arts

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Snoopy gets to hang out

Published June 23, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371537

  • Artist Tomokazu Matsuyama with his work

Snoopy gets to hang out

Art June 22, 2019 01:00

By Pattarawadee Saengmanee
The Nation Weekend

The much-loved characters from the Peanuts comic strip come to Bangkok in different art forms

CHARLES M Schulz’s much-loved characters Snoopy, Charlie Brown, Lucy and other friends are enjoying life in Bangkok this weekend as part of the Peanuts Global Artist Collective exhibition showing at Siam Paragon, Siam Center and Siam Discovery until Tuesday.

The Fashion Gallery of Siam Paragon is almost unrecognisable having morphed into Snoopy’s Red Dog House. Inside, fans can experience a new adventure with their favourite characters through a wide range of striking artworks and interactive games. Among the fun activities are the Balloon Catcher game, a photo booth, tattoo corner, painting workshop and the Peanuts Global Artist Collective pop-up store, boasting exclusive designed tote bags, stationery and lifestyle products.

Launched last year, this collective project features seven internationally-acclaimed contemporary artists, namely Tomokazu Matsuyama, Rob Pruitt, Nina Chanel Abney, Kenny Scharf, Friendwithyou, Andre’ Saraiva x Mr A and AVASeven. After travelling to London, Berlin, Paris, Mexico, Tokyo, San Paolo and around the US, this is its first showcase in Southeast Asia and after its Bangkok stop will continue to Seoul.

“The Peanuts or Snoopy family is well known all over the world. It’s a good chance for us to bring our work to the public. All the artists have their own stories attached to Peanuts and we are delighted to be able to share them,” artist Matsuyama says.

“I have created 10 to 13 artworks for this project and drew from what I saw at the Peanuts museum in Santa Roca, America. The staff there was great: anything we wanted, they would give us. It’s home to the entire history of the original comic strips. We want everybody to enjoy the different eras.”

His works can be seen in the walkway that connects Siam Center with Siam Discovery and include an adorable Snoopy suspended from the ceiling, while the floor and walls are painted all the colours of the rainbow. He also introduces a painting that depicts Peanuts drawing Woodstock in abstract Japanese style.

“I’ve worked with many brands and companies in creating several products. But the challenge is to keep the uniqueness of each character and original drawings while putting my own style into the work,” he says,

Matsuyama was a former professional snowboarder who turned to art when he was injured at the age of 22. No longer able to take part in sports, he headed to New York in 2000 and made a name for himself as an artist.

“I started from street art. The graffiti artists mostly come up with their own names on the streets but my name is Japanese, which made it hard for people to understand. I created my visual vocabulary instead.

“Today, my works are displayed in many countries. My masterpiece is a seven-metre-tall steel sculpture created in Hong Kong that’s now on show in Melbourne, Australia.”

Until June 30, Siam Center is hosting a playground on its ground floor. Featuring Peanuts and his friends in different actions created by AVAF, the Flasma Interactive Floor Piano allows you to rearrange your own music, with your favourite characters popping out when you step along with the tunes.

Alongside, the thrilling Skateboard interactive game invites you to explore outer space with the Peanuts characters adapted from Kenny Scharf’s artworks. Rob Pruitt has built the Bamboo Forest, where Snoopy lives happily with pandas, while the life-like figures of Peanuts and Woodstock created by FriendWithYou and Nina Chanel Abney stand at the entrance to welcome customers.

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Tradition juxtaposed with the contemporary

Published June 23, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371448

Tradition juxtaposed with the contemporary

Art June 21, 2019 01:00

By THE NATION

2,490 Viewed

An haute couture collection by leading Chinese designer Guo Pei who shook the world with her lavish 25-kilogram canary yellow cape worn by Rihanna to New York’s Met Gala in 2015 has gone on display in the exhibition “Guo Pei: Chinese Art and Couture” at the Asian Civilisations Museum of Singapore.

The exhibition, which continues through September 15, opens the museum’s Season of Chinese Art, which will explore the best of the genre presented for a contemporary, international audience. With 20 Chinese art masterpieces from the Museum’s collection and 29 dresses by Guo Pei, this blockbuster exhibition spans two galleries and is part of the Museum’s commitment to examining the diverse cultural heritage of Asia.

 

“The exhibition is significant to our visitors for two reasons. It is our first special exhibition dedicated to fashion and is representative of our shift to the contemporary domain. Our aim is to make the point that heritage and tradition are very much relevant to the contemporary; and that heritage and tradition can be remarkably sexy and alluring. Every masterpiece in the exhibition is a unique blend of contemporary and traditional design, material and craft. Second, the exhibition has been designed to give visitors a simple and visually arresting overview of Chinese art history – imperial art, export art, and folk art. We wanted a show that would introduce visitors to aspects of Chinese art – materials like silk and porcelain, the craft of embroidery, motifs like peonies and phoenixes – in a completely unexpected and, hopefully, very memorable fashion,” said Kennie Ting, director of Asian Civilisations Museum and Peranakan Museum.

 

The exhibition begins with a dramatic display of Yellow Queen, the iconic cape worn by Rihanna to the 2015 Met Gala. A symbol of Guo Pei’s breakthrough to an international market, the dress also represents a moment in time when the world encountered and engaged – through countless reactions, conversations, and memes – with a masterwork inspired by imperial China.

The main exhibition space features three sections. In “Gold is the Colour of my Soul”, Guo Pei’s signature yellow and gold works reflect the historical significance of colour, techniques, and materials strongly associated with imperial China.

Through “China and the World”, Guo Pei’s hybrid designs parallel Chinese art in blending Chinese imagery creatively with Western silhouettes and tailoring.

In “Treasured Heirlooms: Chinese Bridal Dress”, her works modernise the traditional Chinese bridal style, with strong Peranakan connections; and they have found relevance with celebrity brides today, including Angelababy, Liu Shi Shi, and Tang Yan.

Every sightline in the exhibition space emphasises a visual dialogue between the historical and the contemporary through deliberate juxtapositions of Chinese art masterpieces and Guo Pei’s masterworks. Each pairing shows off the best of Chinese traditional craftsmanship as well as modern couture techniques in the expression of creativity and storytelling.

Keep updated at http://www.Acm.org.sg.

The ingenuity of two countries on show

Published June 20, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371291

The ingenuity of two countries on show

Art June 18, 2019 11:50

By The Nation

2,016 Viewed

A selection of creative products by German and Thai designers for everyday use are on show in the exhibition “Invisible Things” which runs until September 15 at the TCDC Centre on Charoen Krung Road in Bangkok.

Co-organised by the Creative Economy Agency (CEA) and the Goethe-Institut Thailand, the exhibition is curated by Philip Cornwel-Smith, Prof Martin Rendel and Phiboon Amornjiraporn.

“Germany plays an important role in the European Union’s economy and on the global scale with its management and development of infrastructure that improves quality of life. It offers various products that combine creative design with an interesting identity, as well as global product brands that are internationally accepted. This clearly reflects the overall economy of Germany which is continuously growing,” says Apisit Laistrooglai, the managing director of CEA.

Among the products is a round red fake nose as big as a plum tomato. It is a symbol that’s used to bring happiness to German people during the annual Carnival. It represents an exclamation mark and implies that everything that is said and done is meant to be funny. It reflects a country serious about its sense of humour and contradicts the view many countries have of serious Germans.

Birkenstock sandal is a legendary brand hailing from the hinterlands of North Rhine-Westphalia and stands for footwear that combines supreme comfort and a healthy gait. The brand has gained popularity worldwide for more than 245 years due to its selection of quality materials in the manufacturing process, such as durable authentic leather with a soft and comfortable texture, and an adjustable sole which helps to relieve leg and back pain.

The bus ticket tube is an effective innovation with which Thais become familiar at a very young age. It’s shaken as a signal to passengers to prepare their fares. The tube is multifunctional, as it can fit all kinds of tickets and coins. Its lid can also be used to cut or tear tickets for passengers in order to mark where the passengers get on and off.

Car bumper stickers are also considered low-cost, lucky charms. These stickers bearing the messages like “this is a red car” or “this is a white car” are contradictory to their real colours yet reflects the Thai belief in lucky colours. Besides making people feel safe and lucky, the stickers can save costs because owners do not need to have their car repainted with new auspicious colours according to their horoscope.

The exhibition also features short movies telling stories about cultural exchange produced by students from King Mongkut’s Institute of Technology Ladkrabang, Thailand and from Rheinische Fachhochschule Koln, Germany.

Admission is free and the exhibition can be visited daily (except Monday) from 10.30am to 9pm at Gallery Room, first floor of TCDC Centre, Grand Postal Building (back section), Bang Rak.

Call (02) 105 7400 extension 213-4 or visit http://www.Tcdc.or.th.

China’s largest ever Picasso exhibition opens

Published June 20, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371231

  • Photo/AFP
  • Photo/AFP

China’s largest ever Picasso exhibition opens

Art June 17, 2019 15:11

By Agence FRance-Presse
Beijing

4,699 Viewed

The largest Picasso exhibition ever held in China opens on Saturday, featuring more than 100 works — many of them from the artist’s early years.

The “Birth of a Genius” exhibition brings together the best of the Picasso Museum Paris, Laurent Le Bon, the museum’s president told AFP.

Featured works include paintings, sculptures and drawings, and are accompanied by photos of the young Pablo in Barcelona and Paris.

The first Picasso exhibition in China was held in 1983, timed to coincide with a

Beijing visit by then French president Francois Mitterrand. Just 33 pieces of art were put on display.

    This year’s exhibition, which runs until September 1 at the UCCA Center for Contemporary Art in Beijing, focuses on the artist’s first 30 years.

“We have tried to show the great masterpieces like the blue Self Portrait, for example, that hardly ever leave the museum, and display them alongside a more multidisciplinary Picasso,” Le Bon said.

The Spanish artist’s “blue period” from 1901 to 1904, which focused especially on the poor and marginalised, such as prostitutes and drunks, features prominently in the selected works, added exhibition curator Emilia Philippot.

“These are very political subjects in a way,” she said.

Transporting all the works to China brought its own challenges.

The insurers for the works, which are valued at more than 800 million euros ($900 million) insisted that the pieces travel on seven separate planes, the organisers said.

Artful days at the W

Published June 17, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371210

Artful days at the W

Art June 17, 2019 01:00

By THE NATION

Known for its unique concept of showcasing a wide range of art inside hotel rooms, the Hotel Art Fair has become one of the Bangkok art scene’s most anticipated events.

Organised by Farmgroup, it brings together galleries, local and international artists and collectors under one roof with the aim of creating a vibrant and supportive community in which art can thrive.

The sixth annual Hotel Art Fair on June 22-23 partners with W Bangkok, a hotel where art and design are appreciate.

This year’s conversation will centre on the topic of “Breaking Boundaries”. Art can break boundaries by pushing and evolving and its mission is to seek and express human emotions and point of view.

This year’s event will showcase the most diverse selection of participants yet, from local talents to emerging artists to major galleries all over Asia.

 

Be immersed in the works of more than 30 galleries and independent artists, including Richard Koh Projects, Artemis Art, L+/Lucie Chang Fine Arts, the Drawing Room, Korea Tomorrow, Clear Gallery Tokyo and B-gallery.

Local venues represented will include Number 1 Gallery, Joyman Gallery, Subhashok the Arts Centre, La Lanta Fine Art and Gallery Seescape.

“Spectrum” by the Autistic Thai and Na Kittikhun Foundation, features extraordinary artworks with a high level of creativity.

Thai digital artist Purin Phanichphant will be showcasing his playful interactive pieces that transcend the relationship between the viewers and the digital world.

Admission is free. Learn more at https://HotelArtFair.com and https://HotelArtFair19.eventbrite.com.

More polka dots in the pocket

Published June 17, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30371107

Filipino collector Maria Clara Camacho chats with Apinan Poshayananda in front of Yayoi Kusama’s polkadot masterpiece “Pumpkins” at BAB Box in Bangkok. Nation/Phatarawadee Phataranawik
Filipino collector Maria Clara Camacho chats with Apinan Poshayananda in front of Yayoi Kusama’s polkadot masterpiece “Pumpkins” at BAB Box in Bangkok. Nation/Phatarawadee Phataranawik

More polka dots in the pocket

Art June 17, 2019 01:00

By Phatarawadee Phataranawik
The Nation

The ‘Let’s BAB’ show gives fans of Yayoi Kusama a chance to ‘Carry on Living with Pumpkins’

“I Carry on Living with Pumpkins” is in the “Let’s BAB” show, helping drum up interest in the coming second edition of the Bangkok Art Biennale. Photo courtesy of BAB

The success of the inaugural Bangkok Art Biennale last year – drawing more than three million visitors – was assured largely by the inclusion of the glorious, wildly photogenic installations by Yayoi Kusama, the Japanese op-art wizard whose work is adored from Alaska to Zimbabwe.

A string of the eccentric Kusama’s polka-dot pumpkins, loaned from her Tokyo studio and Filipino couple Maria Clara and Jose Isidro “Lito” Camacho, were undeniably the biggest attractions at Siam Paragon and CentralWorld.

Now Maria Clara Camacho is back with more from her collection to share with Kusama’s Thai admirers.

The “Pumpkins” (from 2016-2017) and “I Carry on Living with Pumpkins” (2015) are on display through Saturday at “Let’s BAB”, another impressive group exhibition taking place at BAB Box in the One Bangkok complex on Rama IV Road.

Professor Apinan Poshyananda, chief executive and artistic director of the Biennale, specifically selected pieces from that event as well as new works to help introduce BAB Box and promote the next Biennale.

Choi Jeongwa’s “Happy Happy Project: Flower Gun” from 2016 displat at BAB Box in Bangkok until June 22. Photo courtesy of BAB

Also in the show are the remarkable sculptural installations of Choi Jeong-hwa, Annee Olofsson’s stunning portraits, Paolo Canavari’s abstract paintings and Sakarin Krue-On’s black and white film.

Apinan vows the second Biennale will be even better than the first. “Marina Abramovic, the world’s leading performance artist, will be our international adviser, so please stay tuned for some surprises.”

Camacho was duly impressed by the vibrancy of Bangkok’s art scene when she visited last year. She and her husband own one of the most impressive Yayoi Kusama collections on the planet, as well as six major digital artworks by teamLab, the Japanese media-art collective.

She spent some time last month chatting with The Nation.

You’ve been to Bangkok many times – how has it changed?

It’s become so much more developed, with some amazing building and an art scene that’s become really lively thanks to Khun Apinan.

On my first visit for BAB, they had the flying pig and flower installation by Choi Jeong-hwa. I was surprised when I came this time and all the art was new and completely different.

How did you like the Biennale?

It was incredible! I didn’t realise so many people in Thailand were interested in contemporary art.

We visited the Bangkok Art and Culture Centre and again I was surprised how many people came to watch the performances and to look at the art. There were young people in large groups, like groups of friends who just wanted to enjoy art for an afternoon and families with kids. It was very refreshing to see.

What do you find most interesting about Kusama’s work?

We first saw her work at the National Museum of Modern Art in Tokyo in 2004 and she wasn’t very well known yet.

But the whole first floor was devoted to her and I was really impressed with the range of media she uses, from oil on canvas to beautiful paper creations to her Mirror Room to film. She’s also a poet and novelist, so her creativity knows no bound.

She is devoted to her art and really doesn’t care what people think of her work, how it’s categorised. She’s completely independent, a free spirit.

We have more than 100 of her works and every one is unique. We don’t mind lending them out because we think the whole world should know about her. That began happening in 2012 when she collaborated with Louis Vuitton. She designed over 500 window displays for Vuitton stores around the world and it made her a household name.

Kusama has long dealt with psychological issues. How do you think her work helps heal her?

Without her art, she would have committed suicide a long time ago. She says art is her therapy, but it’s also therapy for all the people of all ages who enjoy her work.

One New York artist told me that Yayoi “invented fun in art”, and her work is certainly among the most fun art you can find, especially the interactive pieces like the Infinity Mirror Room. That’s why there are long lines waiting to see her art.

When I first saw the Mirror Room in 2004 I was the only one in the room and could stay as long as I wanted, but now they only let you stay inside for 30 seconds because there are so many people queuing up.

We first met her in 2011 at her studio and the last time we met was two months ago. She is 90 now and still quite strong, but she uses a wheelchair because her knees are painful. But she strongly believes there is much more for her to do and create before she dies and she doesn’t want to be disturbed. So she sees very few people.

What advice would you give someone thinking about collecting contemporary art?

They should do a lot of research before buying, go to museums, watch films about art, talk to artists and curators. There is so much to learn – it’s not just going into a gallery and seeing something and buying it. You have to know about the artists. The better collectors are the most knowledgeable.

With such fast progress in Bangkok, how do you rate its potential to be a key Asian hub of contemporary art?

Bangkok a huge population and art only needs the support of the audience to thrive. You need an audience that appreciates art and artists who are willing to sacrifice and devote themselves fully.

Do you collect any Thai artists?

No, I don’t because the art can’t be exported. I’ve seen Thai artists who exhibit in the Philippines, at the Ayala Museum, such as Natee Utarit, who offered a critique of Western modernism in his 2017 show “Optimism is Ridiculous: The Altarpieces”.

If I find something really compelling, I’ll buy it, but when we collect an artist, we collect very deep, so that we accumulate almost a retrospective, from their early works to their more recent. I can’t do that with an artist whose work can’t be exported.

Annee Olofsson’s stunning portrait.

‘Much more left to do’

-The exhibition “Let’s BAB” continues through Saturday.

– Find out more at http://www.Facebook.com/Bkkartbiennale or http://www.BkkArtBiennale.com.

Art and activism in Asian society

Published June 14, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/detail/art/30370993

Art and activism in Asian society

Art June 13, 2019 01:00

By THE NATION

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

http://www.nationmultimedia.com/detail/art/30370968

Tales from the Deep South

Art June 12, 2019 01:00

By THE NATION

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

http://www.nationmultimedia.com/detail/art/30370909

  • 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
Beijing

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.

SPARKLE FOR THE EYES

– “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

http://www.nationmultimedia.com/detail/art/30370745

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.

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