ula-oinuHU Neo-Nationalism u vinfl m rfl ail m r wb j fcucfij tj Ifiti uiufi rtrawnij tffi fitu'mtnuuvi 04 mcyiusonfati acfun tfrlffLUflfl rmnti
iluLiltJ 1 unliti C4nqnjusw4w chriTuYif mtodou cfurl nO'jfi'D A contemporary
P olit ic al
art e x h i b i t i o n
by Manit Sriwanichpoom Sutee Kunavichayanont I ng K Vasan S i t t h i k e t Chatchai Puipia Nopachai Ungkavatanapong Sakarin Krue-on Santi Thongsuk
vie fiiJGYiuuviTTflij cnl The Art
BUG'lflU
Center, Chulalongkorn University Nov. 7 - D e c . 1 7 , 2 0 0 5
uTo-tnn u au Wo'iN
r o flu t
n o'1 u Xnth ncumTi tn ti
(
nTtm iimyjnximfiuYnTcm, tnriT'iiififiR'iumTnflmTTnEJ Q eSei I wnfinnTntjchrifivi xj i> C
,
V
.
TsunwliJvf'iTfln xu dtnumTnjTtjmlutmj viT'fimfilR' Ma a J a •Dfl lvitj'H S'oLQUTfaTiuLiTd vif vinQu, vf'imvn-jmTijTvnT XI 1 1 ilTswrt LiiwfloTo-rifiOtnjIvijhtn
intini
rniyw
Him?
LLflzmrrilvitJTnlvitj viijthimiijfntfTi,
TQjJtnn'iTHecfutkin 1/ UQGKUJsvidn ijnaflQuiqiindiiviunufifliJtiijTrHutJUCffniju TlHPlTtilvilJ iJWiaflilmmiscljjlLrid'iu fnclRvw-xfi'X'iTon (Sim
inTouffiJ
mnidnynQnNfifliiflSflQniJiTnh
'Ofum itnvw fieri ndi ‘“snfiutiu” mrrxzfimfiu
ten mn
: eslrritrnRutw?
n'ou
“imuo" iLtu'Lj'nuTTnmnRUEJU mtJiiwQncm
vnlnTfinlfirin
“'luTnu'i ”
otmvi ncfufl cfrmufiri wu uFailucj'TGULLffflxiTici'nlc flutofltwu fQwuojjfiDnnj a J-
a
J
aa
v v a J J QflJUfiTTJJ naiMM fnTHBTJU MfMUUMlWiMfUUlrffitfqjty'l
i/in/u
MtmiAHYmmjuriQ'iuj 'lulMndlunanuWmG'i 1 V V
V
V a aV a iiGijuntjnq'iufHh M i J j i h n T t i t n f i ' m
fitnJsn'miJtm'WtlijtJ
“uTfl-mnutnj’’
vf>i d fltnnlvtuuulffTQijniiflfi
urnTflrnr
vwmicuwfiuflGiliJ
LLcn vniLuavn
viGfivfu'liJ
*n nin tn rifiirunijLLmj IjJnmflmiitmtnfoGtjTefncl imtnijtiiitNuUiMti XI efuRti’D
wo
mo
nuTifnLn i'l etJTQuiTuetjno XJ
G a rh u uosnoRfliJovitJuvinfiu Wnaqnnujjvnovitj'icftj mjtiu 1 i" , 1 Io m d w Lrt y ou mltr h i n tn u uritn 1
drmhtju cjULiflrwnuRfliJuiifJiifiumii emTtiilT 1
jjw
rttonuufw V tfVflsHU XJ
nutntiti 2
kn&dK'
We live practiced its
in interesting
by transnational
empire
Terror,
as
and
overwhelms
waged
by the
America,
along
rorists,
spreads
three
troubled
lives
are
with
local
sacrificed
Prime
Minister
Party
become style
bombing
across
in
pursue
of
hearts
and
and
pause
is
and
ism,
the
acts
and
as they
really
?
We
should
consumerism,
Vasan
to
people
who
of our
We should human
or
I and
find Let’s
think
that
of
the
Our
I want
and
we
fall
to
under-
prey
around
to
accusing
nation. represented
rulers
and
fellow
artists
. .How
[Our
more
and
or
can
ability
of culture
hateful
we be more
to co-exist] -
and civilisation.
civilised be
easy
intent
to
and
develop
working
to
exploit
for
false
we
can
behind
keep the
Neo-Nationalism,
politically-engaged are
staging
to brainstorm
anybody’s
So
if nationalism
interests.”
our viewers
become
you,
please,
prejudiced
shouldn’t
docile
to say:
like
?
speaks
of contemporary
opportunists.
us
is national-
artists
differently.
to become
a way out of this not
as
people’s
for
ideas
running
narrow-minded,
selfish
seven
We’d like
the
. What
to their
one
This is the well-meaning an exhibition
own
lest
start
traitors
differences
ignorant own
this
u s pause.
be seeking
wisdom.
ruler's
agenda;
says:
be
i s the thing
people
Thai
admin-
of Thai capitalist
reflection;
our
to be a nationalist
having
accepting
do
Sitthiket,
to give
I don’t want
this
being
exhibition,
“ I want
towards
Rak
a CEO
over
of ‘nationalism
of
people
for
to explore
concept
nationalistic
means
violence.
a neo-nationalist
moment
other
in this
of
adopt
In t h e
innocent
h i s Thai
conservatives
ideal
reexamine, of the
As
of ter-
the world.
daily
on
minds.
Now
standing
royalist
War
States
Thailand,
the battle rages between this representative interests
. The
United
as
expands
by international
Thaksin
all-powerful and
the
provinces
being
istrative
of
an epidemic
Southern
Meanwhile, have
Globalisation, relentlessly
economies
leaders
suicide
like
times.
capitalists,
for
with
live
in
your
benefit.
us; to help
and narrow-minded tool;
art that
let’s not peace
us all
myth-making. f a l l prey
to
together
in
our
would
like
to
society. F i n a l l y , my
artist
t h a n k A j a r n Prapon U n i v e r s i t y Art
f r i e n d s and
( J o e ) K u m j i m and
Center
for
g i v i n g us
I
the Chulalongkorn t h i s rare
and
won-
derful opportunity.
Manit Sriwanichpoom
Curator September 2005
Art
ists ter views
cfuff nouau 1 I "uauluinu" f
mufl:
1
'ImjiLCiun' (tiwuimv/mifia) uinjMOjjnwQnf/flirfrh
‘dim.. V
Mid'iritwi'wiu
n-fmyxjhmwflu
unufi: iHMWififlnte mn
n/ooiub
in
iHutfwwr f(uH: vimjififinitnticnun'ijruuiwT'isviu
fl'JQUMHfffwlQlWfiUWlJrf myiJ kn&do
jjuiLlu typnwnjmJ'iEd'imiun
innrcji
ne Tnu
&iw: TT-j cjuuwmwiJQn innmlmnHtusnuYimeslr
otJin’lnfiUTfiru TQufinnu rntjslrn'l
tfniLluncniLLiufffm iilunnmumnu
rru fiunufienunmn ij1 iJvn flU'ipn vnsiciUBdLLnQ 1)
ifiumnajjjje
vijJu
fauSe
iilumiuTnmiutlnijnnunnTidn unufl: nof?iMn/£/ujj'uu?ffu?'v?jj'v!ii7i lomiflcn iiiur:
wuiw w Vi u m w t EJU7wuiiJE/ 'v t w n ; V
urnnh amah V V
V ou'irwstmiJiufffNJvcN
mfinfi'imsict'isiu'iiiLn fiu tfrw'flyflfnj
u
iwjjflUiQO'i
f
mruca iwjTliJimmri iffL/infiniiiuitfmu') 1
Sufi: tn'S siLuwni'nQ u u
nu uM
fiuij'unviHn'ncitJ tl
(fun: uuun d'i fiulvitJiLluGnHruifi'Kifiufi fjdu no
A d A i unu«: ntintiUYitJuiviuiuviQ iofi'iuufida) n'mi'shutrtiinud
woud u iju
V
HumrtM
£/ir e c t u m m u A/ or? w m ?
tKliiiSflvifirmtJfl %
nonuiJnnotftijnotjij'wihMij'itj
/
fiu imjn jivh'lviT noeyliJiTeu
vhosbnvh?nu
IiJTbjviUMinn
nn ndliJito u *1 nomunu'lu'iio sVri n u di n qitm ikl
mjirwutju iMWfwriQ'imilui'in
tuli
iMMifNnfMLiJuvMiH
nonu*Bunr ifa
noTsdjouTi'bjjj
p'lrnnosbn'lunoEjmvi'i'lvi? 11J (mqltts)
nnm'nVij fi
ion uotJ‘i‘imirkH'111 vin'bVMmfiun'ivitfzvfau ih
fi'ufl: nflOtlGUVIUO nijijUNtJlJl 'lUi mJLflriflU ( inanqmrtTB fn) vnnuoonmvi'ieslniuntj’m viu
1 5Tlfi3ULL)U ‘unva
fj'os'lfffSilrfltJUUVlU’
uesfinu
on'Mqjfirmtuiju
iilu 1703*110 3 m u n n n Q i r q q Tnulrfaificnn
nonqnulviunn
rrnlwiioo i i c n w r1o u i r n
LLfiaDunT n sTuiiTo iwritMnriun
R a iiw it 63 fl q n q o dq no u u i UDD fl f l Q ' 3 1 l T i l V l f l l T 3 U U n f i 3 U l f l UflflOD
,
nQ3LT3 5Dfn3DV1Q>3
1d n u d o q 3 d u m a q n q a m r f u l n u Id d 3
kn&dd?
iioaindnuQnqn
LLOQvimuviu viuvibinjvitf
Dflfinonwniziooflulvitjusflhj
: anqnfimrnj
iiCJQnnuiT'ijjUMimulnvi-ss
o ilduu 'leflG3DflflUDun
Ltmnfi 3 u iiiuflQODflflvi
6UflT3D
GDqiLG>]qnUt)i'lTU3slflL3JYiLGetlClt)U l U IT 03*11e J VlOtJ it f)-m3
O i l TA 3 0 ‘I VI flnflUflflQ3
iUfi3Dt1CtJ
D3
*»3Dfl3TlflU303U flflUDfltfunCI3tJ ifluD 3K tfP3W Ji A U LrtTw n jju muumjr nnTimnuun
U3UH: nnminulusnu'BfjsntuysuunsnQn ffosnfl
fiQuuunsnanuuliJ
«3fl?UVIT: inufl:
n n n1r u n n n s n f i Q ' i
a
a'nuiju'lu
UflU31137 ti3fiTuviT:
uutw3ourTU
nuntjuuvs'sn V
'lyju
lDCflCUijULLiU7LJ 3oMviU(v(3lT3S) flOUU
*D30ntHlllUU30flQflfl3mfitJ
Tshlviu?
iiGann'iw
flG3DT$flUflflfl
DULLlun3VWlT3MUijulu iJflfltNTlflUUlLlU
sign
DUtfqjfiflBWTJ 63*03fl jjUUBnUflfin6flWtUS*De01lT5lVlflUU
uufiTshunormnTtDD
lflU0U30U3nW13U TSUmflDMDUlLlUTtlJlJWejJVIfjnU
IfltJD
lUdTSDuquutJD 3ow
■DtNlJniVlflU
ufiQ(T:;umflD)uut)qluiforiu
symbol
Dfl3LLllfi33L
ILfiGDflodlJlfrlU
iLlU
'lAHD3U3UViet1UflQT DUfitlUqDaDflJU3D3T*Df]3DU lLflVJBCUVIU3DflUD3flT;D3 3 ' 1 6 3 0 ysilluquuuunuifltj’
LT1
unufl:
fifitj'slsmjinfiutiij?
DUAu'lviLUUUTSUDflQ3UL B
DUDOmnilTlILVItU D 3 0nQtmfllflUlU TSDUVIUUHD'mDu'llJlLlU VHviUUtJUtf3nfi 1 1 T VlUUtJDLlLIUCl'uMtlO LflOYI DflQ3D VIQO (fi D MMfl33qniiriT)flluD3TiiD
fJDUfnJtll
fltoU3
DUlfiu
-vo
muuiiluwDrfioqritiooq
53'3flDLO3Ldu*D3flULUn'lu'l 3
fitoun LlJuflUA
(
LIG3 q ) tk
uuiiiuBoviiJiiJufidu
TsuuviuutJDYiuulDiviufiuviou tJunflTinutm 1
tfnfiTuviT:
iilu
VIH3D3D
,
,
Sllfi lTinUin 3*lvf'ijUWflJU311Jif3311U3
LLfflu
'jnjSlflDGri'unuOUflDefljKviUUconservativeflU d a. vitomviDUflBuiflh mioluiwzijuriSoflfld
13
wihikscUniwemTii'ifi'itj
flORQLtuLrMnumtici noon
' l U v i ' i s n E f i u Q u llti'q' nluDa'iurH’DB cJwnnQ'n A A
JL
mtnjflm
T y
T
o
•—'
V|
fleonliJflQTvncntiMifN
mu'hltfifi'HJfiutm clnJLf!THjfi 'tBLta UU(nn-Jn'inUBJ)fl u'uLLdQ LTJU S boy co t tlflTlvi BBsIt Bi!ml Fl VI IJU SUT support uTeunuvi7amulAvidn flsimQ''iffufKLf e-wu Tnjimnj landnytucrajutnu'DB TnR u i u r : QiliJLii'luLiuimsi jiuuvL
nu'lYitlfll TlJn V cd I *=A t
'ifiiifiu'yinQii'u UT UlflllLlUOtj'1 1 7 r} o M
nnfljnwfljfosJii)9WflemQOTirej itv-j ‘fiQVjrmi'w’, 'liJQ LfiuliAmiii im ivifi'iuiJTinQ otJitfufi idutl ninfih iFiiiniJ TVLUG meieiui V i uuiSu DQiy?mjrt} vuu nffinr nuiii'iufl'iLUUu ' neu mT tJGfiEtuluviG mflmti nouun fin fi'uvf i} 1 v wiimjh'iMdOMQ Mji/e jfiu ujjiiww TO m t/bi rffwjfliJieLlf'Mi i vin Yii riuij iufinidi vii 1 ujj'mvmjTJQmynfeiiJfi''? luflsj'vin'v uflfltwn uu iihjQuiiii $4vn) jifluywLMlMdoufiffmrfHBnAoy nfinti; nBfiAQnimuuWuvw'itjdZLatjfi luvinue ifulil "Yuimnuudsmj'UJCHiTBtJ''] uu iLii ulnIj UU' iU'lLlIUlc'Q'JAJ'llviULf'l'lLLA'uULO'l, ...IBOmSuLtasUAW diUivi tenliJlifriJLTn nu luduuu TNijuunmiviuri nturi'iviijurinlvfLnAnQ'iuviU'iuviiLVHT UTAl nuuuuiilu n oifa vi e n q vh n m t a j svi u n lbilobirn u in n e l n jlu vi n nu u p'liTnl uuvIuLvIetjliJLLdQ nacjululmjenQnijuliJfnTU mtw 1 ufid'iiT'ivluLvlBtjmjchu vimufiijuu lanuulijKluufiLWB 1 rmunyTOfi unenoiiluBhTiilulumimHruwn udo nnonuiiludqjfinwnj ufnnnd'iyLfluiefiflfiHm udannd'iu
21
iiluflslTmiGoiifl TMATMoquLUtj ijuifluflqflflddtiqtJ’pfl'i
nilMhu'viuQUMWRB'j/fnnnoEj
pmuTtfo iLfi'oinnmijnuviflyn 'DB'iijuMff irutlsiilstlriJs U 1
fnmWnriri Iwiffflluenumj'fi/iibnu
1
f
iwj'qjinimjwkiJTE/
AOiihYiuqtjqijliJlfiijuflBTiijql qulwfliJiYiqfliju slilfl -du 1 msfaijqlmflflifltjnmflq
vnliino
tit) (iwuuiJ)uinmmMti
fincKJBBBslTas
qudflulflflqinqmtflnWfl3iTn< ividnu Pimr'inij uminn'iT u n'Kinulmun; tjmrudnijTifl rdfli'lTvinqflqfldqqrfluiTq
un, (TnnutJij)ij'uti'i)jiTrSn'lnn'Jiinl n'u\inlflflqflUHi)ijuluuq :;'hi, i{fl no n u n n r vjr n b u m w aw u u s vi nlw d quo n q n uldln
iB'ibjlflnTSViUTi LLmimLmTB siiJBLLiTri’nmp-iTi'inmifniin b b ini fl b B quo n q fl n q rculw b b nn libq mid q ini n b b s!t mBc'lUlJflQr ramJTlJij (iMUTlfl) Aversion A X l A ™UupdateWimiJt)Ll...a t'n
muni: flflifflsjfiwoj'inflJiiLuu mji wnflvJHiifl iTuMw
ij
nnnHiflflQfljjfin
nflutJiJiiiJiJU ifuflqflj-jLin'fls
rifllmnflfla'iuq'siiviHvi tullto TUTfluuqn'nuflQtJ'iq'liJ A.
j
d 2
.
*,< .>
V I
inninti: wud'i'ltifliiflflv s'lvitivi iflBrinflfliiuijiju infiflu mjflfluvfoavmrmnnTvih SnuTviTL 'il.iJjQU nunnvim’n i nj 'Ptfneuum S'Q vviQnnw iudi-jfi'io nifiotl
nmtJversionGtJ
Ivii] nfimlmj
u
nd
mTiJnnTfi TiJuunlviij oilT
uwQRuni7q/wilnt?>jn 5 l nuiti>]'lfll>iu? Tntj
uvuiJtfffum
fliJnnj-eyj
nfieu'pitj'lnnidi ‘iJTsivirt'Inu’ V
U UGQiJUyilG'lGilTLLlUUTT 'lU £/
«A 4
M
aA
r
cjiivfoiLcicmijnn uur rc'i iLUGflflnaiveU'ifnqTifl'Jim
iisuuwQrimviu'im V n d
u™ntNijflQijjflflfldT]um
in'lmfltiflflU'inBULiu flfl
i ulnu ‘ff'i nFJUvdut/nW'l ou'Kui ijumifflifln
LTnundiiiluitfljTflnus fln
iiBQflnminuusflTQwmj ali
liJij
Q'iii
uiJum'i nnu noxj
Unuflniflf/o
flUG-iunflnnTBrjJus fm_ t nflnwfimflfi v e r s i o n l TB v e r s i o n
flsbviBflzb' LBfl...mmJflflnU
LiiJflnqfl flsd'iuninflflfljmm
fimiluflrHWi'Dfl flu'lvuBdiufl;
LijjriTJvi'jfluumT TiijnflflBUs nij-JLilufld'wijfld V onzcn'liJ Lifl ulii
w q s n u n'ld fl n q t 3 n h q
rmunjflfllijiTflju
flcnup Qfniij'LnonnTiiu ptwij \J ti flnuns qBimyiflfl4anfln llaquui fldq'lfliJjzLviflonw "U favifnBu nflflu q
finmtJM) im
urimffiw *)U A f =. 1 i U I wrfliflj'flJuoouu'Bui/Ti mfiwmonqflWflQE/nu iimm A
22
ufiQmiiflmnfywqmfluntyvqnqnflfl Ifiiqnotj
flfljjuiwwflQqkifaQflmzLfiflfluluflijqflfl uudqT viry fl
ui
n vm uo ulij tfb uv b h n nl mi uu u llcjua ?It d n u q iw b msiBnflQiB'jims'lwu
nfimti:
A
cJi
dT5iflulv]j(riflm7TqB)luvoqtjflijqu tfq iflin
B At;
WQflBdj; AQqijfmmtfl ifluurdnflsidiJTiflsiflslTflflij 1 flzlr inilUBz'llJMJJfl ntmilflim sensitive A nunqfmujjq u Bsjl nflqulflrflusTiqflntJU uuo'qijviWdnTfl MTBnnuflQquifluL[flfliju 1 limiJTziviffbiunflqij flLiflSscfruflflqiminfltjfl'N-iTM
& 1 V
9
Vi ij I Jt 'F
II \ w
a-
V'
*jfX 1
I- < *‘ ' A
Morning & Evening Love Song i r, - ,'i i ■ in I' ■•- ■
■■ lb' I .
T-l
-n Str'r' tcriilhm-;
rp.-cu
.'i?4ir-'>
Morning & Evening Love Song Chatchai Puipia Oil on canvas, 240x220 cm, 1996 Collection of Kris Kasemsarn
23
tjutftnu • F l u ' l l1 ] 11',./.' i 3‘‘.
.odn
x
crkio
r
;a.
c.&n
Siamese Smile Chatchai Puipia Oil on canvas, 240x220 cm. 1995
,j
.
.j-i.
' •
■■—* ■
t
'| 4- V ‘
vl ... [7
C5*'*i >
5— -
l I ifbfz i
i J d Linw nnvnfluniuufiumuu u n n u u f l LTifionsfl
iiluinunun'fluimnflflnEJ
d flTnunfi'MlUfl'llufiflHCUSVlQ'l
iiloEJUiiilCMTnTiJnflTtbJ flfluuuvinflUfltNfhm 1
Timtm
LViTnsusu umflUEJu'lyvin'lmn
fldnu nA
TnflunuiuEJvin'lmnflvisLfi ifi flfl
rhLnuuii'uvhsijLtftinvYvm
iT'imiunnnmvi'id'i'lu'Tmnfl'liJLiluflu’lviu u iniviulflluiJTiTflR'idflT
iLaslufiTfliifiTTm
LviTizflTfliflTC'mflUUflu'chmiviinflfiflfl 11 1> LT'i'lmnunfiounnvf'ilumTiiJfiuuiLilfionnTiInflTfl
fimiludis-
w n u f i ; niTnoi/jj?3£i>jmfluE/uflfluu
traction a, C flnivnmivfaf>i 'lilfrituriritfah VT
v
lu
m < j d < f i m j iifis'lunTtudQTTfifl'lulmimEjfl'nuQiiTi
A 4 : IfliTtrnnflUEJULUEj
LlWLT'llfiEJHlJHU LLflUUVI'llvtLTnmUHflLfiEJQ'l mfllU x a L fltnnflsiSuuiiuslu finiCiJiJULUU fituflflJifiuun tl 1
tfafiii
uatiTornd wfltfafiuintjflnjnTiEj fiumifitumm 1 1 wflfiniflEnmfiuflUffTTiifnijfl'nijflflTifUflnjLtN fitu 1 11 28
dfls] : ficniiLilu
uunmvvTcunuTflTsitfEJiJ
ViTfluniimtiEj'inuflinEJiJTi fl j I t a flop'll
tnEJlflEJnlnillUTlfidfltlviEJ
ld*jn
UfiQmJT31JllT3UEJ3 LClYlflA
1 fl vf-J VI U fl LU El LT3 IH U d 3 U U LVI U fl U fl fl fllul VJ VII m fl U1 (Rviiflu'lfljfl
mufluniiviU'j*acuuR lfi
3 ejItJ ’Imouu
fiUff'I'lTtlltl
5j
mqpusniltau
*■ (HO X n’ton i;.’
S e a o f Blood Ing K on canvas, 100x160 cm. 2005
The Coming Oil
31
I F i
F
Kim Liang hates Chinks Ing K Oil on canvas, 2001 ir. Add 32
60x40 cm.
I
tjuflsnjflfionline vinmrh ouijadu 1/ inh/flejMhj infliaWfl' ffafnrijjjfiu riwfloi/iwoE/ Ynmrlnwni/q/m MiAviJjifariJJiT'iis cttu iwiwwiJTiuiJ'Htl'mri in'nJrnjtrlmti'mu
itfTmvm oinflhunuimh r'euunwnj uunfl fiufltuTsitnij'iyij Ltnffnfl flrui 'iTilviuu'i'ii'ij'lm'D'i uunoLnT-innq
ritiuiifMiu i;mil™fariiJLTijjfittfTTJj jjnQ'mm'w Am flnviflfl>iunLTflu umijnmiJ'iiJ7sifl , . «/ °s a *) 2j ti rfltflJ nUPITlJ r VIUflUlViemLUUflhfltu mT'isvujuff'iunufl'qnmtJcliJvnQhLLluiiu'iu? n_ V flj 1> u eL | nuvijjfi LTiicinLa’ULi: iimT us YinauuiTujitJinuliJMnuiTn 5LntJflLimj flueuahmmn I Lnflfmu fliLyoluflGLHiitnjnuiJiflo Liflinn*’]
m’ounuuuiijijulmj
wfli/inoGuif
mwfiviiitluti
Lifl'oiotJinlvrJloEi nuciTio
TiounuLLfloiflu ‘rfounuflilnuu
IdoindoflooTiflotjioviuen
chnniuiJLUtJus vioviflfliQmiflUHU uiin * e Ut]UTUQ1flO1U7$m0UUUUeeTlllJfl10OLl ]UZ u s u u
Ifinij'/H/MiwulMnifloi/Mro
weuiuondiflfloniTiiiflutJuffuflflliJlviii Idflooouonlmnilijfloicitj cfs: jjunfjfhflfluusrmj ittjn i n d E i u Itirmi
nno CuniiliniTlvitj
uuionu
‘m’ n u u’luiJj's unfit! u mid
i riL imiffjTnululviiJ
i ju
oouuuuoi'nsliJTfl
TjiflUPPusfiTij iifljjuijozlnjiofldiopijuui Ind
sifiuflo
ITIUffnOtlTHOOlTI
jjiufl:
jJwiitao
rf?nnnoMon u i u f i : ninirfQOMinQiwwoflwiju
l vloo llckjti
ufinvi iMUDTfifl
LM1JOUHllUS
li/'nflWfl u
38
fl lupus l o o i n
flnooLTiifiulfiTnuLLU
-is Lti...ijojjuLL)uL n itlimt)sb't)tJioiutj itLflnoo
H
sliJ
oviOLTiuiuntfounoonouliJ loiiTrmo
iTinflOflinijjnu'loflflflQii'WfluiiniLl
mufl:
d
nldouin
umwno'wnuonitjfjus
flWitooofl
u momflulvitj
nulddiuifllpumtn
iiunnslTflio
dTsctonirnfluniTwaiuiunuviirfaino
Ivmusfifu
'lu'ij'ul d'i twtithjiT'i fjdvijeu
DiJMon*7iitvjr?oliii?ooflQij'i
w wQffairmvlfiT mintrtih'Wikus MNmMslnimviuiiQ
miluiTnoTioofinjj'iioijd'iu
pfonatj
fiiuflfifinHvu
fWfmnna'ius,
ioo...fli/unoE/'?OHUo57Liin/flnf?fl niTHinwuiEJUJ
fmuoiuviTo
duntpmwoslTDioodioioonnoiTii ini’]
UflUtJn
vfaibj
T? TiflijnwininLr??'?injwffiJj flow rfif/u nwkw
biriufwntiMMHJuricfiiJfhu V
Ivlvm fawbimiri
rtoflnn sen utlUBBulflti ft
The Sutee
Elegant
racism
Kunavichayanont
2005
39
mwT'iJvftiJ -‘lI Bnil -j” ncintanw
40
A sketch of 'Imprint' room Sutee Kunavichayanont 2005
£
■
mC']iJT:iTiimuT] OTunsw
ifuiLludnuTnwoLluAAun'iTrLj*in?iutJU7ntj 1] 1 ★
★
★
43
SUTEE KU NAVI CHAYAN ONT’s IMPRINT Manit: What i s the t i t l e in the exhibition? Sutee: I t ' s you e a r l i e r ,
of this
new work
c a l l e d ' I m p r i n t ' . As I told i t ' s a dark room. There are
N a t i o n , Re l ig i on , K i n g . The other i s the national f l a g , t he tricolour f l a g . So in the midst o f d a r k n e s s , a v i o l e n t , sudden f l a s h o f light hits the viewer, whose eyes w i l l practically sting from the glare. Y o u ' l l feel a bit dazed and blinded— you ' re right?
light.
I t appears
Our eyes get
used to
it
this
way?
S u t e e : I think t h a t ' s possible. The thing about darkness, about stepping into darkness i s t h a t , i f i t ' s dark enough, you c a n ' t make heads or tails of anything; you d o n ' t know where to g o . So the sudden f l a s h o f light could be symbolic of t h a t .
the d a r k n e s s , and out of nowhere comes a flash of light. This ought to leave an
Manit: This i s interesting . Because i t invites us to expand on i t . They fanned the flames of nationalism after the economic
after-image, an imprint on the r e t i n a . When you leave [ t h e room] and close your
crisis to l i f t us ou t of the darkness that crisis. So we made a b ig bonfire
eyes, the picture
will remain
of the letters
nationalistic hopes. light;
or the f l a g .
fervour,
and
of of
fed i t a l l our
But in the end i t was a false i t d i d n ' t show us any int r ins ic
technique?
truths. I t was j u s t [flashing fireworks] t o thrill u s, to deceive us int o hoping.
Sutee: W e l l, I was thinking about nationalism; i f nationalism increases in vehement
What I really l i k e about this work i s , we had an economic crisis and incited n atio n a l i s m , but then i t passes, b u t , hey, wait
Manit: How did
you
come
t o choose
this
intensity un t il turns into what they c a l l 'fanatical nationalism' , it would probably cause one to become so dazed and blinded that one could be driven to ccronit unreasonable acts. Manit: T h a t ' s very interesting .Because i f the room i s truly so dark that you can see nothing,
and
there's
a sudden
flash
a minute,
have
we really
and now we d o n ' t know if, in truth, they've brought us out of the crisis, or have they in fact plunged us even deeper into darkness? W e ' l l have to wait and s e e .
of
light
a myth, s o when it
religion,
flag have been imprinted and then we sink back
nationalism
be s a id to be a k in d o f myth, right? void, an arptiness how I f e e l .
passes,
of feeling,
it
Manit: So what are your thoughts
thought
alism?
was bringing
us out of
darkness , or guiding u s , lighting our way, but i t turns ou t to be j u s t a flicker.
could It's
leaves
right?
into darkness as before. You could interpret this a s having been deceived. H e y . . . we the light
through
Thai Rak Thai ('Thai Loves Thai') nationalism,
Sutee: Because, in truth,
goes o u t . The words 'Nation,
passed
the cr is is ? It brought us the birth of a political party that raises the flag of
l i g h t , could that be seen as hope — OhSThe lig ht i s coming! But then suddenly the King' or the national on your eyeballs,
44
not an everlasting
just to deceive us into a moment of excited hope, and suddenly i t ' s gone. Can we interpret
two things on the w a l l . One i s the s a y i n g :
in the da rk ,
It's
a
That's
on nation-
Sutee : if
it's
in
its
disproportionate, creative
place
I think
a force.
But
and
i s not
I like
be
beauty,
it could
if it's
a
nostalgic
interested
exaggerated
a l l that.
It's
nationalism ' , *as [ historian ]Su j itt Wongthes
The
other
it would
says; 'Backwards I
like
the
Backwards extreme alist
become
and Fanatical
term
Nationalism'
because
it ' s
graphic
factor
identity,
I was born into a Chinese were on
So they become nation-
both
sides
between Chinese
about
the search
r e c a l l , there was a discussion about t h e end of the nation s t a t e ; t h a t from now on
over
my
we must speak
you
in terms of post-nationalism.
Chinese
But
dencies hand,
i n actuality,
towards it's
both
as you
the concepts
of race,
of national
to disappear. a tendency time,
increasingly it's
So they and
being
cling
concepts
these
about
things
more
ever
before.
But
at the
than the
countries
same
I
is
look
for myself,
the
Since has
I
been
the struggle
the
how
my
back
hell,
does
am
this
friends
I
work,
who
this
now,
friends
go,
at
I can't
about
who
that kind do
I
but
help
but
apparent
Thai
a bloody
of thing.
belong
here?
were
me,
their
were
h e y , you're
in me since
who are fearful
What
flaunted
from this society?
think
I'm
up on the cusp
How purely Thai were they,
these
Chinese,
China.
experience
my certainty
mm, so
Because My parents
really? would
Chink,
a
So I wondered, Am
I a person
I've carried this conflict
I was
a child.
to them, you know?
tenaciously
it — after
even
But often
So, today, an answer?
a ever Cold in
to
heavier
local
the
search yielded
stress
before. War,
ha s your
Manit:
to [ t h e jargon
o f ] nationalism, There's
I
Thainess.
there's
emphasized.
dear
when
life
past,
Thai
question
that
(nationalism)
of people
peculiarities. on
that.
something
one
disap-
are beginning
seem
tendency
symptomatic
are
of
(laughs) the
evidently
ten-
of the nation-state, culture,
towards
are
. On the
borders
It would
the other
of losing
extremes
say;
pearing,
there
my
identity.
In Sutee:
from
So I grew
or am I Thai,
know?
identity. family.
and Thai societies.
was
a child,
question
but my grandparents
came
generation.
Do you think n a t i o n a l i s m i s s t i l l necessary in t h i s day and age? You may
Manit:
with
born in Thailand,
third
fanatics.
a problem
and
liking.
is the
.
the
So I'm
in antiques
a personal
.
in this case means tradition-bound,
conservatism.
— old designs,
of old things.
in old things,
'fanatical
and unreasoning,
things
the aesthetics
world
Sutee:
Think
there
are than
Yes,
Thai, which The
word
describe
it has,
sort
some people
of. I'm a Chinese
call Siamese
'Chink'
( 'Jek')
Chinese
from
is never
other
Chinks. used
to
countries.
'Chink' is a word that Thais use for Chinese What made me you become interested i n Thainess, in the concept of the Thai n a t i o n , in n a t i o n a l i s m ?
Manit:
in Thailand.
[ I quite
descriptive
word,
like it] , it's a pretty
don't
you
think
so?
How do we arrive a t a balanced nationalism, one that i s not too fanatical
Manit: Sutee:
If I were
say there think
were
to analyse two
I'm something
parts
myself,
to this.
of a sentimental
I would First, sort;
I
and not too weak? There's a constant over
argument
this.
* The actual Thai words used here are 'Klang Chart' , or ' frenziedly besotted with one's nation', and the whole expression i s ‘La Lhang, Klang Chart' , meaning 'Lagging behind and besotted with nationalism' . The words rhyme and are very expressive of a certain type of Thai reactionary conservatives,
who are sometimes
known as 'Tao Lam Pee', or 'million year old tortoises'
. 4S
Sutee:
I couldn't
like
that.
certain
But
right
something
word,
for
much
people
in the
thing.
of
nationalism
same
When
when
It's
just
too
in me
That
kind
need], new
bit.
magazines and
the actual of
me,
I don't be
I think
know.
against
else
[and your
that] . something's
reaction
occurred
we understand
it,
Ungpakorn
is
that
this
ourselves,
power, people.
like.
of
let ' s not
that?
At
to hold onto,
ourselves.
There's
of
their
want
you
But
in
same,
so
that
alism,
who
there
all;
does
are
are
we
we
different point,
you
Hey,
go
we're
don't
think
you
into
to not
better
to
people.
Actually
redefine
need
nationalism
today? Sutee:( l a u g h s ) But let's of it's
it,
help each other modify
no longer
I said .
I think
it,
we
need
it.
find a new definition
modernise
'backwards
still
i t , so fanaticism',
that as
not
speak
just
that
they
three
things.
people
it's
'Nation'
hidden
away
can't
sense
this
factor.
part
[to of
it.
continues for
so
we
I think
When
to
the
of
will
shine]?
The
t h e ideals
of
say,
nation
love
this
the
instrument
any
for
the
is an attempt b e ; what
we
nationalism.
of
Religion,
these
things.
right
there,
We don't may
see
argue
present,
.But
for
and nation-
an
Some
already
word
by
quest
it to oppress
stop
picture.
are
military,
of 'Nation,
these
in the
the
rejecting
It's
turn
we s t i l l
if
nation
nationalism,
it could
with
the
t h e same
they
K i n g ' , I ' m not
the
this
talk
What
c l i n g to,
live
wondering:
love
Jai
nationalism
said
about
I think
it.
i n this
Professor
of nation
He
longer;
could
use
speak
of
dif-
really?
So do
Manit:
as
major
t ri ni ty .
in their
talking
think
people
the
by state
politics.
When
and
undeniable
when
provoke
I see.
language, into
three
on
He
they
you
you're
power
regardless
to a certain
society.
after It
or
them
get
especially
a foreign
way.
origin
you
that
human,
to divide
when
d o see
ferences,
thing
equally
national
I don't parts.
another
all
then
When
t o cling o nt o . Could i t be like
are
we
something
t o this
nationhood,
and
we are unsure about who we r e a lly a r e . That's one thing. Then we also need something
Suttee:
the
an article
really
by the
to
46
wrote
I
exploited
People
be
science]
been
an answer
[that
Nationalism,
has
w e ' v e s tu ck tenaciously
Right,
t ell
in
principles of 'Nation, Religion, King', right? Whatever we do, as far back as we remember,
has
w e ' d have
it
So if
it to continue.
should
What could i t be?
Manit:
the
t h a t we can
that
us.
t o me. Our
least
word
nationalism,
want
It
guest for an understanding of the concept of nationhood, of n a t i o n a l i s m , could s t e m from the fact that, deep down within
admit
nationalism
t h a t dignifies
thing,
But
the
feelings.
need
not
say
thing.
t h a t ' s more pretentiousness
than anything
I must
really
it's
you
you
negative
S u t e e : [Political Manit:
when
me if we still
may
of
to
somewhat
ask
So
though,
kind
credits
though
me,
my heart
of
a sense
a little
the
i n Thai.
just
That
I feel
invokes you
do
far out
as you.
that,
even
nationalism
and ignoring
language
piece
is
too.
Thai
in English,
that nudged
people
publish
headlines
For
if nationalism
country
see
be
should
I see
like
feel
they
rising
I
such
do
I mean,
it's
bat
o f f the
should
too unaccepting
of
and
I
they
Thai
sometimes;
society,
Like
that
. . m m , I d o n ’ t know
is the
Thai
right
sometimes
things,
towards.
too
answer
it's
included
barely
can't
see
we should it
the that
be the
people nationalism
there; i t ; we
emphasize people's should too.
be
01 u uau
uwIbh O 0 n 3 ( U U : U l d U
wnufl: UCmWlirMTQmitiriW ntulwQQ'ltttfa' llCMlti?b3 uwlifti: utjfiYitf] B l a s t unQn vinuLTW'unflt) ifuln’ 1 1
ijjoW?
lounljjlmtltKfNij:: nunojmlijlnfi ?!
) mnq iru
fi' slnyii nnfl flniimiiJiiiuwni Tiijnu irwhiti: ikitfm d®) liroi 'eiu' (Bathe) nntnuiru L a *i ii A uflQ'iwiuntiluvifi'iEJfltrK wru muLiFiri tnuih tnutn viulu mun: nri7 nfljjJrmfl' ito-juti'jtniJLUtjijuiilunTtj'itniilunmuviu'itjyifi luvmimn uouu iwol ul nn LiflsnunnnTtntnuvinfmunmdluvnooiJRQtJ Gsn'imtK cjunne cjuutiunusnu'iifisicju'liJfflTonfi'io Inrmufiijniilu
uwliti:
fi-j'in’in'nfi nyfu
num
3