View of “Arlette Quỳnh-Anh Trần: iii.x_Unrealized Utopia,” 2024. Steel form: Analysis of an Image, 2024. Hanging: TUU–Das Kino, 2023. Utopia, as concrete as it is elusive, is the spectral pillar upholding so many Western schools of thought, from Christian belief in a messianic deliverance to the Marxist ideal of a classless society. Yet Arlette Arlette […]
Timoteus Anggawan Kusno, Asset Object Related to “After Colossus,” 2024, machine-learning-trained generated images and archival images on 35-mm film, acrylic, each 1 7⁄8 × 1 7⁄8″. In Timoteus’s recent exhibition “Fever Dream” at Kohesi Initiatives, Jogja, viewers encountered a cornucopia of objects, from ominous, blurry charcoal drawings of dictators and colonial figures to large-scale installations
View of “Ade Darmawan: Water Resistance,” 2024, Cemeti Institute for Art and Society, Yogyakarta, Indonesia. Photo: Kurniawan Widodo. Tuban (2019–), in the first room, was a mélange of furniture, found paraphernalia, and a distillation apparatus. Electric stoves were placed on wooden dining tables, reclining chairs, and wardrobes, transmitting heat into glass distillers and condensers. Various
Screencap from Everyone is… Image courtesy of the artist and Artforum. “In a time when hypernyms such as “Anthropocene” and “nonhuman” are becoming desensitized in contemporary art, is it still worthwhile for artists to question our seemingly unsalvageable relationships with other species and explore potential modes of alternative communication with them? For Wantanee Siripattananuntakul, this
Taiki Sakpisit, Dark Was the Night, 2024, two-channel 4K video projection, color and black-and-white, sound, 15 minutes 30 seconds. “In this exhibition, sound functioned as an invisible compass, guiding Sakpisit’s video editing and eliciting moments of suspension and anticipation that further submerged viewers into his video pieces. Alternating between found sounds, dreamlike melodies, and other
Hoàng Dương Cam, ‘Pre-helicopter Era, Michael Rabin in the middle of Dong Thap Muoi or Bach Violin Sonata 1005 Adagio’, 2021, oil on canvas, 195 x 260cm. Image courtesy of the artist and Galerie Quynh. The title ‘Pre-helicopter Era, Michael Rabin in the middle of Dong Thap Muoi or Bach Violin Sonata 1005 Adagio’ (2021)
Nipan Oranniwesna, Then, one morning, they were found dead and hanged, 2020, ink-jet print on floor, wooden text. Installation view. Photo: Surachet Wonghun. “On the far side of the room, opposite the teak boxes, he’d sprinkled azure pigment onto the floor in abstract forms and commingled them with two sentences in teakwood: THEN, ONE MORNING,
Vy Trịnh, VISION, 2024, Honda Vision moped chassis, flat steel bar, steel rod, organza ribbon, satin ribbon, plastic beads, nickel-plated steel ball chain, rhinestone chain, wheel, rebar, stators, copper wire, brass, flux and rhinestone mesh. Photo: Galerie Quynh. “Positioning this vehicle not only as a quotidian household item but also as a symbol of industrialization,
View of “Korakrit Arunanondchai: nostalgia for unity,” 2024, Bangkok Kunsthalle, Bangkok. Photo: Bangkok Kunsthalle. “… The space’s ground is covered in a tar-like mixture of soil and ash, crushed from the building’s burnt pieces, rendering it a cold and fissured desert—a sensation heightened by the old gray concrete walls. A hazy mist infiltrated the belly
Wilawan Wiangthong’s first solo exhibition in Thailand, “Mom of Alterity” at MAIELIE, brings together a complex orchestration of seven chaptered live performances accompanied by surreal moving images, sculptures, and photography. Within this psychosomatic domain, subversive forms of bodily expression manifested, alternative connections between species flourished, and the interstices between humanity’s technosphere and nature’s ecosphere sporadically surfaced. As one might infer from the performance described above—appropriately titled Chapter 4: Eggs, 2024—the body as a mythical and provocative terra incognita emerged as the centerpiece to Wiangthong’s corporeal banquet.