Conference in Rio de Janiero, Brazil - July 2001

On Thai artists and an issue of cultural identity
by Gridthiya Gaweewong

The history of Thailand is quite distinctive among Southeast Asian countries. We are so proud of being the only country that has never been colonized in this region. As a buffer state, Thailand has witnessed many changes in terms of social, political and economical transformation within the region. We never take part in any momentous wars, like WW I and II or even the Vietnam War. But we did offer premises for the American armies to fight against Vietnam during 1960s and 1970s, and hosted refugee camps during the last two decades. Due to the location of our capital city Bangkok - a gateway to Southeast Asia - it is considered one of the most cosmopolitans; accommodating the headquarters of both private and public international firms/organizations. The economy boom had also attracted quite a strong interest from 'farang' (a generic term meaning foreigner) coming to stay and invest in Thailand. Internally, many young people also came to the city from the outside provinces in order to attain better job opportunities and education etc. The lowly skilled laborers also flood into the capital to find work for a measly income.

That said, influxes of franchise system, MTV, and the Internet also induces a tremendous influence on the younger ones presently. Hence, the faster pace and social transformation creates a turning point into globalization. As Saskia Sassen stated in Globalization and its Discontents, "Globalization is a process that generates contradictory spaces, characterized by contestation, internal differentiation, and continuous border crossing. The global city is emblematic of this conditionÉ"1 This is not a new issue because being Thai is all about hybridization. Traditionally influenced mainly by Chinese and Indian cultures, Thai people are good in blending culture and adapted them into our own version. Today, we are at a critical position, standing in the middle of intersection between globalization and localism; tradition and contemporary culture; Buddha and Cyberspace. Local intellectuals try to find strategies to resist, facing the unavoidable phenomena by 'going back to origin' - meaning exploring folk wisdom, promoting indigenous knowledge, and working with Buddhist philosophy.

However, younger generation seems to embrace the 'new thing' more openly and didn't feel that globalization is 'a villain'. Reasons are they were raised by TV as their babysitters, viewed Manga (Japanese term for animation) characters as their superheroes, and dyed their hair just like some J-pop singers/actors. Almost replicating the previous decades how Rock 'n Roll aka Elvis and the Beatles influenced their parents.

The issue here is, is it possible then for the younger generation of artists to feel assertive about themselves, about their work and their next steps? They are definitely frustrated. Everybody has a 'question mark' in his or her forehead about the next chapter at this dawn of the new 21st century. What kind of direction should we take? Going back to our tradition, or forgetting them all? Leaping over the past, and taking the fast lane to join the train of 'international' style? Or is there anything in between, where we can talk about our present condition, with a hybrid of old and new, in our own language? How do they deal with this problem?

It's interesting to observe the different 'tastes' in local and international 'markets'. Generally, local collectors still considered art as a commodity, a symbol of class or social status, and acting more as decors. The Elite, corporations, and the nouveau rich tend to project their cultural personification through supporting works that represent their 'discretion'. Therefore, in the late 1980s, and early 1990s, artists like Tawan Duchanee and Chalermchai Kositpipat are quite smashingly popular among the mainstream audience. Yet, they didn't really excel in the international art scene, regardless of them also exhibiting in major museums around Asia.

The first generation of conceptual artists started to participate in international art shows during the early 1990s like Sydney Biennial; Asia-Pacific Triennial, Queensland, Australia; Fukuoka Art Museum and some travelling exhibitions organized by the Japan Foundation. However, participants chosen in all these shows were almost similar. Mere repetitive, this not only concerns Thailand, but for our neighbouring countries too.

Do we really need this? Why did such gestures make through the outside world, instead of within? The support of such art practice doesn't exist here in our country whereas traditional paintings still somewhat get limited support from the private sectors. In Thailand, cultural policies tend to focus on the tradition rather than contemporary. By and large, the idea of national identity is pretty nostalgic, and quite exotic. The main mission of NOCC (National Office of Cultural Commission) is to preserve and promote the art of the past; for fear that it will end, instead of paying attention to the present simultaneously. It's a pity if NOCC don't realize the fact that todayÕs art will considered 'traditional' in the future, they wouldnÕt have anything to preserve, and promote in the next century.

While Charlermchai enjoys his fame in the local art scene, the late Montien Boonma struggled to survive, and always seeking for funding to secure his artistic practice. Even though they were classmates, Montien was quite different from the rest of them. And he's the one who was and still is considered the 'big brother' of contemporary art in Thailand. Save for Rirkrit Tiravanija, who was based in New York in the early 1990s. Montien was also one of the few who represented Thailand in most major international art shows, e.g. Sydney Biennial, Readymade Boomerang - curated by René Block - and other Biennials and Triennials - most of them in Asia-pacific region.

What makes him so unique and interesting for both local and international curators/audiences? Well, he attempted a new approach to re-think about our own identity and individuality in a larger context. Unlike neo Ð traditional artists, Montien didn't stick with traditional expression or pattern. Instead, he 'subverted' them all by grasping the core idea of Buddhist philosophy. He explored local materials and stick with 'handicraft' tradition; by using hands and working closely with his self/ being, sharing this personal experience with audience - local / and international alike. Working with sculpture, drawing, and installation skillfully, he attempted to balance the Western ways of thinking by presenting the serenity of Buddhist characters, which provides a subtle meditative experience. His practice might answer to my previous question.

Then how about the younger generation artists? What kind of issues or subject matters inspired and influenced them? How they and others in this region incorporated a traditional concept and local materials into their process of art-making, as well as their works as a mean to manifest their cultural identity? Besides imbibing the strong influence of Buddha, Marcel Duchamp, Joseph Beuys and Andy Warhol etc, their identity emerged through various approaches, by exploring these following issues:

Buddhist philosophy played a very important role for the Thai conceptual artists such as Montien Boonma and Rirkrit Tiravanija. Some of them work with the notion of 'three universal characteristics' namely impermanence (ANICCA), unsatisfactory or suffering (Dukkha) and non-selfhood (ANATTA).2 Particularly, the notion of 'impermanence' and 'non-selfhood' reflected pretty well in Rirkrit's oeuvre. With a strong nomadic experience, Rirkrit is very aware of his cultural identity. His works always deal with the idea of impermanence, audience-participation, and an attempt to debunk the idea of art making. He was one of the artists who stop 'making art' and started to blur the boundaries between art and life. Give audiences a room to participate in their works; enjoying with their senses.

When Rirkrit started to cook 'Pad Thai' (Thai fried noodle, influenced by Chinese style) and served them in galleries and museums in the early 1990s, American audiences embraced this process. At home, they questioned him whether is this 'art' or not? What's the difference did it make between his 'Pad Thai' and the one cooked by the vendors on the street in Bangkok? It was interesting enough to witness Rirkrit's art-making process in different context, because his 'Pad Thai' has never been executed in Thailand. When he finally presented his work in his home ground, he focused on everyday life and a sense of community spirit by working collaboratively with fellow artist Nawin Rawanchaikul. For example, in Chiangmai Social Installation in 1996, they worked on the project called Tuk Ð Tuk co-op.

The idea of impermanence is also signified through process-oriented works, in other words, as a work-in-progress. It evokes a character of the third-world physical space - which is always labeled 'under construction'. Mostly, the artists deal with the theme centered on daily life Ð reflecting the social reality, through everyday life setting. Like Surasi Kusolwong in his installation, Free for All project, which was initiated in BangkokÕs public art project before he developed further at the Cities on the Move, Secession.

To explore the idea of public art, Thasnai Sethaseree's Carnival or Temple Fair was executed as his cultural project in the South side of Chicago. The artist presented an installation like a temple fair. He worked with the Thai community there by inviting Thai monks to chant and pray in the morning; young Thai girl dancing to classical music throughout day and night; showing Thai films, and Karaoke with Thai songs were offered to the audience, at the drinking bar.

In filmmaking, Apichatpong Weerasethakul collaborated with many individuals to construct narratives for his famous work, Mysterious Object at Noon. It was a brave attempt by the filmmaker who wanted to avoid the notion of identity constructed by the TAT (Tourist Authority of Thailand), by portraying 'authentic situation' - real life, real people, real ambience in situation, space, and circumstance. His experimental-cum-documentary film was constructed and weaved together by the narration of actors throughout the country. In his recent work, "Haunted House", he traveled to several villages and asked people to perform the soap opera (directly scripted from a television) in their house. He brought the soap opera in their living room, with them as performers. It involved 66 villagers as participants. The project is about reÐliving the other dream 'selves'. Or the other 'identity' in the people's own space, imagining their environment as a dreamscape (as they would do a mind role Ð playing when they watch soap operas.)2 With an attempt to expose the idea of working with traditional style, his works challenge the perception of audience who's already familiar with mainstream films.

For social critique on commercialism and consumerism in a form of entertainment and MTV, many others, working with media art e.g. TV, video, film, were pretty much influenced by commercials, entertainment programs like talk shows, sitcoms, and MTV. (In both moving image and photography). Montri Toemsombat worked with a French collaborator to construct two personas - Montriful and Elizabeth. In their video work, they created a mock scenario - discuss about the relationship between Thailand and the European Union - exploring the issues of environment, global economy and the impact to the local community. At the same time, Songwit Pimpakun portrayed the transformation of the traditional Northeastern Music, which resulted directly from globalization. Exemplified through his video installation, Mau Lum Cing, which signified the influential entry of pop star Michael Jackson had on local musicians.

Many artists also explore traditional proverbs and culture; providing a high contrast between the traditional and contemporary life blended within our society. In his solo exhibition, Jakapan Vilasineekul worked with Thai proverbs and Sutee Kunavichayanont's "The Myth of Asian Tiger" - included in "Fon Tok Kee Moo Lai" or Rain Drops Ð PigÕs Shit Running - symbolized the worst situation that one encountered in recent times. It dealt with the economic crisis in Thailand in 1997. Thailand was known to be the 'fifth tiger', joining Singapore, Hong Kong, Korea and Taiwan before the bubble economy burst. Similarly to Sutee, Kamol Phaosavasdi's Dilemma played with the Thai phrase 'Nee Seu Pah Jorakae' or in paraphrase, escaping from the tiger, facing crocodile, also centered on social psychology - about how Thai people deal with the frustration in today's society. Tackling their mental problem differently from the Western idea, Thai people prefer to solve their problems by consulting fortuneteller. Therefore, Kamol created an installation and work collaboratively with a fortuneteller. Recently, New York-based Prawat Laucharoen, showed his series, "The proverbs my brothers taught me" at Chulalongkorn University, by translating some Thai proverb literally into installation art. It was so straightforwardly interpretation that the artist didn't leave any room for local audience to breathe and imagine, and make inaccessible for international audience.

It seemed like Thai artists got involved with social political in a subtle aspect. Some of them are interested in critiquing its culture, esp. the middle class society. Chatchai Puipia, Manit Sriwanichpoom and Michael Shoawanasai worked with this theme, but in different approach. Chatchai's paintings dealt directly with social critique arising from the bubble economy; using the 'Siamese smile' as a metaphor; paradise perhaps, and so on. His self-portraits invoke how the individual was effected and reacted in todayÕs society. He was loud and angry to the society around him. Beginning in the early 1990s, with his penetrative stares, he made fun of any subject matter he chose, and sometimes, mooning to the viewers literally with his big ass.

Manit Sriwanichpoom critiqued on Bangkokians lifestyle during the bubble economy with his Pink Man, a photography-based series. He criticizes consumerism; the representation of Thai identity through the promotion of TAT's Amazing Thailand Year, and the way of living by different level of Thai middle class, such as bureaucrats, intellectuals, businessmen and the nouveau rich. Other artist who deals with the subculture in Thailand is Michael Shaowanasai. Michael mainly deals with exoticism, and sexual issue - particularly gay issue. In one of his video projects, he created a Supergay hero, whose mission is to protect gogo boys from Patpong, the sex district of Thailand. In his latest video, Dragon's tale, it is dealing with a fictional documentary about the daily life of a famous Asian male artist, and the secret of his success.4 The postmodern pseudo-documentary critique about the perception of Asian artists in the international art community.

In general, most of the Thai artists do not really resist the international style, either by trend or by the media. Instead, in order to deal with globalization, they are actually more aware of themselves than before, without stereotypically presenting their ancient heritage to the audience. They attempt to maintain and stick with their individual expression, and portrayed them, somehow, in a more sophisticated manner. The cultural identity might not be the priority for them. It resided subconsciously (or not?) in any individual styles.

However, it does not mean that many of them succeed in transcending such tough notion as exoticism. Though how hard they try to avoid the cliché element of this notion, can they really get away from the exoticism, even though they avoid getting back to the ancient element? How can they subvert it, while at the same time, tackle the identity issues without 'exoticising' themselves? It seems like this issue concerns local artists who engage in international art scene, no matter where they are based. Some artists tend to focus on everyday reality, with a strong local accent, content and context. It is quite critical for them in terms of getting a message across since they can be inaccessible for international audiences, who probably need to have certain backgrounds to be able to understand its context. Particularly artists who deal with texts and proverbs, when the language itself, after translation to English, might not make any senses, due to the nature of the language itself, and its cultural context.

Contemporary art from non Western countries seems to encounter such problems constantly. Perhaps, these phenomena might be a good example for Saskia Sassen's description of a today's contradicting space. A new cultural landscape reflects the real cultural conflict between the old and the new; the co-existence of the past and presence in our culture, perhaps, might be an accurate illustration of the side effect of globalization.

Bangkok August 15, 2001
©2001 Gridthiya Gaweewong

Edited by Josef Ng