MUEN KUEY (IT’S ALWAYS THE SAME)
exhibition view at Clearing, Brussels, June-July 2013

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trailer for MUEN KUEY (IT’S ALWAYS THE SAME)
presented at Clearing, Brussels, 2013

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MUEN KUEY (IT’S ALWAYS THE SAME)
exhibition view at Clearing, Brussels, June-July 2013

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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Painting with History in a room filled with men with funny names, 2013

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from the performative installation 2011 (open studio), 2011

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2012-2555
music performed by: JAKI DOYKA, JASON BARTELL, DJ NIRE FEAT.KRIT, VARACHIT NITIBHON and SABA AHMED
contributions from GABRIEL SUGRUE, TANABOON YANTAPANIT, CHAVIT SERIWATHANOPHAS

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Untitled (History painting), 2013
denim, bleach, laser print, fire, stretcher bars
86 x 64 inches (218 x 162 cm)

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KORAKRIT ARUNANONDCHAI by #ffffff Walls
installation 2011, 2011

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all images: Untitled (History painting), 2013
denim, bleach, laser print, fire, stretcher bars
86 x 64 inches (218 x 162 cm)

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image © #ffffff Walls

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KORAKRIT ARUNANONDCHAI by #ffffff Walls

all images courtesy of the artist (unless otherwise stated)

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This piece of denim, don’t you think it looks kinda like our planet from outer space?” – KORAKRIT ARUNANONDCHAI (1986) was born and raised in Bangkok, Thailand. He is currently based in New York where he works quite often collaboratively. His work evades forms of production that could be ascribed to, or referred back to a single subject. But the essential quality underlying the artist’s work is difficult to pin down, vacillating between constructed and formless, authentic and absurd.

My practice is a way for me to understand the world in its complexity. At the present time, I exist in between two distinctive cultures: the one in my homeland, Thailand, and the one in the United States, where I currently live. Each comes with its own predicaments, and each influences my painting, installation and performance work.

For the past three years of my life I have been making large-scale installations that render different aspects of my life into relationship with one another. The first installation in the series, Diagram.Korakrit.2010 is an allegorical sculpture to my relationship with painting then. Open Studio 2011 is an attempt to re-draw a new narrative context for my artist persona. 2012-2555 is a funeral for my artist persona and an autobiographical film that connects my development as an artist to my grandparents lives in Thailand. The series continues.

I believe that the answer to many of the important questions surrounding my existence—such as my relationship to modernism, capitalism, audience and responsibility—can be found within the in-between space of my art practice. My work sets up two entities for me to make actions that highlight the membrane in between them—framing the context of the work as the synthesis of the two.

I have been doing two types of shows: the gallery installations and the pieces for institutions. All the content of the show has another life online. I am trying to make work for both audiences, the one in Thailand who won’t get to see the show and the one in New York that will get to see the show. But I want the work to be experienced differently.

If you go to the website it’s confusing to understand what the show really is. Online there is a flattening of information where everything is equal but, for example, when you go to the show, the whole show is filled with smoke and you can’t feel that. I consider the whole gallery as an installation.

There is this weird thing that me being Thai and living in America adds a culture value to my work almost immediately, and at the same time me, being in Thailand as an artist but being “approved” by the West, that gives validity to this action and this symbol. Even though I am trying to develop very democratic skills related to everyone, like the use of denim, bleach, fire…– KORAKRIT ARUNANONDCHAI in conversation with DAVID GARCIA CASADO

View more works via www.korakrit.com

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