(Un)Composition” is the highly anticipated first solo exhibition from Latthapon Korkiatarkul, a young Thai artist whom many have considered a kind of a maverick since he burst onto the scene in 2010. His process-based works, riddled with serious, deadpan humor, succeed in projecting a healthy skepticism for the formulaic definitions and trite readings applied to art. By transforming familiar objects into eerily surreal entities—laboriously polishing an egg until it shines like marble, or scrubbing banknotes until they lose all individual markings—he has not only changed their appearances but
At first glance, Paphonsak La-or’s solo exhibition “Klai Ban” (“Far from Home”) seems to consist of a few dozen innocuous paintings of mountains in various foreign locales, but upon closer inspection, it yields a much more subversive and multilayered interpretation of the current political turmoil in Thailand. Paphonsak is among a handful of young Thai artists whose works have consistently addressed issues of censorship and freedom of expression, which has been severely restricted by the military regime and by regal intervention in recent years.
The colorful, picture-perfect landscape paintings
Moving through the dark labyrinthine space of “The Serenity of Madness,” Apichatpong Weerasethakul’s first survey of video installations and short films in his home country of Thailand, which later travels to Para Site in Hong Kong, is like making a nocturnal journey into a primitive cave of delirious unknowns. In other words, it is an experience not dissimilar to indulging in any one of his films.
The selected works span from 1994, when he was a student at the School of the Art Institute of Chicago, to 2014. His earliest experimental films are the most revealing. In Like the Relentless Fury of