SingartExploring the impermanence of life – Thai Transience
Thai Transience, an exhibition on Thai contemporary art, is now on at the Singapore Art Museum (SAM). A collaboration between the museum and the Office of Contemporary Art and Culture of Thailand’s Ministry of Culture, Thai Transience is part of the Thai CulturalFest organised by the National Heritage Board.
The exhibition includes works produced by both established and emerging artists. The artworks are further arranged in sub-thematic galleries with carefully selected artefacts (loaned from other institutions and the Singapore’s Asian Civilizations Museum) such as a 20th century Manuscript placed to contrast with Yuree Kensaku’s comic-inspired artworks and a seated Buddha to emphasis the meditative effect of Panya Vijinthanasarn’s “Rebirth of the Buddha”.
The exhibition includes a whimsical “hole-some” I-Jud by Wasinburee Supanichvoraparch that draws both visitors and camera clicks to itself. Besides I-Jud, photographs of interesting characters like a carpenter dressed in what looked like pyjamas taken by Dow Wasiksiri in Chiang Mai two years ago add humour and colour to the otherwise sobering white museum walls. If one is in need of a stimulating discourse, the Araya Rasdjarmrearnsook’s video where a Buddhist monk led a discussion on Western paintings with a group of villagers, again in Chiang Mai, will not fail to amuse you.
The exhibition also includes Rirkrit Tiravanija’s installation where visitors would be given the opportunity at selected times to participate in the art creation and to reflect on water management issues in a room where the walls are built with chalkboards and a disappearing piece supposedly by Pratchaya Phinthong (the artist has mentioned in the “Artists’ Conversation” organised by the museum on the 26th Oct 2012 that he has engaged a young Singaporean to execute the work).
The artworks, though contemporary, reference many Thai’s traditions and myths. Chusak Srikwan’s shadow puppets, made using traditional buffalo’s hide and methods, collectively tell a story twisted from traditional Ramayana and Traiphum tales to poke fun at avarice. In “Free Form Avaricious is a Precious Blessing”, an elephant dies from overconsumption and passed on its greed to the man and woman who consume the elephant.
It is also hard to overlook the influence of Thai Buddhism – its teachings and practices – on Thai art. Buddhacharoen’s “Namo Buddhaya: a path towards the divine light” is a very poignant piece on meditation as one walks in the “footsteps of Buddha”. The original art work was designed to be in a dark room made to look like an interior of a temple and visitors would each be given a candle to explore the embossed symbols and the Buddha’s footprints on the wall as they walk around the gigantic footsteps placed in the centre of the room. A singular leg leaning on a walking stick in the same artwork reminds the visitors that the artist’s legs were severely impaired in an accident eight years ago which perhaps explain the artist’s preoccupation with walking and footsteps. In SAM’s case, although the artwork was modified to a dimly lit room, visitors can still view the intricate markings on the wall that depicts symbolic Buddhist objects such as the dharma wheel.
Unlike Buddhacharoen, Kamin Lertchaiprasert’s reflections are more worldly, light-hearted and less personal. In “Beyond”, the artist cast in bronze and gold 24 statues in various poses but with empty spaces in place of either or both the heart and head, an allegory perhaps that many may practise their faith faithlessly -without heart, mind and soul. His other work, a Buddhist statue moulded completely out of shredded baht notes is a more direct commentary on how wealthy people often attempt to use money in exchange for blessings.
In Thai Transience, one would also see how artists interpret stories and images surrounding Traiphum, sometimes with modern quirky touches such as a Mickey Mouse in Siroj Phuanglohupha’s otherwise traditional and colourful depictions and sometimes with grotesque hellish beings that remind us of the need to make amends and do good as in Thai National Artist, Tawee Ratchaneekorn’s work.
Beyond religion and contemporary issues, there are also personal reflections. Imhathai Suwatthanasilp chooses the human hair as a representation of the impermanence of life as she constructed her works in memory of her father while Prasit Wichaya reminisced on a past love in “Valor” where he filled up a human face he cast using colourful pins, perhaps signifying the prickly nature of love and affections.
The works on display truly demonstrates a wide breadth and diversity of Thai art today. Creative innovations and ideas abound even as the artists explore their religion and heritage. The exhibition will be on from now till Jan 6, 2013.
For more information:
http://www.singaporeartmuseum.sg/
http://www.asiaone.com/News/Latest%2BNews/Plush/Story/A1Story20121029-380273.html
