Showing posts with label Thai Art. Show all posts
Showing posts with label Thai Art. Show all posts

Tuesday, February 18

STPI to Take Rirkrit Tiravanija New Works to Art Basel

The Singapore Tyler Print Institute (STPI) will be returning to Art Basel, opting this time for an extensive presentation of its latest collaborative project: working with influential conceptual artist Rirkrit Tiravanija.

Friday, December 20

Pinaree Sanpitak Brings Breast Stupas Topiary to Singapore

For more than two decades, Thai artist Pinaree Sanpitak has been exploring the form she calls the “breast stupa” in various media, playfully reinventing the shape that plays on both the female body and the sacred Buddhist architectural form. The sensual shape has appeared on canvas, in food art, as well as giant installations of inviting pink breast cushions that visitors can plunge into.

Friday, September 20

UOB Tweaks Painting of the Year Competition

 The competition has two distinct segments— Emerging Artist and Established Artist — and comes with a total prize pool of US$200,000, making it one of the largest purses among art competitions in the region. While the Emerging Artist segment is open to all, the Established Artist competition is open to professional artists, with a proven track-record.

Thursday, November 1

Contemporary Thai Art Shows Traditional Roots

A comprehensive exhibition of Thai contemporary art has recently opened at the Singapore Art Museum, showcasing a multi-generational mix of artists.

Saturday, July 28

Pinaree Sanpitak @ Biennale of Sydney

Thai artist Pinaree Sanpitak is participating in the 18th Biennale of Sydney with a major installation, Anything Can Break, at the Museum of Contemporary Art Australia (MCA).

Friday, May 11

Vasan Sitthiket @ Thavibu Gallery

The enfant terrible of the Thai contemporary art scene, Vasan Sitthiket, has just opened Hypocrisy at the Thavibu Gallery, an exhibition that features a series of paintings as well as an installation of Thai amulets (palad khik), carved from wood recovered from the 2011 floods, which are in the form of phalli. In this exhibition, he explores 'hypocrisy' and its many facets, in particular with reference to the conflict in the Middle East.

Monday, May 7

Sutee Kunavichayanont @ Valentine Willie Fine Art

Purified Flag

In this new body of work, produced specially for exhibition at Valentine Willie Fine Art Singapore, Thai artist Sutee Kunavichayanont imagines a world without politics. Known for his conceptually sophisticated works about history, cultural dislocation, and nationalism, the artist here explores the meaning of state-building and real politik at national and global levels through the deconstruction and reconstruction of national symbols, toying with flags, maps, and anthems,

Sunday, May 6

Panorama @ SAM, Singapore

Sakarin Krue‐On (Thailand)
Cloud Nine, 2004
The Singapore Art Museum has been hard at work building a collection of Southeast Asian contemporary art in the last few years. Its efforts are now for all to see with Panorama: Recent Art from Southeast Asia, an exhibition of only some of the 300 works or so that the museum has acquired (some works were donated by artists) over the last 3 years. There is the very good and the not so good (and the downright awfull... so I will only concentrate on what I liked!)

Sunday, April 15

Pinaree Sanpitak @ Tyler Rollins, NY

Thai artist Pinaree Sanpitak is having her second solo exhibition with Tyler Rollins Fine Art in New York opening April 19. Entitled Hanging by a Thread, the exhibition centers on a installation of the same title that is the artist’s response to the recent flooding in Bangkok, where she lives and works.

Wednesday, January 11

Art Stage opening draws international collectors

The opening of Art Stage Singapore drew international collectors from Asia and the West, thought artists appeared to be a bit thin on the ground. Julian Isaac and Wim Delvoye walked the floor, while Manit Sriwanichpoom and Natee Utarit could be found at the booth of the galleries representing them. Bernar Venet and one of the Gao Brothers (the other one had to stay in NY) were doing the round of interviews as journalists latched onto well-known names.

First impressions: the fair is better laid out than last year; there are large installations peppered throughout (as opposed the large Ai Weiwei tucked at the back of the fair last year); galleries are adopting a less is more attitude with few works on the walls, but those tend to be on the really big side; fewer Chinese artists than usual; quite a lot of sounds installations; very little pop art (when Murakami was dominating last year)..... overall a lot of fresh new works. Early sales were reportedly slow though, but this may have a lot to do with the fact that galleries are often showing a new generation of artists...not a bad thing actually...

Thursday, December 22

Monumental Southeast Asia @ Valentine Willie Fine Art, Singapore

Navin Rawanchaikul's Long Heart

Valentine Willie Fine art gallery will open on Jan 11 an exhibition dedicated to monumental works done by Southeast Asian artists. Amongst others will be a large painting by Navin Rawanchaikul, who will have another monumental work at Art Stage Singapore. Other artists in the exhibition include Putu Sutawijaya, Utai Nopsiri and Winner Jumalon.

Utai Nopsiri'sDelicate Shell of Self

Wednesday, December 21

ArtStage Singapore hoping to make a splah with large installation works

Art Stage Singapore 2012 is hoping to make a big splash for its sophomore year with several significant and large installation works on its fairgrounds. These will include the poetic "Artificial Moon" (2007) by Wang Yuyang (China), a stunning installation made from over 4,500 energy-saving bulbs, strategically designed to mimic the moon’s craters and surface features.

Saturday, October 8

Lampu Kansanoh @ Valentine Willie Fine Art, Singapore

Rising Thai artist Lampu Kansanoh presents her first solo at VWFA Singapore Love Untitled. The young female artist has quickly risen to the fore in recent years with her strong portraiture of daily life in Thailand. Her caricature-like style is full of humor that often hides more serious concerns.

Monday, September 5

Must See - Asia: Looking South @ ARNDT Berlin

FX Harsono, Writing in the rain #2, 2011

Southeast Asian contemporary art may have been overshadowed by Chinese and Indian art in recent years, but the region's trove of good artists seems to finally get some recognition this year, with several important shows. The latest one is “ASIA: Looking South” at ARNDT Berlin, which features works by eight artists from Indonesia, the Philippines, Singapore and Thailand, opening Sep 10.

Thursday, August 18

The Asia Pacific Breweries Foundation Signature Art Prize will be awarded in November

Pham Huy Thong - Brotherhood (Vietnam)

The Asia Pacific Breweries Foundation Signature Art Prize will be awarded in November. About 130 works across 24 countries and territories have been nominating for the Grand Prize of S$ 45,000, which is being organised by the Singapore Art Museum

Monday, July 25

Pinaree Sanpitak feted in Bangkok this August

Three contemporary art venues in Bangkok will be exhibiting recent works by Pinaree Sanpitak, one of Thailand top artists, this August.

Saturday, May 21

Opening - Thai artist Jirapat Tatsanasomboon @ Art Front Gallery

One of my favorite Thai artists Jirapat Tatsanasomboon has opened an exhibition of works done between 2007-2010 at the rather new Art Front Gallery on Cairnhill Road, off Orchard. The Chiang-Mai based artist often reappropriates famous paintings (from Matisse to Munch, Mondrian and many others) adding Thai characters and symbols to give them a new meaning, often commenting on the contemporary vs old Thailand and interaction between East and West. In some paintings, a Western superhero (Hulk, Superman) breaks through a Thai traditional decorative motifs, as piercing through the fabric of sociery. In other, character from the Ramayana wonder through iconic Western paintings. His pop-style art is often witty and colorful, always bringing a smile.

Wednesday, April 27

Published - Southeast Asian Artists Look to the Present

Vasan Sitthiket
Fourteen old-fashioned children’s school desks are neatly installed in rows. The wooden desktops are carved with barely visible images of contentious events and figures in Thai history that are brought to life when visitors sit down and start rubbing the images with a crayon on paper to reveal them in full. The installation “History Class” by the Thai conceptual artist Sutee Kunavichayanont was first set up in 2000 at the foot of Bangkok’s Democracy Monument to invite people to produce their own history textbooks and reclaim their pasts. The work now takes pride of place in “Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011,” a new exhibition at the Singapore Art Museum that runs through June 26.

Agus Suwage

“It’s what I would call a quintessential Southeast Asian work because it wasn’t designed to be in an exhibition space, but instead to be seen and experienced on the street by ordinary people,” said Iola Lenzi, an art critic and guest curator, of the installation. “He combines form and concept to perfection, using the familiarity of children’s school desks and wood carving to engage the public.”

“Negotiating Home, History and Nation” is an ambitious survey of works by 54 artists from six Southeast Asian countries (Thailand, Indonesia, Vietnam, the Philippines, Singapore and Malaysia). It offers a rare chance to experience the diverse yet often related conceptual style and ideological concerns of artists in the region.

Among common themes found in the exhibition are the challenge to national power structures and their offshoots — cronyism, authoritarianism, abuse of power, racial policies biases — as well as investigation of cultural identities. “Wayang Legenda Indonesia Baru” (2000), an installation by the Indonesian artist Heri Dono, uses Wayang, or shadow puppets, in the shape of various Indonesian islands to represent the diverse nation, which faced a possible breakup after East Timor seceded in 1998. “Executive Toy” (2004), by the Malaysian artist Sharon Chin, uses 27 pendulum balls to represent each of Malaysia’s political parties, the movement of one creating a ripple effect across them all.

Sharon Chin
A glance around “Home, History and Nation” reveals a preponderance of three-dimensional art, photography and video. Mr. Kunavichayanont created his 1999 inflatable latex The White Elephant, which lies deflated on the floor, in reaction to the Asian financial crisis of 1997-1998. Viewers are invited to inflate the elephant, but the strength required to achieve a full elephant again hints at the economic difficulties ahead. The controversial Thai artist Vasan Sitthiket’s “Committing Suicide Culture: The Only Way Thai Farmers Escape Debt” (1995) is an installation of plywood figures hanging by their necks in the midst of rice husks, a visually arresting political statement on Thailand’s agricultural policy. The Indonesian artist Agus Suwage presents a cabinet filled with books in “Give Me More Questions” (1997) with a superimposed cutout of a boy crouched in fear. The cabinet is surrounded by curtains with prints of the same boy in different positions, including crouching under the burden of books that are supposed to give him knowledge.

Spirituality and the role of religion in a society faced with consumerism, shifting sexual mores and corruption is another theme among many of the works. The Thai artist Kamin Lertchaiprasert’s “Lord Buddha Said ‘if you see Dhamma, you see me”’ (2003-4) is a papier-mâché effigy of a walking Buddha made of shredded notes on Thai money sliced horizontally into three parts — each presented separately, lining up one behind another.  Read the whole story in the IHT .

Tuesday, March 22

Published - Make yourself at home with the art

The Japanese artist Tatzu Nishi invites the public to interact with public objects in novel ways. Over the years, he has constructed a temporary one-room apartment around a bronze angel weather vane atop a 14th-century cathedral in Basel, and enclosed a 4.5-meter- high statue of Queen Victoria in Liverpool to make it the centerpiece of a temporary hotel room.  For the Singapore Biennale 2011, running until May 15, Mr. Nishi has transformed the 8-meter, or 26-foot, white cement Merlion, a tourist landmark, into the centerpiece of a luxurious hotel suite. The suite, built around the usually water-spouting half-lion, half-fish beast, comes complete with a bathroom, balcony overlooking the Marina Bay and a dedicated butler from the nearby Fullerton Hotel. During the day the room is open to the biennale public, while at night, a few lucky guests can sleep under the statue’s leonine head, which bursts through the floor in a décor wallpapered with a Toile de Jouy pattern that mixes motifs of Sir Stamford Raffles (who founded Singapore), the Merlion and a Chinese temple. Mr. Nishi, who started this practice to bring his art closer to the public and is also working on a living room project in New York, said he liked to “make the public private” by creating an “inside” around a space that is perceived as “outside.” The 32 nights made available to the public for 150 Singapore dollars, or $120, a night sold out in an hour.

The third Singapore Biennale should have been staged last year but was postponed so that it would not coincide with the Youth Olympics, which were held in Singapore. The biennale, which features 63 artists from 30 countries and 161 artworks, aspires to be international, but it still has a strong Asian flavor — 57 percent of the artists are from the Asia-Pacific region. And while the previous biennale’s theme, “Wonder,” favored aesthetically pleasing and more accessible works, this year’s biennale is taking a slightly more difficult conceptual tack.

The biennale is built around the idea “Open House,” and the concept has been stretched to the fullest. “Open House is not strictly a theme, but more of an attitude and way of thinking,” said the biennale’s artistic director, Matthew Ngui, an artist who believes the biennale should be a platform for experimentation. “It is not so much about identifying works that talk about space, but rather identifying artistic processes and practices, and the way they work in specific spaces and interact with them. That is why more than half of the artworks are newly commissioned or works that are premiered here for the first time.”

One of the commissioned works is a new installation by the Thai artist Arin Rungjang, “Unequal Exchange / No Exchange Can Be Unequal.” The artist has created a large living room that will continue to change using a system of exchange in which he invited Thai workers in Singapore to “re-furnish” the space by swapping a piece of furniture from their home with one of his initial pieces from Ikea. The process is to be documented over 64 days with daily photographs added to the wall. Mr. Rungjang said he was interested in exploring social and economic mobility through this work.

In another commissioned piece, Compound, the Cambodian artist Sopheap Pich used bamboo and rattan to create a fictional city surrounded by bombs, alluding to his country’s still recent violent history. 

"Open House” is presented across five different spaces including the city-state’s first civil airport terminal. The airport was closed in the 1960s and had been used until 2009 by the People’s Association, a community group set up by the government to foster racial harmony.  One of the most visually appealing works is an installation by the Vietnamese artist Tiffany Chung, who as a small child experienced firsthand the 1978 flooding of the Mekong River. She rethinks urban planning with a utopian miniature floating city, inspired by vernacular architecture from across Asia. Her project proposes flat sustainable living using local materials, eschewing futuristic high-rise designs that are alien to local habitats. The large installation hangs from the ceiling to appear as though it were floating on water and is complemented by the artist’s jewel-decorated cartographic works of Vietnam. Read the whole story in the IHT .

Thursday, March 10

Opening - Two decades of Southeast Asian contemporary art @ SAM

Negotiating Home, History and Nation: Two decades of contemporary art in Southeast Asia 1991 – 2011 is a new major survey of important works from Southeast Asian artists, including Agus Suwage (Indonesia), Vasan Sitthiket (Thailand), Suzann Victor (Singapore), Wong Hoy Cheong (Malaysia), Alfredo and Isabel Aquilizan (The Philippines) and Tran Luong (Vietnam). The exhibition offers audiences an unparalleled opportunity to experience the diverse yet often related aesthetic, conceptual and ideological concerns of artists working in Southeast Asia, and highlights its independence from perceived Western cultural hegemony.