insufficient to salve deep-seated differences between cultures. As Australia's model of multiculturalism is not a universal one, misunderstandings among participating countries are bound to occur.

For as long as ARX keeps reinventing itself within the same framework, the same problems will recur with each new wave of artists hungry for a place in the sun. It is perhaps time to lay ARX to rest and allow artist-driven initiatives to develop through other programmes. Although the artists of ARX5 have attempted to reclaim their voice in the structure of the project, the voice of the management, which redefined itself during the forum on 10th July was still too dominant to make this an equitable event.