Gallery VER Gallery VER was established in 2006 as an artist-led initiative, with the intention to bring forth a collective stream of ideas and dynamism in how contemporary art and culture are defined and viewed. Through exhibitions, projects, one-off activities, events, and institutional exchanges, it seeks to initiate strands of programming under the best possible processes. The gallery space provides and supports a discursive platform that invests in both artists and curators to realize innovative exhibits and projects relevant to artistic and conceptual practices.
The initiative aims to forge close ties with artists through professional representation, as well as mutual relationships between the artists and institutions it represents. Gallery VER strives to market and promote the works and practices of its artists on the basis of various agendas and disciplines interconnected in their work. More significantly, the gallery has a continuing commitment as an active agent to complement the formations of conceptualism in contemporary art as a legitimate and vital art form. Whether it’s singling out new relationships between art and the public, or developing strategies based on contemporary art production and dissemination, there is a willingness to explore uncharted territories when selecting artists, themes, and frameworks for its works.
Ver magazine & Namdee Publishing Station in 2000, Namdee Publishing station is established in Bangkok. It is our aim to operate the office as a station for launching innovative ideas and creative conditions in various forms, such as artist’s book, text book, magazine, music, films/videos, posters, graphics and designs. We are interested in ideas and objects which can be published and/ or multiplied and distributed into the cultural stream. Moreover, we would like Namdee to function like bile, which is one of the English translations of word “Namdee”. We very much emphasise on how to run the office, as we would like Namdee to act as an active agent bringing together people from various places and working collaboratively. Namdee is a network or links, where people can join in any time, from anywhere. We would apply all communicative tools available in daily life, crossing both the physical and the virtual, in order to keep the flux fluid. “VER” magazine is our first publication which is fabricated by stories out of everyday settings; food, music, sport, travel, fashion, fiction, art and living culture, politics and science. As we breathe in so many stories each hour, we are in the state of “severity”. Too many stories in so little time. One audio cd is 76 minutes recordable. “severe” is the English translation of “VER”, a common Thai slang taken from “over” in English. We are interested in various aspects of the word “over”; "across an intervening distance”; “from an upward to an invented” or reversed position”; "in repetition” and “again”, but not for “the end”. Each issue of “VER” magazine is a memoir of the passing, which is across an intervening distance, from an upward to an invented/ reversed position, and again. We approach the notion of life and living in a realistic manner while saying a Thai proverb, “let it go”. The magazine is divided in two section; image and sound as music, ambience sound and teaxual parts are recorded on audio cd. The making of “VER” is like the process of film editing. The difference is there are endless possibilities of story/ plot created while listening and flipping through “VER” magazine. In addition, “VER” is complied with stories as well as time and space.
Paint It Black2016240 x 180 cm Mixed media on canvas
Till The Wheel Fall Off2016, 183 cm x 122cm Acrylic on canvas
Cousin Jane2016, 180 x 108 cm Acrylic on burlap
Can’t Fake The Feeling2016, 120 x 90 cm Acrylic on Air Bubble
Velvet Space Time2016, 120 x89 cmAcrylic and Gouache on canvas
Penni Walli2016, 150x250 cm Mixed media on canvas
The Whole She Bang2016, 243 x 183 cm Mixed media on canvas
Bette Davis Eyes2016, 120 x 90 cm Acrylic on canvas
Numbers of the Beast2016, 180 x 114 cm
Spray paint and acrylic on mat
That’s Fucking Genius2016, 102x42 cm Acrylic on styrofoamt
Any Day Now2016, 60x80 cmMixed media drawing
Udomsak KrisanamisFrom the very beginning Udomsak Krisanamis saw in his art a struggle of culture and identity, a conflict inflicted upon us from back in the day - when one stood back to make sense of the condition we are in. He saw in his work the question of existence. In Udomsak’s search for meaning he went looking for what was at the core of its being, in our (his and mine) common language of practice - an embrace of Buddhism from a philosophical rather than religious standpoint. The core being in the center of what is whole. Wholeness is what we seek. and attempt to achieve. Wholeness perhaps, is the way to reach the plateau of no return, the plateau of nothingness.Nothingness in the west, is often a synonym for the idea of abstraction, the unknown, un-language, and the quality of dealing with ideas rather than events, and/or freedom from representational qualities in art. Perhaps we could add, the freedom from the representational in order to think. The freedom fromrepresentation in order to think one’s own ideas.Can we look into the darkness, into the infinity of the universe and understand from where do we come? In order to understand why we are here and where we are going? Can language be formulated to give us answers to the questions of our existence or a picture capable of giving us the experience of the unknown, a picture in our mind of a place that we do not yet know exists?The image of Buddha is an image of everyman (human) and no man (human). It is a representation of an idea, it is a representation of abstraction. However we see it (as it is an it), we conjure from our selves the understanding of the idea. We bring our experience, our knowledge, our ignorance to formulate meaning. We use the image of (un) representation, to make meaning, to make beliefs, to make a value we do not fully understand. We think we know what it means to believe, we think we know the language, the philosophy the teachings, the path, the road, the way to the wholeness which will set us free. We never ask what it means, we never doubt the existence of the idea. We never doubt the reasons we follow the path to nirvana, the place of no return, the place of nothingness.Yet here we stand as a viewer, as an audience, with our own eyes as witness to the work of
Udomsak Krisanamis. His years of work and toil, a dialogue with the self, which in turn has become a dialogue with the world, with society, with language, with belief, with doubts, with success and with failure.One man’s attempt to communicate the un-communicable, to rethink the dominance of one word over another, one gesture against another, left hand verses right, mindlessness over mindfulness, democracy over tyranny, conflicts we have within ourselves that form and inform us.A life’s work never ends, it may even continue after life. Here Udomsak lays bare the ground on which he has chosen to walk, a path he saw fit to follow. He refuses to speak, to make noise, to make explanations,which make understanding or clarity difficult. That resistance has been a strategy against certain forms (western vs. eastern) of the formation of knowledge and certain forms of language. It is language that Udomsak negates in his action, in the translation of his mind to his hand, the language he has time and again attempted to reduce to the essence, to the core, to find himself and his wholeness.All the paintings in this exhibition have been re-constituted, reformed by the hands of many people. This retrospective is in itself an attempt to bring into matter ideas of representation and language, and in turn, to become experience. The paintings we see here are an attempt to recollect, recall, and remake images that already exist in time and space. Just as words are used over and over again in different contexts and conditions, giving us, through their repeated usage, other meanings.We understand because we use it, we come to an understanding through usage, and here Udomsak is reuses his own work, and makes for us the tool to understand, to think and to contemplate, to experience. A tool for you and I, the viewer, the audience, the passerby – to stop, and pay attention.The works here are to be taken in as a whole. This exhibition is not abou the singularity or value of a well- crafted hand, or of time well spent. It is the whole, a life lived close up and low down to the ground we all walk on and exist in. It is spent on the everyday, it is touched by everything, and it is a mark of its time.
- Rirkrit Tiravanija, June 2016
We would like to acknowledge the artist Udomsak Krisanamis who made the original work that is copied here for the retrospective re-presentation, and the young artists whose time and craft made the exhibition possible:
Chayanee Wongsitthiphaithoon Chayawat Panyaphet
Panida KernjindaPaphonsak La-or Rawiwong Thongin Surajate Tongchua Thitiphorn Kotham Udit Juntima Yuwatee Jehko UbatsatBiographyBorn in Bangkok, live and currently working in Bangkok, Krisanamis studied at Chulaongkorn University, Bangkok and the Art Institute of Chicago. Selected recent solo exhibitions include Gavin Brown's Enterprise, New York (2007, 2012); KunstvereinFreiburg, Germany (2011); VER Gallery, Bangkok, Thailand (2006); Gallery Side 2, Tokyo, Japan (2005); Giti NourbakhschGallery, Berlin (2004); Kunsthalle Basel, Basel (2003); Wexner Centre for the Arts, Columbus (2000) and FruitmarketGallery, Edinburgh (1999). His work has also been included in several group exhibitions at venues such as the Bangkok Art And Culture Center (2012, 2014); CCA Andratx, Mallorca, Spain (2011); Kestnergesellschaft, Hanover (2008); Kunstmuseum Wolfsburg (2003); Walker Art Center, Minneapolis (2001) and Whitechapel Art Gallery (1999).
Classical Modern: Mit Jai InnGiles Ryder
The fishermen know that the sea is dangerous and the storm terrible, but they have never found these dangers sufficient reason for remaining ashore.-Vincent Van Gogh
Mit Jai Inn’s Wett further expands upon his practice through large maximal field paintings; between irony and a maximizing of every available surface within the gallery’s spaces. Pushing to question the other side of contemporary arts favoring of gigantism and all the other tropes of postmodernism-of video projection and spectacle-Mit heightens the physical act of abstract painting to an overloaded and dense space; his canvases suggest there is no true beginning or end in the process and thus dwarfs some of the traditional masters of color-field painting.
Mit has been working away from his home studio in Chiang Mai to conceive these site-specific paintings in Bangkok – in the outlying areas, travelling 200km per day between the city space and his temporary studio space – and perhaps feels more isolated in this gray zone than in a regional town. Surrounded by rice fields, a large correctional center, temples and the strangely titled Supreme Artists Hall - I’d never heard of such. Now, “non-believer” I hear you shriek; and to that I will gladly say “yes”. Why out there? With no infrastructure? Are the cell mates taken to see the finer things in life, what they are already deprived of? I am imagining long lectures for the wired and the deadly on the importance of these local artists; their remedy to be found in art.
…arranging the journey was so difficult. Getting home again was much easier.-Thor Heyerdahl (aku-aku)
Mit produced these works specifically for the architecture of both spaces in VER/ CARTEL. Partly using the site to directly paint these floor-to-ceiling ‘carpets’ of layered, textured and glowingly colored impasto canvases, he tricks us into sensing a faux impressionism but never quite gives the viewer that state of a landscape as beautifully classical. Within these canvases there are multiple paintings moving through various styles, actions, processes and ultimately a historical erasure and self-censorship is applied to the picture plane, creating layers of meaning and also a disruption in order to deny a cohesive vocal/visual statement. This reflects contemporary (and historic) Thailand for Mit, perhaps as a way responding to local culture by “getting by”. But trickery is at the helm of Mits practice as he finds no consolidation in strict orders, a bit like watching a ship being cast out to sea without a Helmsman.
My belief assumed a form that it commonly assumes among the educated people of our time. This belief was…. the word "progress."… It seemed to me that this word had meaning. Like any living individual, I was tormented by questions of how to live better. I still had not understood that in answering that one must live according to progress, I was talking just like a person being carried along in a boat by the waves and the wind; without really answering, such a person replies to the only important question-"Where are we to steer?"-by saying, "We are being carried somewhere.Leo Tolstoy, A Confession
For decades the artist has been working on many levels with a focused and specific interest in the physical act of painting. He sees within the specifics of the “problem of painting” a fuel to push further and further into a perceived narrowness and produce multiple/manifold results with his own idiosyncratic vision, one that is constantly rearranged and reinterpreted. In a recent discussion Mit mentioned that these are monochromes and my reply was impossible: “I’m still waiting to see one”. For Mit to use only one color is like taking away a candy bar; he is essentially a colorist but not concerned with a focused, singular swathe of color. He is in his own arcadia with the shear amount of colors and the processual history of the build-up; paint is smeared, spread, scratched out, scrapped on, poured, dispensed, only rarely applied by brush. Unlike Duchamp’s deep-set problems with the “olafactory’ smell of paint and turpentine, Mit Jai inn has a protectionist spell cast on him against the paint.
Possibly a man who hates the land should dwell on shore forever. Alienation and the long voyages at sea will compel him once again to dream of it, torment him with the absurdity of longing for something that he loathes.-Yukio Mishima, The Sailor Who Fell from Grace with the Sea
The essence of painting is the distant land: the dream that never can happen pictorially. This is the ghost of those moments - a shadow of a lover lost - but it actually becomes par boiled, over loaded, creamy, messy and ultimately unrecognizable. However, this is a great retreat, a place that exists because of its own coded history that is then decoded and reassembled, and intersected with additional meanings to befractured and broken but never fully restored. A bit like democracy.
Bangkok, 2016 Giles Ryder is an artist based in Bangkok and lectures at Bangkok University
10 PLACES IN TOKYO
Notopia This duo exhibition by Ruangsak Anuwatwimon and Noraset Vaisayakul presents certain interconnected, partially overlapped ideas in the ways both artists perceive multitudes of relationships. Being together in a peaceful relationship is dependent on respecting a set of common rules, that both ‘cover’ to create an amicable state or ‘veil’ opposing differences.
The rules of relationship are not there merely to regulate, but also to ingeniously plant the seed of cohabitation, no matter how much the relationship fluctuates by the ‘binding’ or ‘propelling’ forces. It has been said that the phenomenon of attraction and repulsion can be explained by the belief that all things are connected into forms by the gravitational pull that is called ‘love’ or severed by ‘hatred’.
“It is normal for all humans to desire happiness but only a few can achieve such goals, because Upādāna(attachments) obstruct their paths and deviate them from their objectives.” (M.R. Kukrit Pramoj, Huang Mahannop, 2001: 149)
To contemplate the forms of relationships that the artists have witnessed, either from stories and from those around them, such as investigation into the preservation of marital relationship in Noraset’s work. His work can be regarded as an act of balancing peaceful inner space in conjunction with the fluctuating external situations. While for Ruangsak, it is putting together vision of a relationship between a man and his surroundings, at the same time contemplating various questions, like experimenting with a prism to refract and process different phenomena, resulting in an image without an outline. In this series, Ruangsak talks about relationships between ‘shell’ and ‘core’, ‘internal’ and ‘external’, that can be compared to the skin, which absorbs or impedes the permeability of matters into the human body.
In summary, their works result from contemplations of crises, which at first came from internal turbulences. The turbulences on the other hand, also, change and fluctuate depending on multitudes of external factors - fragments of life experiences are reformulated through issues that affect the artists, from marriage to the awareness of personal and social crises.
“After the division the two parts of man, each desiring his other half, came together, and throwing their arms about one another, entwined in mutual embraces, longing to grow into one [...]” (Plato in Symposium, source: http://classics.mit.edu/Plato/symposium.html)
Noraset’s mixed-media installation surrounds viewers on all sides by using wooden structure, covered by mirrors that reflect and carve the surroundings on the skin. It results in a space that simulates the personal space of the artist and his lover. Such space is an intersection between private and public domain, through an opening which invites viewers to get a glimpse into the intimate lives of the couple.
A sculpture, which looks like a blanket that covers two intertwining bodies on a pedestal, that has a similar proportion to a single bed. The blanket, which also acts as a screen, presents another layer of meaning through projection of words and images of two moving, overlapping hearts, like an emotional journey that is a marriage.
Being together becomes a source of completeness or harmony if all parties in the relationship each fulfill one another. Alternatively, the result could be the opposite, with the parties being in contradiction. This does not necessarily mean conflict or hostility, but being together and at the same time being in contradiction, naturally influences each other and leads to a different kind of results. For example, the difference in temperature of the earth’s surface and the ocean results in a third phenomenon: wind, while bodies that have been separated, combined with a longing for each other, lead to unification. Such phenomena result from the ‘push’ or ‘pull’ forces between things.
Noraseth’s work in this exhibition is an interactive installation, which changes according to the number of people inside. The increase/decrease in number of people would generate sentences, embedded with meanings and feelings that describe a relationship. The number of people thus becomes a factor which engenders changes in the atmosphere of the installation. The variation and changes which can be seen in the form of words and sentences could be telling us that, even if we desire security and stability in a relationship, conflicts, whether between each other or resulting from external factors are always possible. The variation, which affects the meanings of sentences and words might be another way, in which we can understand the rhythms of life, of the struggles to reach happiness infused with suffering or suffering infused with happiness.
If the relationship involves ‘love’, love that has power to break away and bring together couples to become ‘one’. The preservation of a relationship is illustrated in a room that contains images representing a relationship between the couple, like an imaginary space filled with longing for one another. The space of joy invites viewers to immerse and contemplate the balance and tranquillity that two people must preserve, as well as acting as a space of sharing the selves, in the physical and abstract forms of ‘togetherness’.
Space of tranquillity in the mist of uncertainly and fluctuation forms part of the cycle of marriage that involves happiness, suffering and conflict, which can be subsided when, either both people or one of them find that space in the middle or a shelter for sustaining happiness.
“As long as man was allowed to remain in Paradise, either (like Valentinus’ Jesus) he did not defecate at all, or (or as would seem more likely) he did not look upon shit as something repellent. Not until God expelled man from Paradise did He make them feel disgust. Man began to hide what shamed him, and by the time he removed the veil, he was blinded by a great light. Thus, immediately after his introduction to disgust, he was introduced to excitement.” (The Unbearable Lightness of Being, Penguin Books, 2003: 244)
Choosing to work with the subjects close to himself, Ruangsak’s works are the result of both close and remote observations, which are compiled together to become a landscape of thoughts that are not always directly connected, to simulate and attempt to understand the world that has become ‘too hard to stand’.
Starting from major crises that affect all of humanity, which may be seen as inconsequential or unimportant. Food brochures, put together in a way that shows a landscape of tastes and habits from different places. Cheap mass produced food and disposable brochures are both designed to serve the fast-paced world, and have become the norm and necessities of modern life. However, when either are thrown way and lying on the floor, their values and meaning would suddenly turn to ‘garbage.’
In regards to the universal drugs, whether from animals, plants or minerals, they lead us to think about scientific facts, about the source and function of medicine, which parallel the fate of humanity. There are those who came close to death because of their unproven beliefs in certain drugs, that may have been important components in previous times, which later, have been found to have fatal consequences. (e.g. Mercury and Arsenic). While some drugs were simply used to show the social status of their users or simply out of credulity, believing in claims of longevity or fertility, toying with basic human desires and making us forget the fact of life, that all things fade and eventually will come to an end i.e. Memento Mori.
Ruangsak asked 20 of his close friends to donate leftover food (couldn’t finish or maybe too much food?) from their fridge for him to collect and freeze it. This process offers a chance for the viewers to contemplate that, if they know the people who gave away the food or can imagine the taste of the frozen food on display, weighing on how much they can trust the listed donors and description of the food, would they risk opening the containers and eat the food?
Having many options (like in choosing what to eat), means that some items will not be chosen. A dilemma appears between choosing or not choosing, if someone (or experimental subject) must choose to swallow the food and take in the flavours and aromas. It is a game that, until someone finally ‘choosing’ to eat without hesitation, the result might actually be comparable to ‘choosing’ to decline the offer. For the opportunity to choose is not an exclusively given right of that person but it also involves the available ‘options’ and negotiation as well.
In the case of food, the multitude of options in modern life is said to encourage wasteful consumption. But in other ways, eating is also driven by freedom of choices to choose and negotiate with reasoning. The concentration and distribution of food are affected by external factors such as the accelerated food production for export, to balance with oil production and arms trade of Cold War superpower, that neglected food security. Food is more than just a mean of eliminating hunger or filling the stomach, food is connected, more or less with other spheres of life, whether economically or politically.
The painting ‘Garden of Earthly Delights’ by Dutch master, Hieronymous Bosch which Ruangsak has made a replica of, shows a scene resembling a garden which describes the origin and fate of humanity. On the left, there is an allegory of the world that God has created (Adam, Eve, animals in the Garden of Eden with the Tree of Life and Tree of Knowledge). In the centre, depicts the cycle of life and earthy temptations which are in the end, meaningless. And on the right, the last scene which depicts the dammed, waiting for judgement in hell, a place filled with eternal fire, this is the fate that awaits those who are deceitful and it serves as a warning to the dark future they will have. The symbolism, such as a man who has been nailed to a tombstone and could not have foreseen the incoming danger, when his body is separated from the soul. A piece of dead tree is being turned into an arrow, instead of being used to reach out to each other and communicate ‘the word of wisdom’ to humanity, it is moving aimlessly, destroying lives along the way.
As though, the fate of the world that is tainted with temptations and desires of Bosch's painting is still haunting us to the present day. Temptation may not be the first clue to solve the mystery of life and the drive that pushes us to the bright side or dark side. (What is the point of being born? Why were we born?) Or is it just that, temptation acts as a connection and makes us aware of the reason of being, like the moment a child sees himself in the mirror or being fed milk from his mother for the first time.
The path that humanity has taken is dismantled and piled together by Ruangsak. One day we might walk that same path again and again, till we leave a fossilised mark. That depends on whether we have a desire to learn, to remember or forget the crises and disasters – environmental or political, which have completely changed the relationships between peoples. (2015 flood water in a glass tube, a glass panel from a shopping centre where 2010 massacre happened)
To say that drugs can be lethal or have healing power that can destroy the thing that is threatening life, the out of control, over-indulgence of humanity may not be so different from being stuck in a self-destructing cycle. Like the saying that goes ‘Something should be consumed in moderation, if taken in excess will end up with intoxication and destruction.’ To live and excessively indulge in earthly temptations, just to fulfill one’s ‘hunger’, will lead to an excessive punishment as such.
Worathep Akkabootara, summer, 2016
References-ม.ร.ว. คึกฤทธิ์ ปราโมช ห้วงมหรรณพ (สำนักพิมพ์ดอกหญ้า, 2544)-มิลาน คุนเดอรา ความเบาหวิวเหลือทนของชีวิต (ภัควดี วีระภาสพงษ์ แปล, โครงการจัดพิมพ์คบไฟ, 2541)-เพลโต, Symposium ปรัชญาวิวาทะว่าด้วยความรัก (สำนักพิมพ์หนึ่ง, 2553)-อนุช อาภาภิรม, อาหารและการสร้างยุทธศาสตร์ วิกฤติศตวรรษที่ 21 มติชนสุดสัปดาห์ ปีที่ ฉบับที่ ( 1-7 เมษายน 2559)-Walter S. Gibson, Hieronymous Bosch (Thames and Hudson, 1997)
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Ten Places in Tokyo
by Sutthirat Supaparinya
venue: Gallery VER, Narathiwat 22(Sathu pradit 15)
duration: 18 August - 24 September 2016
opening reception: 18 August 2016 from 6.30-10 pm
"This work was started when I was an artist in residence at the Tokyo Wonder Site (TWS), Japan in 2012. I undertook a full month of research on the relationship between the usage of electricity and how we produce it. I looked at data of the Top Ten places in Tokyo that use the most electricity, which a staff member from TWS found in the Tokyo Shinbun Newspaper.
By chance, I was invited to the Hiroshima City Museum of Contemporary Art for 2 days. At the Hiroshima Peace Memorial, I found evidence of the atomic bomb effect. Heat rays of approximately 5,000°-Celsius produced by the atomic blast burned away dark or black colored parts of objects because they absorbed more heat. This effect shocked me and inspired me to research more information on nuclear history.
In 10 Places in Tokyo, I visualized a relation of the heat ray effects that happened in Hiroshima in 1945 and Tokyo’s top ten electricity-consuming places in 2010. Why I use images of Tokyo and not Fukushima? TEPCO’s nuclear power plant in Fukushima produced electricity mainly for Tokyo.
10 Places in Tokyo is derived from a historical nuclear as a weapon in 1945 and the latest disaster as a electricity generation in Japan. This pair can be a case study to reflect on a global energy issue. The more we spend energy (electricity), the more we repeat our danger. We cannot live without it, but we can save it through good design. Safe energy produce is preferred"
Sutthirat Supaparinya is a video and installation artist. By means of her works, she questions the interpretation of images in the media, showing an impact and a relationship of personal or every life experience to a rare scene of a larger structure.
Sutthirat is a co-founder and director of an artist-run initiative “CAC- Chiangmai Art Conversation” since 2013. CAC aims to promote contemporary art of Chiang Mai via online platform. Earned a BFA in painting from the Faculty of Fine Arts at Chiang Mai University and a postgraduate in Media Arts from Hochschule Fuer Grafik und Buchkunst in Leipzig, Germany. Received a 2005 Imaging Our Mekong fellowship via Rockefeller Foundation and a 2010 Asian Cultural Council fellowship at International Studio & Curatorial
Program-ISCP in New York City. Was selected to participate in the International Creator Residency Program at the Tokyo Wonder Site Aoyama in the year 2012.
Since the 2000s her works have appeared in group and solo exhibitions, as in Art Center, Museum and in galleries in Thailand as well as Australia, Cambodia, China, Germany, Indonesia, Italy, Japan, Korea, The Philippines, Myanmar, Romania, Taiwan, Singapore, South Korea, Taiwan, Vietnam, and the United States.
They have appeared in international art exhibitions like the Yebisu International Festival for Arts and Alternative Visions 2012 and the Koganecho Bazaar 2011, Japan.
Appeared in important museums and galleries such as Hiroshima City Museum of Contemporary Art and Tokyo Metropolitan Museum of Photography, Japan, Jim Thompson Art Center, Thailand, Queensland Art Gallery and Sherman Contemporary Art Foundation, Australia, the Solomon R. Guggenheim Museum, USA, Singapore Art Museum, Singapore and Kaundu Museum of Fine Arts, Taiwan.
Ten Places in Tokyo”This work was started when I was an artist in residence at the Tokyo Wonder Site (TWS), Japan in 2012. I undertook a full month of research on the relationship between the usage of electricity and how we produce it. I looked at data of the Top Ten places in Tokyo that use the most electricity, which a staff member from TWS found in the Tokyo Shinbun Newspaper.By chance, I was invited to the Hiroshima City Museum of Contemporary Art for 2 days. At the Hiroshima Peace Memorial, I found evidence of the atomic bomb effect. Heat rays of approximately 5,000°-Celsius produced by the atomic blast burned away dark or black colored parts of objects because they absorbed more heat. This effect shocked me and inspired me to research more information on nuclear history.In 10 Places in Tokyo, I visualized a relation of the heat ray effects that happened in Hiroshima in 1945 and Tokyo’s top ten electricity-consuming places in 2010. Why I use images of Tokyo and not Fukushima? TEPCO’s nuclear power plant in Fukushima produced electricity mainly for Tokyo.10 Places in Tokyo is derived from a historical nuclear as a weapon in 1945 and the latest disaster as a electricity generation in Japan. This pair can be a case study to reflect on a global energy issue. The more we spend energy (electricity), the more we repeat our danger. We cannot live without it, but we can save it through good design. Safe energy produce is preferred”
Sutthirat Supaparinya is a video and installation artist. By means of her works, she questions the interpretation of images in the media, showing an impact and a relationship of personal or every life experience to a rare scene of a larger structure.Sutthirat is a co-founder and director of an artist-run initiative “CAC- Chiangmai Art Conversation” since 2013. CAC aims to promote contemporary art of Chiang Mai via online platform. Earned a BFA in painting from the Faculty of Fine Arts at Chiang Mai University and a postgraduate in Media Arts from Hochschule Fuer Grafik und Buchkunst in Leipzig, Germany. Received a 2005 Imaging Our Mekong fellowship via Rockefeller Foundation and a 2010 Asian Cultural Council fellowship at International Studio & Curatorial Program-ISCP in New York City. Was selected to participate in the International Creator Residency Program at the Tokyo Wonder Site Aoyama in the year 2012.Since the 2000s her works have appeared in group and solo exhibitions, as in Art Center, Museum and in galleries in Thailand as well as Australia, Cambodia, China, Germany, Indonesia, Italy, Japan, Korea, The Philippines, Myanmar, Romania, Taiwan, Singapore, South Korea, Taiwan, Vietnam, and the United States.
They have appeared in international art exhibitions like the Yebisu International Festival for Arts and Alternative Visions 2012 and the Koganecho Bazaar 2011, Japan.Appeared in important museums and galleries such as Hiroshima City Museum of Contemporary Art and Tokyo Metropolitan Museum of Photography, Japan, Jim Thompson Art Center, Thailand, Queensland Art Gallery and Sherman Contemporary Art Foundation, Australia, the Solomon R. Guggenheim Museum, USA, Singapore Art Museum, Singapore and Kaundu Museum of Fine Arts, Taiwan
Quality Secondhand Art 2013: Re-creation
by Nuts Society group
A manufacturing process of any material can be recalled once it is raised as topic of conversation. We probably look back to native idea used to create that material in response to manlike demand. We created several materials from our imagination, and these materials became basis for several products used our society nowadays. Materials inspired by our society in the past with fewer demand were far more creative than materials created in today society with massive demand
Novel manufacturing processes have been created since then to support an unlimited of manlike demand. However the process aims to produce in term of quantity rather than qualitative creativity, and human makes those manufacturing processes redundant. These result in a regression in quality of product. Both idea and imagination become nothing. The more redundant manufacturing processes the more leftover materials, which opposes to a dramatically reduction of natural resource. And these leftover might be considerate as wreckage left from the past and worthless when the time gone. Creativity and imagination by several groups of people have been widely originated in order to deal with this, making a trend of “reduce” spreading through the society.
VER gallery in cooperation with Sense to society group realizes that every “outdated” or even “out-of-order ” material may be reused again after repaired. Those stuffs enable to be raw material for the artist and designers to create “the Quality second Hand Art” under concept of “the Re-creation”, which accompanied by an aesthetic and usefulness in daily life.
We have invited 40 artists and designers to participate this project to encourage a creativity and imagination from the leftover or donated stuffs for a re-creation in this activity. These re-created works will be displayed throughout the venue, and will be for sale and auction through a period of exhibition
เมื่อเราพูดถึงสิ่งของหรือวัตถุ เราสามารถมองย้อนกลับไปได้ถึงวัฏฐจักรหรือกระบวนการสร้าง/ผลิต ของสิ่งของเหล่านั้น เราอาจสามารถมองย้อนกลับไปถึงไอเดียหรือความคิดแรกเริ่มที่สร้างสรรค์สิ่งต่างๆขึ้นมาจากความต้องการของมนุษย์ที่เกิดขึ้น มนุษย์จึงเริ่มสร้างสรรค์สิ่งเหล่านั้นผ่านกระบวนการคิด จินตนาการ ความเป็นไปได้ต่างๆจนกระทั่งเกิดเป็นสิ่งของมากมายให้เราพบเห็น ความคิดสร้างสรรค์ที่มาจากความต้องการแรกเริ่มนั้นบริสุทธิ์ ตราบจนกระทั่งมนุษย์เริ่มมีความต้องการที่มากขึ้น และสิ่งของเหล่านั้นเริ่มไม่เพียงพอต่อความต้องการที่มี กระบวนการผลิตแบบใหม่จึงได้ถือกำเนิดขึ้นมาเพื่อรองรับกับความต้องการของมนุษย์อันไม่มีที่สิ้นสุด มนุษย์เริ่มมีความคิดที่จะเน้นการผลิตในเชิงปริมาณมากกว่าที่จะเน้นความคิดในเชิงคุณภาพ จนเกิดเป็นเทคโนโลยีและการผลิตที่เกินความจำเป็นของมนุษย์ขึ้นมา กระบวนความคิดแบบใหม่นี้ส่งผลให้สิ่งของที่เราเคยใช้มีคุณภาพลดน้อยลง ตกรุ่นเร็วขึ้น ไอเดียและจินตนาการกลายเป็นเพียงสิ่งที่มีไว้เพื่อรองรับระบบเหล่านี้ เมื่อเกินความจำเป็นจนเกิดเป็นสิ่งของเหลือใช้ ซึ่งสวนทางกับทรัพยากรและแหล่งวัตถุดิบที่ลดลงอย่างรวดเร็ว วัตถุเหลือใช้หรือสิ่งของที่ถูกทิ้งแล้ว จึงอาจเปรียบได้ดั่งเศษซากที่หลงเหลือของโลกแห่งอดีต ที่ถูกกาลเวลาพัดผ่านความสามารถ ประโยชน์ใช้สอย คุณค่า ให้ถดถอย สูญหายไปจากเดิมที่เคยมี
ความคิดสร้างสรรค์และจินตนาการจากคนกลุ่มต่างๆจึงได้เกิดขึ้นมากมายเพื่อที่จะจัดการกับผลกระทบที่เกิดขึ้น จนกลายเป็นกระแสของการลดการใช้ทรัพยากรและสิ่งของกระจายไปทั่วทุกภาคส่วน แกลเลอรี่เว่อร์ร่วมกับกลุ่มสำนึกสู่สังคมตระหนักว่าวัตถุต่างๆ ที่เคยมีประโยชน์ใช้สอยแต่ถูกทิ้งขว้างเมื่อรูปลักษณ์ภายนอกหมดความทันสมัย หรือเครื่องใช้ต่างๆที่ชำรุดเสียหายเพียงเล็กน้อยแต่อาจนำกลับมาใช้ได้อีกถ้าได้รับการซ่อมแซม ล้วนเป็นวัตถุดิบที่ศิลปินและนักออกแบบสามารถใช้ความคิดสร้างสรรค์ “สร้าง-ซ้ำ” เพื่อที่จะสอดแทรกแนวทางและมุมมองที่มีต่อสิ่งของเหล่านั้นให้เด่นชัดขึ้นและสามารถกลับมามีคุณค่า ให้กลายเป็นผลงาน “ศิลปะมือสอง” ที่มีทั้งสุนทรียะสำหรับการมองเห็น รับรู้และประโยชน์ใช้สอยในชีวิตประจำวัน เราจึงได้เชิญชวนศิลปินและนักออกแบบจำนวนประมาณ 40 ท่าน เข้าร่วมกิจกรรมเพื่อกระตุ้นความคิดสร้างสรรค์และจินตนาการโดยการนำสิ่งเหลือใช้หรือขอรับบริจาควัตถุเหลือใช้ต่างๆเพื่อที่จะนำมาสร้างสรรค์ขึ้นเป็นผลงานสำหรับเข้าร่วมในกิจกรรมครั้งนี้ โดยผลงานของศิลปินทั้งหมดจะถูกติดตั้งไว้ตามบริเวณต่างๆของสถานที่จัดงาน รวมถึงมีการจำหน่ายและจัดกิจกรรมการประมูลผลงานสร้างสรรค์ทั้งหมดระหว่างระยะเวลานิทรรศการ
A BALE OF RICE
"The life of man [is] solitary, poor, nasty, brutish, and short." (Thomas Hobbes, Leviathan, XIII.9)
Besides such a radical - and bloody - option for solving one's problems, humankind has developed a trick of sorts, a substitute to outright killing and that is, distorting and concealing the truth. To protect themselves, people (including myself) alter, embellish, expand, and truncate the raw truth to the point that it becomes an invented, seductive truth, one that bears only a distant relation with the society it is supposed to be referring to.
The power and authority of the State and the elite, who embody conservative morality and ethics, are set up to disguise and cover all the potential inner violence -more often than not, of a forbidden, sexual nature. Trying to reveal what is concealed is a formidable challenge. This project focus on create ‘the way’ to connect people from deference background who have to live in the same place in reality. At the same time also create ‘Disconnected Condition’ to compare both side in theme of social philosophy. Communication equipment such as mobile phone will be used in theme of symbolic. The creating of artificial space from somewhere else to become overlapping territorial area with physical space, put people to disconnected experience with reality and gain to the important question about ‘Living as a human’
Disconnection นิทรรศการเดี่ยวล่าสุดโดย นรเศรษฐ์ ไวศยกุล ถูกนำเสนอผ่านผลงานศิลปะหลากหลายประเภทที่ติดตั้งอยู่ในภายในแกลเลอรี่เว่อร์ ผลงานในนิทรรศการสามารถแบ่งออกได้เป็น 4 ส่วน "Weakest Point Landscape" บอกเล่าเรื่องราวผ่านวิดีโออาร์ตที่ถูกติดตั้งลงบนพื้นของโครงสร้างไม้ขนาดใหญ่รูปร่างคล้ายชานบ้าน "Vagabondism in Galaxy (X)Y" วิดีโออินเตอร์แอคทีฟแอพพิเคชั่นบนโทรศัพท์มือถือกาแล็กซี่วาย "Invisible Vanishment” ภาพวาดอินเตอร์แอคทีฟที่ถูกวาดลงบนผนังแกลเลอรี่ และสุดท้าย "Shameful" ถ้อยคำที่ถูกสลักลงบนผนังกำแพงด้านนอกของแกลเลอรี่ ดั่งคำที่ถูกจารึกอยู่ในส่วนลึกที่สุดของจิตใต้สำนึก อาการที่มักจะพยายาม "โผล่" ออกมาสู่จิตสำนึกของมนุษย์ตลอดเวลา ผลงานทั้ง 4 ส่วนยังถือเป็นการเชื่อมโยงกันทางด้านเนื้อหา ตลอดจนแนวคิดที่หลอมรวมขึ้นมาจนกลายเป็นตัวตนศิลปิน ขัดเกลา กลั่นกรอง จนกลายมาเป็นผลงานทั้งหมด นิทรรศการ Disconnection ยังเป็นการผนวกทุกส่วนของพื้นที่แสดงงานให้กลายเป็นส่วนหนึ่งของผลงานศิลปะ ทั้งพื้นที่ อากาศ สิ่งแวดล้อมโดยรอบ ความเป็นที่ชมชุน ผู้คน รวมไปถึงผู้เข้าร่วมชมงาน
Rod Gand Num, wantanee Siripattananuntakul, 2014, plastic toys, water color
Marmie No. 001, piyaruk benjadol, 2014, mixed media, various size
Melanie and mel, piyaruk benjadol, 2014, mixed media, various size
careless whisper, jeff gompert, 2014, lp vinyl record, video project on the wall, variation size
….., supapong laodheerasiri, 2013, water color on postcard, frame, 12.4x19.7 cm.
sar mart, natsupa jaroenyingwattana, 2014, sewing shirt mixed with polka dot blouse, free size
untitled, 2014, ubatsat sutta, silk screen on t-shirt, wood frame, 20x30 cm.
13049, angkrit ajchariyasophon, 2014, acrylic on canvas, 40x50
kintaikyo bridge, suebsakun sarunpueti, 2014, image and photograph, 40x30 cm.
toy, jackkrit anantakul, 2014, clock, toy controller, helmet, plastic bottom, various size
untitled, naknimit suwannakudt, 2008, scraps of wood, 200x30 cm.
untitled, pitibodee raveeyant, 2014, oil on pieces of canvas, various size
The concept of Try Arm was inspired by observing and perceiving the gathering of various groups of people, especially those concerned with political, social and cultural issues, in a country where the king is Head of State. This reflects the attempts of the various groups to instigate changes in directions appropriate to the lives of the people of these various groups now and in the future. Within these movements, propelled into being every way possible, unexpected challenges were always encountered . We cannot avoid confronting the continuous rise of history. Try Arm exhibition does not aim to create harmony nor does it intend to make anyone love or hate anything more or to bring about peace anytime soon (maybe to offer a little encouragement) because I do not think this world will ever be peaceful but it is something we have to provoke, sometimes seriously, sometimes not. "We have discovered many alternative forms of energy but why do we not use them? because there are some who say, as there is still enough oil, we should use it all first, similar to the arrival of democracy in Thailand" This is why we say we cannot avoid conflict and these challenges will tire our arms many more times. Isn't it all though for our lives and our wish to see changes.
แนวความคิดในงานชุด TRY ARM นี้เกิดจากแรงบันดาลใจจากการได้เห็นและรับรู้ถึงความเคลื่อนไหวของประชาชนกลุ่มต่างๆที่เกิดขึ้นภายในประเทศ โดยเฉพาะประเด็นทางการเมือง สังคม และวัฒนธรรมไทยอันมีพระมหากษัตริย์เป็นประมุข สิ่งเหล่านี้ได้สะท้อนความพยายามของคนกลุ่มต่างๆ ในการเคลื่อนไหวที่จะเข้ามาเป็นส่วนหนึ่งในการปรับเปลี่ยนทิศทาง เพื่อให้เกิดความเหมาะสมต่อการมีชีวิตอยู่ของคนแต่ละกลุ่มในช่วงเวลานี้และในอนาคต ท่ามกลางความเคลื่อนไหวที่เกิดจากการผลักดันในทุกวิถีทางล้วนต้องเผชิญหน้าและท้าทายต่อสิ่งซึ่งคาดไม่ถึงเสมอ เราไม่สามารถหลีกเลี่ยงการเผชิญหน้าในฐานะที่เป็นรูปแบบทางประวัติศาสตร์ที่ปรากฎมาโดยตลอดได้เลย นิทรรศการ TRY ARM นี้มิได้มุ่งหวังที่จะสร้างความปรองดองให้เกิดขึ้น และไม่คิดจะทำให้ใครรักและไม่รักสิ่งใดมากขึ้น หรือจะทำให้เกิดสิทธิ เสรีภาพในเร็ววันแต่อย่างใด (อาจให้กำลังใจเล็กๆน้อยๆได้บ้าง) เพราะผมไม่คิดว่า โลกนี้จะสงบสุขหรือเต็มไปด้วยสันติภาพอะไรหรอก มันเป็นสิ่งที่เราต้องแหย่ทั้งจริงจังบ้างหรือทีเล่นทีจริงบ้าง “มนุษย์เราค้นพบพลังงานทดแทนได้ตั้งเยอะแยะแล้วแต่ทำไมเรายังไม่สามารถที่จะใช้มันได้ ก็เพราะยังมีคนบางส่วนบอกว่า ก็น้ำมันมันยังมีอยู่ไง ใช้ให้มันหมดก่อน...ฉันใด การได้มาซึ่งประชาธิปไตย ในประเทศไทยเองก็...ฉันนั้น” นี่เองคือสิ่งที่เรียกว่ายังไงเราก็เลี่ยงไม่พ้นต่อการต่อสู้ และท้าทายสิ่งเหล่านี้จนอาจรู้สึกเมื่อยแขนในหลายๆครั้ง แต่ทั้งหมดก็เพื่อการดำรงค์อยู่หรือความต้องการอยากจะเห็นสิ่งที่เราอยากจะเปลี่ยนแปลงนั่นเองไม่ใช่หรือ