DAYS AFTER THE REVERIE (A PRELUDE)
|When||12 Nov 2020 - 20 Dec 2020|
|Where||C L E A R I N G New York
396 Johnson Avenue
Brooklyn, NY 11206
An exhibition of new works by Korakrit Arunanondchai November 12 – December 20, 2020
C L E A R I N G New York
Days after the reverie is an exhibition of paintings that I made this year (2020). They are meant to be a prelude to No History in a room filled with people with funny names 5 (in collaboration with Alex Gvojic), a video installation that has been rescheduled to May 2021.
No History in a room filled with people with funny names 5, is based on the “Ghost Cinema”, a common ritual in North East Thailand where monks project films onto walls of temples for an audience made up of ghosts. Villagers are invited to come watch the films with the ghosts. This tradition came from the introduction of portable 16mm film projectors that were brought over by the G.I.s during the Vietnam War.
Sometimes, at nightfall, the G.I.s would project abstract light in the middle of the forest, imitating angry ghosts, hoping to scare villagers away from entering. This form of psychological warfare was later salvaged by monks, who saw the cinematic apparatus as a way to summon people under the presence of the “Ghost”. Only through the presence of a screen could there be a communion between the living and the dead.
A transmission which can span generations and histories travels through a rupture, a flickering portal which we are all standing on the edge of, staring into. It’s the collective gathering around a fire, which is untouchable and shape shifting, that draws us beyond this plane of existence. Even though I’ve worked with fire for years now, it was only recently when the body of my grandfather was cremated that I saw smoke evaporating into a ray of sunlight and felt the corporeal soften into the spirit filled with relationships, feelings and history. The remains from the ceremony were the bones which looked like corals and would return to the bottom of the ocean. When something burns it becomes something else.
There is a painting with a burning yellow bird which is the “Mockingjay” from Hunger Games, a sign of resistance from within a dystopian fantasy world where democracy is “permitted” by a ruling class so long as blood sacrifices are made. Student protesters in Thailand hold three fingers together, symbolizing the Mockingjay, because their uprising must reach the King, who exists in a realm not governable under law. There, he is a demi-god, fused with the religious supremacy of all the gatekeepers before him. The Mockingjay travels alongside burning paper objects in order to reach an afterlife where it can become flesh.
- Korakrit Arunanondchai Korakrit Arunanondchai (born 1986 in Bangkok, Thailand) lives and works in New York and Bangkok.
He received his BFA from RISD, Rhode Island, in 2009, and his MFA from Columbia University, New York, in 2012.
Solo exhibitions of his work have been held at MoMA PS1, New York; Palais de Tokyo, Paris; Vienna Secession; SMAK, Ghent; Kiasma, Helsinki; Museion, Bolzano; and UCCA, Beijing.
His work has been included in numerous group exhibitions, including the Whitney Biennial, New York; Venice Biennial; Istanbul Biennial; Gropius Bau, Berlin; Kunstverein Hamburg; Kasseler Kunstverein; Baltic Triennial, Vilnius; Belgrade Biennal; Dhaka Art Summit; Mori Art Museum, Tokyo; Benaki Museum, Athens; Berlin Biennial; Fondazione Sandretto Re Rebaudengo, Turin; ICA, London; and Sculpture Center, New York.
His work is currently on view at Serralves Museum, Porto, and is featured in a group exhibition at Kunsthall Trondheim. In 2021, he will have solo exhibitions at Migros Museum, Zurich, and will be included in the Gwangju Biennial.
Arunanondchai’s work belongs to the collections of Whitney Museum, New York; S.M.A.K.,Ghent; Museion, Bolzano; Migros Museum, Zurich; Kiasma, Helsinki; Fondation Louis Vuitton, Paris; Astrup Fearnley Museum, Oslo; K11, Hong Kong/Shanghai/Beijing; Rubell Museum, Miami; Fondazione Sandretto Re Rebaudengo, Turin; Zabludowicz Collection, London; Aishti Foundation, Beirut; and Vanhaerents Art Collection, Brussels.
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Image courtesy of the event organizer.