the desires of nonthok by jirapat tatsanasomboon
TRANSCRIPT
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Jirapat TatsanasomboonCurator: Rathsaran Sireekan
THE DESIRES OFNONTHOKTHE DESIRES OFNONTHOKJirapat TatsanasomboonCurator: Rathsaran Sireekan
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Solo Exhibition by
Jirapat Tatsanasomboon
2 February 2 March, 2013Curator: Rathsaran Sireekan
THE DESIRES OFNONTHOK
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4 THE DESIRES OF NONTHOK
Published 2013 by
Thavibu Gallery Co., Ltd.
Silom Galleria, Suite 433919/1 Silom Road, Bangkok 10500, Thailand
Tel. 66 (0)2 266 5454, Fax. 66 (0)2 266 5455
Email. [email protected], www.thavibu.com
Layout by Wanee Tipchindachaikul, Copydesk, Thailand
Copyright Thavibu Gallery
All rights reserved. No part of this publication may be reproduced or transmitted in any
form or by any means, electronic or mechanical, without prior permission in writing
from the publisher.
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THE DESIRES OF NONTHOK 5
FOREWORDJrn Middelborg
Thavibu Gallery
Thavibu Gal lery has the pleasure o presenting the current catalogue and exhibition, THE DESIRES OF
NONTHOK, by the Thai artist Jirapat Tatsanasomboon. The exhibition takes place in Bangkok, Thailand, on
2 February 2 March 2013.
Jirapat Tatsanasomboon is well known as an artist who uses iconography rom the traditional Thai
narrative Ramakien (similar to the Indian Ramayana ) and juxtaposes it with Western icons to show
East-vs-West and Modern-vs-Traditional interactions. In the past, he oten inserted readily identiable Thai
iconography as a commentary on Thai society and re-interpreted the celebrated master paintings. His heroeshave been depicted in a distinctive Thai setting and are oten seen interacting with traditional Thai heroes and
mythical gures.
In the current exhibition he continues to address East vs West and Modernity vs Tradition, but the new series
eatures a more integrated approach o the characters. The main character is Nonthok, who is a igure in
the Ramakien story. The artist uses the narrative o Nonthoks lie story, which is well known in Thailand, to
address and comment on social and political issues that can be viewed both in a Thai context, and also in a
wider global setting since many o the political issues are prevalent in many other countries, and thereoretend to repeat themselves.
Jirapat Tatsanasomboon is 42 years old and an internationally recognized artist. He holds a Masters in Fine Art
rom Silapakorn University, Bangkok, and has taken part in many international exhibitions, including recently at
the Beijing Olympics (2008) and the ArtScience Museums show: Andy Warhol: 15 Minutes Eternal in Singapore.
I take this opportunity to thank Jirapat Tatsanasomboon or his collaboration, Rathsaran Sireekan or his
work as curator and Ralph Kiggell as language editor.
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6 THE DESIRES OF NONTHOK
Outline
I. A new phase o intercultural experimentation
II. From the periphery to the centre
III. The story o Phra Narai (Vishnu) subduing Nonthokthe genesis o the Ramakien
IV. An intercultural iconography
V. From the personal to the political: explication o the artworks
I. A new phase o intercultural experimentation
Jirapat Tatsanasomboon is a long-standing intercultural artist who has enjoyed manoeuvering visual elements oThai and Western culture on his canvases ever since his years at Chiang Mai University.
O all Tatsanasomboons works that conront Thai mythical characters with ones rom Western canonical and
popular culture, Hanuman Rebels (2008) was particularly praised by Steven Pettior. According to Pettior, this
work has a deeper connectivity between the two opposing elements o Piet Mondrians 20th-century linear
abstraction and Hanuman, Ramas apelike humanoid sidekick in the Thai Ramakien epic.
THE DESIRES OF NONTHOKRathsaran Sireekan
Hanuman Rebels!, 2008
Acrylic on canvas
129 x 147 cm
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THE DESIRES OF NONTHOK 7
It is this poetic o deeper connectivity that successully transorms the two dierent sign systems, usually oundclashing in Tatsanasomboons repertoire, into one seamless intercultural symbiosis. The unied intertextual organ-
ism owes its existence to the unprecedented orm o subtle energy that the mischievous Hanuman struggles to
ree himsel rom within Mondrians suocating grid composition.
In The Desires o Nonthok, Tatsanasomboons latest artistic endeavour, one cannot miss the trajectory towards
this deeper connectivity and the seamless intertextual symbiosis it produces. Instead o mixing Thai and
Western visual elements together merely or aesthetic eect as beore, the current series takes a more specic nar-
rative engagement and ocuses on the psychology o a single subject who has real esh and blood. It is an allegorythat reers to something that has really happened and still happens today in society. The emphasis on the esh
and blood o the subject also explains why the artist oregoes the traditional Thai headdresses that permeated
his previous intercultural executions, making the current series more universal than ever.
These creative developments signicantly add psychological and cultural depth to this new exciting series, giving
it something very close to allegorical psychological realism. They also explain the artists choice o portraiture as
the theme or this collection.
II. From the periphery to the centretowards a
greater social justice?
The Ramakien is the Thai national appropriation o
the seminal Indian Ramayana epic that dominates
South and Southeast Asian cultures. Though a less
popular character in the Siamese Grand Narrative
andcompared to Hanuman, Phra Ram (Rama),
Thotsakan (Rawana), and Sitaminor and subservi-
ent, Nonthokis, in act, believedto have been the ori-gin o the entire conict propelling the Thai national
epic.
Rawanas Desire
(ater G. OKeefe), 2010
Acrylic on canvas
120 x 145 cm
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8 THE DESIRES OF NONTHOK
Very interestingly, however, Tatsanasomboon, in The Desires o Nonthok, re-reads this Grand Narrative and
asks i Nonthok is really the only culprit as oten thoughta seemingly sel-evident, uninvestigated act
that has passed rom one Thai generation to another. The re-reading can be regarded as a criticism o the
general Thai publics epistemologyhow we take in inormation simply because it has been passed
down; and pedagogyhow we Thai, living in a hierarchical society, brainwash ourselves and live
with the passed-down version o truth in order to survive.
Tats anasomboons subversive que st ioning o who done it or who actual ly screwed it up to the
point where we were let with the great literary work o the Ramakiensignicantly and timely so pivotson issues o class, integrity, use and abuse o power.
With this artistic interventionengaging society to rethink and posing provocative questions through
artthe character o Nonthok is reinstated rom the periphery to the centre o the narrative, allowing as it
does so important issues o class and abuse o power to inorm not only contemporary Thai culture and its
socio-politics, but also other modern societies in general, and to be reinvestigated. This makes the Nonthok
series as universally relevant to all political entities as it is specically relevant to the current Thai political crisis.
One amiliar with Tatsanasomboons previous works will note how, in this new collection, his rendition o
Th ai ch ar ac te ri st ic s ha s ch an ge d; o r ins ta nc e, No nt ho k is mo re un iv er sal ly re pr es ent ed he re
without the usual traditional headdress.
By shedding light on the peripheral and moving it to the oreground as well as allowing the silenced voice
to be heard, this artistic series becomes both relevant to and stands out in the international community o
contemporary art and culture. Here, the will to interrogate, negotiate and, in many cases, destabilise the
Grand Narrativewhere absolute truth is inscribed, upheld, propagated and reproducedstill reigns justly.
Interestingly, however, this re-reading does not take sides solely with the underprivileged. The re-
investigation turns out to be suciently objective. It criticises the privileged, but also the underprivileged
in the, now, centre o the narrative, revealing where Nonthok, the peripheral-turned-major character,
has gone astray, blundered and eventually taken himsel to the abyss.
Tatsanasomboons re interpretation o the Nonthok sub- plot o Ramakien recalls postmodern nar-
rative stylea amous example o which is the contemporary English playwright Tom Stoppards
Rosencrantz and Guildenstern Are Dead, where two minor characters rom Shakespeares Hamlet arebrought to the centre stage and reveal how they die, ostage, an unheroic death.
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THE DESIRES OF NONTHOK 9
III. The story o Phra Narai (Vishnu) subduing Nonthokthe genesis o the Ramakien
Nonthok is an asura who serves Phra1 Isuan (Shiva) at the oot o the stairs leading to the paradise o Mount
Krailas. His duty is to wash the eet o the devas beore they can make their light and seek an audience
with Phra Isuan.
Upon receiving the asuras service, these devas tease and indiscriminately harass Nonthok in numer-
ous degrading ways. They slap his head and pull his hair until he becomes completely bald. Whenever the
bald asura sees his own reection in the water, he sheds tears. Distressed by his helplessness, and withoutpower to ight back, Nonthok inally decides to mount the Krailas and seek an audience with Phra Isuan.
The asura asks Phra Isuan or a lethal diamond nger, which when pointed can bring down and kill enemy.
Nonthok says he has served the supreme god or as long as ten million years without reward. Acknowledging
this, Phra Isuan grants the asuras wish.
Unaware o Phra Isuans granting o Nonthoks wish, the devas come to receive the service as usual and con-
tinue their habitual harassments. Now well-equipped, Nonthok is emboldened. Enraged, he sweeps his
diamond nger over the surrounding devas who drop dead like a big ock o dying birds in the blink o an eye.
Inormed o the disastrous incident, Phra Isuan uriously calls or Phra Narai (Vishnu) to subdue the insolent asura.
In no time, Phra Narai transorms himsel into an exquisite Naang Absorn, a nymph-like divinity, to seduce the asura.
Captivated by her beauty and grace, Nonthok begins to irt with the angelic creature. The breast-clad Phra Narai
sees it is time to bait the mousetrap and invites the asura to dance with him.
As Naang Absorn leads the dance, Nonthok seems more and more intoxicated. Suddenly, as they reach the naga
muan hang (the tail-recoiling serpent) posture in the dance, Nonthok directs his index nger on himsel and unwit-tingly breaks his own legs. He alls to the oor. At this point, Phra Narai discards his immaculate disguise and, reveal-
ing himsel to the allen Nonthok, stamps his oot on the deeated asuras chest, ready to put an end to the matter.
1 Phra is the title o a deva, a god or a goddess who is ontologically superior to man. The devas reside in the supra-mundane realm:
paradise. Note that an asura is not necessarily ontologically inerior to a deva. An asura can also be a deva. An asuradeva like Phra
Pilarp is also a kind o deva. Nonthok is subservient because he is simply born into the lower class o the asura clan.
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10 THE DESIRES OF NONTHOK
Foreseeing his impending death, Nonthok rebukes the god or having more hands than he does (Phra Narai
maniests with our hands), hence he has a greater capability. He sneers that the god is not brave enough toght ace to ace or ear o Nonthoks lethal diamond nger. Phra Narai retorts he will have Nonthok reborn
as a mighty ten-aced asura with as many as twenty arms, to be known as Thotsakan (Rawana). He himsel will
be reincarnated as a mere man with two bare hands, to be known as Phra Ram (Rama), but with enough will
to bring the deant asura down. As Phra Narai nishes his prophecy, he beheads the insolent Nonthok with
his trident.
IV. An intercultural iconography
I love witnessing the strong reaction viewers have upon encountering the juxtapositions o Thai and
Western elements.
Jirapat Tatsanasomboon
The Desire o Nonthok proers a very interesting intercultural iconography. But to ones surprise, when
Tatsanasomboon imports Western elements onto his canvases in this series, the images we see owe
their symbolism and allegorical meanings to the governing dichotomy o Western/Thai, which is to
say that the Western elements are privileged as a benchmarkideals to desire or achievewhile
the Thai registers are depicted as either inerior or as i measuring themselves against superiorWestern values.
Post-colonial critics may nd this governing binary problematic as it invites the question o whether it rein-
orces cultural imperialism. The artist addresses this concern, and interestingly sheds light on Thai culture
as a whole:
I was trying to ind something people in general associate with the notion o perection and
luxury and I dont think we can escape the act that it is these Western visual elements that representthese ideas in our culture. Even i you all back on the Thai court ashion and design, say, rom
the reign o King Rama V, those cultural elements are still derivative and drawn on the West.
Tats ana som boo ns re spon se un ve ils th e on go ing do mi nanc e o the We st in geo pol it ics .
Th e ar ti st s ch oi ce o the culturally imperialistic binary o Western/Thai is deliberate
and meant to demonstrate the current hegemony.
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THE DESIRES OF NONTHOK 11
I we consider the artists previous criticism o Thai xenomania, where Thai people in general eel obliged
to equip themselves with the latest Western brands and gadgets so as to be recognised as respectable,
afuent and successul, Nonthoks etish or Western cultural sign systems in this series can also be read along
that line. In Nonthok de Lis, or example, Nonthok is depicted as cladding himsel in a majestic red cloth
with a yellow leur-de-lis motithe emblem o the French monarch since King Clovis (George
Ferguson). In Desire or Divinity, the artist is measuring Nonthok up against the one-eye-opened
Mel Gibson in The Passion o Christ. In Desires Ingrained and To Be What You Are Not, Western deco-
rative motis o rank run superluously over Nonthoks body. Nonthok Warhol portrays the asuras
desire to be recognised as important enough to be put under the amous Andy Warhol signature
camoulage. In these examples, signs rom Western culture are used to elevate the status otheir bearer.
On the contrary, in The Worthless Crown and Nonthok as Mona Lisa, Nonthoks attempt to elevate his status
by the use o a Western sign systemincluding reerence to the especially popular Renaissance tradition
o portraiture as a status kitis held up to ridicule. Here, the artist makes violent juxtaposition o
aristocratic patterns and tradition with the depiction o a nok ieng (common myna). This bird is usually
ound on the back o bualoes which, in Thai culture, are associated with stupidity, as in the saying
stupid as a bualo. Putting this ordinary bird on the head o an aristocratically clad Nonthokreduces him to the level o a bualo, a dull-witted animal.
Forbidden Fruit (Rama vs Obama), 2009
Acrylic on canvas
150 x 115 cm
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12 THE DESIRES OF NONTHOK
Also relevant to the current series status as an iconography is the question o who holds the key to
deciphering these intercultural signs. While masters o semiotics say reading an image is an openprocess with multiple possible meanings, a more traditional approach is advocated by Ernst
Gombrich (19092001), whereby the art historian (and the artist) is entitled to ix the real meaning o a
given image. Such an approach may suit the current series better as each Western sign here car-
ries its own speciic meaning or reers to a speciic tradition in its own cultural contextall o
which answers to the governing dichotomies o Western/Thai and civilized/uncivilized.
V. From the personal to the political: explication o the artworks
The personal is the political
Cynthia Enloe
At rst, I didnt intend it to be so political.
Tatsanasomboon
Although Tatsanasomboon was, irst and oremost, drawn to Nonthok purely or the interesting psychol-
ogy o his characterdescribing it as ull o desires and entirely humanas he delved deeper into this
subplot, he conessed he was unable to ignore the strong political implications o the Nonthok narrative.
As much as the Indian Ramayana itsel was arguably composed to celebrate the victory o the white and ne
Aryan over the dark-skinned Dravidian, Tatsanasomboon reduces the social context which inorms the Thai
Ramakien epic and its subplot o Phra Narai subduing Nonthok to the aristocracy/working class dichotomy:
Nonthok, who was born a lower-class asura, serves Phra Isuan and his deva class on the paradise o Mount Krailas.
The subser vient Nonthok eel s al ie nated, but not because he was born debased. Class di erence
does not necessarily lead to ineriority complex, humiliation, oppression and, eventually, rebellion.
Filling in the narrative, Tatsanasomboon asks what i the governing class o devas were to have a higher
integrity, exercising their power more careully, and not harassing and humiliating their servant. Would the
asura be so unhappy that he ascends Mount Krailas, asks or the deadly weapon and almost wipes out the
deva class in the blink o an eye? Would it be more just had Phra Isuan called or a proper and air trial beore
asking Phra Narai to subdue the asura? These gaps in the Grand Narrative that inorms Thai culture and socio-
politics relect the usually glossed-over social injustice legitimised by aristocratic license. According to
Tatsanasomboon,
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THE DESIRES OF NONTHOK 13
The violence central to the subplot o Phra Narai subduing Nonthok would not have taken place
had the devas not harassed Nonthok. In act, Nonthok is just a helpless working-class element, abusedby a ruling class that shows no mercy or sympathy. But when the subservient asura rebels and ghts back,
reminding them o his rights, the deva class shows an outburst o righteous anger and abuses
their superior power to subdue him.
The artists view o the aristocracy as the actual catalyst o the lower classs alienation is maniest in his highly
sympathetic depiction o Nonthok as someone absolutely destitute in the economy o love and never desired,
who thus yearns to be valuable enough to be sought ater; hence the appropriate ribbon-and
-git metaphor in Take Me, Please!.
Tatsanasomboons re-reading o the Ramakien subplot is relevant to todays society, either Thai or elsewhere
in the world:
What happens to Nonthok is something that has really happened and still happens in todays society.
Class-driven injustice still prevails: people belonging to the same class only listen to one another.
The lower class is still made scapegoats; people still die; there are still martyrs out there who have
to sacrice their lives to prolong the existence o the ruling class.
However, as objective as he is, the artist is not one-sided; he is air enough to also criticise the lower classs
abuse o power when their turn comes to possess it. Upon being bestowed the diamond nger, i, in turn,
Nonthok had properly used the power given to him only to protect himsel rom being harassed, there
would have been no such violence. Hence, very likely the artists message: or a peaceul society to prevail,
class dierence is not necessarily a crime, i each class respects the other and upholds its integrity. This makes
the current series also attractive to those wanting to see the human rights issues dealt with on canvas.
It is as i Tatsanasomboon wants to remind us about any acquisition o power. Either by specic allocation ordemocratization, power must be used constructively or sel-sustainment, sel-protection and,
perhaps, inclusive development; it should not be used or retaliation or destruction o the enemy.
The collection at hand delivers a universally relevant moral lesson.
The criticism o Nonthok as an ill-principled, sel-gloriying insolent social climber who abuses his
power, however, ushers the series more closely to the Thai context. Here, it strongly resonates in
the narrative the military used in ousting Thaksin Shinawatra in 2006. Mourning Thailand and
Embracing Death, the two most political pieces in the current series, demonstrate the artist s
well-balanced treatment o the two opposing camps and classes in Thai politics.
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14 THE DESIRES OF NONTHOK
Mourning Thailanddraws on the local metaphor, especially in the Thai media, o an asura as the army and
pivots on the role o the military in restraining Thai politics rom progressing as ar as the Western prototype(inormed by the aorementioned governing binaries o Western/Thai and civilised/uncivilized, and
reerencing Warhols camouage as a Western benchmark or democratic civilization).
No less politically engaged, Embracing Death prophecies that the compromised integrity and abuse o power
by the new class in Thai politics will result in its downall. The skeleton represents death, and the tinge o red
subtly points to the red-shirt camp o Thaksin Shinawatra. (Despite his reerences to the colours o the Thai
lag and the use o red and yellow in Nonthok de Lis, Tatsanasomboon distances himsel rom other Thai
artists who have used color schemes to explore critcal discord in Thai politics, such as Thavorn
Ko-udomvit and Rirkrit Tiravanija.)
Mourning Thailand, 2012
Acrylic on canvas
100 x 130 cm
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THE DESIRES OF NONTHOK 15
Despite the gravity o the artists critical stance and subject matter, his approach to the aws o the power-
ul in other paintings in the collection is interestingly more lighthearted: a rather un mocking sentiment that
gives the collection a well-balanced range o emotions. These paintings include The Worthless Crown, Nonthok
as Mona Lisa, The Excalibur, Like and Unlike where the post-diamond-nger Nonthok is ridiculed as a alse
aristocrat and, abusive o his power, unt to lead or rule. The previous comparison drawn between the current
series and Thai politics might suggest another parallel between the ridiculed Nonthok and the ousted prime
minister. Dark Angelan unsuccessul attempt towards the angelic ontology, which in the artists imagina-tion Nonthok tries on himsel ater the bestowal o his poweris one o the best paintings to accompany
such parallel.
In Desires Ingrained, Tatsanasomboon uses Western decorative motis o rank to suggest aristocratic deva
class, inscribing these class-conscious patterns onto Nonthoks very body to connote the subservient asuras
deep desire to be recognised as a deva-like aristocrat. Aspiration and Mirror o Illusion operate on the same
level o psychology; here the artist reerences Michelangelos David as a model o perection to which Nonthok
aspires. The bigger penis speaks or the vulgarity o the contemporary world where power must be as
demonstrative and intrusive as possible, instead o well kept with humility. To Be What You Are Not reects asimilar mindset, but more lightheartedly suggests we overhear Nonthok saying, Aint I awesome in these
hi-so patterns?
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PLATES
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THE DESIRES OF NONTHOK 17
Take Me, Please!, 2012 |Acrylic on canvas | 129 x 129 cm
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18 THE DESIRES OF NONTHOK
Nonthok de Lis, 2013 | Acrylic on canvas | 100 x 130 cm
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THE DESIRES OF NONTHOK 19
The Worthless Crown, 2012 | Acrylic on canvas | 129 x 129 cm
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20 THE DESIRES OF NONTHOK
Nonthok As Mona Lisa, 2012|Acrylic on canvas | 130 x 147 cm
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THE DESIRES OF NONTHOK 21
The Excalibur, 2012 | Acrylic on canvas | 100 x 130 cm
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22 THE DESIRES OF NONTHOK
Like, 2012| Acrylic on canvas | 129 x 129 cm
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THE DESIRES OF NONTHOK 23
Unlike, 2012|Acrylic on canvas | 100 x 130 cm
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24 THE DESIRES OF NONTHOK
Dark Angel, 2012| Acrylic on canvas | 150 x 120 cm
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THE DESIRES OF NONTHOK 25
Desires Ingrained, 2012 | Acrylic on canvas | 100 x 100 cm
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26 THE DESIRES OF NONTHOK
Desire For Divinity, 2012|Acrylic on canvas | 100 x 100 cm
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THE DESIRES OF NONTHOK 27
Nonthok Warhol, 2012|Acrylic on canvas|129 x 129 cm
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28 THE DESIRES OF NONTHOK
Aspiration, 2012| Acrylic on canvas | 100 x 130 cm
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THE DESIRES OF NONTHOK 29
Mirror O Illusion, 2012| Acrylic on canvas | 129 x 129 cm
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30 THE DESIRES OF NONTHOK
To Be What You Are Not, 2012 | Acrylic on canvas | 129 x 129 cm
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THE DESIRES OF NONTHOK 31
Mourning Thailand, 2012| Acrylic on canvas | 100 x 130 cm
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32 THE DESIRES OF NONTHOK
Embracing Death, 2013| Acrylic on canvas | 130 x 147 cm
CHRONOLOGY
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THE DESIRES OF NONTHOK 33
Jirapat TatsanasomboonBorn 1971 in Samut Prakarn
1996: Bachelor o Fine Arts rom Chiang Mai University1999: Master o Fine Arts rom Silapakorn University, Bangkok
Selected Art Exhibitions
1997: - Art Thesis Exhibition at Faculty o Fine Arts, Chiang Mai University Chiang Mai, Thailand- ASEAN Art Awards Exhibition, Thailand
1998: - The 44th National Art Exhibition, the National Gallery Bangkok, Thailand1999: - Art Thesis Exhibition at Silapakorn University Bangkok, Thailand
2000: - ASEAN Art Awards Exhibition Bangkok, Thailand- The 46th National Art Exhibition, the National Gallery Bangkok, Thailand
2001: - Group Show with Scopolamine Group Bangkok, Thailand
CHRONOLOGY
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34 THE DESIRES OF NONTHOK
2001: - Group Show with Scopolamine Group Bangkok, Thailand
2002: - Award winner in the 4th Panasonic Contemporary Paintings Art Competition Bangkok, Thailand
2003: - ASEAN Art Awards Exhibition Bangkok, Thailand-Asia Art Nowat the Korean Cultural and Arts Foundation - Seoul, Korea
2004: - Love and Struggle together with Sudjai Chaiyapan at Thavibu Gallery Bangkok, Thailand
2005: - Fundraising Exhibition and Auction or Asian Art Archive Hong Kong
2006: - Solo Show:A Transormation o Icons at Thavibu Gallery Bangkok, Thailand- Tradition and Modernityin South East Asian Art at Galerie l Indochine New York, USA
2008: - Vision o East Asia 2008 at the Capital Library, Beijing or the Olympics - China- Spiritual Spaces, Thavibu Gallerys 10th anniversary exhibition Bangkok, Thailand
- Art Singapore 2008 Singapore- Solo Show: LOVE and LUSTat Thavibu Gallery - Bangkok, Thailand
2009: - The Indian Art Summit New Delhi, India
2010: - Art Monaco Monaco- Arteclasica10 Buenos Aires, Argentina- Solo Show: Camoufage at Thavibu Gallery - Bangkok, Thailand
2011: - Group Show Dialogues at the Bangkok Art and Cultural Centre (BACC) Bangkok, Thailand
2012: - In the Exhibition:Andy Warhol: 15 Minutes Eternal at the ArtScience Museum - Singapore
2013: - Solo Show: The Desires o Nonthokat Thavibu Gallery Bangkok, Thailand
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THE DESIRES OF NONTHOK 35
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7/30/2019 The Desires Of Nonthok by Jirapat Tatsanasomboon
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www.thavibu.comThe Silom Galleria, 3rd Floor
Suite 308, 919/1 Silom Road,
Bangkok 10500, ThailandTel (662) 266 5454, Fax (662) 266 5455
E-mail. [email protected]
B1G1 - Thavibu Gallery has partnered with Buy 1 Give 1 Free, which
implies that when you buy an art work from Thavibu Gallery you will
automatically give a donation to a charity in the B1G1 network. Donation
from one painting purchased provides one blind person with accommo-
dation and shelter for one month. www.b1g1.com
www.thavibu.comThe Silom Galleria, 3rd Floor
Suite 308, 919/1 Silom Road,
Bangkok 10500, ThailandTel (662) 266 5454, Fax (662) 266 5455
E-mail. [email protected]
B1G1 - Thavibu Gallery has partnered
with Buy 1 Give 1 Free, which implies
that when you buy an artwork from
Thavibu Gallery you will automatically
give a donation to a charity in the B1G1
network. Donation from one painting
purchased provides one blind person
with accommodation and shelter for
one month.www.b1g1.com
www.thavibu.comThavibu Gallery
Silom Galleria, # 433
919/1 Silom rd, Bangkok 10500
Tel +662 266 5454
Fax +662 266 5455Email: [email protected]
Facebook.com/thavibu.gallery
Twitter: @thavibu
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