Rubin Museum breaks tradition to show the first Tibetan art show in New York – New York Times

TIBETAN CONTEMPORARY ART NEW YORK MUSEUM SHOWS

Until October 18, Rubin Museum, usually New York’s home for traditional art of the Himalayas, will run the first Tibetan contemporary art show in the city. Titled “Tradition Transformed: Tibetan Artists Respond“, this exhibition showcases the works of nine Tibetan artists born within the period 1953 to 1982. In a review published by The New York Times, critic Ken Johnson comments on each of the artists’ works.

Kesang Lamdark from Zurich presents Johnson’s most highly recommended works. On display is a sculpture made of perforated beer cans. As one peers through the drinking hole they can see a “glowing, dotted-line image of a Tibetan deity.” He also presents O Mandala Tantric, a pin-pricked black disk of four-foot diameter.

The holes on 'O Mandala Tantric' by Kesang Lamdark are back-lighted, such that they create a complex mandala pattern composed of images of skulls and animals, erotic Buddhist art imageries and modern pornography. The work touches upon themes of “debasement of sex in the modern commerce” and the East-West divide over views on eroticism.

The collages presented by Gonkar Gyatso from London are “graphically appealing,” but Johnson notes they would be more impressive if they advanced “the genre of Pop collage or ideas about spirituality and business.” One of the works on display is called Tibetan Idol 15.

'Tibetan Idol 15' by Gonkar Gystso is a collage of “hundreds of little stickers imprinted with familiar logos, cartoon characters and other signs of corporate empire” which form the “atomised silhouettes of the Buddha”.

The computer-generated prints by Losang Gyatso from Washington are, according to Johnson, “technically impressive” and “optically vivid”, but should attempt to draw a clearer relationship between “Buddha-mindedness” and “digital consciousness.” Clear Light Tara is one such work.

Large and colorful, 'Clear Light Tara' by Losang Gyatso is a computer-generated print which features “abstracted traditional motifs.”

Ken Johnson comments on the paintings like Water 1 by Pema Rinzin from New York, stating that they are “uncomfortably close to hotel lobby decoration.”

'Water 1' by Pema Rinzin is a painting of “curvy, variously patterned shapes gathered into Cubist clusters.”

Penba Wangdu from Tibet presents Links of Origination while Tenzin Norbu from Nepal presents Liberation. Both painters have the greatest “potential for narrative and symbolic elaboration,” but their works are “disappointingly decorous”, says Johnson.

Tenzin Norbu's 'Liberation' is made with stone ground pigments on cloth.

Penba Wangdu’s 'Links of Origination' outlines a sleeping woman whose body contains a “dreamy, pastoral landscape where little people make love, give birth, drink beer and paddle a boat on a peaceful lake.”

Tsherin Sherpa from Oakland, California, presents a large watercolor painting which features, as Johnson describes, an “angry blue giant with a vulture perched on his shoulder and flames roiling behind him.” Another of the artist’s major works, Untitled, features on the official website of the exhibition.

Tsherin Sherpa's 'Untitled'.

Tenzing Rigdol from New York presents a large watercolor painting named Updating Yamantaka.

'Updating Yamantaka' by Tenzing Rigdol is composed of “crisscrossing bands” which are “layered over colorfully traditional imagery of deities and ornamentation.”

Dedron from Tibet is the only female artist in the show. We are Nearest to the Sun is painted to resemble to a “modern children’s book version of folk art.” It is a painting of a village “populated by little bug-eyed characters,” projecting the theme of “nostalgia for preindustrial times.”

'We are nearest to the Sun' by Dedron, the only female artist represented in "Tradition Transformed: Tibetan artists Respond".

Johnson sums up by stating that it is paradoxical that the “freedoms granted by modern art and culture” do not generate much imagination in the show’s artists, who still cling onto that classic Tibetan style of art that has existed “hundreds of years prior to the 20^th century.” He conveys a hope that in future Rubin shows he will discover some Tibetan artists with “adventurous minds.”

CBKM/KN/HH

Related Topics: Tibetan artists, museum shows, New York venues, Buddhist art

Related Posts:

• Beijing first to host Arles program outside France – June 2010 – explores the Alres exhibitions, held outside France for the first time, one of which being the exhibition of Mo Yi, a Tibetan-born artist
• Buddhist motifs, artist collectives in Tibetan art – Asia Art Archive – October 2008 – about the explosion of interest in Tibetan art over the past few decades
• Contemporary Tibetan art moves away from its religious origins – September 2008 – about how contemporary Tibetan art breaks away from religious traditions
• MoMA Asia Art Archive collaborate, launch Chinese art projects with public programmes – September 2010 – about the celebration of the end of two documentary projects jointly held by Asia Art Archive and The Museum of Modern Art
• Interventions explore art industry relationships in curator Meenakshi Thirukode’s Guild Art Gallery show: interview – June 2010 – an interview with the curator of a show in New York that explores the various relationships existent in the art world

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Writer Steven Pettifor talks about the old and the new in Thai contemporary art – Art Radar interview

Steven Pettifor, author of 'Flavours - Thai Contemporary Art'.

THAI ART BOOK WRITER INTERVIEW

Thailand has long had a small but very vibrant contemporary art scene. Compared with its recently-flourishing neighbours, however, contemporary Thai art hasn’t been getting much attention. Little has been written about it. Back in 2003, Bangkok based Briton Steven Pettifor decided to address this problem with his book Flavours – Thai Contemporary Art.

Flavours was listed on a reading list for newcomers interested in Southeast Asian art, as reported in an earlier Art Radar post. With 23 profiles of artists of different mediums (painting, sculpture, textile, costume, installa­tion, ceramics and photography), the author hoped to provide exposure of Thai artists outside their home country, and to give readers “a ‘taste’ of Thailand’s burgeoning contemporary visual arts.”

It’s now been seven years since the book was first published and much of Thailand’s contemporary art scene has changed. Art Radar Asia caught up with Steven Pettifor to find out more about his book, and to see what he thinks of the country’s current art movement.

Most importantly, this interview has revealed that there is now more non-Thai Asian art able to be viewed in Thailand. Local art galleries are teaming up with other Asian galleries to bring non-Thai Asian art into Thailand and foreign artists are now viewing Thailand as a place to set up professionally. He also identifies a number of important emerging Thai artists and names some of the top collectors of Thai contemporary art.

What prompted you to write Flavours?

I’d been writing about Thai art for about seven or eight years. I was starting to build up quite a body of artists that I’ve written about and covered. There was only one other book on Thai art written in English up until that point, and that was Modern Art in Thailand by Dr. Apinan Poshyananda. His book went up to 1992 and then after that it was nothing, and 1992 was the year I arrived in Thailand, so I felt like filling in the gap from that period onwards. That was my intention.

I was floating the idea for about a year or two before I actually found someone  who wanted to collaborate and publish it, and Thavibu Gallery said yeah okay, we’ll be interested in doing it, we might be able to find someone to back it financially, which they did. They found Liam Ayudhkij, who is the owner of Liam’s Gallery in Pattaya. He’s been collecting art here for thirty, forty years. So Liam kindly backed it. That’s how the book came about.

'Flavours - Thai Contemporary Art', published by Thavibu Gallery.

What were the main issues and challenges for you when writing and researching Flavours?

I wanted the book to broaden the message about Thai art. I didn’t want to keep the book an academic book, purely for an already art-affiliated readership. I wanted to move beyond that and try and get more general public interest in Thai art. So one point was to keep it accessible in terms of language and to try and cover as broad a scope as possible within a coffee-table sort of format. That was one challenge.

Another was to try and cover as many different mediums as possible, so it was finding sculptures, paintings, installations, photography… I tried to cover as many mediums as possible, and that wasn’t easy, given that some of the less popular mediums… it was hard to find good quality artists working in that field.

Tell us more about your selection of artists in Flavours.

Medium was one big consideration. Also, their career point. I tried to get as many young artists or emerging artists or mid-career artists, so that the book would have relevance ten years on. It’s six years old now and most of the artists are still in their mid-careers. I didn’t want to pick artists that were in their twilight years or have passed away. People ask me why didn’t I include Montien Boonma, who’s considered the father of installation art here. I included him in the overview essay, but because he has passed away, I didn’t want to profile him, because there wasn’t so much currency. His career is not still being carried on, basically.

How did your interest in art, and in Thai art, evolve?

As early I could remember, I could draw and paint. Not self-taught as such, but it was there from an early age. I don’t come from an artistic family at all, so it was never really nurtured as such. But when I reached high school, I then got pushed toward art, just because they saw my natural talent or whatever. So the interest in art has always been there, but I’d say from high school onwards it was developed by teachers.

…It’s not so much as a passion for Thai art. The main art that was in view in Thailand was Thai art, and you just got into it. I got to meet a lot of the artists quite quickly and I found it quite interesting to be thrown in on that level. Back in 1997, there weren’t so many foreigners involved in the art scene and everyone was quite accommodating, inviting you to their studios and things like that. So it was interesting. You got to feel involved.

What makes Thai art different from other Asian art?

Buddhism is quite predominant here. Sometimes that can be good, sometimes that can kind of almost saturate the art that is produced here. If you look at Burmese art or what’s coming out of places like Laos, you’ll see a lot of Buddhist imagery as well. Places like Indonesia and Vietnam… the art being produced in those places is not so religious-focussed. Religion would be one aspect that defines a lot of the art that is made here. Not necessarily the art that is hitting international levels. They tend to deal with work that is more universal, or themes that would fit more into the international art interest. But across the board, a lot of them deal with Buddhist subject matter.

Santi Thongsuk, 'I'm Glad I'm Dead Year', 2000, oil on canvas.

Another thing would be the craftsmanship. I do see it elsewhere in Asia, so it’s not necessarily different but there are different kinds of crafts that are brought into Thai art. Chusak Srikwan uses shadow puppetry, but he does things like modern politicians and symbols of corruption. Montri Toemsombat has used silk weaving and silk crafting in the past. There’s this attention to craft. A lot of technical training goes on here, so they get very good grounding in the technical aspects of art training, so that comes through very strongly as well.

Chusak Srikwan, 'Birth-Age-Ailment-Death', 2009-10, leather carving.

Tell us about the artist training system in Thailand.

It’s pretty much similar to anywhere else. It’s art school, mainly. It’s an emerging thing. Art school is expanding constantly and courses are expanding constantly here, but it’s still largely focused in Bangkok and Chiang Mai, with a couple of provincial centers in the north-east and in the south. A lot of young wannabe artists, when they graduate here, will go through assisting a senior artist in a studio for a couple of years. Again, that’s comparable to anywhere else as well. But I find it quite good that artists get a lot of hands on training through working with the artists when they graduate.

Is the Thai art scene receiving greater external interest, as compared with before?

It was anticipated here around the early 2000s on that there would be a lot more interest on the back of the increased focus towards Asia, with China and India doing very well. Vietnamese art in the mid to late 90s kind of opened up a lot. And it was always expected that there would be more people coming in for Thai art, and for a while there was. There’s a lot more Thai artists now included in biennales and triennales and international thematic shows, but I would say that is comparable to just part of this larger focus on finding art in Asia. I would also say in the last couple of years it has slowed down a lot. Since the coup in 2006, and the financial recession in late 2008, the commercial aspect of art has slowed down quite a bit. But I don’t think it’s just here, I’d say it’s everywhere.

Do Thai artists see international acceptance as one of the criteria for success? How does that compare with domestic recognition?

There are artists here that are quite content to work on the domestic level, but they have to work within a fairly narrow framework in order to succeed there. And then there are those who desire and need the international exposure in order to continue making art of that kind of calibre.

You mentioned in Flavours about a gap between the public and the local art scene, citing insufficient education and exposure as a major problem. Has the situation improved?

Things like education are not going to improve overnight. There are more universities and higher education establishments offering art related courses. But for your average state sponsored school, like high school, there’s still going to be a very limited art practice beyond basic drawing techniques and painting.

But in terms of accessibility, they are trying to change things. They’ve opened the Bangkok Art and Culture Centre (BACC) here in the last two years, which is a major art center in the heart of downtown. It was always the intention to put it in a very commercial area so that it would be on the consumers’ door step. So they’re hoping to draw in the public to look at art and find out what art is. And there’s another plan to build a national art center in Bangkok. But that’s all very Bangkok-focused.

…one way the void is being filled in the provinces is that some of the artists that have either come from different provinces or have gone there to settle or to set up a studio have built artist-gallery-public places – places to promote their own work, but also places to give something back to the community. Up in Chiang Rai, Thawan Duchanee is a good example of an artist that has made his work open to the public.

Montien Boonma, 'Drawing of the Mind Training and the Bowls of the Mind', 1992, held in the collection of Chongrux Chantaworasut.

How has the local art scene changed since you published Flavours?

There are a lot of commercial galleries that have opened up in the last  five to ten years, but a lot of them have a less than five-year shelf-life. A lot of galleries are still set up here by people who have an interest in art, but I wouldn’t say that they are specifically trained in how to operate a gallery on a professional level. A lot of them have opened galleries because it’s their passion, but managing it on a professional level doesn’t always work out the way they expect. It’s still tough to make a profit here as a commercial gallery. There’s been a few more non-profit spaces opening as well, but they’re even harder to manage and sustain with no profits coming in and it’s hard to find sponsorship to back spaces like that.

One thing that I think is important to push is that there’s been more diversity of art that’s been on view in the last five years or so. When I first started looking at art thirteen years ago here, it was very Thai. Most of the galleries were showing Thai. Any foreign or overseas art would predominantly be at university spaces and would be by visiting lecturers or hookups with overseas institutions. But now, in commercial spaces, more regional art is certainly being seen. Thavibu Gallery bring in Vietnamese and Burmese art. Gallery SoulFlower, which just closed last year, brought in Indian art on a regular basis. Tang have a gallery in Bangkok, and they bring in a lot of good quality, high-profile Chinese art. And there’s a couple of galleries that bring in Japanese artists, and you’ll see Indonesian art here every now and then. So there’s been more exposure to regional and international art.

Another development is there’s been more foreign artists coming and spending time here, trying to work out of here. Some just setting up their own studios and still working with their galleries overseas… others coming here to make a goal out of it, trying to get involved with the Thai art scene. If I look at foreign artists based here thirteen years ago, it was more of people using art as hobby rather than a serious pursuit. But now I would say that there’s a lot more foreign artists here that are serious about art making and trying to make a career out of their art here as well.

What is the biggest problem facing the Thai art market at the moment?

There are probably only around fifty viewing spaces in Bangkok that attempt a regular or an occasional exhibition schedule, but not of huge amount of that translate into sales. I would say only a dozen or so galleries here manage themselves towards a sustainable and professional gallery that also tries to promote its artists beyond Thailand.

Can you name some interesting galleries and non-profit spaces for our readers to explore?

It’s a bit of a self promoting thing, but I initiated the Bangkok Art Map, which is a useful tool for people arriving in the city wanting to see art, or people living in the city wanting to see what’s happening on a monthly basis. It’s a map of the city’s galleries with the regular exhibition calendar plus highlights of what’s on, and a spotlight focus every month.

…obviously I have to say Thavibu Gallery, because they published my book, and I’m working with them this year on a curatorial project for the course of a year called “3D@Thavibu“. That is my conscious effort with the gallery to promote small-scale sculpture in Thailand towards more collecting base and to push emerging sculptors here that don’t get seen in so many galleries here.

There’s H Gallery, another professionally-run gallery. It’s run by an American, H. Ernest Lee, and it’s in a beautiful colonial-style building. One of the best galleries running in terms of putting their artists into biennales and working with some of the major Asian and Thai artists is 100 Tonson Gallery. Ardel Gallery is run by a Thai artist called Thavorn Ko-udomvit, who curated the Thai Pavilion for Venice last year. DOB Hualamphong brings in artists that are not necessarily commercially minded. Numthong Gallery has been a gallery that’s done very well over the years. [Mr. Numthong Sae-tang] runs a fairly small space out of a co-op building, but he attracts some of the big name Thai artists to work with him, because he tries to help them out and he’s a very good supporter of the artists when they come on board. Obviously the BACC is a place worthy of visiting.

Which artists have been doing interesting things recently in your opinion?

There are quite a few artists. The big names are already on the radar. People like Navin Rawanchaikul, Chatchai Puipia, Araya Rasdjarmrearnsook, Sakarin Krue-on… these are all very good established artists.

Maitree Siriboon, ''Isarn Boy Dream" series, 2008, photography.

On the younger front, I like Maitree Siriboon. He is an artist I think is worth watching. He’s been using photography to photograph himself to examine his identity as an openly gay guy from Isarn. He deals with the rural to urban migration, exploring on a sensory level what it means for him as an artist and as an openly-gay person to move from the provinces to Bangkok. Yuree Kensaku, a Thai-Japanese artist; I like her brand of painting. She’s also doing some sculptural work. I like Yuree’s work a lot. There’s Tawan Wattuya. He does watercolours, very loose watercolour paintings, all about conformity and uniformity in Thai society. He’s done a lot of paintings of groups of Thais in uniforms. There’s a strong sexual element to a lot of his works as well. Also Sudsiri Pui-Ock in Chiang Mai.

Yuree Kensaku, 'The Killer from electricity authority', 2009.

Are there any major collectors of Thai art?

There’s Narong Intanate. He has been collecting more conventional Thai art – modern Thai artists but not necessarily contemporary. But he’s recently started to branch out into contemporary. Disaphol Chansiri has a really interesting collection of Thai and international contemporary art. His collection is open by appointment, he’s housing it in an apartment space that he’s opened up as an art-viewing space on Sukhumvit Road. His collection is very contemporary, probably the most contemporary I’ve seen in terms of the artists he’s collecting. Jean Michel Beurdeley is a French collector who has lived here for decades. He has a collection that he opens up in quite a nice traditional Thai house where he lives. Again, viewable by appointment only. One more worth mentioning is Petch Osathanugrah. He’s collected contemporary domestic art. I don’t think his collection is housed in any permanent space at the moment. For awhile he was going to open a private museum, but I don’t think that has materialised.

Are there any books or websites you would recommend for learning more about Thai contemporary art?

I would say our website, the Bangkok Art Map, would be a site to mention. The Rama IX Foundation is very well supported. Until recently, they’ve focused more on senior conventional artists. I think there’s more diversity to their website, but there’s a lot of contemporary artists not on there. But it’s a good website. Several of the gallery websites have good listing info.

As I said before, there are only two books out there, Modern Art in Thailand and Flavours. They’re the only two English-language books that have been written on Thai art in the last fifteen years.

About Steven Pettifor

Born in 1968 in London, Steven Pettifor graduated with degrees in fine arts from both the Wimbledon School of Art and Liverpool Polytechnic. The writer-artist-curator has been living in Thailand since 1992, immersing himself in the local contemporary art scene. He is currently the Thailand Editor for Asian Art News and World Sculpture News.

VL/KN

Related Topics: Thai artists, promoting art, interviews

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• Rising confidence in Indian art as market recovers – June 2010 – a summary of a recent news article on the rise in sales of modern and contemporary Indian art
• Is Hong Kong a cultural desert? How can you become a better collector? Answers revealed at Asia Art Forum – June 2010 – forum participant Bonnie E. Engel reviews a lecture by influential Indonesian collector Dr. Oei Hong Djien
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Chinese performance, installation artist Zhang Huan’s first show in Moscow – Moscow Times

CHINESE ART SHOW RUSSIA

Zhang Huan Paintings and Sculptures to January 17 2009 Diehl and Gallery One

German gallery owner Volker Diehl has brought one of China’s leading artists to Moscow for his first personal exhibition. Zhang Huan who was recently signed by impresario dealer Jay Jopling of London’s White Cube has exhibited at major international museums including New York’s MOMA and Paris’ Pompidou Center.Even before the surge in interest in his work this decade, Zhang was difficult not to notice, reports the Moscow Times.

Physically demanding performance art

He first rose to notoriety in the early 1990s as part of the avant-garde Beijing East Village group, staging intensely physical performances that featured him sitting in a public toilet, covered in fish oil and honey, inviting flies to nestle on him.

Move from performance art to traditional media

Recently, however, he has turned towards the more traditional media of drawing, painting and sculpture that are exhibited here. “Performance art is very tiring. It makes me lose good ideas. So I stopped,” he said at his Asia Society exhibition in New York last year. “If I have good ideas, then I’ll return to performance art.”

Return to China and Chinese references

This change in approach also owes much to his return to China from New York in 2006, which saw Zhang re-embrace traditional Chinese motifs in his artwork. His approach to them, though, is new, distinctive and very striking, thanks less to drastic thematic reinterpretations than to his idiosyncratic use of material.

But as a whole, the effect they produce is distinctly Chinese. “I use ash to express and combine all the dreams, aspirations, all the spiritual longings, all the ideas that people have somehow infused into incense ash,” he wrote in an essay for Pace Wildenstein Gallery this year. “It’s the collective spirit and collective thinking and collective wishes of the people in China.”

New pieces from incense ash

Many of his new pieces are made out of incense ash from Buddhist monasteries, which in form can bring famous Western artists to mind — the disfigured sculpture “Ash Head No. 16” is reminiscent of Alberto Giacometti; “Big Ash Painting” bears the influence of abstract expressionism; and “Military Training on the Sea No. 2” even hints at William Turner’s seascapes.

Zhang’s non-burnt new works attempt to reincarnate that same ancient Chinese mentality. The balcony hosts a series of folkloric woodcuts and drawings in ink and soy sauce, some themes from which are metamorphosed into physically striking art objects. Downstairs, a feathered resin donkey climbs a massive wooden log up the western wall, opposite an imposing likeness of the Buddha made out of a cow skin.

Moscow Times for more

See:

Latest events on now, events coming, posts on Chinese artists, reports from Russia, installation art stories, art about human body, stories referencing Zhang Huan

Related posts:

• Zhang Huan’s spectacle at Pace Wildenstein New York June 2008

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Contemporary Tibetan art moves away from its religious origins

Gyatso My Identity No 21

TIBETAN ART TRENDS

In 2003, thirteen Tibetans and two Chinese living inside Tibet formed the Gendun Choephel Artists Guild, an organization of artists that hosted monthly rotating exhibits. They dismissed the general perception among Chinese of Tibetans as simply “ethnic,” and they fiercely defended their right to express their own identity.

It is a relatively recent situation for Tibetans to remove art from its iconographical, religious origins of thangkas and scrolls and recontextualize it within the modern dialectic. The most striking example of this process can be found in the work of Gonkar Gyatso, an artist who uses ideological identity portraiture and sophisticated graphics to discuss the modernist dilemma facing contemporary Tibetans. Gyatso has resided within Tibet, China, India and London, and he reflects on his diverse identity within these different locales.

In My Identity 1-4, Gyatso represents himself alternately as a Tibetan native painting a traditional thangka; a Communist Chinese painting a portrait of Mao; a refugee painting a picture of The Dalai Lama; and finally, an international urban sophisticate painting a picture of the cosmos. Who, however, is the real Gonkar?
What is his actual tradition? Where does the truth lie?

Gande New Scripture Series Micky Thangka

Gande is another artist with a deep appreciation of traditional forms. He imbues them with a secondary, critical meaning.

The theme of taking important religious symbols and substituting capitalist ideology is highlighted in his hilarious New Scripture Series piece, Mickey Thangka, which features the tig-say faces of the Buddha and Mickey Mouse.

Nortse Group Photo

Then, there is the provocative work of Nortse. Using both painting and photography, he depicts images of individuals who are rendered mute by their covered faces.

The artist Kesang works with the notion of the bardo, the realm one enters after death and before rebirth.

Pewang takes as his subject matter the five mental afflictions of traditional Buddhist thought: desire, aggression, greed, jealousy, and pride. He paints them as celestial deities incorporating traditional flowers, clouds, hand gestures, shading of the body and flora backgrounds.

Contemporary Tibetan artists defy expectations. Many Western Buddhist practitioners would like to see them still produce strictly phonographic, spiritual art. The ecumenical modern art world looks at them as a fourth world minority playing catch up with the post modern predicament and a subset of the white hot Chinese art world. Tibetans themselves are split on the issue. They understand artists must address the rapid social, psychological and economic changes they are confronting as a people but are equally concerned they will lose their traditions in the overwhelming cultural tsunami of rapid globalization. What is certain is that the Gendun Choephal School is sure to address the current and future changes roiling Tibet.

Source: Realitysandwich

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