Like most Thai kids in an all-boys high school, playing video games and drawing cartoons were my only creative outlets. Then I had a band with my friends at Bangkok Christian College.
Grammy tried to convince me to join this G-Junior program, where you had to train every day like a soldier for a chance to become a teen pop star. It sounded horrible to waste so much time doing that, so I turned it down. Playing in a band was my channel for expressing myself.
Art classes in Thai schools are full of rules. The first time I was really exposed to art is when I moved to NIST international school, where you were allowed more space for creativity.
Seeing the work of the Young British Artists at Saatchi was a revelation. I got the chance to visit the gallery during my trip to see my brother in London. Being in the 11th grade and seeing the large-scale sensationalist works of Damien Hirst, Tracey Emin and the Chapman Brothers was an eye-opener. Before that I only knew Thawan Duchanee and Chalermchai Kositpipat.
The experience showed me that there’s a space and audience for art. When I came back I was more focused on doing my work
Interview with Korakrit Arunanondchai
To write about Korakrit Arunanondchai is to be in hot pursuit. The first day we were meant to have this interview, he was out of reach, freediving off the reefs of Ko Tao. When I travelled to Bangkok in , to see the inaugural Ghost festival of video and performance that he had curated, for a book I was working on, I followed friends to performances around haunted ta-khian trees and drag parties in bank vaults in hopes of tracking him down. In London a year later, I found him carrying the chef Angela Dimayuga like a newlywed into the nightclub at the top of the Standard Hotel. Whenever I have succeeded in sitting down with him, I leave with an impression familiar from viewing his work: the joy of immersion into his oblique and mysterious logics, grasping the iridescent tail of several interconnected ideas.
Contingency is the force that drives Arunanondchai’s sprawling oeuvre of video, performance, painting and installation, which roams through personal relationships, political upheaval and cosmological concerns. His videos, often the centrepieces of exhibitions, combine found clips with drone and handheld fo
Korakrit Arunanondchai
KORAKRIT ARUNANONDCHAI IN NEW YORK, MARCH ALL CLOTHING: ARUNANONDCHAI&#;S OWN. HAIR PRODUCT: ORIBE, INCLUDING GOLD LUST NOURISHING HAIR OIL. HAIR: BOK-HEE FOR ORIBE HAIR CARE/STREETERS. MAKEUP: YUMI MORI/THE WALL GROUP. SPECIAL THANKS: FAST ASHLEYS.
In the years since year-old Bangkok native KorakritArunanondchai moved to the United States in , he&#;s clocked hundreds of flying hours to and from his home country. So it isn&#;t surprising when he says that art fairs—with their uniform layouts, brisk pace, and multinational throngs—remind him of airports. For this month&#;s Frieze Projects at Frieze New York, the analogy inspired Arunanondchai to design a series of four fully functioning massage chairs covered in bleached denim, his signature material, stationed around the fair&#;s common areas. &#;What&#;s interesting about his work is that there is something bodily and corporeal in it,&#; says Frieze Projects curator Cecilia Alemani. &#;The chairs combine painterly elements and performative elements.&#; While visitors recline, speakers near their heads play a soundtrack, on which Arunanondchai collaborated with his twin brother, Korapat, an
Korakrit Arunanondchai&#;s Body Work
&#;Everyone needs room to breathe / And I get where you&#;re coming from / But those paintings that you make / They suffocate you / This isn&#;t freedom / It&#;s not even real.&#;
These subtitled admonishments grace the opening seconds of the video trailer for &#;Letters to Chantri 1: The Lady at the Door/The Gift that Keeps On Giving,&#; a new exhibition by Bangkok-born, New York-based artist Korakrit Arunanondchai, opening at The Mistake Room in Los Angeles on July 18th. The fiery red glow of the setting sun is steadied by a heavy, entrancing beat. Glimpses of the performance artist Boychild being slathered with paint are interspersed with the visage of a wistful-looking young woman, and men in cutoff denim hold a canvas while the artist, similarly attired and seen only from the back, flings himself at it.
The drama of these ploys hearken an epic show; their sensuality and familiarity suggest a story laden with history and memory. Is the artist reflecting upon himself, attempting a renewal? Perhaps. The studied glimpses of the exhibition that Arunanondchai has been offering via Vimeo and Instagram hint at a climactic continuation of
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