A model of the Hoo-do Pavilion, a part of Byodo-in Temple near Tokyo.

Out of 87 participating artists from 27 countries at the seventh Asia Pacific Triennial of Contemporary Art, the old guard from Indonesia has passed the baton to a younger generation that interprets life very differently from when Iwan Sagito, Heri Dono, Dadang Christanto, FX Harsono, Nindityo Adipurnomo and others represented Indonesia’s artistic identity.

The new generation of Indonesian artists’ work shows that their experiences are different in this new millennium.

For those who look carefully, the cartoon drawings of Hahan (Uji Handoko Eko Saputro) from Yogyakarta contain serious stories within them.

He’s commenting on the complexities and pitfalls of the Indonesian art market and how some young artists are eager to be discovered by collectors, while on the other side, some collectors are eager for the work of young artists.

Tintin Wulia, who is currently based in Melbourne, has made an installation referring to her own and others’ experiences of passports, identities and crossing international borders.

Her visual metaphor is a booth like those found in shopping malls, where a big metal claw is lowered in a vain attempt to pick up a free gift after slotting your two dollars into the machine. Her booth’s claw picks up a passport.

Tromarama, a collective of three artists from Bandung, showcase two exhibits on their response to the advent of consumerism in Indonesia in the last decade. They refer to how possessions are used to express the image that one wants to project and how money is power.

Edwin Roseno, from the East Java town of Banyuwangi but who lives and works in Yogyakarta, has filled a very large wall in the gallery, with photos of common plants and flowers, displayed in discarded packaging from products purchased in supermarkets. He’s drawing attention to the disconnect between our food and how we acquire it.

Fiona Tan, who was born in the Riau capital Pekanbaru, has made a video about an island in Japan’s Inland Sea, documenting abandoned buildings and old inhabitants. All the young people have left for the cities. What will become of this left-behind place?

Wedhar Riyadi from Yogyakarta has made three large oil paintings about the antiestablishment aesthetic of Indonesian street art.

A group of 10 Asmat artists from West Papua have created their traditional bisj poles and spirit masks that show the importance of trees in the cycle of life and death.

Their work, worlds apart from the other Indonesian work, demonstrates their separateness and the huge variety of ethnicity that is present in the Indonesian archipelago.

When visiting a major contemporary art show, the response is often very personal since the work itself is very personal in nature. Below is the writer’s summary of some of the most striking works:

Hanging cylinders have been wrapped in hand-rolled cord of Coconut fibre that has been dyed. The motifs are examples of traditional Polynesian weaving patterns called lalava.
Most exquisite: A piece of work by Raqib Shaw (India/USA). Three huge paintings of mythological worlds, which must be seen to be fully appreciated. The intricate work in these sparkling illustrations uses cloisonné techniques, rhinestones and glitter.

Most peaceful: A wooden model of Byodo-in, a tenth century Buddhist temple, by Takahiro Iwasaki of Japan. It features the reflection that usually appears in the lake upon which the actual temple is built. It is breathtaking when you first come into the room and see this ethereal temple, hanging in the air.

Most fun: Richard Maloy (New Zealand) has created an enormous cave and canyon made of recycled cardboard boxes, painted daffodil yellow. He invites you in. A young woman exclaimed: “I want to live here!”

Most ethnic/authentic: The complex spiritual world and work of the people of Papua New Guinea and the Asmat people.

Most spiritual: Neha Chaksi’s work about the seasons as a metaphor for life — two wonderful paintings, and a video. One painting uses all white paint, carried out with a brush texture, representing branches, twigs and one leaf. Another is all black, with many leaves. They are like damask fabric.

Most poignant: A video work by Basir Mahmood of Pakistan showcases the trembling hand of his father, attempting to thread a needle. The theme is the quiet struggles of daily life, especially for the old.

The most relevant to Australia: Michael Cook’s series of digital photographs of Australian Aboriginal people, dressed in the costumes of the various cultures that made contact with them before the catastrophic arrival of the British.

Most mischievous: The major installation of The Kuda, a little-known, or possibly fictitious seventies punk rock group from Jakarta. Is it true or isn’t it?

The most ominous: A huge and menacing sculpture of a Hindu temple chariot, plus a long pole, which looks like a cannon, smothered in international coins and some banknotes. The work is by LN Tallur (India/South Korea). It’s all about the fear of money or the lack of it.

Most underwhelming: The work by Cevdet Erek from Turkey showcases a row of rulers on a long table purporting to be about measuring key moments in one’s life. It stretches the definition of art.

— Cynthia Webb