Our bandages coming loose / Panic song, in a room filled with people with funny names 4 (NO MORE HORNY SPRINGS)

When 23 Mar 2018 - 22 Apr 2018
Where C L E A R I N G, Brooklyn
396 Johnson Avenue
Brooklyn, NY 11206
United States
Enquiry (718)456-0396

The series of vitrine sculptures built on top of an architecture model of the United Nation headquarters in New York came out of a tour of the site I took while researching and filming for the video with history in a room filled with people with funny names 4 (shown at C L E A R I N G New York in 2017). Along the tour, various “gifts to the UN” are exhibited. The vitrines function partially as an imagined gift, and an architectural proposal for the UN. It reflects on the United Nation as a social contract amongst various nations of the world, to keep peace. Embracing the architecture model through a body made up of an old comforter, is the Greek god Pan: the root word for “panic.” Pan here perhaps is a stand in for the socio-animal contract we as homo-sapiens have to the world as an animal. This relationship of course is at a fragile state and prompts us with a rethinking of both our symbolic and material existence.

In the video, the UN is seen as a post WW2 bandage that is becoming loose – loose on the scar that is human history itself. In the vitrines the UN building becomes both a site and a character that merges with Pan to form a new body that is both figure and space. Preserved tree of heaven plants seem to be growing out of the body Pan. These plants are native to Asia but you can see them everywhere in New York City. They are considered “first wave invasive plants.” The first sign of nature taking back its land and its ecosystem from human civilization.

The blown glass orbs are programmed to fade with an algorithm based upon breathing, the same breathing that is used to create the rhythm of the video, and also the same breathing that is in essence the song that Pan’s plays on his flute: a song of panic which allows the awareness of oneself a state of meditation, to find consciousness in the vertigo of the world. Another song the culpture is gesturing towards is the song played by my grandfather. Everytime I asked him to play a song for me on the Casio Electone, he always plays this song.

A solo exhibition titled A workshop for peace: nowhere to go: let the song hold us: in a room filled with people with funny names 4 will open at C L E A R I N G Brussels on April 16. It will feature sculptures related to this one and the video with history in a room filled with peopl with funny names 4.

Korakrit Arunanondchai (born 1986 in Bangkok, Thailand) lives and works in New York and Bangkok. He received his MFA from Columbia University in 2012. Solo exhibitions of his work have been held at Kiasma, Helsinki, FI, Museion, Bolzano, IT; Palais de Tokyo, Paris, FR; Ullens Center for Contemporary Art, Beijing, CN; MoMA PS1, New York, USA. His work has been featured in numerous group exhibitions, including Mori Art Museum, Tokyo, JP; Benaki Museum, Athens, GR; Berlin Biennial, DE; Sydney Biennial, AU; ICA, London, UK; Sculpture Center, New York, USA, Fondazione Sandretto Re Rebaudengo, Turin, IT; Zabludowicz Collection, London, UK. Korakrit Arunanondchai’s work belongs to the collections of The Whitney Museum, New York, USA; SMAK, Ghent, BE; Museion, Bolzano, IT; Fondation Louis Vuitton, Paris, FR; K11, Hong Kong/Shanghai/Beijing, CN; Astrup Fearnley, Oslo, NO; Zabludowicz Collection, London, UK; Fon-dazione Sandretto Rebaudengo, Turin, IT; Aishti Foundation, Beirut, LB; Rubell Family Collection, Miami, USA.

Photo courtesy of the organizer/s.

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