林明弘Michael Lin 布苏伊·阿贾Busui Ajaw 塔瓦猜Tawatchai Puntusawasdi｜泰国双年展
第三届泰国双年展“开放世界”
The 3rd Edition of Thailand Biennale: The Open World
Chiang Rai, Thailand
BANK欣然宣布艺术家林明弘、布苏伊·阿贾与塔瓦猜·汶杜沙瓦迪参与了第三届泰国双年展“开放世界”。
第三届泰国双年展于今年12月在清莱举行，由艺术家里克利·提拉瓦尼（Rirkrit Tiravanija）和策展人格里西亚·加威旺（Gridthiya Gaweewong）策划。展览的标题“开放世界”（The Open World）灵感源自清莱柚林寺（Wat Pa Sak）供奉的佛像；在这里，佛像“打开”了三个世界：天界、人世与冥间。
为了打开新的对话与联结，“开放世界”邀请了泰国本土和国际艺术家对一系列问题作答，并以此为创作基础，与该地区互动，例如：“我们该如何处理清莱复杂的历史？”“如何共享资源？”“更好的未来真的可能吗？”
BANK is pleased to announce the participation of artists Michael Lin, Busui Ajaw, and Tawatchai Puntusawasdi in the third edition of Thailand Biennale: The Open World.
The third edition of the Thailand Biennale took place in Chiang Rai this December, curated by artist Rirkrit Tiravanija and curator Gridthiya Gaweewong. Titled The Open World, the theme takes its name from the Buddha image enshrined in Wat Pa Sak, one of the most important ancient sites in Chiang Rai. With his power, the Lord Buddha opens the three worlds—the god world, the underworld, and the human world so that they can see one another.
In order to open up new dialogues and connections, The Open World invites local and international artists to respond to a series of questions and use them as a basis for their work and interaction with the region, such as "How do we deal with the complex history of Chiang Rai?" "How can we share resources?" "Can we imagine the possibility of a better future?"
林明弘的装置作品《周末》汇集了金三角地区中几个重要的山区部落的图腾与色彩。在视觉上，《周末》就如一层床罩，这类织物作为一种工艺传统，常用来纪念一些联盟和社群的存在。
这件特定场域作品在清莱的老市政厅亮相，这座建筑是泰国拉玛五世国王进行现代化改革的标记，他的改革引入了西方的国家和领土划分的概念。《周末》在泰国双年展的框架下，将中央集权和下等阶级两种对立的力量融合在一起，在充满争议的金三角地区的语境下，对当代艺术和文化的职能本身进行诘问与探讨。 踏上泰国的土地，林明弘便对拉玛五世时期建造的清莱老市政厅产生了浓厚的兴趣，它具有典型的西方建筑风格。与此同时，清莱还存在着 30 个原生民族。于是，艺术家将清莱每个部落的图腾提取出来汇总在一起，编织成一件大型的艺术作品。最终，这件场域特定的装置作品如同巨型广告牌覆盖了整个旧市政厅的建筑。
The art piece Weekend is a gathering of patterns and colors from the prominent Hill tribes of the Golden Triangle. Visually like a quilt, which as a craft tradition usually commemorated unions and communities, Weekend is a patchwork of textiles.
This polyphonic concert takes as its stage the old City Hall of Chang Rai, a monument to the modernizing reforms of King Rama V which introduced the Western concept of state and territorial division. Weekend conflates these two opposing forces, one subaltern, the other centralized authority, under the framework of The Thailand Biennale to renegotiate and question the role of Contemporary Art and Culture in this contentious region of the Golden Triangle.
When arriving in Thailand, Michael Lin was interested in the Old Chiang Rai City Hall that was built during the reign of King Rama V, and with a style of Western architecture. Meanwhile, there are another 30 ethnic groups in Chiang Rai. He then took the patterns of every tribe in Chaing Rai and expanded them into large pieces of art. In the end, this site-specific work came out in the form of a giant billboard covering the entire old city hall.
布苏伊·阿贾
Busui Ajaw
在今年位于清莱的泰国双年展，她创作了一个特定场域的装置。为了保护阿卡族的遗产和传统智慧，艺术家在巨大的兽皮上画了八幅画。这些艺术品生动描绘了轮回的概念，通过叙事反映了共同生活在这一地区的阿卡人的文化多样性和传承性。
Busui Ajaw (b.1986) is a self-taught Akha artist born in a remote mountainous region in Myanmar. She was forced to flee her homeland following the invasion of the United Wa State Army (UWSA), and settled in Chiang Rai. She started drawingat the age of 15, developing an artistic language to directly express her thoughts and emotions, which are deeply rooted in the Akha way of life and culture.
For this year's Thailand Biennale in Chiang Rai, she created a new work, "Mor Doom and Ya Be E Long", which is designed to preserve the Akha heritage and traditional wisdom through eight paintings on a vast piece of animal skin. These artworks depict the samsara and narratives reflecting the cultural diversity and inheritance of the Akha people living together in this region.
🔗 布苏伊･阿贾：世界的母亲
塔瓦猜·汶杜沙瓦迪
Tawatchai Puntusawasdi
艺术家塔瓦猜·汶杜沙瓦迪在2023年泰国双年展中呈现其全新装置作品《三分体》。该作品构思基于将身体轮廓分为三个部分，其中第二和第 三部分分别放大了 1.5 倍和 2 倍，然后将所有部分定点安装。每件作品中垂直和水平视角互相进行博弈，观众与其之间的距离又让视觉呈现产生更多变化。
塔瓦猜·汶杜沙瓦迪1971年出生于泰国曼谷，在清迈生活和工作。他在清迈大学（BFA）和泰国艺术大学（MFA）继续他的艺术教育。塔瓦猜·汶杜沙瓦迪因其精致和优雅的雕塑而闻名，主要使用硬木和金属，这些雕塑扭曲了可识别的形式，唤起了观众对他们居住空间的高度体验。
塔瓦猜的雕塑作品的重要组成部分都涵盖了大量艰苦而精准的数学计算。塔瓦猜的雕塑始于他对自己想象力的开放和假设的挑战，直到他坐在桌边，全神贯注地用计算找寻答案。在那个时期，冥想是创造的重要驱动力。构成形状构建的计算结果充盈了他的内心。
塔瓦猜·汶杜沙瓦迪曾在世界各地多个重要机构展出作品，包含泰国国家艺术馆，新加坡艺术科学博物馆，法国莫里索基金会，日本东京当代艺术馆，德国Artswitcher Kunstwerks，瑞典Edsvik Konst och Kultur等。此外，他还参加了2018年曼谷艺术双年展、2009年雅加达双年展、2006年悉尼双年展，以及第50届威尼斯双年展。他曾两次获得波洛克-克拉斯纳基金会的资助。
Tawatchai Puntusawasdi presents his new installation 3 Parts at the Thailand Biennale 2023. The conception of the work is based on dividing the body silhouette into three parts, with the second and third parts enlarged by 1.5 and 2 times respectively, and then installing all the parts on a field. Vertical and horizontal perspectives play with each other in each piece, and the distance between the viewer and the body creates more variation in the visual presentation.
Tawatchai Puntusawasdi was born in 1971 in Bangkok, Thailand, lives and works in Chiangmai. He pursued his art education at Chiangmai University (BFA), and then at Silpakorn University (MFA). Working predominantly with hardwood and metal, Tawatchai Puntusawasdi has come to be known for his refined and elegant sculptures that skew and distort recognizable forms, evoking in audiences a heightened experience of the spaces they inhabit.
A significant component of each of Puntusawasdi's sculptures requires extensive and painstaking mathematical calculations. His sculpture began with opening to imagination and assumption that challenging himself, until he sat down on his table, focused precisely on calculation to find the answer. Meditation that was created during that periodis the significant drive for creativity. Then, result ofcalculation that leads to shaping is what fulfills theemptiness in his heart.
Tawatchai Puntusawasdi's artworks have been exhibited in worldwide institutions and museums, including National Art Gallery in Thailand; the ArtScience Museum in Singapore; Morisot Foundation in France; Museum of Contemporary Art Tokyo in Japan; Artswitcher Kunstwerks in Germany; and Edsvik Konst och Kultur in Sweden, etc. In addition, he has participated in the Bangkok Art Biennale 2018, the Jakarta Biennale 2009, the Biennale of Sydney 2006, and the 50th Venice Biennale. He has twice been the recipient of the Pollock-Krasner Foundation Grant.
- 正在展出 Current Exhibition -