All posts tagged ศิลป

Art and activism in Asian society

Published June 14, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Art and activism in Asian society

Art June 13, 2019 01:00


The National Gallery Singapore explores the intersections between art and social activism in Asia through a new exhibition “Awakenings: Art in Society in Asia 1960s-1990s” from tomorrow (June 14) to September 15.

Featuring 142 provocative artworks by more than 100 artists from 12 countries in Asia, the exhibition is jointly coorganised by the Gallery, the Museum of Modern Art Tokyo, the Museum of Modern and Contemporary Art Korea and the Japan Foundation Asia Centre. It chronicles one of the region’s most turbulent periods through a transnational artistic lens, with a focus on the radical qualities of experimental practices in Asia.

“While Asia is known for its diverse cultures, languages and traditions, the countries also have much in common artistically. ‘Awakenings: Art in Society in Asia 1960s-1990s’ reveals unexpected connections and resonance across the region, spurred by a collective hunger for change, innovation, and the desire to achieve social communion through art. It also aims to shift the perspective that the artistic revolutions in Asia were largely influenced by movements from the West to how experimental art emerged from local social and cultural contexts,” said Dr Eugene Tan, director of National Gallery Singapore.

Four years in the making, the exhibition draws on the expertise, collections and networks of the three institutions to illustrate this multilayered history for the first time. It is structured in three sections – Questioning Structures, Artists and the City, and New Solidarities. Artists at that time found intersections between art and activism as they questioned invisible but dominant structures of power in society. They sought to express the struggles felt by the marginalised with the rise of rapid urbanisation and consumer capitalism.

Artists began to experiment with new technologies and materials to capture local stories, including using their own bodies in performance art, photography and video and incorporating everyday objects into installations. At the same time, new artistic collectives formed around the region, using art as a means of sociocultural communication, and developing localised responses to some of these shared issues.


The exhibition will feature a significant selection of works from Southeast Asia, exploring the intersections of experimental practices in the region, and their social and political contexts, with the rest of Asia and beyond. Major works include “Reptiles” (1989, remade in 2013) by Huang Yong Ping and “Eceng Gondok Berbunga Emas” (“Water Hyacinth with Golden Roses”) (1979, remade in 2017 and 2019) by Siti Adiyati. Tang Da Wu’s seminal work, “They Poach the Rhino, Chop Off His Horn and Make This Drink” (1989) will also be exhibited for the first time in this exhibition since its acquisition by the gallery.

To guide visitors, informative wall labels, audio guides, exhibition brochures and a richly illustrated catalogue will be available onsite. A detailed timeline tracing key moments in the region’s history in relation to the evolution of its various art scenes will also be available on the gallery’s website. In addition, a diverse programme of artist talks, curator-led tours, workshops, panel discussions and a symposium will enrich visitors’ experience of the exhibition and inspire insightful conversations.

Learn more at http://www.NationalGallery.sg/seedo/programmedetail/28983113/awakeningsartinsocietyinasia1960s1990s.


Tales from the Deep South

Published June 14, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Tales from the Deep South

Art June 12, 2019 01:00


The Cross-Cultural Foundation (CrCF) in collaboration with SEA Junction is holding a photo exhibition, “Grey Zones”, in the Corner Space of Bangkok Art and Culture Centre from today until June 23.

The exhibition features Yostorn Trios’ photographs showing the resilience of people in the Southern part of Thailand who go ahead with their daily lives in the midst of growing tensions.

The photos in black, white and grey show families, children in schools, people in the market or in sacred places and also aim to introduce Southern Thailand to the rest of the country and beyond.

The photographer tries to reveal Thai deep south’s socalled “grey zones”, images of normality in the shadow of conflict. These images rarely reach the media, but are important to “humanise” the news of victims and perpetrators.

Yostorn is the founder of Real-Frame and has an interest in portraying people in vulnerable situations. For more of his work, go to https://realframe.co or  Facebook.com/realframefanpage. SEA Junction aims to foster understanding and appreciation of Southeast Asia in all its sociocultural dimensions – from arts and lifestyles to economy and development.

For more information, visit http://www.SeaJunction.org.

The Cross Cultural Foundation (CrCF) was founded in 2002 to work on justice and the protection, promotion, and monitoring of human rights in Thailand. Particular emphasis is placed on marginalised people including ethnic minority groups, stateless people, migrant workers and the victims of conflict. Find out more at htttps://VoiceFromThais.wordpress.com.

Dazzling creations across time

Published June 14, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


  • The Time Memories exhibition hall features the graceful legacy of Cartier’s craftsmanship. Photo courtesy of Cartier
  • An Empress’s champagne-coloured robe with flower and phoenix motifs from the Qing Dynasty’s Qianlong reign is among the highlights of the Chinese Inspirations zone. Photo courtesy of Cartier
  • The display in the Symbols of Power exhibition hall Photo courtesy of Cartier

Dazzling creations across time

Art June 12, 2019 01:00

By Phatarawadee Phataranawik
The Nation

2,592 Viewed

Fabulous jewellery and timepieces by Cartier are paired with Chinese treasures in a new exhibition in Beijing

Some of Cartier’s most dazzling tiaras and other jewelled items made for monarchs around the globe, among them King Rama V, are on show alongside striking timepieces and Chinese treasures in a new exhibition at Beijing’s Palace Museum.

The show, “Beyond Boundaries: Cartier and The Palace Museum Craftsmanship and Restoration”, further cements the bonds between the two institutions that was forged some 30 years and is being held at the newly renovated Mandarin Gate Gallery. Cartier held its “Cartier Treasures: Jeweller to Kings, King of Jewellers” exhibition in the same venue in 2009.

This latest show curates a journey through time and space, arriving at a shared appreciation for cultural connections and treasures of the East and the West.

More than 800 pieces dating from the Ming Dynasty (1368-1644) and the French jewellery house’s archives along with items from the collections of several of the world’s leading museums are displayed in the three large halls spread over nearly 2,780 square metres.

Some of them are on loan from leading art institutions including New York’s Metropolitan Museum of Art, Australia’s National Gallery in Canberra, the Qatar Museum and the Musee International d’Horlogerie, La Chaux-de-Fonds in Switzerland, as well as from members of royal families.

“On the cultural level, I think the exhibition shows quite clearly the impact that China has had not only on Cartier, but also on the whole world,” says Pascale Lepeu, curator of the Cartier Collection, which was started in 1983 and now has about 1,600 pieces.

Inspired by the calligrapher’s brush stroke, French scenographer Nathalie Criniere uses multimedia and animation to give the historical halls a contemporary look.

Criniere is known for her exhibition “Christian Dior: Designer of Dreams” at London’s V&A Museum and she also designed the last Cartier exhibition in Australia.

“Beyond Boundaries” features three distinctive themes: Chinese Inspirations, Symbols of Power and Time Memories.

“This exhibition shows there are no boundaries in terms of geography, culture and value,” says Pierre Rainero, Cartier’s Image and Heritage director.

Visitors entering the dimly lit hall of the “Chinese Inspirations” zone are greeted by a moving image on a silkscreen before their eyes settle on Cartier’s diamond bird brooch set against the backdrop of a neatly embroidered phoenix on the empress’s champagne-coloured robe with flower and phoenix motifs that dates back to the Qing Dinasty.

China’s influence on Cartier creations comes boldly into the spotlight in this section. The motifs of dragon, phoenix and carp in lacquer, coral, and jade show how Cartier’s designers created dreamlike shapes inspired by Chinese symbols.

The carp clock from 1925 was made of a piece of carved jade depicting two fish swimming in the waves. In China, the carp is appreciated for its courage and tenacity, allowing it to swim upstream and change into a dragon.

Louis Cartier’s interest in China stemmed from his own personal passion for all things Oriental.

A knowledgeable man fascinated by far-off cultures, he put together a collection of Persian miniatures and antiquities, as well as a library of benchmark works on arts throughout the world that he made available to the Maison’s designers. An ancient screen decorated with birds can also be found amongst Louis Cartier’s Chinese collection,

The “Symbols of Power” exhibit is a sparkling feast for the eyes with plenty of tiaras, bracelets, necklaces and other items of jewellery owned by royals and celebrities from all over Europe, Asia and North America.

Highlights include some 30 tiaras Cartier created for royalty in England, Belgium, Russia and India including a 1902 garland-style scroll tiara made for Adele Capell, Countess of Essex, and the 1947 diamond bib necklace, accented with amethysts and turquoise, produced for Wallis Simpson, the Duchess of Windsor.

Among the highlights in the Symbols of Power segment of the “Beyond Boundaries” exhibition is a diamond necklace and bowknot brooches bought by King Rama V from Maison Cartier in Paris between 1906 and 1910, which are now part of Cartier collection. Photo courtesy of Cartier

Visitors can also sigh over a diamond necklace and bow-knot brooches that King Rama V brought from Maison Cartier in Paris between 1906 and 1910. The King brought them for his consort, Queen Savang Vadhana.

“Although Cartier is known for producing jewellery for kings, Chinese emperors had no Cartier jewellery. So this exhibition also dwells on the sense of ‘beyond boundary’,” says Wang Yuegong, the Palace Museum’s Palace Department director.

The exhibition displays another symbol of power, a court robe of the Qing dynasty from the Palace Museum’s collections. This robe includes a certain number of the distinctive signs found on Manchurian folk costumes and evokes the arts of cavalry and archery, which dominated during the first part of the Manchu period. There’s also an imperial seal and its richly decorated case, specifically destined for transmission and to ensure the continuity of the Emperor’s task.

The “Time Memories” section is, as the name implies, devoted to timepieces and boasts an animation of clocks moving around from the dim-lit room. The show highlights a recent collaboration: From 2014 to 2017, the museum and Cartier’s watch factory in La Chaux de Fonds, Switzerland, restored six 18th- and 19th-century watch and clock movements from the Forbidden City’s collection. 

A 1910 gravity clock from Cartier: The clocks measure time via a cylinder that rolls down an inclined base over eight days.


On display are Cartier watches, clocks and some of the museum’s masterpieces including 19th century-gravity clocks that measure time via a cylinder that rolls down an inclined base over eight days.

Among the highlights is the series of Cartier’s signature “mystery clocks” in which the hands appear to float on transparent dials without any apparent connection to the movement. Elements of Chinese inspiration were also used in the decoration of these timepieces.

The mystery clock is among Cartier’s signature timepieces. Photo courtesy of Cartier

And for those who want to learn more about the movement of time, watch experts from Cartier and the Palace Museum’s Conservation Department are on hand to demonstrate how they conserved the timepieces at the exhibition.

Also of interest is a video that explains the history and legacy of the French house and Sino-French relationship.


– “Beyond Boundaries: Cartier and the Palace Museum Craftsmanship and Restoration” runs through July 31 at the Palace Museum’s Mandarin Gate Gallery. Admission to the show is free, but visitors are required to buy tickets to enter the museum.

– Tickets are priced at 60 RMB (Bt270) with those over the age of 60 paying half. There’s free admission for children under 1.2 metres in height.

– Tickets can be booked in advance at https://Gugong.228.com.cn/

A dress rehearsal for life

Published June 11, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Courtesy of Next Company
Courtesy of Next Company

A dress rehearsal for life

Art June 10, 2019 01:00

By Pawit Mahasarinand
Special to The Nation

Despite strong performances and deft staging, a new musical looked and sounded like it had arrived a few decades too late

IN THIS DAY and age when we, willingly or not, get to read and watch many intriguing stories on our smartphones, we automatically wonder what kind of stories can be told on stage and in film. We probably also ask how such productions should be told in a way that will surprise and maybe even teach us a few life lessons to the extent that we feel it’s worth coughing up the ticket price and making the effort to get to the venue.

Courtesy of Next Company

At the end of “Workshop: A New Musical”, whose world premiere production ended its run last Sunday at Thailand Cultural Centre’s small hall, I suddenly thought of the award-winning Chinese film “An Elephant Sitting Still”. As the title promised, the realistic drama set in rural China had me glued to my seat despite its running time –six minutes short of four hours – without even a toilet break. The new play “Displaced Persons’ Welcome Dinner”, which I had watched six days earlier, also came to mind. In that, a Singaporean playwright shed light upon the lives, and troubles, of international workers, rather than the refugees we’ve become more acquainted with.

With the subtitle “a dress rehearsal for life”, “Workshop”, in English with Thai surtitles, introduced the audience to 11 characters who, one by one, were seeking help from a life coach at a personal development workshop for a particular problem. All too familiar to us, their problems ranged from a eating disorder, sexual abuse, racism, shyness and so on. A quick glance at the song list in the programme book had already revealed that each and every one of them, the coach included, would have his/her own song in which an individual woe would be heard and, of course, solved – a musical structure that’s too predictable in the 21st century. With a running time of about two hours, this meant that each case could only be touched upon and never deeply explored.

Courtesy of Next Company

The mastermind behind the musical was American pioneer in human development and motivation Cherie “Mother of Coaching” Carter-Scott, also an author of many best-selling books, some of which were available at the front of house. Carter-Scott co-wrote the book of this musical based on the vast resources gained through her experiences in more than 30 countries. She also composed its songs. And therein lay a setback.

Dramatic art is a composite and collaborative art and oftentimes the more partners-in-crime the merrier. Had a professional playwright been involved in the creation process, some problems might have been less ordinary and a few characters might have been combined into a more complex one – each of us usually has more than one problem. Had a professional composer been there, the audience might have heard less familiar tunes.

The all-Thai cast members, most of whom have some musical training, formed a strong ensemble and credit goes here to seasoned director Napisi Reyes. English-language acting coach Jeremy Stutes helped them to be as comfortable with their dialogues as their musical numbers, all of which combined to make this a life-affirming experience.

Courtesy of Next Company

Commendable characterisation work could be found in veteran actress Janya “Yah” Thanasawarngkul, whom I couldn’t recognise when her character Karen first appeared as well as in Pol “Pete” Nopvechai, whose Venda was always truthful and his acting prowess proved that he’s much more than just “The Star” second runner-up. Two voice professors Chorlada Suriyayothin and Pitchaya Kemasingki formed an endearing couple of Rose and Ernie, whose story, no matter how brief, touched many hearts. As the life coach Randi, Bussayapat Aunchittikul could carry the whole show and while her costume and make-up might have reminded some audience members of the hostess on TV show “The Weakest Link”, her inner care and optimism shone through.

Set designer Nuttakom Chamyen cleverly used thrust stage configuration, which brought the drama closer to the audience and allowed them to also see the six-piece band upstage right. And while Napisi’s staging was well in accordance with the configuration, audience members filled less than half of the seats on the main stand that Friday evening. A more communal spirit could have been created had they been asked to move to the side rows. Lighting designers Supatra Kruekrongsuk and Yuth Autayarnin made this small venue look very different than our previous times there.

Feast of aural and visual delights

Published June 11, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Feast of aural and visual delights

Art June 10, 2019 01:00

By The Nation

2,150 Viewed

There’s just three months to go until Bangkok’s International Festival of Dance & Music returns to town – here’s a sample of what to expect

BANGKOK’S International Festival of Dance & Music returns on September 11 for its 21st edition and as always will be bringing the best in opera, ballet, music and more to Bangkok audiences.

The festival opens with two classical operas – “Turandot” and “Rusalka” – by Ekaterinburg Opera Theatre from Russia. The opera theatre is Russia’s oldest and has been recognised with 15 Golden Mask Awards.


Ekaterinburg Theatre’s first offering is Giacomo Puccini’s two-act opera “Turandot” on September 11, sung in Italian. The story, which is set in China, has Prince Calaf falling in love with a cold-hearted Princess. To marry her, a suitor must solve three riddles – wrong answers result in death. Calaf passes the test, but Turandot still refuses to marry him. He offers her a way out: if she is able to learn his name before dawn the next day, then at daybreak he will die.

This remarkable version of “Turandot” features leading Italian tenor Paolo Lardinzzone playing Prince Calaf. Lardinzzone has performed in leading opera theatres including La Scala of Milan and has been recognised with several awards. Calaf demands a lot from the tenor. Not only does he sing more than anyone else but the main duet “Nessun dorma” for which this opera is known comes much later in the story. And Paolo pulls it off with aplomb. Singing Turandot is accomplished soprano: Zoya Tsererina from St Petersburg. No easy task, as Turandot too is a very demanding role.


Interestingly Puccini left this opera unfinished and it fell to Franco Alfano to complete it based on sketches Puccini left behind. It is a work full of show-stopping arias and an extremely dramatic score. And Ekateringburg Theatre turns it into the spectacle it was meant to be.

On September 13, the company stages Antonin Dvorak’s “Rusalka”, an opera in three acts, sung in Czech. Of Dvorak’s 10 operas, Rusalka has found a permanent place in the international repertoire of all major opera theatres. If the story of the Little Mermaid intrigues, “Rusalka” will positively enchant. The story is simple: an immortal water nymph falls in love with a prince and yearns to become human. Dvorak’s score keeps the human and mythical worlds apart while it explores the disturbing universe of this Slavic fairy tale.

On September 16 and 17 attention turns to ballet as satire, as espoused by the storied Les Ballets Trockadero de Monte Carlo, from New York. This company of professional male dancers performing classical ballet and modern dance has enjoyed decades of success thanks to its satirical take on the dance form.

Switzerland’s Compagnia Finzi Pasca brings to the Bangkok stage “La Verita” (September 21 and 22). Inspired by surrealism, the performance is a combination of acrobatics, theatre, dance and music with multi- talented singers/dancers/acrobats. It’s back to fairytale world with two performances by The Imperial Ice Stars from the United Kingdom. The Imperial Ice Stars have an unrivalled reputation for pushing the boundaries of ice dance with their skill and athleticism, and their creative and powerful story-telling. They are the only ice skating company to have won a theatrical award.

On September 26 and 27, they will take to their massive frozen stage at the Thailand Cultural Centre for “Swan Lake on Ice”, while on September 28 and 29 it is the turn of “Cinderella on Ice”. Tchaikovsky’s glorious music highlights the exhilarating new choreography of “Swan Lake”. This innovative portrayal of the classic love story features more a cast of than 35 including 20 World, European and National Championship skaters. These talented artistes take contemporary dance to a new level with their daring but graceful feats – some of which are so complex they haven’t yet been named.

 Li Yugang 

The festival then turns to Beijing and China’s National Treasure Li Yugang on October 5 and 6, for two shows of “Lady Zhaojun”- a contemporary interpretation of a classic story of one of China’s legendary ancient beauties. Multi-award winning singer Li Yugang is a legendary figure in China with a following in China and across Asia. For Bangkok, Li Yugang along with 70 dancers, singers and actors presents a performance that premiered in Beijing this April, and is being staged outside China for the first time.

Taking a contemporary turn, the festival heads to the Netherlands with Introdans on October 11, the country’s most active ballet company. Holland’s leading dance company, Introdans is known for its talented dancers, creative choreography and riveting performances. Introdans believes that its language of dance is universal and can bring together and move entire generations. For Bangkok the company will perform two works of choreographer Hans van Manen (“Polish Pieces” and “Black Cake”), “Ella” by choreographer Robert Battle to the music of Ella Fitzgerald and “In Memoriam” by choreographer Sidi Larbi Cherkaoui.

 La Verita

Classical music comes to the festival though Hungary’s leading symphonic orchestra, Concerto Budapest Symphony Orchestra, on October 13. Under the baton of its conductor, the world-renowned violinist and pedagogue Andras Keller, the century-old orchestra will tackle Franz Liszt’s “Les Preludes”, Tchaikovsky’s “Symphonic Fantasy – Francesca da Rimini” and Bela Bartok’s “Concerto for Orchestra”.

The scene shifts to classical ballet with three performances by Kremlin Ballet: “The Hunchback of Notre Dame” or “Esmeralda” on October 15, “A Thousand and One Nights” on October 17 and “Swan Lake” on October 19. The first is based on Victor Hugo’s romantic tale of the hunchback of Notre Dame, the second on an Arabian folktale and the third is Tchaikovsky’s most famous ballet and the ultimate symbol of the Russian ballet.

The curtain falls on this year’s event with a Tour de Force: Jose Carreras performing his Farewell Concert. With a Grammy award to his credit and several nominations, Carreras is one the famous Three Tenors. In Bangkok, he will be accompanied by world-renowned soprano Celine Byrne and conductor David Gimenez whose extraordinary understanding of the voice has seen him perform with leading singers, as also orchestras. This will be an extraordinary opportunity and early reservations are highly recommended.

Supporting the festival are Bangkok Bank PCL, B. Grimm Group, BMW Thailand, Bangkok Marriott Marquis Queen’s Park, Indorama Ventures, Ministry of Culture, Nation Group, PTT Public Company Limited, PTT Global Chemical Public Company Limited, Singha Corporation, Thai Union Group PCL, Thai Airways International and Tourism Authority of Thailand.

Coming Soon

Learn more at http://www.BangkokFestivals.com.

? All shows will be performed at the Thailand Cultural Centre Bangkok.

Tickets are available at http://www.ThaiTicketMajor.com or by calling (02) 262 3191.

Nation photo show remembers Coronation Ceremony and Celebration

Published June 8, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


  • Pasinees Limatibul and Katevalee Napasab, borad of directors of Siam Piwat Company.
  • Weerasak Pongaksorn of Krungthep Thurakit, Sermkhun Kunawong of CMO Group, Mayuree Chaipromprasit of Siam Paragon Development Company and The Nation Group’s CEO, Somchai Meesen opens the show on Wednesday. Nation/Tanachai Pramarnpanich

Nation photo show remembers Coronation Ceremony and Celebration

Art June 06, 2019 01:00

By The Nation

5,271 Viewed

As a reminder of last month’s historic moment, King Rama X’s Royal Coronation, the “Coronation Ceremony and Celebration” exhibition opened yesterday at Siam Paragon and Icon Siam in Bangkok.

The exhibition is divided into three zones. The first zone features His Majesty the King’s royal portraits. The second displays the grandeur of the Royal Ceremony and Royal Procession, while the final zone features the heartfelt atmosphere as loyal Thais welcomed their new monarch and joyously participated in the historic event.

Captured by members of The Nation Photo Centre and FotoUnited Club, the shows features 88 great shots.

Among them are Rachot Wisarankul, who once captured the most memorable “Royal Portrait in Every Thai Household” of King Rama IX, Tanachai Pramarnpanich from The Nation, Wason Wanichchakorn, the Associated Press photographer known for his unique ways of photographic story telling, and Vatcharasith Wichyanrat, one of Thailand’s top fashion photographers.

The exhibition is curated by prolific poet Chiranan Pitpreecha, who is also the founder of FotoUnited Club.

The shows were organised by Siam Piwat Co Ltd and Siam Paragon Development Co Ltd, in cooperation with Nation Multimedia Group and FotoUnited Club.

The show at Siam Paragon’s Hall of Fame runs through June 16, while that at Icon Siam will wrap on July 30.

Pakistani, Chinese artists dominate Sovereign Foundation’s annual art contest

Published June 5, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Pakistani, Chinese artists dominate Sovereign Foundation’s annual art contest

Art June 04, 2019 13:30

By The Nation

Pakistani artist Ahmed Javed has won the 15th annual Sovereign Asian Art Prize for his work “Imran Qureshi Studio”.

His award-winning gouache and gold leaf on wasli pays homage to Qureshi’s contribution to the neo-art miniature movement by documenting him in his studio. This work also particularises the discourse of a workshop – the concept of Mughal atelier where apprentices worked under masters contrasted with an independent artist’s studio, in which he is free to pursue through his own artistic agenda. In the work, Javed plays with size and perspective to denote status and importance, much like traditional Mughal miniatures.

The winner was awarded a trophy and US$30,000 (Bt945,000) at the Sovereign Art Foundation’s annual gala dinner and auction in Hong Kong. The public’s favourite artwork was recognised when Munawar Ali Syed, also of Pakistan, clinched the popular vote and an award of US$1,000 with his artwork “My 3rd Story in English”. Chinese artist Fu Xiaotong, the highest scoring female artist in the competition, was awarded the newly launched Vogue Hong Kong Women’s Art Prize and US$5,000 for her work “163,680 Pinpricks”.

To reach the final shortlist of 30 artworks, over 70 independent art professionals from across Asia Pacific nominated 400 mid-career artists, hailing from 28 countries, for the prize. A total of 19 countries were represented amongst the 30 finalists, making it the geographically diverse shortlist in the history of the prize. The entries were shortlisted by an international panel of art specialists, including writer, curator and museum director David Elliott; Jan Dalley of the Financial Times; Mami Kataoka of Mori Art Museum, Tokyo; Hong Kong architect, artist and educator William Lim; and internationally renowned artist Zhang Huan.

“Working on a large scale that quotes the neo-miniature style taught at his alma mater, the National College of Arts in Lahore, Javed comments on and transforms this traditional way of working. By concentrating on a moment of creation in Imran Qureshi’s studio where he was an assistant, not only does he stress the importance of his former teacher’s work but also reveals its powerful context. Qureshi is shown making the gestural, blood-red hand paintings that shattered the atmosphere, scale and hierarchical methods of the traditional Mughal miniature to depict horror and terror in the present. In this work, Javed records, frames, amplifies and pays homage to this moment,” commented chair judge David Elliott.

For the winner of the public vote prize, Munawar Ali Syed, his pen-and-ink drawing, one of a series, appropriates a minimal approach, using an agglomeration of straight black lines over a coloured horizontal grid, to express his psychological state.

Fu Xiaotong works both minimally and conceptually. Here, by applying pressure from behind, she has moulded a form of relief, with different depths, intensities and shapes, that rises out of the surface of a large sheet of hand-made rice paper.

Of Western symbols and Thai icons

Published June 5, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Of Western symbols and Thai icons

Art June 04, 2019 13:25

By The Nation

In the fourth edition of its rotating art showcase, boutique hotel 137 Pillars Suites & Residences Bangkok brings multi-award-winning artist Jirapat Tatsanasomboon to the Baan Borneo Club and Louie’s Tiffin Grill on level 26.

Celebrated for his colourful pop-art juxtaposition of iconography from traditional Thai narratives and Western symbolism, Jirapat continues to explore the cultural interactions between East and West, and Modern and Traditional in a new set of artworks.

Born in 1971 in the Samut Prakran province, Jirapat uses the humour of pop art to examine the positive and negative sides of cultural exchange, confrontation, and interaction. These inter-cultural experiments have resulted in an extraordinary mix of characters and situations that evoke much dialogue in his audiences. Mythical figures from the Kingdom’s epic Ramakien feature alongside Western cultural icons such as John Wayne, Barak Obama and Marilyn Monroe to explore the issues of class and abuse of power. In other works, he has re-interpreted familiar paintings by celebrated masters Andy Warhol, Van Gogh and others as a commentary on Thai society.

Jirapat completed his bachelor’s degree at Chiang Mai University with a thesis painting titled “Foreign Intervention”, which was also awarded the Grand Prize for Contemporary Art in the 3rd Panasonic Contemporary Painting Exhibition in 1997. In 1999, he acquired a master’s degree at Silapakorn University with a thesis painting titled “Green Goblin vs Maiyarap”, which was also awarded the Grand Prize in the 4th Panasonic Contemporary Painting Exhibition in 2002. Other accolades followed including awards at the Toshiba Thailand’s Contemporary Art Competitions, and 2010 Sovereign Asian Art Prize.

He has also participated in numerous prestigious art shows in Thailand and internationally, including Asia Art Now at the Korean Cultural & Arts Foundation (2003), Tradition & Modernity in Southeast Asian Art, New York (2006), Visions of East Asia 2008 for the Olympic Games in China (2008), The Indian Art Summit (2009), Art Monaco (2010), and Arteclasica 10, Argentina (2010). In addition, his paintings were on display in ArtScience Museum in Singapore as a part of the “Andy Warhol: 15 Minutes Eternal” exhibition. He was the only Thai artist featured in a recent book published by Thames & Hudson titled “100 Painters of Tomorrow”.

Find out more at (02) 079 7000.

Christo all afloat

Published June 5, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Christo, in red, oversees construction of his artwork “The Floating Piers”. (Photo/Kino Lorber)
Christo, in red, oversees construction of his artwork “The Floating Piers”. (Photo/Kino Lorber)

Christo all afloat

Art June 03, 2019 01:00

By Michael O’Sullivan
The Washington Post

A new documentary takes a frustrating peek behind the scenes at Christo’s ‘Floating Piers’

THE 2016 art installation titled “The Floating Piers”, a bright yellow walkway temporarily constructed on the surface of Italy’s Lake Iseo via a system of 226,000 buoyant, interlocking polyethylene cubes, was meant, according to the artist Christo, to create the illusion that visitors were literally walking on water. The loose, almost fabric-like structure of the piece undulated with the waves, like the back of some giant, serpentine sea creature on whose spine you were riding: a tame Loch Ness monster in marigold skin.

The artist Christo, centre, in the distance, is photographed while standing on his artwork “The Floating Piers” in a scene from the documentary “Walking on Water.” (Photo/Kino Lorber)

But as the part fascinating, part frustrating documentary “Walking on Water” makes clear, the experience was far from a purely aesthetic one. Once it opened in mid-June, after the preparatory screaming fits and arguments documented by filmmaker Andrey Paounov in the weeks leading up to the opening, there were long lines, unbearable heat, cold rain and even a lost child that organisers – and visitors – had to contend with.

At one point, Christo – who first conceived of “Piers” in 1970, with his wife and collaborator Jeanne-Claude (who died in 2009) – threatened to shut down the whole thing early because of safety concerns about the number of people flocking to it.

Christo, who at the time was reported as saying that long waits were part of the experience, also describes “Piers” as something Zenlike on camera. And while it may have ultimately been so for some visitors – once new crowd controls were put in place, and the project’s round-the clock hours were dramatically curtailed – Paounov’s film does not make it seem like very much fun.

Christo, in red, oversees construction of his artwork “The Floating Piers”. (Photo/Kino Lorber)

Rather than focus on the engineering and logistics of “Piers,” which actually sound really intriguing, the filmmaker trains his camera on general bickering and whining instead – about what kind of chain to use or about how to get Skype and other technologies to work right – to an almost unpleasant degree. Christo is a colourful character, with some very set opinions about how things should be done. But a little yelling goes a long way. And scenes of the artist’s nephew (and project manager) Vladimir Yavachev trimming Christo’s unruly eyelashes with scissors feel like filler.

Only the last 10 minutes or so of the film make “Piers” look like something anyone might regret having missed – or like a fond memory, if you’re one of the estimated 1.2 million people lucky enough to have walked on water. Otherwise, the documentary might make you believe in miracles, considering how tedious – if not impossible – this interactive artwork comes across.

The person behind the ‘tom’

Published June 2, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


The person behind the ‘tom’

Art May 31, 2019 01:00


“Tomboy Bangkok”, a new exhibition of Bangkok-based American photographer Derek Brown, will be staged on the evenings of June 21, 22, and 28 from 7pm to 10.30pm at Silom 8 Gallery at Whiteline and feature music by DJ AEFFECT, also a selfidentified tom who will be joined by her partner DJ Lemony in entertaining guests.

The portraits feature 65 subjects all captured by Brown who owns Bangkok’s Studio Soi Six. They range in age from 15 to 33 and identify as toms in their everyday looks, in contrast to the exaggerated image that is often seen in television, films and popular culture. Both the art exhibit and entertainment are free and open to the public.

“I’m drawn to subjects that do not necessarily attract the attention of the media or the attention of artists and creators,” Brown explains. “While there’s a ubiquity to tomboys in Thailand, they are also underrepresented and marginalised in the media and the images around us. Going deep into this subject meant a lot to me, as I was able to experience the diversity and individuality beyond the stereotype and share this with a broader audience.”

Brown’s focus on the uniqueness of each subject is borne out in his photos, which showcase the surprising variety of self-expression that can fall under the tom identity. While short hair – in different degrees and styles – is a common factor among the subjects, their approaches to what it means to be a tom otherwise vary widely. Some present as masculine – in their fashion, features, and hairstyles – to the extent that they could pass for young men, while others adopt a more feminine look that may make them unrecognisable as toms to the uninitiated. Large, dangling earrings are a common feature, and while many seem to eschew makeup, some embrace it – albeit applied differently from typical Thai women’s styles.

“Tom” is derived from the English word and refers specifically to homosexual females who present as masculine, tending to wear short hair, clothes designed for men, and little or no makeup. Toms often use masculine language to describe themselves, and their roles in relationships – typically with feminine lesbians called “dees,” but occasionally with other toms – are often dominant and provider-oriented, akin to traditional ideals of Thai men. However, as Tomboy Bangkok shows, these descriptive elements are by no means strict rules, and they are often broken.

The concept of the tom as a unique form of gender expression in Thailand dates to the 1970s, more recent than that of kathoey and thus less understood among older generations. To show what this means to those who identify as toms, many of the photos in “Tomboy Bangkok” are paired with statements from the subjects relating their experiences, viewpoints, and struggles – including facing judgement and misunderstanding from their families and broader society.

The subjects often express a desire to be accepted for being what feels natural to them, an openness and vulnerability that Brown sees as a path to individual understanding; his main instruction to sitters was simply “be yourself.”

“I strive for a portrait that feels to me like the subject is letting his or her mask down, that there’s a moment that’s just them,” Brown says. “With the ‘Tomboy Bangkok’ project, I enjoy the process of interacting intimately with people living a life true to who they are. If they are queer or straight, that’s not what’s driving me. I just want to experience the authenticity of the person in that moment.”

“Tomboy Bangkok” received an Honorable Mention at the 2018 International Photo Awards and a Certificate of Excellence from the Chelsea International Photography Exhibition, both in the US.

For more information visit http://www.DerekBrownPhotography.com..

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