london

Apichatpong Weerasethakul, Blow Up, 2009, C-print, 57 3/4 x 87 3/8".

Apichatpong Weerasethakul

Anthony Reynolds Gallery

Apichatpong Weerasethakul, Blow Up, 2009, C-print, 57 3/4 x 87 3/8".

Thai artist Apichatpong Weerasethakul hasn’t let success go to his head. Despite winning the Palme d’Or at Cannes in 2010 for his feature film Uncle Boonmee Who Can Recall His Past Lives, he remains committed to making prints and short video pieces and showing them in relatively small-scale gallery installations. His recent show “Double Visions” included his latest video, Dilbar (made in collaboration with his boyfriend, artist Chai Siri, aka Teem, for the 2013 Sharjah Biennial), and contextualized it in unexpected ways with two earlier video installations and two large photographic images. The ensemble was as challenging and allusive as anything Apichatpong has ever done, half-domestic, half-formalist, all sexy.

Dilbar had a darkened, all-white room to itself, and needed it. Rear-projected onto a special glass screen, which registers images as sharply as a conventional screen but

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