Lion carcasses, taxidermic vultures and a set of man-made animal models, including enormous elephants, tigers, monkeys, and a somewhat adorable leviathan, have been artistically brought together for a new exhibition.
Nightmare Of King George V by Huang Yong Ping.
"Imply Reply" or Sanam Treuk in Thai (meaning "Field Of Contemplation") kicked off last Wednesday at Bangkok Art and Culture Center (BACC). The exhibition features artworks, sculptures and various curious installations by acclaimed avant-garde Chinese artist Huang Yong Ping and Thai contemporary artist Sakarin Krue-On.
The works explore issues that arise from the relationship between Asia and the rest of the world, aiming to provoke critical thinking of local, regional and global contexts.
"The exhibition presents some of the most exquisite works from Huang's collection, and this is a rare chance to see them in Thailand," said Pichaya Suphavanij, curator of the exhibition. "When the works are accompanied by art from conceptual artist Sakarin, to add more dimensions from the Thai perspective, it is even more powerful."
Some of the artworks showcased by Huang are borrowed from prestigious art galleries, such as Centre Pompidou, Paris, and from leading private collectors around the world. The artist planned the placement of the artworks in BACC's gallery himself.
Huang's collection demonstrates the artist's background as the leader of the mid-1980s Xiamen Dada Movement, a post-modernist, radical avant-garde group of artists who worked to embolden a new cultural identity and dared to confront political issues in their country through the use of art. The movement became one of the most legendary groups in the history of Chinese art.
"China and Thailand share a lot of similarities," Huang said. "They are both developing countries with significant societal problems. This exhibition reflects them."
Tower by Huang Yong Ping.
Some highlights from Huang's artworks include Nightmare Of King George V (2002), a gigantic sculpture of an elephant mounted by a tiger. The work looks at imperialism by comparing colonisation with hunting, raising the question of whether it's fear that drives a country to colonise another nation.
Ombre Blanche (2009) is a sculpture of a white elephant, which offers subtle meanings in both local and universal contexts. The white elephant is, of course, considered a royal animal in Thailand.
There is also a new piece from Huang, Tower, exclusively created for the exhibition. It is a set of four tall building-like sculptures representative of deserted buildings that are never completed, reminding humans of the nightmare arising from economic calamity.
"This work definitely reflects the situation faced by Thailand during the 1997 Asian financial crisis," said Huang. "But I did not intend to use the work to reflect the internal problems in Thailand. I just wanted it to reflect a broad range of problems that are the result of globalisation and capitalism."
Alongside the artworks of Huang, Sakarin's contributions are no less noteworthy. A well-known figure who once planted rice as an installation piece, he is comfortable in using his idiosyncratic approach to craft conceptual works.
In relation with Huang's works, he orchestrates ideas that come from his interests in modern socio-economic conditions, capitalist forces and the direction of a Buddhist society.
"All the works originate from different times. Each of them is representative of a particular condition at a particular time," Sakarin said. "The works are fused with societal concepts and things that we see every day. The development from the older works to the more recent asks whether we are more mature as a society or not."
Some highlights include Yellow Simple (2001), a sculpture of a large human head that resembles Buddha's, reflecting a sense of tranquility and truth from nothingness.
New piece Upside Down (2014) comes in the form of a big tapestry, inspired by a native folk play from the southern region of Thailand about a tiger huntsman. This work seamlessly complements but also offers a contrast with Huang's Nightmare Of King George V.
Rat House (2014), an interactive sculpture representing a gambling game played by Thai-Chinese people in the past, with a short film projected inside for audiences to view, is a thought-provoking addition. The work examines aesthetics and ethics in society.
The artworks are on display with no captions because, like the title "Imply Reply" suggests, the exhibition's artists want to give audiences enough leeway to take in the work freely for themselves. Audiences are encouraged to exchange their views with the artists.
"Without captions, the exhibition is open to interpretation," Sakarin said. "There is breathing space for audiences to take in the work. Nothing leads viewers towards how they should contemplate the art."
BACC collaborated with Tang Contemporary Art, with support from the Embassy of France and Faculty of Painting Sculpture and Graphic Arts, Silpakorn University. The exhibition is on display on the 8th floor until April 26. Free admission.
Yellow Simple by Sakarin Krue-On.
