Arts & Culture

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A tribute to His Majesty the King

Published May 21, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369682

A tribute to His Majesty the King

Art May 20, 2019 13:35

By The Nation

Novotel Bangkok Suvarnabhumi Airport Hotel celebrates the Royal Coronation of His Majesty King Vajiralongkorn with “The Auspicious Royal Coronation Exhibition” showing in its lobby until the end of this month.

The exhibition displays the history of the coronation ceremony, royal portraits and a plaster cast of the sculpture of the King created by Natee Kevalakul for the Prajadhipok’s Institute.

In the past, Italian marble carving experts would use clay to cast the statue to fix the shape and composition before moulding the initial plaster sculpture. Marble sculptures were then created by transferring every reference point from plaster model directly to a block of marble before sculpting and creating the precise characteristics then abrading the rough surface.

Bangkok-born Natee graduated from the Faculty of Painting Sculpture and Graphic Arts, Silpakorn University. After graduation, he was a special lecturer in techniques for carving marble sculptures at the university.

In 2000, he studied sculpture at the Accademia di Belle Arti di Carrara in Carrara, Italy. During his studies, he worked as a sculptor at Studio Arte di Cave Michelangelo and Marble Studio Stagetti.

He returned to Thailand in 2008 and opened a studio in Bangkok to work on marble sculptures.

Other artists contributing to the exhibition are Surat Sodsangsuk, Dinhin Rakpong-Asoke, Pornchai Sinonpat, Suwit Jaipom, Larp Ampairat, Banjob Putipin, Chingchai Udomcharoenkij and Wattana Poolcharoen.

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Different strokes for different folk

Published May 21, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369582

A refurbished version of the original Statue of Liberty torch is on display during a tour of the new Statue of Liberty Museum in New York City. /AFP
A refurbished version of the original Statue of Liberty torch is on display during a tour of the new Statue of Liberty Museum in New York City. /AFP

Different strokes for different folk

Art May 20, 2019 01:00

By Agence France-Presse

Statue of Liberty museum set to open amid immigration debate

THE STATUE of Liberty, which has welcomed generations of immigrants to US shores, has just launched a new museum at a time when immigration is an explosive topic.

The museum, which is located near the base of “Lady Liberty” in New York harbour, opened on Thursday.

Construction of the 2,400-square-metre glass-walled structure fringed with copper began in October 2016.

From the rooftop of the new building, visitors have a sweeping view of the harbour, like “on the prow of a ship, says project designer Cameron Ringness.

A refurbished version of the original Statue of Liberty torch is on display during a tour of the new Statue of Liberty Museum in New York City. /AFP

“You get to climb up and you have these amazing views and a new perspective of the statue and the harbour,” Ringness adds.

The Statue of Liberty is one of the most visited tourist attractions in the United States, greeting some 4.5 million people a year from around the world.

Entry to the museum is included in the price of the ticket for the ferry that takes visitors to Liberty Island from Manhattan.

The centrepiece of the museum is Lady Liberty’s imposing original torch, which was replaced with a new one in 1986.

Exhibits and videos trace the history of the iconic monument designed by French sculptor Frederic-Auguste Bartholdi and given as a gift to the United States to mark the 100th anniversary of US independence in 1876.

Multimedia presentations allow visitors to explore the values associated with the statue.

“It stands for different things for different people,” says Stephen Briganti, president and chief executive of the foundation which runs the new museum and the one devoted to immigration on nearby Ellis Island.

“But it still stands for good things: democracy, freedom, liberty, inclusion,” Briganti adds. “It stands for all those things and so many more.”

The opening of the museum comes amid a crackdown on illegal immigration by President Donald Trump, who has also slashed the numbers of refugees accepted by the United States.

A full-scale copper model of the Statue of Liberty’s foot, created in 1986./AFP

“It’s a good moment for this museum to open, to talk about immigration, to talk about freedom, to talk about the respect between countries,” says Edwin Schlossberg, president and principal designer of ESA Design, which built the exhibitions.

“Sometimes one people’s liberty is another person’s problem.

“We wanted to convey this amazing concept of liberty but also convey the idea that it belongs to each of us – and that we have to understand that everyone is seeing it slightly differently.”

“The balance shifts between the voices of rationality and the voices of irrationality. We are going through an irrational period,” he adds.

The Statue of Liberty itself has become a political football in the immigration debate.

When Trump shut down the government in December and January after Democratic lawmakers refused to provide funding for his US-Mexico border wall, New York state – whose governor is a Democrat – paid federal employees to keep the statue open.

Instilling art in young minds

Published May 21, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369584

The installation “Big Hug” by husbandwife duo, Milenko and Delia Prvacki includes more than 30 interactive and educational activities./courtesy of National Gallery Singapore
The installation “Big Hug” by husbandwife duo, Milenko and Delia Prvacki includes more than 30 interactive and educational activities./courtesy of National Gallery Singapore

Instilling art in young minds

Art May 20, 2019 01:00

By The Nation

Singapore opens up a new world for kids with a biennale especially for children

NATIONAL GALLERY Singapore will kick off the second edition of its Children’s Biennale with 11 interactive and multi-dimensional artworks by 13 Singapore and Southeast Asian artists this Saturday and there’s plenty for the youngsters to enjoy.

Running until December 29 and expanding on the theme “Embracing Wonder”, this edition will go beyond imaginative play to unfold new layers of discovery. The works are designed to activate young senses and reignite their sense of curiosity, excitement and wonder.

The installation “Big Hug” by husbandwife duo, Milenko and Delia Prvacki includes more than 30 interactive and educational activities./ courtesy of National Gallery Singapore

“The Gallery strongly believes that art plays a huge role in the development of our future generations. Art is a place for children to learn about themselves, trust their ideas and explore what is possible, all of which are important in enabling youngsters to become confident, independent thinkers. We are always looking at innovative ways to engage with young learners to nurture an early interest in art by showcasing how it can be fun, inspirational and educational,” says Suenne Megan Tan, director of the gallery’s Audience Development & Engagement department.

Visitors will enter the world of possibilities with “Big Hug” by husband-wife duo, Milenko & Delia Prvacki, whose installation embodies the notion of “embrace” in all its different dimensions. Like a book of wonders, the artwork includes more than 30 interactive and educational activities in four main spaces – Discover the World, Friendship Room, Family Room and Self Room, that stimulate imagination and enable discovery of oneself and the world around us. Visitors can look up the starry night or peer through a telescope to discover the universe.

“Kenangan KunangKunang” (“Memories of Fireflies”) by Indonesian artist Eko Nugroho depicts scenes from everyday Javanese life.

For “Stardust: Soaring Through the Sky’s Embrace”, visitors cross a 16-metre bridge and peer down into what looks like an endless rock formation that glimmers and glows as they encounter a galaxy of cosmic elements. This will be the third iteration of this bridge installation by Mark Justiniani since its launch in 2017 – and he has since been invited to participate in the Venice Biennale this year.

“The Other Wall” by Burmese artists Nge Lay and Aung Ko provides a glimpse into a typical Burmese childhood.

Singaporean artists, Hazel Lim-Schlegel and Andreas Schlegel continue the sensory adventure in “The Oort Cloud and the Blue Mountain”, engaging visitors through a 3D motion-activated wall-relief artwork with LED lights, sounds, handmade objects and sensors that are inspired by landscapes and objects from the cosmos.

In “Every World”, Donna Ong leads visitors to five magical landscapes – comprising English and Tropical gardens, as well as worlds of the cactus, mushroom, underwater, and the underground. Individually put together using hundreds of paper cut-outs in five frosted domes, visitors can enter each intricate world to experience the magic.

 “Chance Operations” by Singapore artist SongMing Ang invites visitors to create unexpected sounds.

The Biennale also introduces visitors to other cultures. Indonesian artist Eko Nugroho’s “Kenangan Kunang-Kunang” (“Memories of Fireflies”) centres on six damar kurung, traditional paper lanterns that depict scenes from everyday Javanese life to illustrate important values such as respect, peace, equality, collaboration, love and care. Visitors are invited to explore the lanterns by engaging in different interactive actions that transform the room with light, shadows, colours and shapes.

In “The Other Wall”, artists Nge Lay and Aung Ko provide a rare glimpse into a typical Myanmar childhood. In Myanmar culture, gold is of huge significance and is associated with qualities such as knowledge and enlightenment. Young visitors are invited to enter two traditional Myanmar homes, painted in gold, where they are introduced to a selection of the country’s folktales presented as hand-carved woodcuts, and narrated voiceovers (in English and Burmese).

Singapore writer Lorraine Tan and illustrator, Eric Wong, will bring their book “Karung Guni Boy” to life with “The Story of Karung Guni Boy”.

Finally, the kids can see art in a different light as some of them take on a new lease of life. A new work titled “Chance Operations” by Song-Ming Ang, who is Singapore’s representative at the 2019 Venice Biennale, will inspire visitors to create unexpected sounds with a colourful formation of wind chimes and ping pong balls. Meanwhile, Singapore writer Lorraine Tan and illustrator Eric Wong will bring their book, “Karung Guni Boy” to life with “The Story of Karung Guni Boy”, where young visitors put on their “tinkering caps” to create new inventions out of recycled materials.

Staying true to its mantra of “Children first, parents second!”, the Keppel Centre for Art Education will also see three reimagined spaces to introduce children to art at an early age and spark new ways of learning. One in particular is “Dayung Sampan – be your own captain on deck” by Singaporean sculptor, Zainudin Samsuri at the Project Gallery. Inspired by Malay proverbs, visitors can come on board and interact with sculptures such as large propellers, a giant foot resembling a sampan, and a birdcage with a view of limitless imagination. This will be complemented by the revamped Children’s Museum, which hosts a Sculpture Studio and an interactive digital game where visitors can create and exhibit a “virtual” sculpture.

In conjunction with the Gallery Children’s Biennale, there will be a series of films presented in collaboration with Singapore International Children’s Film Festival, alongside other tours and artist-led workshops.

Find out more at http://www.ChildrensBiennale.com.

Thai artist dishes out communal curry at US museum

Published May 21, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369624

Thai artist Rirkrit Tiravanija speaks to members of the press at his interactive exhibit "(who's afraid of red, yellow, and green)" at the Hirshhorn Museum in Washington, DC on May 16, 2019./AFP
Thai artist Rirkrit Tiravanija speaks to members of the press at his interactive exhibit “(who’s afraid of red, yellow, and green)” at the Hirshhorn Museum in Washington, DC on May 16, 2019./AFP

Thai artist dishes out communal curry at US museum

Art May 18, 2019 15:50

By Agence France-Presse
Washington

3,576 Viewed

Rich or poor, liberal or conservative, from one corner of the globe to another, we all sit down to share a meal.

Thai artist Rirkrit Tiravanija is betting that this communal experience can break down artificial divides as he serves curry to visitors at the Hirshhorn Museum in an installation that opened Friday.

The feast is part of the art. Visitors fill their bellies with red, yellow and green curries while watching local artists cover the once white gallery walls with photorealistic drawings of protests in Thailand and the United States.

“There are people who would have never sat next to each other sitting next to each other, discovering each other or themselves in a different way,” Tiravanija told AFP.

In a 2010 presentation in Bangkok, Tiravanija did the cooking himself with open fires and boiling pots of curry alongside fresh ingredients — an impossible task in security-minded US museums.

At the Hirshhorn, area restaurant Beau Thai is catering the food.

“It’s not every day that we have heating elements — otherwise known as fire to our fire wardens — and food,” quipped museum director Melissa Chiu.

Even when the daily servings of curry are gone, the spiced fragrances linger, and the installation encourages people to meet, gather and discuss in a joyous cacophony enhanced by the steel flooring in the 150-person capacity room.

Tiravanija, who had participants make friends while washing dishes at the posh Art Basel fair in 2015, is part of a group of artists including Pierre Huyghe, Liam Gillick and Jorge Pardo concerned with “relational aesthetics,” whose works are defined by the interaction and collaboration they elicit.

“It’s experiential, it’s about art that socializes ideas and sets open discussion spaces,” said curator Mark Beasley.

‘Irony of color’

The title of the installation, “(who’s afraid of red, yellow and green),” is a wink to American artist Barnett Newman’s “Who’s Afraid of Red, Yellow and Blue?” (1966-1970) provocative series of four large-scale paintings, two of which were vandalized in museums.

Tiravanija’s use of parentheses and lowercase suggests the questions here are more of a “subtext.”

The colors in the title of Tiravanija’s piece represent the military (green) and the two main factions of anti-government protesters in Thailand at their peak in 2010: the “red shirt” rural farmers and “yellow shirt” royalists.

“For me, it’s the irony of the idea of the color,” said Tiravanija. “I wanted to show that may be this color or that color but you still eat the same curries, you still live in the same place.”

Societies have become more sophisticated and technologically advanced, but, the work recalls, a primal tendency to destroy one another remains.

“We should have a better world now,” Tiravanija said. “The terrible thing about it is that it keeps cycling back — violence or the fear of the other — and it’s being used. It’s not just inane, it’s manipulation.”

Breaking down barriers over a meal may sound utopian, but the murals serve as a reminder of societal frictions that lie just beneath the surface.

They include reproductions of photographs taken from the 2010 Thai political protests and crackdown, the US civil rights movement, the Women’s March in Washington and the 1976 Thammasat University massacre, when Thai state forces and paramilitary groups killed dozens of students.

The sketches will be drawn on top of one another in thick layers.

“It will get dense enough that it will cancel itself out. But in that sense, I would like to say, ‘don’t forget that it is still there,'” the artist said.

“With machines that remember everything for us, we are going to lose our memory much faster than we realize.”

The ephemeral experience, which the Hirshhorn has added to its collection and runs through July 24, is participatory, so museumgoers are encouraged to lend their hand to the mural.

To supplement the experience, six films by emerging Thai filmmakers curated by independent director and Palme d’Or winner Apichatpong Weerasethakul are screened in one room, with Tiravanija’s feature “Lung Neaw Visits His Neighbors” (2011) in another.

The latter film follows a retired Thai rice farmer living off the land in the bucolic surroundings of his native northern Chiang Mai province at a time when the capital Bangkok was erupting with political unrest.

It begs the question: in such paradisiacal surroundings, what else is needed?

City of colourful creations

Published May 18, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369574

A woman walks past a street mural in Valparaiso./AFP
A woman walks past a street mural in Valparaiso./AFP

City of colourful creations

Art May 18, 2019 01:00

By Agence France-Presse

Chile’s Valparaiso is an open air graffiti and mural art gallery

CREATING COLOURFUL pictures of surreal human faces, marine animals or even huge owls, hundreds of graffiti artists have turned the Chilean port of Valparaiso into a gigantic open-air art gallery.

Elias Street is typical of Valparaiso with its narrow sidewalks winding up and down Cerro Alegre hill, itself a tourist attraction.

There are many little streets like this that surround the 42 hills overlooking the Pacific Ocean that are a striking feature of the Valparaiso skyline.

Valparaiso in Chile is an openair gallery of graffiti and urban murals. /AFP

Over the last few years, the walls of houses in Elias Street have been transformed into giant canvases where graffiti artists show off their skills.

It was brought about by “young people’s need to go out and express themselves in the street,” says Sammy Espinoza, a graffiti artist and graphics designer.

Hundreds of stairways, labyrinthine streets between the hills, cobbled alleyways and seemingly abandoned plots have converted Valparaiso, which lies 120 kilometres to the northwest of the capital Santiago, into “the perfect city” for creativity, Espinoza adds.

That’s why he and his partner Cynthia Aguilera, a civil engineer, left Santiago a decade ago to move to Valparaiso and dedicate themselves to graffiti.

They go by the name “Un Kolor Distinto” (a different colour) and have created huge works of art such as “Solsticio de verano” (summer solstice), a mural spanning all 22 floors of the Centenario building, one of the tallest in the city, with a surreal yellow face mixed with green and purple fruits and vegetables.

It has now become one of the hottest spots on the tourist trail.

The couple have also painted murals on three more buildings in their distinctive colourful style that often contains written messages.

While spray cans are their primary tools, they also use paint, oil and crayons to create the vivid colours that bring life to an imaginary world.

“This mixing graffiti with mural art – making street art – has already started to evolve and arrive at what (Valparaiso) is today, an open air gallery,” Aguilera says.

Chilean artist Cynthia Aguilera poses with her son next to a mural made by her./AFP

In 2003, Unesco declared Valparaiso’s historic centre a World Heritage Site, recognising what was one of the most important South American ports in the 19th and 20th centuries, as well as an improvised architecture that had to adapt to the city’s hills.

Today, it is one of Chile’s most visited tourist sites, alongside the Atacama Desert in the north and Patagonia in the south.

There are almost 1,400 murals and graffiti artworks in the city and for the last five years they’ve found a place on the city’s tourism circuit, alongside views of the bay, colourful homes that hang from its steep hills, and its old funiculars and trams.

“There are those very beautiful wall drawings, everything mixes well, it’s very beautiful,” says 31-year-old Italian tourist Alessandro Ferssini as he takes a tour of the city’s graffiti circuit.

Every month, around a thousand tourists take that tour.

Some 300 graffiti artists, both Chileans and foreigners, have displayed their artwork on Valparaiso’s walls during the last five years, according to 34-year-old Alvaro Ramirez, a graffiti artist and businessman.

“At first, most people looked at it as a scar on the city. ‘How are you going to show the city’s stains to the tourists?’ they asked me,” Ramirez says

“But now, “the people who come to Valparaiso, come for the coloured houses, they see it as an artistic destination,” adds Ramirez, who started his graffiti in New York aged just seven, before returning to Chile at 21.

The locals have changed their minds about the graffiti artists they used to view as criminals.

Now they open their doors and allow the artists to decorate the walls of their homes.

Local authorities have also designated spaces for them, yet some artists claim they are still chased by police.

Buddha with the beats

Published May 18, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369571

The digital-art exhibition “Bodhi Theatre: Buddhist Prayer Retold” Photo courtesy of Bodhi Theatre
The digital-art exhibition “Bodhi Theatre: Buddhist Prayer Retold” Photo courtesy of Bodhi Theatre

Buddha with the beats

national May 18, 2019 01:00

By Phatarawadee Phataranawik
The Nation Weekend

Monks chant to electronic music and Bangkok’s Wat Suthi Wararam comes alive with projection mapping – it’s Visakha Bucha Day like no other

Bangkok’s Wat Suthi Wararam will on Saturday – Visakha Bucha Day – unveil a bold effort to try and entice young people back to the faith from which so many have drifted.

The digital-art exhibition “Bodhi Theatre: Buddhist Prayer Retold” combines vivid animation and Buddhist chants set to electronic dance rhythms.

Modern tech magic meets traditional piety in transforming the vihara, the temple’s main chapel, into a lively mini-theatre.

The show will be presented every weekend through June 9 at Wat Suthi on Charoen Krung Road.

“The aim is to encourage more young people to study Buddhism at the temple,” says the abbot, Phra Suthee Rattanapandit.

“We teamed up with young artists and designers who used modern technology to create this contemporary digital art in the temple. The artwork is intended to help people more easily understand Buddhist teachings.”

Supported by the National Innovation Agency, “Bodhi Theatre” was conceived and executed by a network including the Why_Not Social Enterprise, Awakening Creative, Another day Another render, Art of Hongtae, Korky and What_If.

Thawatchai Saengthamchai, managing director at Why_Not and manager of this project, acknowledges that it’s not easy changing the “young generation’s habits”.

“But we decided to find a way to modernise the temple experience to attract a changing society,” he tells The Nation Weekend. “We selected hi-tech tools to get people back to the temple.”

Abbot Suthee says the 35-minute show illustrates “Jayamangala Gatha”, the venerable chant about the triumph of the Buddha over the “eight adversaries” – ignorance, madness, rage, indulgence, accusation, deception, menace and pride.

Most Thais will hear ‘Jayamangala Gatha’ at least once in their lives, but not a lot of people know the meaning,” Thawatchai says.

The idea is to remind people about the teachings of Buddhism, revitalising their interest through visual art and technological flair. “We use projection mapping, a visual-projection technology that creates spatial augmented reality, to transform the temple’s sacred vihara into an immersive art experience,” says Thawatchai.

Projecting moving images onto the walls of the temple will not harm murals or anything else, he promises.

“We proposed the project to Wat Suthi because it has often pioneered modern ways to understanding Buddhist teachings,” he says. “In the meditation hall you can associate your praying with your brainwaves. The bell-ringer boys are allowed to run its coffee shop. We’re glad the abbot has allowed us to introduce this latest idea.”

Every temple is like a learning centre about the Buddha and his teachings and about art as seen in the murals and statues and architecture, Thawatchai said.

“Before we got started,” explains Abbot Sutee, “we discussed the pros and cons and decided that presenting digital art in the temple would be a new way to educate young people about Buddhism and it doesn’t violate any Buddhist law.”

Thawatchai’s team did workshops with the monks, recording them chanting in Pali and mixing in techno music.

There’s a trailer online for the show that resembles the latest Hollywood sci-fi movies, portraying the spiritual yet modern interpretation of traditional Buddhist narratives. Vivid neon lights and other effects depict demons and form abstract images that dance across the chapel walls.

Thawatchai says the chant used is also known as “The Stanzas of Victory” and is believed to bring the faithful happiness as well as success in future ventures.

The team has not only re-visualised and simplified a complex message, but it also created fun activities for visitors to the temple. They can paint cloth bags and send themselves best wishes on a postcard stamped with the chant’s emblem.

All proceeds from the sale of coffee go to the temple. Admission to the event itself is free, but seats can be booked in advance at http://www.BodhiTheater.com.

The show runs every 35 minutes from 2 to 6pm.

Where art comes to life

Published May 18, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369577

  • Rousseau’s paintings are projected onto 360-degree views of panels.
  • Monet’s famous water lilies are transformed into multimedia visuals synchronised with music.

Where art comes to life

Art May 18, 2019 01:00

By Khetsirin Pholdhampalit
The Nation Weekend

The best-known Impressionists are joined by the pioneer of abstract art in a new exhibition at River City

WATER LILIES burst out of their frames as ballet dancers twirl around the room. Above them, stars shine brightly from the darkened sky and geometric forms bounce around the walls, all to a soundtrack of tuneful music.

No, this isn’t a psychedelic experience but a fully immersive sequence of artworks by such renowned masters as Claude Monet, Edgar Degas, Vincent Van Gogh and Piet Mondrian projected in glorious 360-degree views on three-metre panels by about 30 HD projectors over the entire 1,200 square metres of RCB Galleria on the second floor of River City Bangkok.

Monet’s famous water lilies are transformed into multimedia visuals synchronised with music.

An extravaganza of multimedia visuals synchronised with music, “From Monet to Kandinsky” brings together 16 of the most respected artists in modernism from the late 19th to the early 20th century, with Monet, Degas, Van Gogh and Mondrian joined by Paul Gaugin, Henri Rousseau, Henri Toulouse-Lautrec, Gustav Klimt, Paul Signac, Amedeo Modigliani, Pierre-Auguste Renoir, Juan Gris, Paul Klee, Edward Munch, Kazimir Malevich and Wassily Kandinsky.

Each of these artists rejected the styles of the past, embracing instead innovation and experimentation in form, materials and techniques in order to capture the tremendous upheavals of their time.

The exhibition is developed by Artplay Media, an international company based in Moscow and Berlin with expertise in modern multimedia formats. The exhibition, which finished in June last year after a year’s run at Alte Munze in Berlin, has been redesigned to fit the space of River City Bangkok.

Renoir’s ladies come to life and move to the rhythm of the music.

“I have always been interested in bringing unique experiences to Thailand, especially multimedia presentations that are easily accessible to people of all ages. When friends told me that this exhibition was showing in Berlin, I immediately looked for the video clips on YouTube and decided to bring it here. It took a while but I finally succeeded in convincing the organisers to work with me,” says Linda Cheng, managing director of River City Bangkok.

The exhibition is presented in a loop of 65 minutes consisting of 16 short films mainly devoted to the art of each master, projected onto big screens in two multimedia rooms. The projections melt into one another, coming to life and moving to the rhythm of the music, drawing the viewer into a flood of colours and sounds.

“‘From Monet to Kandinsky’ is by Vision Multimedia Projects and I’ve always been interested in the artists of this era because they were non-conformists who were not afraid to go against society. They pursued their passion to do what they wanted to do and showed their art in their own ways thereby inspiring others to follow their dreams,” she adds.

More than 1,500 pieces, the originals of which are displayed in some 20 museums around the world, are in the show.

Van Gogh’s turbulent brushstrokes flash around the room.

“The paintings are in the public domain. We don’t use the paintings on their own but we make a new product –an artistic show. It’s not a slide show, but we blend the works together into an animated graphic with sound, with some parts disappearing and others overlapping,” says Oleg Marinin, managing partner of Vision Multimedia Projects.

His team begins by taking digital pictures of the selected paintings in HD resolution and developing a short bio of each artist. The most difficult thing, he says, is to find the right balance between still and animated pictures and the accompanying soundtrack.

“We can’t make it like a simple slide show but at the same time, we have to be careful not to include too many special effects and animation otherwise it risks becoming like a cartoon,” he continues.

As the title suggests, the loop begins with the works of Monet whose creation of luminous effects by means of separate short strokes became a classic technique in conveying the sensation of light and air.

Degas’s ballet dancers move gracefully on the gigantic screen.

His famed water lilies, a portrait of a woman with a parasol and a stunning sunrise, for example, are projected dynamically in panoramic view accompanied by Chopin’s Piano Concerto No 2 In F minor Op 21 Larghetto to complement the visual experience.

“The most important components in any visual experience are the beginning and the end. We begin with Monet because he is considered one of the founding fathers of Impressionism. The second half of the 1800s saw a revolution in art but he and Manet painted what they felt in an age when artists normally painted what they saw.

“We end with Kandinsky, who transformed those feelings into abstract art. He showed that art can live without the object. In the presentation, we try and show what happened in the years between Impressionism and Abstractionism,” he says.

The music plays a vital role in heightening emotions. The dramatic piano track “Inanna” by Armand Amar synchronises with the works of tortured artist Van Gogh. In his famous painting “Almond Blossom”, visitors will see almond flowers falling from the branches against a blue sky while the swirling patterns of a moon- and star-filled night sky from his “Starry Night” roll across the 360-degree panels.

Van Gogh’s turbulent brushstrokes flash around the room.

Renoir’s sentimental and romantic paintings are paired with “La Valse d’Amelie” by Yann Tiersen, and compositions “Winter Wind” and “Code Name Vivaldi” by the musical group the Piano Guys are used for the works of Klimt and Malewitsch respectively.

“I can’t tell you much about the music, but what I know is that some composers are inspired by these paintings. The idea is to support and give better feeling to the art,” says Marinin.

The exhibition, he continues, aims to make fine art more accessible to a larger audience who do not regularly visit museums or galleries. When this exhibition showed in Berlin, it was so successful that its initial six-month run was extended to a full year.

“It’s a complementary approach to art. It’s like you see a blockbuster adapted from a book. Reading the book, some people will spend hours imagining the characters and the settings but not everybody will come away with such a strong impression. Going to the cinema and watching the blockbuster based on the same book makes it easier for spectators of all ages to get those feelings,” he says.

Kandinsky’s abstract art absorbs the viewer in a flood of colours and sounds.

Right now, there are two big digital art museums in the world – Teamlab’s Mori Building Digital Art Museum in Tokyo and Atelier des Lumieres in Paris.

“Both venues are very popular and crowded but the presentations adopt different approaches. The Teamlab collective doesn’t present works by the world’s masters but creates their own interactive digital art experiences. The presentations at Atelier des Lumieres are similar to what we are doing here.

Mondrian’s geometric forms and grids come out of their frames.

“The success depends on many factors – culture, country and probably even the city. I can’t imagine Teamlab playing their content in Paris because a lot of tourists go to Paris to see the masterpieces of the artists. Likewise, the multimedia show of modernist and impressionist artists might not be popular as what Teamlab has created in Japan,” says Marinin.

After “From Monet to Kandinsky” ends in July, RCB Galleria will host a second multimedia exhibition “Italian Renaissance” starting in August. Also developed by Artplay Media, it will present the works of three Italian masters of the Renaissance, namely Da Vinci, Michelangelo and Raphael.

LIVING AND LISTENING

“From Monet to Kandinsky” continues until July 31 at RCB Galleria on the second floor of River City Bangkok, next to Si Phraya pier. Boat transfer is available from BTS Taksin Bridge.

It’s open daily from 10 to 10.

Tickets cost Bt350 for adults and Bt250 for students and seniors and are available at the door or at http://www.ZipEventApp.com.

Call (02) 237 0077-8 or visit http://www.RiverCityBangkok.com.

Groundbreaking and game-changing

Published May 18, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369423

“Dionysus” by Suzuki Company of Toka and Purnati Indonesia
“Dionysus” by Suzuki Company of Toka and Purnati Indonesia

Groundbreaking and game-changing

Art May 16, 2019 01:00

By Pawit Mahasarinand
SPECIAL TO THE NATION

2,259 Viewed

The Southeast Asia premiere of Thai film is among the lineup of the 2019 edition of the Singapore International Festival of Arts

A few months ago when tickets for the annual Singapore International Festival of Arts (SIFA) went on sale, a critic colleague, who covers both film and theatre for an online magazine, told me with sheer delight that he managed to book, while in a taxi, a ticket to internationally acclaimed Japanese composer Ryuichi Sakamoto’s concert “Fragments” before they sold out less than an hour later. And with a good number of flights between Bangkok and Singapore, this is another day trip for him.

Meanwhile, a group of Thai graduate students in theatre are currently on a study trip with their professor at SIFA to watch another Japanese master Tadashi Suzuki’s “Dionysus” on which he collaborates with Indonesia Purtani as well as the festival’s curtain raiser, “Beware of Pity” by Germany’s Schaubuhne Berlin and UK’s Complicite, which shows tonight at the Esplanade Theatre.

In a city that’s home to many international shows and events all year-round, an annual arts festival can still create excitement and draw attention, evidently not only locally.

 

“Beware of Pity” by Schaubuhne Berlin and Complicite opens the festival tonight.

In an exclusive interview with The Nation, Gaurav Kripalani, SIFA’s director, looks back at his first festival last year and expressed thanks to his team who helped curate it in six months. For the 2019 edition, he says, “We had a little bit more time this year, which allowed us to go broader and deeper when programming the festival.

“One big difference is that we’ve done away with segregating shows by traditional genres of music, theatre and dance – it’s hard for us to categorise the arts into traditional silos. Audiences can look forward to more cross-cultural collaborative pieces, more multi-disciplinary works featuring immersive presentation formats with the use of technology such as VR [e.g. “Frogman” by UK’s curious directive, “VR_I” by Switzerland’s Compagnie Gilles Jobin and Artanim] and animatronic marionette [e.g. “Peter and the Wolf” by New Zealand’s Silo Theatre]. We’re also looking at an entirely new lineup of artists with different perspectives – perspectives of movement [e.g. “Crowd” by France’s Gisele Vienne and “Korper” by Germany’s Sasha Waltz and Hans Peter Kuhn], classics reinvented [e.g. “Dionysus” and “A Dream Under the Southern Bough: Reverie” by Singapore’s Toy Factory].

 

“Fragments” by Ryuichi Sakamoto

 

Unlike many other festivals, or even some previous versions of SIFA or its predecessor Singapore Arts Festival (SAF), Kripalani firmly believes that there is no singular, overarching theme for SIFA. “We take pride in the diversity of our events that appeal to broader audiences. That’s the beauty of SIFA – we curate multiple journeys that allow audiences to select for themselves and explore multiple forms and multiple topics, and every single year it’s different,” he explains.

He then explains how he’s curated SIFA. “I adopt a methodology where I identify game-changing artists, who are redefining or groundbreaking in their respective art forms. I’ll talk to them, and paint them a picture of how rapidly Singapore’s arts landscape is evolving. I’ll then discuss with these artists the shows that they’ve done and how relevant they are to the current climate, not only within Singapore but worldwide.”

 

“Korper” by Sasha Waltz and Hans Peter Kuhn

Also part of SIFA 2019 are Asian Dramaturgs’ Network Conference and Asian Arts Media Roundtable. The Thai movie “Nakorn-Sawan”, is making its Southeast Asia premiere as part of “Singular Screens”, curated by Asian Film Archive (AFA) for SIFA, comprising, in Kripalani’s words, “a selection of exceptional new films that celebrate independent voices across the world as well as award-winning works that push the boundaries of traditional cinematography.”

Alongside the SEA premiere of Taiwanese director Tsai Mingliang’s “Your Face” and a FIPRESCI-winning film from Berlin International Film Festival “Die Kinder der Toten”, is young Thai filmmaker Puangsoi “Rose” Aksornsawang’s “NakornSawan”. AFA’s programmer and outreach officer Thong Kay Wee explains, “I appreciated the stylistic experiments in a docudrama hybrid and that they’re used to effect in a highly personal story. Rose deserves credit for her bravery in making bold cinematic choices and also sharing a highly personal story in her first debut feature. Both takes courage.”

 

Thai film Nakorn-Sawan

 

Specifically for Thai audiences, Kripalani notes, “There’s bound to be something in the programme for everyone, from the first time SIFA goers to the seasoned art connoisseurs. We’d also recommend our friends from Thailand to make the most out of their trip by visiting The Arts House, which will transform into the Festival House. With meaningful engagement opportunities from artists’ talks, workshops, discussions and the festival bar House Pour, the Festival House breaks down the walls between artists and audiences to create unique experiences and inspiring artistic encounters.

Special thanks to Huntington Communications’ Juliana Tan for all kind assistance.

Short trip, anyone?

– SIFA 2019 starts today and continues until June 2. There are many free programmes, some of which require advance online registration.

– For more details and ticket reservations, visit http://www.Sifa.sg.

Thai art Down Under

Published May 15, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369415

Thai art Down Under

Art May 15, 2019 01:00

By THE NATION

Thai art makes a splash in Australia next month as the contemporary art space Grau Projekt in Melbourne plays host to the “Un-Thaid” exhibition.

Running from June 13 to July 27 and curated by prominent Melbourne-based Thai artist Vipoo Srivilasa, the exhibition is a diverse showcase of performance, painting, ceramics, sculpture, video and installation by five Thai contemporary artists Phaptawan Suwannakudt, Nakarin Aaron Jaikla, Bundit Puangthong, Pimpisa Tinpalit and Somchai Charoen – all now living and working in Melbourne and Sydney.

Articulating multi-dimensional and layered histories, they are emboldened in their shared cultural experience of growing up in Thailand and then relocating to Australia while continuing to develop and refine their artistic practices.

The installation “Silence 1.2.2” by Pimpisa – a queen size bed suspended Shibari-style from the ceiling with black rope – will showcase the transformation of everyday objects into sculptural forms to give the viewer a silent space for contemplation. Her previous work “Silence #1 1.2” was on display at Lake Wendouree, Ballarat for the Biennale of Australian Art last year.

Phaptawan was trained as a mural painter while her father Paiboon Suwannakudt led a team of painters to work for Buddhist temples throughout Thailand during the 1980s-1990s. She has translated her skills into creating the “Elephant and the Bush” paintings.     Completed after her residency at the Arthur Boyd properties in the Bundanon Residency programme, she put together the Australian flora and fauna and the Thai elephant to reflect her move to the Australian society.

Painter Bundit brings together traditional and contemporary iconography creating a cacophony of colour and images. Inspired by traditional Thai painting, pop art and graffiti, he stylistically fuses delicate linework with free form painting and stencil work, creating layered dreamlike worlds full of symbolic references to both Thai and Australian culture.

 

The courage and confidence to undertake such large scale paintings is well informed by Bundit working as signwriter painting billboards as a teenager in Thailand and previously working as an art director on film sets.

Sydney based ceramicist Somchai creates vibrant sculptures out of slip cast porcelain using ceramic slip cast moulds to give the flexibility to experiment with layering and repeating forms. His “Jaegun” vertical sculpture vases playfully stack arrangements of bold geometric shapes on top of each other.

Some of the bases of vases are black, while brighter colours of orange, blue and greens are used to accentuate the multiple levels of the forms. Variations of the vases come in many colours and forms while some appear to lose their balance midway, tilting over with abandoned glee.

Performance artist Nakarin’s mesmerising video series “Void: uses the movement of the human body through dance to activate space. His work “Void 4.1” combines the belief of Japanese Buddhist philosophy and Thai folk belief in the spirit.

Find out more details at http://www.GrauProjekt.com.

The body that weaves

Published May 15, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30369358

The body that weaves

Art May 14, 2019 11:35

By The Nation

Thai performing artist Kawita Vatanajyankur is presenting her “Performing Textiles” to inaugurate the opening of the new art exhibition space and gallery Concilio Europeo dell’Arte on the occasion of the 58th Venice Biennale.

Taking place at InParadiso 3030, in the very heart of Venice’s art district just aside the magnificient Basilica dei Frari, the exhibition explores the female world and the role of women in art and society through the artist’s extreme performances and captures the physical manifestation of manual labour processes undertaken by women in Thailand.

Running until June 30, Kawita’s performance provoke questions about cultural identity, feminism, women’s work, consumerism and lived experiences – classified through a lens of hyper-coloured realism and the intensity of physical versus material composition. Her suite of videos offers a vignette into the physicality and vulnerability of the feminine body.

“Performing Textiles”, which she created while travelling around New Zealand, stems from a journey in Thailand that the artist has undertaken to explore the various textile production techniques in small villages by local women workers. Here, production was often time-consuming, but the quality of fabrics fashioned by these women was superior. Kawita’s body performances gives voice to the work of these women, questioning the way in which work is organised and, in turn, the position of women in society.

However, textiles undeniably have a place firmly embedded in history, and it is this history of textile production – recognised as women’s labour – that has ingrained itself in our culture. Basketry, loom weaving, knitting, crochet and lace-making are all feminine material skills that rendered men unnecessary. As such, Kawita’s practice focuses on valuing women’s everyday work and labour, while offering a powerful examination of social and cultural ways of viewing women’s work.

In her performances, she transforms her body into various textile process tools. Her physical form becomes the embodiment of a spinning wheel or weaving shuttle. As the works progress, her body struggles to compete as the material tool, and thus her form undergoes both psychological and physical metamorphosis, repeating infinitely the movements.

Textiles are linked symbolically to birth, fertility and reproduction. The practice of working with materials connects women’s bodies to the earth. It is a symbol of life and power.

Find out more at http://www.ConcilioEuropeoDellArte.org.

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