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Visiting Museum of Contemporary Art Bangkok

by / Tuesday, 19 August 2014 / Published in Museum
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Visiting Museum of Contemporary Art of Bangkok

Information & Booking

  • This tour belongs to the program “Bangkok Best Museums Tours” by Rock Around Asia

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Introducing MOCA Bangkok

Visiting Museum of Contemporary Art Bangkok (MOCA Bangkok) aims to offer a interesting overview about what is contemporary Thai art, where is it coming from, what influences led its evolution to the present times and put in perspective its development, first in Thailand, but also on the world wide Art scene.

MOCA Bangkok opened its doors on March 23rd, 2012 at the initiative of Mr. Boonchai Bencharongkul, businessman and founder of the DTAC telecommunications group and an art lover who exhibits his own art collections there.

The museum houses the works of several generations of Thai artists, from the students of Silpa Bhirasri (first half of the XXth century) to the young artists of today. It is, however, relatively far from the city centre, and as such modern art enthusiasts more often frequent the Bangkok Art and Culture Centre, which is at the heart of downtown between the BTS National Stadium and Siam stations. To get to the MOCA it is necessary to go to the BTS terminal at the Mo Chit station, or to take the MRT to Chatuchak Park, and then take a taxi to the museum which is much further on Kampaeng Road. The distance may discourage visitors. However, once inside, the collections are worth it.

The artists exhibited at the MOCA are actually artists trained in the European model at the School of Fine Arts, whose education was helped by artists from the “old continent,” such as Corrado Feroci (in Thai, Pr. Silpa Bhirasri), an Italian sculptor who is the author of several emblematic landmarks in the city, such as the Democracy Monument or the Victory Monument, and who notably founded what would become the Silpakorn University of Fine Arts, from which many renowned Thai artists have since graduated.

The building is both massive and clean. The main facade is pierced with openings recalling the shape of an hourglass, which let in a soft light. The interior is pristine white. In the lobby, the statue of master Bhirasri looms in homage to the man as the “Father of Fine Arts.” The collections are presented on three levels.

The first floor is divided into several sections. It opens on a room gathering works whose style is strongly inspired by German expressionism. Among the many works on display, we can see the paintings by Sriwan Jenhatthakarnkit (born in 1953), which are strongly inspired by early twentieth century expressionist paintings and recall the works of Max Beckmann or Alexej von Jawlensky, all while, of course, having an identity of their own. His paintings are also particularly large, generally having dimensions of 200 x 600 cm.

In a large neighboring room are exhibited works in a much more modern style, that is to say, very close to the pop style of the last third of the XXth century. The museum showcases the young talents of the Thai art scene, notably Lumphu Kansanoa (botn in 1983 and one of the very few women artists exhibited) and Ummarin Bappasiri (born in 1985). The room houses a series of works exploring the finiteness of human beings which contrasts heavily with the rest of the exhibition. One of the most striking works is that of Chairat Sangthong, entitled As Time’s Gone by. This very realistic painting, based on the principle of Memento mori and made of acrylic, represents the shapely body of a young woman opposed to that of a faded and naked body of an old woman, of which we understand that it is the past form.

The tour continues in a room dedicated to spirituality and Buddhism. The works, created mostly by Chalermchai Kostipipat (born in 1955) depict Buddhas majestically represented or allegories of the teachings of the Buddha. The works of another painter, Surasit Saokong (born in 1949) surprise us with the atmosphere of serenity and concentration that emanate from its scenes, representing monks studying in the twilight of a temple.

The second floor features works of a very lyrical or fantastical style, sometimes scary, and sometimes wonderful. The first room displays, among others, paintings by Butraj Sompob and Wachara Klakhakai, which show scenes of important figures in Thai mythology, such as the goddesses of Chaopraya or the clothing of Sita. In the next rooms, the style is very surreal and symbolic, with on the one hand the works of Pratheep Kotchabua, who paints marine scenes of fights with fanciful animals, and on the other hand the works of Chaiyapan Sud and Sirot Thongchompu, who mix surrealism and symbolism, often in relation to Buddhism.

The third floor of the exhibition is almost entirely dedicated to the Thai artist Thawan Duchanee, one of the few artists to have had a truly international career. His paintings, most often monochrome pieces in which black, red, and ocher dominate, often represent animals that are largely inspired by the work of Japanese artists who also created this kind of painting to decorate temple pavilions. Thawan Duchanee is also famous for his representations of the Buddha. Initially seen as controversial, they are today considered to be major and original examples of Thai painting.

Finally, the last floor of exhibition is dedicated to Mr. Boonchai Bencharongkul’s international collections. Most of the artists have an international background and are from Vitenam, China or Japan. This floor also houses an important collection of the gallery owner Richard Green from London such as Victorian paintings.

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The question of contemporary Art in Thailand

  • by Sara Cazes / Former Director of Rock Around Asia Art Gallery / October 2012

Evoking contemporary art in Thailand or in other countries of Southeast Asia, poses the big question: what is contemporary art? Although hesitant to give an answer given how complex the issue is, a Westerner will always envision a work located at the Moma, at the Centre Pompidou or at the Guggenheim. From the abstract to figurative, we conceive of contemporary art by being spontaneous, multifaceted, often provocative, in short: indefinable, as artists question our definition of forms of art that art can take.

In countries where tradition remains an important social value, contemporary artists are perpetuating an ancient art where patterns are sometimes ancient. On the other hand, there are artists who, from our point of view, are doing contemporary art, that is to say an art which is similar to Fine Arts. This type of art was established in Thailand less than a century ago. In 1923, the Ministry of Foreign Affairs of the Palace requested the Italian sculptor, Corrado Feroci (1892-1962), to teach Western sculpture in the Department of Fine Arts. Feroci decided to settle permanently in Thailand and took the Thai name Silpa Bhirasri. Twenty years later, in 1943, he founded the Silpakorn University, which is now the largest university in Thailand in the education of Fine Arts and Archeology. He was a great teacher and noticed many talents including the famous artist Thawan Duchanee. Born in 1939 in Chiang Rai, he is one of the few Thai artists who have acquired an international reputation and who exhibited many times internationally in Tokro, Amsterdam, London and it amounts to many other countries. A famous anecdote told by the artist tells us that one day; the master had severely criticized his work which was yet promising, telling him: “Your fish are odorless, your bird cannot fly, and your horse cannot gallop. You’re just a copyist, and this is not art.” Thawan Duchanee then totally questioned his work and he kept this remark in his mind whenever he painted. Nowadays, Silpa Bhirasri is considered the father of Western art in Thailand. His memory and his work are still honored by Thai artists.

However, the path of Thawan Duchanee remains an exception, for the professionals consider contemporary Thai art as still young and unfinished. A walk in the private museum of contemporary art in Bangkok (Bangkok MOCA) enlightens us as to the state of contemporary art in Thailand. It is clear that Thai artists draw their inspiration from traditional Buddhist culture or literature and that their aesthetic research is very similar to that of contemporary artists of the early twentieth century. In fact they reuse certain techniques such as pointillism and shortcuts or styles such as surrealism, futurism and abstraction. By observing their works, sometimes we have the impression of being in front of a picture of a disciple of Seurat, Gauguin or Dali and one cannot help but ask the question of identity and originality of Thai art.

This question of originality seems legitimate, just as it is understandable that these artists are still in search of their own style. In light of the history of art, it is quickly realized that European art cannot be exported so easily, because it is equivalent to applying uprooted techniques from their context of appearance. Modern art is born from a rupture with classical art which became sclerotic because of European social context of the time. Too rigid apprenticeship system was a bottleneck for the artists of that time and eliminatory for any artist with an original approach. In fact, artists wishing to exhibit in official salons had to have completed their studies at the Academy of Painting and for the best, go to Rome to copy ancient models. However, rapid economic growth and industrialization in the nineteenth century marked the beginning of an aspiration to modernity among many artists who are not recognized in academic art. Then gap is widening between the determined artist who wants to portray the modern world where they perceive change and nostalgic for a bygone era that remain faithful to the academic rules.

Starting from the second half of the nineteenth century, some artists, including the French artist leader Edouard Manet, decided to put an end to a prudish and hypocritical art. Hypocritical because Le déjeuner sur l’herbe or l’Olympia of Manet are for example regarded as indecent as they represent the contemporary character in their simplest device, whereas during the same period the naked mythological figures are used in the rich houses of his contemporaries. Considering these ancient models far away from them, now modern artists draw their inspiration from the world around them, daring to sacrifice beauty in favor of their truth. This change of subjects is the first modern rupture. The second relates to the techniques of representation. When Claude Monet exhibited his first works, they were a shock to his contemporaries. They judged the shadows projected on models as greenish and extremely ugly shadows. The words of Monet were to highlight the variations in the light, to seize a passing view, while the compositions had to until then only address the mind to convey an idea. Thereafter, it is the Fauves and then the Cubists who completely deconstructed the traditional image and challenged our eyes on it.

Thus we see that these plastic evolutions are part of a historical process of modernization and evolution of morals. But what can it be of Thai artists who receive these techniques without having lived these moments of frustration, challenge, inspiration that have shaped the history of modern and contemporary art?

Thai Neotraditional Art

  • MOCA Bangkok / Thai Neotraditional Art Exhibition / March 2015

The Faculty of Painting, Sculpture and Graphic Art, Silpakorn University, founded the Thai arts Major in 1976 by Professor Emeritus Chalood Nimsamer, one of the Professor Silpa Bhirasri’s (or Corado Feroci) best students. Then, Thai traditional art awakened from its slumber by the dawn of golden age of Thai Neotraditional art.

The Thai arts major’s first class graduates, led by Chalermchai Kositpipat and Panya Vijinthanasarn, travelled to Buddhapadipa Temple in London, England, to express their faith by creating Buddhist arts. They gathered their junior artists such as Sompop Budtarad, Rearngsak Boonyavanishkul, Thongchai Srisukprasert, Alongkorn Lauwatthana, and many others in the creation that would exhibit Thai art to the world. In this significant project, love, knowledge, and conscience were gathered to originate the invaluable masterpieces. Their creations represented the spirit of Thai people with artistic uniqueness to the world.

Thai traditional art, the legacy of Thai art masters, has given birth to a new phenomenon by their creation of mural painting which lead to Thai Neotraditional art; The art from later turned into Thai contemporary art. The art has stemmed from ancient tradition and turned into a mean of expression with individuality and artistic identity. The artist advance skill was an important tool in expressing the power of imagination, and took part in creation of the world’s contemporary art. The graceful rebirth of such art during the time when people search for the truth of life has revealed another civilization of humankind in Thailand

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Photos Gallery

  • Provided by Eric Monteil Photography ©

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.

Sources

  • Museum of Contemporary Art documentation
  • Rock Around Asia posts
  • The Nation
  • Bangkok Online
  • LA Artcore
  • HOF Art Gallery
  • Wikipedia
  • Rama IX Art Museum

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