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Encrypted/Decrypted

#encrypted_decrypted, an initiative project by Nipan Oranniwesna, Wantanee Siripattananuntakul and Chitti Kasemkitvatana derived from DM exchange among artists during the partial lockdown in Bangkok and beyond, 2021. The first edition of encrypted/decrypted focuses on the idea of distance & intimacy, expanding across online platforms from Instagram to Spotify and Facebook. Participants : Orawan Arunrak Tanatchai Bandasak Viriya Chotpanyavisut Danaya Chulphuthiphong Disorn Duangdao Chitti Kasemkitvatana Dagmar Keller and Martin Wittwer Latthapon Korkiatarkul Udomsak Krisanamis Niwat Manatpiyalert Varsha Nair Nipan Oranniwesna Phatarawadee Phataranawik Pratchaya Phinthong Sitthisak Polpinij Pongdering Nattapol Rojjanarattanangkool / Khaorong.khaoroi Miti Ruangkritya Sathit Sattarasart Wantanee Siripattananuntakul Pathompon Tesprateep Rirkrit Tiravanija Facebook : facebook.com/decryptedBKK Instagram : instagram.com/encrypted_decrypted Spotify : shorturl.at/npZ04

Image : Encrypted/Decrypted on Instagram

″...Chitti Kasemkitvatana [Bangkok 1969], artist and curator, remarkable above all for the latter attribute: more than a curator, he is a metteur-enscene, metteur-en-place, metteur-en-page, creating spaces of absolute clarity that point to an aesthetic - as pure as it is sophisticated - that is able to destroy any traces of existential and cultural triviality.” Taken from “OR PERHAPS JUST FOR THAT”, an essay by Pier Luigi Tazzi, Bangkok, October 2015

Elliptical glints on R. Menam

Stories We Tell To Scare Ourselves With Curator: Jason Wee Co-curator: Anita Hsiang-Ning Huang 2019/01/26 ~ 2019/04/14 MCA Taipei - 吳松吉 Chitti Kasemkitvatana 《湄南河上的波光粼粼》Elliptical glints on R. Menam 數位輸出、研究文件 Digital Prints, Research Materials 尺寸因空間而異 Dimensions Variable 2018-2019 《湄南河上的波光粼粼》出自於吳松吉針對泰國現代性所作的長期研究計畫，主要從1600年到1900年前期的新聞檔案進行研究。湄南河為歐洲人對昭披耶河的誤稱，「湄南」在泰語為河流的意思。這次展覽著重泰國初始與西方接觸時的衝突，如曼谷圍城戰、寶寧條約、拉瑪五世國外出訪等事件，皆於這個重要的流域上發生。 Elliptical Glints on R. Menam highlights moments in the history of conflict between Siam and her neighbouring competitors for regional dominance, a history of mutual antagonism that laid the ground for Siam’s wary encounters with colonial modernity. The work is based on Chitti Kasemkitvatana’s extensive research on Thailand’s modernity, which predominately examines news archives from the 1600s to the early 1900s. The Menam River began as a misnomer used by Europeans to refer to the Chao Phraya, since menam literally means “river” in Thai. The artworks on view focus on the initial conflicts that arose when Thailand first came into contact with the West, including the Siege of Bangkok, the Bowring Treaty, and King Rama V’s visits abroad, which all unfolded alongside this important river. 其中，1688年暹羅(Siam，今泰國)革命是推翻親西方國王那萊王的軍事政變，最著名之役曼谷圍城戰，使得法國勢力被驅逐出境，也讓暹羅切斷對西方的聯繫直至19世紀；「寶寧條約」則是暹羅王國與英國於1855年4月15日所簽訂，美其名是一份友好與商貿條約，然而卻是一個不平等條約，允許英國在曼谷的自由貿易，並設立領事館享有治外法權；其後，拉瑪五世於1870年代起，出訪當時的西方殖民地如馬來半島、新加坡、印度等地，以了解西方殖民政府管理方式，更堅定了未來泰國現代化發展的方向。 Amongst these incidents, the Siamese Revolution of 1688 was a coup d'état which led to the overthrow of the pro-Western Siamese King Narai. The Siege of Bangkok was a key event of the revolution, in which the French was ousted, which would cut off all Western contacts with the Kingdom of Siam till the 19th century. The Bowring Treaty of 1855 signed between the Kingdom of Siam and the United Kingdom was, on the surface, a treaty of friendship and commerce. But it was a profoundly unequal treaty allowing free trade by the British in Bangkok and the establishment of a British consulate with extraterritorial powers. Subsequently, King Rama V embarked on international visits in the 1870', traveling to places under British colonial rule, including the Malay Peninsula, Singapore, and India, with the aim to gain insights into colonial operations and administration. All these voyages were undertaken as Rama V determined the future direction of Thailand’s modernization. 往後的一個世紀，曼谷迅速發展成現代化的城市中心，也開啟了西方勢力對東南亞長期的影響力。從這些檔案及掛布之中，我們可觀察到與當時西方媒體如何宣傳其帝國主義思想，及西方勢力在東南亞造成的緊張關係。 In the following century, Bangkok quickly developed into a modern metropolis, which also opened the city to extensive influence from the empires in Southeast Asia. The text and photo excerpts from the archives bear witness to the ways imperialism was propagandized by Western media, as well as to the conflicts with Western powers in Southeast Asia that persist well into the next century.

烏鬼 : Stories We Tell To Scare Ourselves With

Stories We Tell To Scare Ourselves With 2019/01/26 - 2019/04/14 MOCA Taipei Artists: Abdul Abdullah 阿卜杜拉 Anne Samat 安妮沙末 Cassie Machado 凱西．馬查多 Chi Too 陶志恆 Chitti Kasemkitvatana 吳松吉 Chris Yeo 楊修華 Ding-Yeh Wang 王鼎曄 Enzo Camacho & Amy Lien 恩佐．卡馬喬&連潔 Hilarie Hon 韓幸霖 Jakkai Siributr 賈凱．斯里布特 Liang Ting-Yu 梁廷毓 Minstrel Kuik 郭靜潔 Nipan Oranniwesna 尼潘．歐拉尼維 Norberto Roldan 諾爾貝托．羅爾丹 Siki Sufin 希巨蘇飛 Tan Pin Pin 陳彬彬 Timoteus Kusno 堤莫斯．庫斯諾 Vuth Lyno 烏茲．里諾 Wei-Li Yeh 葉偉立 Yan Chung-Hsien 顏忠賢 Zarina Muhammad 莎琳娜．穆罕默德 Zulkhairi Zulkiflee 族卡里．祖琪基 Curated by Jason Wee Co-Curated by Anita Hsiang-Ning Huang Exhibition Introduction by Jason wee “Wugui (literally dark ghosts)*. Name of the indigenous country and slaves of the Dutch. This race has extremely black skin. They do not sink in water and can walk on the water surface as if were on land.” _ An Official Brief History of Taiwan, (1738) Fear drives our basest instincts. Fear is generative; it produces endorphins, shapes the borders that settle our tribal demands for security and safety, and the demarcation of what lies within one territory or region and what lies outside it. In the face of the strange and unknown, fear enters our stories as ghosts and ghouls separating the human from the animal, the human from the nonhuman. In the Chinese languages, the word “ghost” often signifies the foreigner or the uncivilized race; “Wu Gui” for instance, refers collectively to the slaves brought by 17th-century European colonizers to Taiwan from Africa and Southeast Asia, including those slave soldiers from the Indonesian Banda Islands who served Koxinga’s Kingdom of Formosa as well as the indigenous people inhabiting Xiaoliuqiu who were exterminated by the Dutch. Ghosts, cast in this light, populate Southeast Asia’s oral, artistic and cinematic landscapes because they generate a sense of who we are to ourselves. The ghost is the figure of the foreigner, the intruder and the invasive species. The shadows of political extremes no longer skirt our political scene but are its central subjects. These shadows are cast upon the scene as though their silhouettes remain just outside or beyond present events, reaching us from the borders of a far past. Yet what ghost and ghouls often reveal are the continuation of empire’s protocols and predilections into the scripts and habits of our everyday. The colonial is not in the past simply because it has already happened, but also because it is the past we require for our modern present. We imagined ourselves modern because we have left that past behind. The figures in this exhibition - a man-eating tiger, false gods – are analogies for the Others of our time – the foreigner, the immigrant, the unbeliever, the queer, even at times the governed, if the governed risks their own agency and visibility. Yet if our present sense of living in this part of the world is one inhabited by the ghosts of imperious pasts, it is also a wilder terrain inhabited by older ghosts of pre-coloniality and the ghosts of futures buried in the present. In these moments, the distinctions between the human and the non-human – the elemental, the bestial, the technological – smudge into a spectrum of generative admixtures. Correspondingly, our fears of the non-human modulate themselves, mitigated by excavated knowledges, or they intensify into fresh terrors. Who is pointing the ghouls out? What are the ghost stories to come? Who will ‘we’ be then?

Encrypted / Decrypted

Encrypted / Decrypted Nipan Oranniwesna Wantanee Siripattananuntakul Chitti Kasemkitvana Tanatchai Bandasak 16.08 -23.09, 2018 Tang Contemporary Art, Bangkok The way these four artists develop their research is individually unique each represents a complete artistic world. Despite the difference in their works and topics that they research, they each develop their own contents keeping an individual artistic dimension. Even though the message is connected either to social or existential topics or it’s a reflection on art, this content lies on a very deep level, it lives in their artistic cosmos and never exits it, never makes the effort of approaching the public too closely, never please the public being more direct, more obvious or more agreeable. This artistic generation is finally detached from the leftover ideas of regional context, on the contrary, their art stands for itself, it's auto substantial, it's the kind of art that lives out of time, out of trends and is independent from its specific context. Art operates on a specific level: it lives in the intersection of meaning and sign, and an artwork is an artwork if sign and meaning are interconnected indissolubly. This “encrypted” language speaks loud by itself.

The Architectural Ensemble of Wang Na

The Architectural Ensemble of Wang Na Exhibition Curated by Chitti Kasemkitvatana 10 - 27 June 2018 Studio, 4th floor, BACC The Fine Arts Department in collaboration with the Foundation of Mrigadayavan Palace under the patronage of H.R.H. Princess Bejaratana presents The Architectural Ensemble of Wang Na. The exhibition is derived from The Study of the Front Palace (Wang Na): A Digital Revitalisation of the Palace’s Past, a project led by the Office of Architecture in collaboration with other official bodies within the Fine Arts Department. The project seeks to create awareness of an important historical site within the historic centre of Bangkok - the Front Palace (Wang Na). Established in 1782, it was one of the very first structures constructed at the beginning of Rattanakosin Era, encompassing what is now Thammasat University, National Museum Bangkok, National Theatre, Bunditpatanasilpa Institute and the northern part of Sanam Luang. The exhibition starts with the presentation of the architectural ensemble of the Front Palace from the late H.M King Rama IV’s to H.M. King Rama V’s periods, as many documents on and about the site during the time have been found, ie. old photographs of various architectural units, notably the ones that are no longer in existence, maps, journals especially H.R.H. Prince Damrong Rajanubhab’s Tamnan Wang Na, translated as the Chronicle of the Front Palace.The Office of Architecture has digitally constructed the former plan of the palace and the missing structures in3D model, which have been interpreted and re-worked by the curatorial and design teams of the exhibition. The Architectural Ensemble of Wang Na exhibition focuses on the process of interpretation and representation of knowledge bodies. It employs contemporary tools and platforms in order to transmit the recollection of the past to the present day.Equally, it finds a way to preserve the long-ago memories of the historical site and transmitted its heritage to the contemporaries. The Architectural Ensemble of Wang Na Exhibition is sponsored by Bangkok Bank Public Company Limited and Thai Beverage Public Company Limited.

Our Studio Selves

With Teelah George, Chayni Henry, Minstrel Kuik, Todd McMillan, Mish Meijers and Tricky Walsh Curated by Jasmin Stephens April 7th – 21st, 2017 Ideas Platform, Art Space, Sydney, Australia Opening: Thursday, April 6th, 6.00 pm Our Studio Selves presents ideas about the role of the studio contributed by artists from Australia and Southeast Asia. While it does frame artists in terms of their sites of production, it is intended to be inclusive of those without studios and whose practices are collaborative as well as those who produce and present across material and digital space. For the artists in the exhibition, the studio entails a commitment to reflection and growth which can conceivably embrace the efficacy of the journal, the pool and the laptop. The interior nature of these processes suggests the acquisition of insights that are hard-won and which may not be immediately apparent. Until the nineteenth century, studios in Western Europe were conducted as workshops staffed by assistants which is a model that today’s large scale project-based studios are returning to. Travel, residencies and co-living are now also viewed as essential experiences which are overtaking the primacy of the studio. Despite these trends, however, there has been a proliferation of studio imagery and a revival of interest in classic texts devoted to the themes of creativity.Australian writer David Malouf offers an historical context for the exhibition. In his 2011 essay The Happy Life, he cites French philosopher Michel de Montaigne’s (1533-92) desire to retreat to a ‘little back-shop’. Noting Montaigne’s aristocratic status, Malouf acknowledges this aspiration as present in Western thinking and as a perspective that can be extended to other philosophical traditions. Any consideration of the ‘creative life’ must include Virginia Woolf’s A Room of One’s Own (1929), her celebrated essay in which she argues that women must have the financial independence and the recognition to write in the face of patriarchal and other normative constraints. At the same time, the exhibition is framed by the emergence of labour conditions that are characterised by the personalisation of work and a greater intolerance of idleness. Traditional notions of the studio are being challenged as much by the corporatisation of space and property as the shifting aspirations of artists.However, as these artists reflect, against the backdrop of the digital evolution of the art market, the internationalising of peer relationships and the diversification of audiences, the ‘veracity’ of the studio persists. Chitti Kasemkitvatana is an artist and a curator who lives in Bangkok. In the early nineties he studied at Prahran TAFE and RMIT University in Melbourne where he met Aleks Danko, his teacher and a senior Australian figure who is contributing to the exhibition. He has a longstanding interest in the relationship between actions and installations and the transmission of ideas across networks. Through his involvement with independent projects, About Studio/About Café as Curator (1997-9) and Messy Sky as Co-founder and Co-editor (2011-15), he has made a significant contribution to the Thai art community. He is now Curator in Residence with Mrigadayavan Palace, Cha-am, an important heritage site. A recipient of a DAAD residency in Berlin in 2014, he has recently been included in group exhibitions at Centre Pompidou, Paris; FUTURA Centre for Contemporary Art, Prague; and Silpakorn University, Bangkok.

UNFOLDING THE ARCHIVES

From art4d.com Text by Napat Charitbutra THROUGH THE COLLABORATION OF KLAOMARD YIPINTSOI, THE DIRECTOR OF THE OFFICE OF MRIGADAYAVAN PALACE AND CURATOR, CHITTI KASEMKITVATANA, ‘HISTORY’ AND ‘CONTEMPORARINESS’ ARE GIVEN EQUAL IMPORTANCE AND COEXIST BEAUTIFULLY WITHIN THE SPACE OF THE ARCHIVES ROOM. Using a portion of a space inside of a government-run museum to host temporary exhibitions is, undeniably, an interesting idea. It’s a model that has been widely employed by museums with a big enough capacity to do so. And within this one section of space, the old (historical data) is presented alongside the new (temporary exhibitions), causing the content of the museum to be more dynamic and interesting. Nevertheless, in the case of the ‘Archives Room’ of Mrigadayavan Palace, with its rather limited space whose size is almost incomparable to those of the Rattankosin Exhibition Hall or Museum Siam, the approach to spatial management where the old and the new are entirely separated is understandably impossible. But under the collaboration of Klaomas Yipintsoi, the director of the Office of Mrigadayavan Palace and curator, Chitti Kasemkitvatana (the team behind About Studio/About Café’s booming success throughout the 90s), ‘history’ and ‘contemporariness’ are given equal importance and coexist beautifully within the space of the Archives Room. The ‘Archives Room’ is a one-story building that was once used as the palace’s toolroom. It is located behind a cluster of throne halls situated on the outer ring of the palace. Ariya Songpraphai, the architect who oversaw the renovation of the throne halls and Archives Room provided interesting information about the architecture of the building. Constructed entirely out of concrete, the structure and foundation have stood strong for 93 years as the architecture ideally reflects the construction technology that can be dated back to 100 years ago. The renovation takes place cautiously due to the building’s aged structure while the readjustment of the floor and refurbishment of the system work are done with minimum effect on the structure (explaining why no air conditioner is installed inside of the space). The interior space is divided to serve two main functionalities: the Archives Room and the exhibition space. The Archives Room stores evidence found during the maintenance of the Palace’s throne halls and put on display are seven key architectural elements that reflect the historical context of the time when the construction took place. Among the exhibited objects are wooden panels taken from the roof frame with traces that show the use of a steam engine as a cutting tool or the scraps of newspaper stuffed in cavities that helped to determine the time of maintenance (1987-1994). Also exhibited are video renderings of the throne halls’ structures, historical documents and information about the project of the revival of the beachside forest around the Palace studied by Associate Professor Kittichet Sridit of Songklanakarin University. The next section is the exhibition spaces that are interwoven as parts of the Archives Room’s program. ‘Mrig’ by Thannatchai Bandasak and ‘Recollection of Beach Forest’ by LIKAY BINDERY, held between 1st October 2016 and 5th January 2015 are the exhibitions that debuted the space. Both works tell stories of the Palace from different aspects and while defining themselves as works of contemporary art, the contents of the two exhibitions still revolve around Mrigadaygavan, which was the subject provided by the Archives Room. ‘Recollection of Beach Forest’ is a series of installation art pieces conceived from the artists’ exploration of the local beach forest between February and July of 2016. Mali Jullakiet and Pantipa Tonchukiet explored the area around Mrigadayavan Palace and beach forest in Bo Nok sub-district of Prachuabkirikhan province before presenting their findings in three series of works of art: ‘Paper Botanical,’ the paper sculptures mimicking the shapes and forms of local trees (exhibited at the special exhibition room, Bann Chao Praya Ramrakob), ‘Visual Diary,’ the documentation of dried plants presented as an herbarium and ‘Plant Sculpture,’ a collection of resin and plaster sculptures created from molds made of different types of leaves. LIKAY BINDERY’s approach to documentation allows for viewers to see the structures and details of a great variety of leaves found within the area. ‘Mrig,’ Thannatchai Bandasak’s video art exhibition, bears a completely different characteristic. The artist began the artistic process from a desire to photograph the portraits of the throne halls and his interest in the details of their architecture where a modular system was brought in for the design and construction of the floor plan. Such execution created the lead-in line that opens/closes the viewers’ perspective while controlling the public/private nature of each zone of the palace (the outer court, middle court and inner court). From this point, the artist was given the chance to document the inner court area. The pictures were taken from the point of view of the inhabitants who once lived in the palace, looking out, following the lead-in line that runs from the interior space through the openings of doors and windows. The images were later arranged into a work of video art. Whether it’s the palace’s restriction that prohibits the inner court from being photographed (preventing the possibility of unauthorized photographs of the Royal family’s personal belongings) or the artist’s intention to capture the images with the inside-out perspective instead of documenting the space most people have never had access to, the camera did its job of recapturing memories of the former residents, offering viewers a portion of the experience of what it would be like to live in the Mrigadayavan Palace. Looking at the video, a strange feeling hits us as we begin to realize that the moving images before our eyes could be what the members of the Royal Court once saw. Apart from the two exhibitions, the space also features a number of works such as the wood sculptures by Thakol Khaosa-ad, who is also responsible for the design of the furniture used in the exhibition room. Managing the content within the limited space reflects the role of the curator, who chooses not to ‘separate’ the contemporary art from the overall theme of the exhibition but treats it as an ‘extension’ that explores the same subject matter, but with a different aspect and approach. Installation wise, the artworks are equally included as parts of the space of the Archives Room. No particular piece of art is given special attention as every displayed object in the room is exhibited under the same lighting (and as a result, causing some of the works such as ‘Visual Diary’ to go a bit unnoticed). It remains to be seen what the next exhibition will be and how the curator will find a way to work the content outside the subject of Mrigadayavan Palace into the context of the Archives Room.

#curatorials

Human AlieNation

Human AlieNation 4 August – 3 September 2016 The Art Centre Silpakorn University Artists : Chitti Kasemkitvatana, Nipan Oranniwesna, Nopchai Ungkavatanapong, Wantanee Siripattananuntakul Curator :Kamolwan Boonphokaew The Art Centre Silpakorn University co-organised with the Faculty of Sociology and Anthropology, Thammasat University requests the pleasure of your company at the opening ceremony of Human AlieNation at the Art Centre, Silpakorn University Wang Thapra On Thursday 4 August 2016, 6.30 pm. The fields of art and anthropology, despite their different working processes and approaches to practice, share one fundamental commonality: their ability to reflect situations and movements that are currently occurring in society. “Every group is other to every other group.” This statement by Thomas McEvilley, an American art critic, here serves as the point of departure for a dialogue between an anthropologist-in-training and four artists with different backgrounds and creative specialties. The topic of the dialogue is the current condition of Thai society, which is loosely described as a period of social and political transition. During this time of transformation, a group of people on one side tries hard to hold on to the way things have been, while those on another eagerly anticipate the passing of old days and the arrival of new. Ironically, by sharing the condition of being lost inside the labyrinth of cultural change, all are driven to view those living in the same culture as the other. In both the social and art worlds, there is a current effort to revive the mechanism of peer grouping based on political ideology. The act of social labelling, categorizing, and delineation as 'friend' or 'enemy' is experiencing a resurgence. The consequence is the promotion of the voice of the in-group to be heard louder, while that of all others is increasingly ignored. Human AlieNation project does not only present such reflections on what people encounter in contemporary society from artists' interpretations and perspectives, but also reveals the collaborative practice of its creators. An anthropologist-cum-curator, joins hands with a group of artists giving expression to hidden aspects of cultural politics in modern-day. In this presentation, what is visible may hide something invisible. Meanwhile, what is invisible may reveal something that should or cannot be exposed as well. One moment into another. An atmospheric immersion. 2016 by Chitti Kasemkitvatana - Installation hand-out Human AlieNation - exhibition catalogue can be obtained at the Art Center for free.

More than Lovers, More than Friends - A Film Program

A film program to accompany an exhibition, More Than Lovers, More Than Friends, curated by Jo-ey Tang at FUTURA Centre for Contemporary Art, Prague, from June 21 - Sept 11, 2016.

A shot from "32 Short Films about Glenn Gould" #31 - Aria, dir. François Girard, USA, 1993. This accompanying film program will show only the last scenes and rolling credits in a setting of a waiting room, from more than 30 participants from the fields of art, philosophy, and literature. The waiting room will be the first room in the exhibition at FUTURA. Film endings selected by: Mar Garcia Albert, Monsur Ali, Fabienne Audeoud, Nathaniel Axel, Ian Balfour, Julie Bena, Phillip Birch, Pim Blokker, Dora Budor, Andrianna Campbell, Jason Charney, Adam Cruces, Cyril Duval, T De Long, Joy Episalla, Davide Fornari, Thomas Fougeirol, Louisa Gagliardi, Julia Geerlings, Laëtitia Badaut Haussmann, Rodrigo Hernández, Heide Hinrichs, Yin Ho, Claudia Joskowicz, Alex Jovanovich, Chitti Kasemkitvatana, Flora Katz, Edwin Lo, George Henry Longly, Ingrid Luche, Corey McCorkle, Sébastien Mennet, Jacopo Miliani, Darius Mikšys, Alexander Nagel, Zeena Parkins, Shanta Rao, Max Razdow, Patricia Reinhart, Aude Richards, Maxime Rossi, Pepo Salazar, Amelia Saul, Yves Scherer, Maaike Schoorel, Mira Schor, Chai Siris, Jesse Stecklow, Jeanie Aprille Tang, Thaiddhi, Caecilia Tripp, Ching Ling Wang, Claudia Weber, Zoe Williams, Margaux Williamson, Carrie Yamaoka, Yu Honglei About the exhibition: “More Than Lovers, More Than Friends implodes the aggregate of divergent fields. The dynamic movement of space-time motored by intense subjectivities as its core, as matters traversing through double proton slits. Rather than a venn diagram of fixed co-relations, its various projects and instances take shifts of consciousness as a necessary course. Follow-downs instead of follow-ups. Over-throughs instead of follow-throughs. Not elaboration, but a tear from any notion of spatio-temporality, but most importantly exceeding our commitments to living and to each other. More Than Lovers, More Than Friends envelopes newly formed convolutions, as opposed to collaboration. Convolution as in the mathematical operation in which the combination of two sets of numbers produce a third dimensionality. As in music programming, in which the spectral profile of one sound can be put in the amplitude envelope of another. Two disparate forms produce a third intertextual entity. Those who have accepted this proposition must be willing to receive and produce knowledge for themselves, and sublimate the possibility of transmission from the experience. To project into the future, at the risk of making the past completely unknown or changed, where the future could shape the past and its reception. It is with this guiding spirit that More Than Lovers, More Than Friends will be corroborated: one steps into its vicinity so suddenly, that our human presence will pull the present apart. Empty rooms become passages. Labyrinthine passages and dark corners become rooms. Where is refuge? The shift of consciousness from one space to another might seem abrupt, sudden, from catatonic to cataclysm. Embedded within it is another exhibition, and perhaps yet another, as antibodies lurking in confrontation. Our minds did it.

(...)” - Jo-ey Tang More info here.

Encounters with Pompidou

Curated by Biljana Ciric Artists: Les Gens d’ Uterapan, Li Ran, Chitti Kasemkitvatana Exhibition within exhibition of Museum on/off April 11th - June 13th 2016 GALERIE 0 - Espace Prospectif, 4th floor, Centre Pompidou Project in collaboration with Alicia Knock - Note: Chitti Kasemkitvatana’s “Drift away and fall” (2016) will be activated by a mediator on May 12th and will be on view until June 13th 2016. “Drift away and fall” is partly supported by About Art Foundation, Thailand “Invitation to contribution to this exhibition underlines conditions of production within large scale institutions, opening up question how to be stay independent or whether it is possible to do so within art system today?

What kind of invitation is this and what kind of cracks can actually open? Within this kind of engagement what kind of knowledge can be produced? What kind of situation could be produced? What is our input towards institution that we actually want? What kind of institution do we actually want? Can we think differently? Do we make any differences? During exhibition period number of situations will be activated to open up relations with different institutional framework of Pompidou from collection to audience questioning expectations of display. These encounters will be visible or not during exhibition differing from artist to artist and project to project revealing achievements and failures, publicly sharing and discussing our attempts”. - Biljana Ciric

- MUSEUM ON/OFF The Opening of GALERIE 0 - Espace Prospectif 13 April - 13 June 2016 Proposed by curator Alicia Knock from the «Création Contemporaine et Prospective» department, the opening project of Galerie 0 - Espace Prospectif involves unexpected new museographical extensions and fictional annexes. The museum becomes an Intern VIP lounge (Ahmet Ogut), a bookstore/shop (Meschac Gaba), a place not for conservation but production, reproduction (Arseny Zhilaev) and interpretation (Otobong Nkanga). The artists take over a flexible space-time incorporating temporary hangs and performances, real space and virtual space. the idea is to promote the museum as an experience, where visual installations provide the setting for constantly evolving fictions. The project involves critics (Mara Ambrozic, Camila Bechelany, Biljana Ciric, Mariana Kostandini, Elena sorokina), artists collective (Afrikadaa, Les Gens d’uterpan) and independent spaces (Bétasalon, Front views). List of Artists: Afrikadaa, Jonathas de Andrade, Eva Barto, Jean-Philippe Basello, Mabe Bethonico, Pauline Brun, Delphine Chapuis schmitz, Nicolas Charbonnier, Matali Crasset, Endri Dani, Hélène Deléan, Meschac Gaba, les Gens d’Uterpan, Oto Hudec, Sinisa Ilic, Chitti Kasemkitvatana, Otobong Nkanga, taus Makhacheva, Rodrigo Matheus, Ahmet Ogut, Sasa Tkacenko, Elizabeth Price, Li Ran, Araya Rasdjarmrearnsook, Charlotte seidel, Hu Yun, Driant Zeneli, Arseny Zhilaev - About Galerie 0 - Espace Prospectif A 400 m2 area dedicated to different forms of contemporary creation is opening on level 4, at the heart of the Centre Pompidou collection circuit. Since his arrival, Serge Lasvignes has initiated a forward-looking space focused on emerging art, which he considers as one of his strategic orientations. It invites all visitors to discover new experimental projects by artists and groups of artists, together with new ways of working and new artistic forms. «The Centre Pompidou is singular in that it is a multidisciplinary art centre that brings about unexpected meetings – and we should build on that. We need to make this dialogue between the disciplines even more productive, and encourage a dynamic of working together: the multidisciplinary and collaborative are central to contemporary creation today. I wanted to set up this creative area within the collections to facilitate a more flexible, informal expression of contemporary art, and create a bond between the public and the art now coming into being. It’s a «watchdog» space, which encourages visitors to discover new experimental projects by artists and groups of artists, new ways of working and new artistic forms,» says Serge Lasvignes, President of the Centre Pompidou. An area of variable geometry and temporality, the Galerie 0-Espace Prospectif is designed to foster experimentation and question the exhibition concept. It is not only a place for reflection, but also a new venue for discussing ideas, ideal for actions, performances and talks. A place that brings people together, the Galerie 0-Espace Prospectif will involve artists, designers, collectives and partners from every background, including art centres, associations, art schools and universities. So with this new gallery, the Centre Pompidou offers a «situation» place for new ideas, endeavours and the latest approaches to the visual arts at the very heart of a constantly-changing museum.

泰國藝術家吳松吉 (Chitti Kasemkitvatana)：「綻放即凋零」

Source: No Man's Land (採訪：呂岱如；原發表於《物非物》展覽訪談集) 2016/03/10 Editor's Note: Chitti Kasemkitvatana is an artist and curator based in Bangkok. He is also the core member of "Messy Sky Magazine". In the exhibition "Never odd or even" curated by Esther Lu in 2014, he transformed his long-term research into a new piece "Aeon is Just a Second" in Taipei Artist Village. Here is the conversation between he and the curator. (Chitti Kasemkitvatana（此處採中文名「吳松吉」）是一位已曼谷為據點的藝術家、策展人，並策劃《Messy Sky》線上雜誌。在呂岱如於2014年策劃的《物非物》展覽裡，他將累積好幾年研究的心得轉化為新的創作《亙古不過瞬間》，本篇即呂岱如和吳松吉的對談紀錄。) - - - 除了顏色、形狀、光線，天空還為你帶來什麼？呂岱如（Esther Lu）：你個人的生命經驗與藝術實踐方式的特殊性對我深具啓發，尤其你在個人新進藝術家的職業生涯已獲肯定後，突然搬到深山裡的寺廟去當和尚，修行長達八年之久的這則經歷。　　當你在探討問題、展開一種理解或是一種議題時，其背後有種陳年醞釀出來的、對於藝術、宗教、哲學上融會貫通的省思，和一種跨越文化知識的熱情。可以請你談談為何決定回返藝術圈來進行創作實踐呢？如果說，這是你目前生活的「形式」，那麼這個形式帶給你什麼樣特殊的可能性與協調空間來超越你原本宗教實踐的方式？吳松吉（Chitti Kasemkitvatana）：我相信我們在生活裡所做的一切都是一種精神建設上的嘗試。在森林寺廟裡生活的第三年，我領悟到我之前在藝術實踐上所有學習到與探索過的事物從未消失。而藝術與修行的過程或模式甚至有許多共通性。我從一開始就認為我的創作建立在一種前提上，相信一切事物皆有其意義與脈絡，而需要獨立的空間去被閱讀和理解。這涉及到詮釋與解答的過程，也把我們帶到與自身和他者的討論狀態裡。藝術平台同時是一個內向與外向的討論場域。回到妳的問題，對我來說並沒有離開或回返藝術「實踐」的問題。目前我除了創作與策展以外，我依舊參與寺廟社群的其他活動，往來頻繁於兩者間。呂：在你個人的藝術創作上，你相當熱衷於以別具特殊造型形式意義或歷史引據的語言來創造物件。可以請你談談你創作上的系譜關係嗎？同時，「在場性」往往是你所強調的部分—不論這在場性是屬於物件、觀眾或是藝術家，藉此去描繪出一種生命或是物質軌跡。你如何看待自己作為藝術物間的生產者角色，他們在知識上、經濟上或是在地球上生命的循環與流通？吳：我的藝術過程涉及翻譯、詮釋與傳送。詮釋，作為一種比閱讀更用力的狀態，包含了挪用、具體化和保存（海德格）。空間上，是一種與環境、時間、地點關係上的相對偶然。當作品被納入詮釋的行動時，它才真正存在。當前我們都被歷史與知識的混雜性所包圍，反而使這些過程顯得更為重要。對創作者和觀眾來說，像是一個追尋喚起回憶並與當下共振的旅程。呂：在此次參展的新作〈亙古不過瞬間〉裡，時間是關鍵的討論主題，並有許多延伸、多樣的參考索引和敘事。你當初是如何展開對時間這個主題的研究呢？在所有想法的並置與組織上，你又如何回頭拿捏時間這個元素在作品裡的位置與關係？它像是一個新的隱喻或神話，還是一種心態呢？吳：這項研究事實上是我在寺廟生活裡開始的。在我每日修行與群體工作以外的時間，不論我身在何處我都會大量地讀書，多半是些我從來沒有讀過的書目。這讓我重返我學生時代在偌大的大學圖書館裡的青春求知心境。我開始回憶起以前學習過的事物，探索其與新的閱讀與寺廟修行間的關係。我作品裡提到的時間觀念，雷同近來科學研究所指出的有限宇宙觀。儘管如此，我的研究追溯到古老知識，那裡一切都有限度，卻是流動而永恆的。明顯地，時間是一種比喻性的度量系統，拿梵文裡的劫之流轉（kalpa）來看拉丁文的亙古萬世（aeon）作為比方，這是用來形容宇宙或一種廣大無限存在的時期或壽命，遠超越數字可敘述的範疇。所以，這其實不算是一個新的隱喻或是神話，而是在世上某些地方依舊鮮活存在的傳統與文化。甚至，這樣的觀念也塑造了心態，正如同目前世界主流的科學研究也同樣掌握大部份人類的思考。呂：既然如此，我可以說，你這件作品試圖想為這個觀念化過程給出一個形狀，而時間在此，比較像是一種客體，而非主體對象嗎？　　另外，你如何看待這樣的巧合，古老知識與最新科學研究皆稱道宇宙是一個有限體，且為五角12面體的形狀。距離彼此數千年與數萬哩，不同文化與背景的人竟然可以指出同樣的論點是相當神秘的。吳：在我的研究中，時間觀既是主體也是客體，並且時間與空間觀是結合的概念。空間／宇宙是菩薩修煉成佛陀的壽命，比喻佛乘在漫長探索過程回頭成為一個廣大結構，一個宇宙。這是一個相當複雜深奧的課題，然而和時間觀連結起來閱讀，卻十分迷人，似乎成為一種永恆不滅卻有限的狀態。大乘佛教的宇宙結構可以在菩薩和佛陀的神話故事，以及西藏與某些喜馬拉雅山區，包括尼泊爾、北印度的達拉克、喜馬偕爾邦等地所傳的佛典和經書中找到。　　至於五角12面體，遠古時在西方便已經有這樣對於宇宙形狀的看法了。近年有許多不同的宇宙理論出現，如宇宙是扁平的，或幾乎是扁平而無限的，甚至有建3D模型來詮釋模擬宇宙四維時空內的空間範疇等。最近有一則科學理論指出宇宙或許是有其一定形狀並且有限的，這又將我們帶回到遠古的知識體系上。呂：我覺得你採用佛家思想而非藝術語言的方式來回應十分有趣，特別是那些關於你藝術實踐的系譜背景。從藝術史的脈絡觀察，你的作品與觀念藝術與表演藝術似乎都有非常強烈的關係，甚至，可以說其帶有一種前衛藝術所未竟的使命去探索連結藝術與生活的可能。在你的觀察與經驗裡，你是否相較於其他僅有藝術教育訓練的藝術家容易和大眾溝通呢？特別是在泰國的脈絡裡，大部份民眾都信仰佛教，或許能夠較西方觀眾或非佛教徒還容易親近理解你作品的語言。在與不同屬性觀眾的溝通上，你有因此發展出不同的修辭嗎？吳：何謂藝術語言？何為佛家思想？　　我從未將藝術視為宗教，或具有宗教性。我將藝術視為一種社會文化平台，讓我們追尋我們的興趣。這是一個開放的平台，能夠促成展開研究與詮釋的可能，有時候能夠示範或體現某些想法。我以詩意而非宗教性的方式，來對藝術進行哲學性的觀念化工作。　　「宗教性」從來沒有出現在任何解讀我作品的討論中，所以這是第一次從妳口中聽到的聯繫⋯我對目前在歐洲以及少數亞洲當代藝術家中的詩性與非物質創作方式深感興趣。泰國的當代藝術對於普羅大眾還是相當疏離的，所以與我分享同樣語言的觀眾可說極其少數，我的展覽變成一種對於藝術社群和觀眾的提案，我發展某些開放的形式讓我的作品處於一種動態之中，讓策展人、觀眾、展場人員可以介入。這是我與其他人溝通的方式。「作品」在討論啓動時展開。有時候，「作品」在展期中會因為工作人員或觀眾的介入而轉向⋯ 呂：或許可以請你具體舉例介紹自己作品裡的「非物質性」操作方式。你如何展開討論方式與介入，與觀眾溝通，或是在過程間翻譯其訊息。你常常運用現場表演、儀式、舞台等設計去與觀眾面對面地展開對話嗎？吳：我剛提到的非物質性操作其實是許多當代藝術家採用的一種藝術實踐形式，透過非物質性媒介的形式，例如表演，或是具有表演性的面向等，其主題往往與戰後藝術家的精神性探索有所聯繫。我有時創造事件或介入，以讓作品得以開展，然而我從未把我的行動或事件視為表演或是儀式，即使，它們帶有表演或儀式氣質的。它是關於想法的傳送，讓另一種情勢或條件可以出現，來對作品進行閱讀與詮釋，讓作品流動起來。呂：對你而言，什麼是「形式」？吳：建築藍圖。物質構造。行動。介入。翻譯。閱讀。詮釋。呂：什麼是「物」？吳：一種裝置。一個發動器。一個綻放生命又隨即凋零的工具。呂：「綻放生命又隨即凋零的工具」是一個多美的表情。幾個月前我參加一場研討會，中間有一段討論談起藝術維護保存的工作或許應該備受質疑，因為或許藝術品必須死亡。這對許多藝術工作者、美術館、收藏家等，或許還是一種很難以接受的說法⋯ 　　在你的作品裡，「虛空」的概念也常被強調，但又有一些轉折暗藏其中。它不是關於無，而是無的轉換。例如，你在巴黎所進行的計畫〈序號No.00〉發生在當初伊夫．克萊因於塞納河畔將黃金擲入的水中同一地點，在原事件發生的50年後，你把一個特殊鑄造的黃銅銅板投向克萊因的〈非物質圖像感性區〉中。在一個看似重複性的動作之中，你所做的是在時間之流裡創造一個回音，一個歷史性想法的再度現身。縱使你的銅板已經埋在塞納河中而我們也完全無緣相見，你的行動中，確實帶有一種生命綻放的意味，尋求另一個生命的存在。這與克萊因以黃金交換虛無空間，而在藝術經濟循環裡試圖買空賣空是不一樣的。某方面來說，你的作品在交換的是時間，甚至不能說上是一種交換，而是以想法或是回憶之波紋來輕觸時間的感覺。〈非物質圖像感性區〉以大膽的作風來討論並挑戰物質性與藝術市場的問題，而其儀式也是在收藏家付錢收藏後，才發生的。那是一個自我供養而完整無缺的循環。另一方面，你的作品則有一個向外拓展延伸的姿態與開口。我很好奇你如何在藝術市場與物質循環裡定位你的作品。若有人要收藏你的〈序號No.00〉，你將會同意以什麼來交換它？或是你對它的下一次轉換與綻放已經有了其他的想法？吳：〈序號No.00〉在巴黎雙倍橋畔的行動已經完成了。行動以前，我用米紙沾上顏料在黃銅板上抹了幾下，留下關於這片銅板的一絲回憶。在我回到曼谷以後，我將它們展示在我的工作室，作為一種分享的行動。另外，我也給一位巴黎的朋友其中一張米紙，我希望有部分關於此作的回憶／足跡不要離原處太遙遠。這件作品有許多的生命，與許多人不同的回憶連結，那些出席在雙倍橋行動的人，在Le Plateau展場看展的人，以及後來間接認識到這件作品的人。　　下一次的傳送將發生在《物非物》的展覽中。作品將伴隨此事件的一些文件，以說故事的形式再度傳送。口述傳統是最古老的一種傳送方式，我也常將此結合在我作品的研究、製作與傳送上。更重要的是，這是一個將〈序號No.00〉放在另外一個脈絡下的機會，作為新作品探討時間觀主題的其中一個部分。伊夫．克萊因的作品系列只是一個參考原點，一個出發地，而〈序號No.00〉可視為一種詮釋，一個躍入〈非物質圖像感性區〉的動作，尤其當我們把它放在與時間觀的相對討論脈絡與〈亙古不過瞬間〉的不同歷史狀態下來看。　　〈序號No.00〉的收藏應該已經完成了，在塞納河底，像是躺在虛空的肚子裡。呂：你很早便參與About Café這個早期曼谷另類藝術空間的經營，和當代藝術的初期發展，也見證了當地藝術場景這些年的成長。你可以與我們分享近年來在泰國，藝術家的角色在公民社會、公共領域上的變化嗎？你也從事策展工作，我不知道這是否出自於你認為有必須從不同文化生產角色出發來回應社會的迫切性嗎？你如何發展出平行的策展與藝術創作實踐呢？吳：依我看，當代藝術的發展像是心跳，它不是在90年代才發生的。在80年代我還是青少年時，已經參觀過許多展覽、表演藝術，閱讀藝術相關的文章。我還記得我曾在曼谷藝術期刊Feelin上讀到傑爾瑪諾．塞朗所著貧窮藝術的泰文翻譯。在國立法政大學的多媒體表演，一群藝術家以詩歌朗讀、達達主義偶發事件、幻燈片投影呈現海邊現場的作品等。　　藝術家的角色無法一網打盡做所有事情。有一個專注的焦點，不代表其他的焦點要犧牲。什麼是迫切性？由誰定義？我1997年開始策展，回應彼時當代藝術社群的狀態，那時並沒有太多結構性的東西，我就開始做一些我認為應該要有的事情。這是一種當代藝術格式／結構上的實驗，也是建立觀眾的嘗試。呂：你如何開始「Messy Project Space」？這個組織又從事什麼？吳：Messy Project Space是一個2010年以後和藝術同儕持續討論的結果。一開始是2011年10月份的《Messy Sky》雜誌首刊發行，然後隔年四月有了Messy Shop／Messy Project Space，現在則是Messy Sky。它們是有機的討論平台結構與發展。在Messy Sky雜誌上，我們創造一種流動的結構，一個可被下載的線上期刊。同時，它也是一項藝術計畫，一份作為藝術空間的出版品。而Messy Shop／Messy Project Space是一個我們聚會、交換、討論、展覽的實體空間，但只維持了一年。最近我們發展另外一個Messy Sky的形式，一個像是空白支票的建築，目前被一位年輕的策展人瑪麗．龐桑納（Mary Pansagna）的「雲」（Cloud；註1）計畫佔領，她關注於動態影像和擴充範疇的電影。呂：我無法忍住自己的好奇心了：究竟誰是你最喜歡的詩人？吳：我最愛的詩人啊⋯崔斯坦．查拉（Tristan Tzara）、瑪耶可夫斯基（Владимир В. Маяковский）、馬勒維奇、尚．谷克多（Jean Cocteau）、巴哈、泰戈爾、文殊菩薩⋯不止一位。 - - - 註釋： 1. 見泰國策展人瑪麗．龐桑納 (Mary Pansanga)：「展覽檔案—捕捉另翼觀點」（Exhibition Archives - Capturing Differing Perceptions）；2015年開放策展學校的七組策展關係公開座談之第四組「後生產—循環」（Postproduction-circulation）講題之一。張貼者： NoMans Land 於上午12:00

吳松吉 (Chitti Kasemkitvatana) 與《Messy Sky》雜誌

Source: No Man's Land (採訪、整理：鄭文琦) 2016/03/08 Editor's Note: Chitti Kasemkitvatana is an artist and curator based in Bangkok. He's also the core member of "Messy Sky magazine". Messy Sky originally evolved from endless discussion between Pratchya Phinthong, Thakol Khaosa-ad, and Chitti from early 2010. It is an open-form publication, with fluid and adjustable format. Launched originally as self-published magazine, it also evolves into Space, Shop, Window Project, with some special editions. (Chitti Kasemkitvatana（此處採中文名「吳松吉」）是一位為以曼谷為據點的藝術家、策展人，並策劃《Messy Sky》線上雜誌。《Messy Sky》是一個開放形式刊物，格式流動可變。最初是做為自我出版雜誌下載，後來又演化出空間、商店、櫥窗計畫與特別版等等。) - - -

鄭文琦、可以請你解釋《Messy Sky》（失序天空）這個計畫的起源嗎？它又如何隨著不同媒體而演化出不同形式？舉例來說，從線上雜誌、展覽特刊、作品、實體的印刷、空間，甚至商店（Messy Shop）？吳松吉（Citti Kasemkitvatana）：《Messy Sky》原本是演化自帕恰亞．菲因桐（Ptatchaya Phinthong）、塔功．考沙昂（Thakol Khaosa-ad）與我，三個人從2010年初發起的無盡討論，那是我正要卸下僧侶身份、重返都市之際。這些討論正是作為一種讓我繼續與這世界接軌，和回歸當代藝術的通道而創立的。就某個程度而言，我們的想法是要創造一個讓其他人可以持續加入討論的平台。我們極度傾向於這個主意，那就是生產一份刊物當作提供討論與交換意見的平台。在第一階段，《Messy Sky》雜誌是一份自我出版的刊物，有著可下載的PDF格式，連同一組手工製造的雜誌夾，2011年12月在巴黎「Le Plateau」生產並發表，同時也是策展人侯耶（Elodie Royer）、固爾美（Yoann Gourmel）所策劃的展覽《事物的感覺》（The feeling of things）的協作計劃。我們後來理解到了我們身為「雜誌編輯」的角色，非常類似「建築師」的角色。我們創造、或說設計了容許其他人調度使用的「空間」，刊物本身的作用如同線上雜誌（數位或虛擬的），藝術書（可以擷取為數位檔案及／或者實體印刷），以及衛星展覽（無論是在Le Plateau空間或其他場所展示，也賦予原本只在Le Plateau展示的作品開展其他生命）。我們對這種「傳送」的概念很感興趣，也探索展現／表達故事／作品的可能性，讓它們得以存在於各種不同場域，同時也能延伸其「保存年限」（shelf life，指上架的時間）。到了2012年四月，我們將《Messy Sky》雜誌延伸為「Messy Shop」（商店），接著又有「Messy Project Space」計畫空間。在此，我們將原始的概念傳送並賦予不同種實體性，即「空間」。在那之後，我們又推得更遠，從一個現場空間延伸至一個事件，一個衛星計畫，我們將之命名為：「Messy Sky — Live Edition（現場版）」。鄭：在你策劃的展覽《臨時堆積1號》（Temporary Storage #1）有一些藝術家的作品，是你已經在《Messy Sky no.00（試刊號）》上面發表過的作品。作為展覽的《臨時堆積1號》，和作為出版品的《Messy Sky no.00》之間有著何種關係？吳：我有興趣的是讓一件藝術作品的生命獲得延長，在這樣的概念裡，作品可以有不同的閱讀脈絡、不同的欣賞時機，以及不同的閱聽群眾。一個想法可以從一方傳遞至另一方，你可能在《Messy Sky》雜誌上看過那件作品，但它只是該作品的複製品，然後在《臨時堆積1號》這個展覽裡，你可能會在曼谷藝術文化中心（BACC；《臨時堆積1號》的主要展場）看過原始的作品，看過以攝影紀錄的作品創作過程，同時也會在輕軌電車（BTS）站的廣告看板上，看到它做成輸出的攝影複製品。這樣一來，觀眾可以在各種脈絡和情境裡閱讀這件作品。鄭：如何在策展實務的基礎上，比較《Messy Sky》雜誌與《臨時堆積1號》兩者的不同？然而，你的回答顯然傾向於圍繞著作品如何被解讀，《Messy Sky》也讓我們不斷看見它如何被延展。吳：當你閱讀發表在《Messy Sky》雜誌上的這件作品時，它和你在BTS站裡看見作品的感覺相同嗎？鄭：每一期《Messy Sky》都分成A、B兩刊，舉例來說，試刊號A刊是「事物的感覺」（The feeling of things），B刊是「失序的天空」（Messy Sky）。它們的設計是如何區分的呢？吳：在前幾期，A刊都是由前面提到的策展人侯耶和固爾美（Elodie Royer & Yoann Gourmel）編輯，並且與他們從2011年到2013年在巴黎 Le Plateau策劃的展覽平行發聲。B刊則是由我們在曼谷的團隊負責編輯。在這當中，我們也討論到兩種刊本之間交叉對話的可能性。我們在當代藝術的取徑都分享了我們對於「當代藝術中的詩意取徑」（in poetic approach in contemporary art. That was the real deal in our collaboration）的興趣，那才是我們的合作裡真正重要的部份。我們成為朋友，並且當面和通過電子郵件交流想法很長一段時間了；《Messy Sky》這個計畫促使我們將彼此之間的交流公開展示。鄭：所以《Messy Sky》線上雜誌至今發行過幾期？你目前是否仍在準備最新的一期？吳：我們以《Messy Sky》雜誌的形式發表的總共有四期，以《Messy Sky現場版》名義發表的有兩期，然後，我們還有一些在Instagram發表的「（Messy Sky）櫥窗計畫」，以及《曼谷藝術地圖》（BAM）上的「櫥窗計畫」13個版本。最近六個月正在討論下一期。我們全都忙於各自的工作，所以等我們有空就會出版。鄭：《Messy Sky》出版過許多個「特別或限量版」？像是雜誌夾也曾單獨出現在巴黎Le Plateau和曼谷Messy Space，即使買家並不曾閱讀過你們的雜誌。吳：由於我們是用自己的資金去生產、或創作《Messy Sky》，但是我們各自也有自己的事情要處理⋯。我們還是持續進行著交流還有永不停止的工作／合作⋯。鄭：可否補充一下「櫥窗計畫」有哪些人參與？又是如何發起？或者說，它包含哪些組成組成元素，像是《曼谷藝術地圖》，展示「櫥窗計畫」的木製書架，還有實體空間？吳：「櫥窗計畫」是在我們放棄了位於塔鬧路（Tanao Road）的計畫空間，並且搬到位於中國城地區以後才展開的。我們決定要把這個空間讓給另一位策展人瑪麗．龐桑納（Mary Pansanga）去實現她自己的計畫，叫做「雲」（Cloud）空間。於是我們想到，如果在「雲」空間可以闢出一個書架或者櫥窗的位置，可以視為對於我們先前做過的事情的一種迴響。後來我們又把它延伸成為Instagram和《曼谷藝術地圖》的其他事件。它是自然發生的，完全是提供我們空間的人們才使它長出不同模樣。一旦我們有地方可以分享，我們就會這麼做。分享／流通資源是我們持續在做的事情。鄭：最後，我可以把《Messy Sky》描述為一個線上的策展計畫，甚至是一個線上的展覽（只不過採取出版的形式）嗎？吳：當然，可以。或者你可以說它是一個衛星策展計畫／平台？ - - - 張貼者： Rikey Cheng 於下午4:41

Blog: onemomentintoanother.tumblr.com

Eine klösterliche Übung

Von Claudia Wahjudi

Der in Thailand geborene Künstler Chitti Kasemkitvatana stellt in der Daad-Galerie aus. Seine Inszenierung aus Gegenständen ist eine Anregung, weniger in Gegensätzen zu denken. Diese Ausstellung ist ein Geschenk – nicht nur, weil es Freude macht, die feinen Bändchen aufzuschnüren, mit denen die grauen Mappen in der Daad-Galerie zugebunden sind. Wer die Pappdeckel öffnet, findet darunter Porträtfotos, Hefte, Farbkopien und Ausdrucke von Internetartikeln. Die Papiere haben zunächst wenig miteinander zu tun. Sie handeln von Rama IV., der zwischen 1851 bis 1868 König von Siam war, von römischer Geometrie, Weltraumforschung und Schülerprotesten in Bangkok. Chitti Kasemkitvatana, 2014 Stipendiat des Daad, hat die Unterlagen zusammengestellt: kundig ausgewählte Informationen, viel gelehrter als das, was sich im Lexikon oder im Internet auf die Schnelle dazu finden lässt. Ein Tisch mit Bänken lädt ein, sich sitzend zu vertiefen. Es lohnt sich. Danach weiß der Leser, was abendländische Geometrie und Sternenkunde mit Rama IV. zu tun haben, und er ahnt, warum der aufgeklärte König weitsichtiger gewesen sein könnte als die derzeitigen Machthaber von Thailand.

Kristallkugeln, Fotos, hölzerne Dodekaeder: Chitti Kasemkitvatana in der Daad-Galerie. - FOTO: JENS ZIEHE Ein Mönch, der Kunst macht

Doch der Tisch befindet sich bereits im zweiten Saal der Daad-Galerie. Der erste mit seiner Fensterfront weckt die Neugier von Passanten. Kobaltblau gestrichen, ähnelt er halb einer Boutique, halb einem Labor – mit vier verschieden hohen weißen Tischen. Auf ihnen hat Kasemkitvatana Gegenstände arrangiert, Kristallkugeln und Fotos, hölzerne Dodekaeder und Kopien eines Gemäldes mit Lotusblüte aus dem 19. Jahrhundert. An der Wand hängt das Foto einer jungen Frau. Auf Publikumsansprache versteht sich Kasemkitvatana: Der 1969 in Thailand geborene Künstler war früher Radiomoderator und Kurator – bevor er mehrere Jahre in einem buddhistischen Kloster lebte.Auch als Mönch, so berichtet Kasemkitvatana, habe er Kunst gemacht. Er wollte wissen, ob sich das Erlernte in religiöser Umgebung fortsetzen lässt. Seit seiner Rückkehr aus dem Kloster versucht er seine spirituellen Erfahrungen in die Kunst einzubringen. So erinnert seine Inszenierung aus Gegenständen beim Daad an eine klösterliche Übung, ebenso seine Anregung, weniger in Gegensätzen zu denken. Rom und Siam, Abend- und Morgenland, Gestern und Heute sind bei ihm keine Opponenten, sondern bedingen sich gegenseitig. Die Ruhe, die hier herrscht, kommt einer Meditation nahe. Chitti Kasemkitvatanas Geschenk besteht in der Einladung an den Besucher, sich in seiner Ausstellung konzentriert in aufmerksam und analog aufbereitete Gedanken eines anderen Menschen versenken zu können.Daad-Galerie, Zimmerstr. 90, bis 31. 10.; Mo bis Sa 11–18 Uhr Blog: onemomentintoanother.tumblr.com

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