{"id":15462,"date":"2014-12-08T09:34:00","date_gmt":"2014-12-08T09:34:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15462"},"modified":"2023-10-28T09:46:16","modified_gmt":"2023-10-28T09:46:16","slug":"traitor-and-tradition-art-from-cambodia-and-thailand","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/traitor-and-tradition-art-from-cambodia-and-thailand\/","title":{"rendered":"Traitor and Tradition \u2013 art from Cambodia and Thailand"},"content":{"rendered":"\n<p><strong>Traitor and Tradition\u2014art from Cambodia and Thailand:&nbsp;Mit Jai Inn, Sopheap Pich, Pinaree Sanpitak, Svay Sareth.&nbsp;Curated by Erin Gleeson<\/strong><\/p>\n\n\n\n<p><strong>ARNDT Berlin<\/strong>&nbsp;(Potsdamer Stra\u00dfe 96, Berlin)&nbsp;<strong>Sep 19\u2013Oct 18, 2014<\/strong><\/p>\n\n\n\n<p>One of the most interesting shows to open during Berlin Art Week this year was \u201cTraitor and Tradition\u201d at ARNDT Berlin, presenting the work of four Thai and Cambodian artists living in different cities:&nbsp;<strong>Mit Jai Inn<\/strong>&nbsp;(Chiang Mai),&nbsp;<strong>Pinaree Sanpitak<\/strong><strong>&nbsp;<\/strong>(Bangkok),&nbsp;<strong>Sopheap Pich<\/strong><strong>&nbsp;<\/strong>(Phnom Penh), and&nbsp;<strong>Svay Sareth<\/strong><strong>&nbsp;<\/strong>(Siem Reap), curated by Erin Gleeson.<\/p>\n\n\n\n<p>Gleeson runs&nbsp;<strong><a href=\"http:\/\/sasabassac.com\/\">Sa Sa Bassac<\/a><\/strong>, the only intellectually critical art space in Phnom Penh. Its curatorial standards are serious and its curiosity large, with a local perspective but international aspirations. It is also a gallery, which is the only pragmatic way to deal with difficult local circumstances in a developing country.&nbsp; Certainly the approach is not unusual in China (Long March Space, Beijing Commune, Vitamin Creative Space and Boers Li Gallery all began as non-profit art spaces).<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"497\" height=\"768\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-460.png\" alt=\"\" class=\"wp-image-15463\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/jgQgM5s3-image-460-194x300.png 194w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-460-97x150.png 97w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-460.png 497w\" sizes=\"(max-width: 497px) 100vw, 497px\" \/><figcaption class=\"wp-element-caption\">Sopheap Pich, \u201cOld Domain\u201d, bamboo, rattan, wire, burlap, plastics, oil based spray paint, 243 \u00d7 123 \u00d7 8 cm, 2014 (image courtesy ARNDT and the artist; Photo: Bernd Borchardt)<\/figcaption><\/figure>\n\n\n\n<p>Referencing the curator and academic Lucy Lippard\u2019s 1971 essay \u201cChanges\u201d, Gleeson set up an exhibition which played on the conflicts and contradictions of society, politics and art in two countries\u2014Thailand and Cambodia\u2014outside the international art world colossus. Many will have heard of Cambodian artist&nbsp;<strong>Sopheap Pich<\/strong>, whose sculptural works are relatively well-travelled. The constructions derive from traditional Cambodian woven basket fishing-traps. The exhibition work was less obvious than Pich\u2019s Buddhas and \u201cfishing-trap\u201d forms, however. A wall work played on painting but also access\u2014here the basket work comprises a cage around the painting and an ambiguous skull-face stained on the hessian base. Identity is in question, and the uncertainty must be controlled whether under the brutal Khmer Rouge regime or from more recent unrest and corruption. Some will recall that similar works were displayed at Documenta 13 in 2012.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"575\" height=\"768\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-461.png\" alt=\"\" class=\"wp-image-15466\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/K2lgWQVe-image-461-225x300.png 225w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-461-112x150.png 112w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-461.png 575w\" sizes=\"(max-width: 575px) 100vw, 575px\" \/><figcaption class=\"wp-element-caption\">Svay Sareth, \u201cRuins (Asura Tower)\u201d, cotton, 175 \u00d7 134 \u00d7 75 cm, 2014 (image courtesy ARNDT and the artist; Photo: Bernd Borchardt)<\/figcaption><\/figure>\n\n\n\n<p>Most arresting are the soft totem poles of heads by Svay Sareth covered in camouflage cloth. The son of a military family, Sareth grew up in refugee camps on the boarder of Cambodia. The works made me think of the crucial scene in Salman Rushdie\u2019s&nbsp;<em>Midnight\u2019s Children<\/em>, where the hero, Saleem, comes across a battlefield and then the piled heads of his childhood friends who talk with him about their plight. The scene is horrific and comic, and hence all the more horrific.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"495\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-462.png\" alt=\"\" class=\"wp-image-15469\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-462-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-462-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-462-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-462.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Installation view: \u201cTraitor and Tradition\u201d, ARNDT Berlin 2014 (image courtesy ARNDT and the artists; Photo: Bernd Borchardt)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"495\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-463.png\" alt=\"\" class=\"wp-image-15472\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-463-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-463-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-463-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-463.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Mit Jai Inn, \u201cUntitled (scrolls) 1\u2033, oil on canvas, two-sided, 87 x 565 cm, 2014 (image courtesy ARNDT and the artists; photo: Bernd Borchardt)<\/figcaption><\/figure>\n\n\n\n<p>Mit Jai Inn\u2019s thick impasto double-sided paintings on canvas, hung from the ceiling and as freestanding sculptural curls, force their way into the viewer\u2019s presence. The curls hide their cores like shells, while the \u201ctapestries\u201d present a flip-side dichotomy that defies instant perspectival gratification. These are paintings which cover their traces and cannot be beheld\u2014reduced\u2014in one go; physical abstractions impinging on real space. As Gleeson writes in the exhibition text \u201c[the artist\u2019s] primary dedication is to a materiality that refuses representation, definition, or stability.\u201d<\/p>\n\n\n\n<p>Pinaree Sanitak\u2019s sculptural works invoke metal seeds and cells communicating and tied to one another by trailing, delicate filaments. They are at once hard, defensive organisms and empty shells\u2014surviving by threads. But surviving. This is the heart of the show. Gleeson again: \u201cThe artists\u2019 individual traditions confirm something chosen, rather than imposed.\u201d Tradition is subjective and even traitors have one. And sometimes traitors turn out to be heroes.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"495\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-464.png\" alt=\"\" class=\"wp-image-15475\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-464-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-464-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-464-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-464.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/11\/Traitor-Tradition-at-ARNDT-Berlin-2.jpg\"><\/a><br>Pinaree Sanpitak, \u201cConnected\u201d (installation view), cast aluminium, stainless steel wire, 25 x 55 x 25.5 cm, 28 x 62 x 27 cm (w x l x h) 2014 (image courtesy ARNDT and the artist; photo: Bernd Borchardt)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Traitor and Tradition\u2014art from Cambodia  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/traitor-and-tradition-art-from-cambodia-and-thailand\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15478,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[673,10627,80,88,10628,374,393,130,10629,10630,114,459,703,210],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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