To commemorate the historic event in modern Thai history, young architecture scholar Chatri Prakitnontakan and curator Kittima Chareeprasit symbolised  the political concepts and ideology of the People’s Party through a new art exhibition “Revolutionary Things”, which opens today at Cartel Artspace in Bangkok.

“Within merely 15 years [1932-1947], the People’s Party devised and introduced many significant policies that uprooted the longstanding dogmas and norms with the aspiration to develop and modernise the country in different aspects, which are also manifested in art, design and architecture,” architect Chatri told The Sunday Nation.

The People’s Party promoted “constitutionalism” and “the Six Principles”, he said, citing national independence in all respects including the political, the judicial and economic; national security; economic well-being; guaranteeing equality; liberty and freedom; and education to the people.

Chatri has been doing this research for a decade by studying objects found across Thailand in order to understand their efforts to move the country into the modern era. Regarded as cultural evidence from that era, these surviving objects have allowed them to explore the successes and failures of the People’s Party.

Running through July 29, the show features more than 50 cultural objects ranging from daily utensils like jars, water bowls, and buttons, to state-led construction of things like flagpole base, monuments, and architecture, to even religious items, for example, Buddhist pulpit, pediment, and talipot fan stand. Among the highlights is the stunning old wooden pediment featuring a deity holding an image of the symbolic constitution over her head from the sermon hall at Talingchan Temple in Bangkok.

“Most of them share a “similar” feature – the image of democracy, symbolised by the constitution on the foot-tray – similar to the one in the Democracy Monument conceived by Professor Silpa Bhirasri and their popular mottos created by or under the influence of the People’s Party,” explained Chatri, who now teaches at Silpakorn University.

Curator Kittima added that the concept of “democracy” is also a symbol of progress and modernity, which plays a part in the trend towards the creation of different objects to reflect such symbols and values.

“Many Thai architectures of that era show modernity and also convey political statements,” said Chatri.

Among them is the old Supreme Court complex, which has six pillars symbolising the Six Principles. Another important piece is the replica of the old crematorium at Wat Trimitr, which was later demolished. The building was first constructed for commoners reflecting the People’s Party concerns for the life of common folk.

Kittima added that the art-deco style was influenced by the art and designs in vogue in that era. The idea of fascism – a form of radical authoritarian nationalism – was also introduced in Thai art.

“Besides the state-ordered architecture, the trend also appears in everyday objects that shows many people were celebrating democracy in the modern era of Thailand,” he explained.

“The array of cultural works reflects the images of commoners, equality, and modernity. This movement ultimately gave birth to a new form of Thai art that can be called the art of the People’s Party,” said Kittima, who teaches at Chiang Mai’s Fine Arts Faculty and is a founder of “Waiting Your Curator Lab”, a multidisciplinary practice.

A coup staged in 1947 led to the end of the People’s Party. The modern ideas on Thai art slid to celebrate the three main pillars – nationalism, religion and monarchy.

On this occasion, Waiting You Curator Lab Publishing has collaborated with Rabbithood Studio to design “Revolutionary Things Game Cards” that aim to help audiences to understand more about the works of the People’ Party as well as their ideology. By scanning the QR code on the card by mobile phone, players can read the history of 52 products that are on display.

THE FIRST thing that strikes you about up-and-coming illustrator Phannapast Thaychamethakool is her style. She arrives for our meeting dressed in a long and loose black gown embroidered with fanciful birds of her own design and with a Chinese qipao collar that makes her seem almost ethereal.

Her hair is short with blunt bangs reminiscent of a schoolgirl. She speaks politely and moves gracefully when asked to pose for our photographer. In short, she’s not unlike the fanciful illustrations of animals that have flowed from her pen and caught the eyes of several giant brands including Gucci and Instagram.

 Phannapast Thaychamethakool poses with her illustrated covers for Bang & Olufsen’s A9 speakers. /Nation:Tanachai Pramarnpanich

Phannapast’s eccentric and brightly coloured beasts ranging from rabbits, peacocks, pheasants, parakeets and kittens to panthers, crocodiles and elephants are also dressed in fabulous costumes – sometimes in a qipao – and boast equally fabulous accessories with floral details as the background.

“These works are like my diary and the animals are just like me – in terms of their physical and emotional aspects,” says Phannapast, the former creative director for Thai fashion house Kloset.

“A fat pig represents my body. My crocodile is a part-time vegetarian because I eat vegetarian food two days a week. My tiger may look fierce but it’s not – that’s also one of my characteristics. These animals are featured in overly posed gestures just like me. They tell my story from the little things in my life to my attitudes regarding acceptance and gender diversity.”

Her illustrations for Gucci’s fairy-tale book to promote its Le Marche des Merveilles jewellery line /courtesy of Phannapast Thaychamethakool

Over the past two years, Phannapast has become a much sought-after artist who is instantly recognisable for fanciful works that merge her Thai-Chinese background, fashion experience, love for animals and aesthetic obsession with tribal arts.

The 30-year-old artist caught the world’s attention when Gucci creative director Alessandro Michele came across her vibrant beasts wearing Gucci’s cruise collection on her Instagram page. He invited her to contribute to the “#GucciGram Tian” digital talent project in 2016, and last year she was commissioned again to create a stunning fairy-tale book and installation with her writer friend Aracha Cholitgul to promote Gucci’s Le Marche des Merveilles jewellery line.

This fanciful pheasant and monkey was her entry to the #GucciGram Tian digital talent project in 2016. /courtesy of Phannapast Thaychamethakool

Miniature mock “theatres” popped up at selected Gucci stores around the world featuring scenes from the book, in which cleverly conceived animal characters toil happily in a “Wonder Factory” making the necklaces, bracelets, earrings and rings in 18-karat gold and sterling silver that mirror the jewellery collection.

“When Alessandro became the creative director of Gucci in 2015, he launched a range of romantic clothes that I liked so much that I painted my animals dressed up in them. I uploaded the picture to Instagram with the Gucci hashtag but never thought it would land me the opportunity to work with the high-end brand,” says Phannapast, aka Phayoon, which means dugong in Thai.

The love affair between a panther and a dolphin in the Wonder Factory book for Gucci symbolises the artist’s belief in gender diversity. /courtesy of Phannapast Thaychamethakool

In her fairy-tale book infused with romance and wonder, she also implies gender freedom through the fantastical characters of a panther in love with a dolphin. She recalls how as an adolescent she felt uncomfortable seeing her reflection in the mirror –a schoolboy with a typical crew cut.

“I am so lucky that my parents understand what I actually want. They’ve helped me to get over my diffidence and have always supported my artistic career. But not every family is like mine, many of my friends are still facing prejudices towards sexual diversity,” says Phannapast, who was born a boy but now is a Miss.

Her work to promote Gucci’s Bloom Acqua di Fiori perfume /courtesy of Phannapast Thaychamethakool

Her two projects with Gucci have led to more work with the prestigious fashion house and she is one of the artists that has been hired to illustrate the promotional materials for the brand’s Bloom Acqua di Fiori perfume as well as DIY sneakers that can be personalised with two initial patches in a mix of colours and fabrics.

Cheerful parakeets in the garden are featured as part of Instagram’s backdrop at its New York office. /courtesy of Phannapast Thaychamethakool

Last year, social media giant Instagram invited her to design a fanciful backdrop for its headquarters in New York. Luxury Thai silk brand Jim Thompson has her printed wallpaper collection. The Peninsula Bangkok has approached her to design a special emblem and a scarf in celebration of the hotel’s 20th anniversary this year and the Villa de Bua wedding venue has devoted one room to her odd, yet magical wallpaper.

An eccentric scarf pattern designed for Ramathibodi Foundation /courtesy of Phannapast Thaychamethakool

Phannapast is one of the 12 artists contributing to charity by designing the birth-month souvenirs for Ramathibodi Foundation’s project “Happy Give Day… giving lives to millions on your birthday”, proceeds from the sales of which will be used to purchase medical equipment for Chakri Naruebodindra Medical Institute in Samut Prakan.

More recently, she designed a printed cover for Bang & Olufsen’s iconic A9 speaker. Her illustration is exclusively printed on a vinyl cover in three different shades for three disc-shaped A9 speakers that go on auction this Tuesday at Bang & Olufsen’s flagship store at Gaysorn Village to raise funds for the World Wildlife Fund (WWF).

Phannapast and her illustrated covers for Bang & Olufsen’s A9 speakers / Nation:Tanachai Pramarnpanich

“Phayoon is the first Thai artist we have worked with and her name immediately came to mind when we decided to do a charity project to help animals. Her whimsical animal characters are distinctive and unique,” says Duangkamol Vephula Waagensen, the director of HW Trading, the sole authorised dealer of B&O in Thailand.

“WWF is well aware of the ongoing conflicts between man and wild elephants and has introduced a project to track the beasts with advanced GPS satellite collars. These will help the rangers and park officials to anticipate when elephants are at risk of encountering poachers and alert them when herds are heading toward human settlements. One radio collar plus implementation costs 5,000 euros or nearly Bt200,000 so the proceeds from the auction will go to support the purchase of these devices.”

Phannapast’s design features a dancing elephant encircled by a delicate floral pattern. Unlike her previous vibrant works, the palette is based on Thaitone – Thailand’s traditional colourways whose shades are soft and muted as they obtained from natural pigments. Inspired by her love of cruising along the Chao Phraya River, the blue cover has been named “Phraya” to represent this river, the pastel yellow is called “Phra Chan” in a reference to Tha Phrachan port next to Thammasat University, and the red one is “Arun” representing Wat Arun or the Temple of Dawn.

“When I was a child, I was afraid of elephants because they were just so big. My father showed me the animated film ‘Dumbo’, which is about a cute elephant, and it made me realise that every creature has a heart, feelings, friendships and family just like us. We humans fear the elephants because we don’t understand them. So my elephant smiles, dances and sings cheerfully to represent friendship,” says Phannapast, who graduated in fashion design from Chulalongkorn University.

The magical character Rainbow Sue represents the effort to reach a desired goal. /courtesy of Phannapast Thaychamethakool

She’s now working on a project to turn her cheerful rabbit character Rainbow Sue into a 3D vinyl toy figure in partnership with Ren-arai toy producer.

“I’ve always loved playing with toy figures and even today they accompany me almost everywhere,” she says. “The Rainbow Sue figure is 16.7-centimetres high referring to my height of 167 cm. I was born in the year of the rabbit and the word ‘Sue’ comes from my mother’s first name. My mum once said to me that everyone should have a dream and that we have to fight to reach it. Before seeing the rainbow, we must struggle through the turbulence.”

A prototype of the Rainbow Sue figure /courtesy of Phannapast Thaychamethakool

The artist has traditionally drawn her illustration with marker pens, but is now trying her hand at acrylic paints.

“I want to challenge myself in different ways. When I worked as a fashion designer, I was afraid of how people would react to my designs so I stayed in my comfort zone. But now when I’m happy what I’m doing, I continue. I keep working and when my current projects are complete, I plan to set up my own exhibition – it will be like a mini theatre with lots of different sensory aspects,” says Phannapast.

Keep updated with her works at her Instagram @phannapast.

GET ONE OF YOUR OWN

The charity auction of three Beoplay A9 speakers featuring Phannapast’s designs on their covers takes place on Tuesday at Bang & Olufsen store at Gaysorn Village at 6.30pm. The starting bid is Bt90,000.

For details, call (02) 252 3980 or visit http://www.HwTradingTh.com.

This year the artist honoured with the White Elephant Award and Bt1 million prize was Boonnam Sasud credited for his acrylic on canvas painting “Luklan Chaona” (children of farmers).

The other two major award winners were Nilaya Bandasak whose magnificent embroidery artwork “Long Khaek” (helping friends harvest rice) won the Grand Prize and Bt500,000, and Sippakorn Kaewthamai whose acrylic on linen painting “Doungjit Haeng Kwam Porpiang” (pure soul of sufficiency) won the CEO Award and Bt250,000. There were also five excellent prizes and 12 honourable mentions.

The princess also took a tour around the exhibition featuring paintings under the theme of “Inspiration for the Sustainable Community” at the Bangkok Art & Culture Centre.

The exhibition will run until June 24.

The annual White Elephant Art Award is organised by Thai Beverage. For more information visit facebook.com/TheWhiteElephantArtAward/.

AS WEALTHY VIPs filtered into Art Basel’s imposing halls to view some of the most valuable works in contemporary art, the staff at Frame Art Fair were a kilometre away scrubbing floors.

Frame, which launched in Basel this year, is the newest satellite fair trying to respond to a wealth gap in the art world, with big name galleries getting richer and smaller players increasingly going broke.

Frame’s founder, French businessman Bertrand Scholler, says that the current system that sees gallerists battle for slots at fairs like Art Basel, where participation for a small gallery can cost tens of thousands of dollars, is “killing” art.

“If you are a newcomer, you die,” he laments.

A woman walks past an artwork by Niloufar Banisadr titled “My Travel: Mona Lisa”./AFP

He is however hopeful that Frame’s model of profit and burden sharing among about a dozen emerging galleries can provide an alternative to Art Basel, which opened its 49th edition to the public on Thursday.

Frame’s home at the humble, two-storey Basel Art Center is in clear contrast to the Swiss city’s Messeplatz, where vast conference halls and luxury hotels have become synonymous with Art Basel’s powerful brand.

Scholler says he respects the work exhibited at Art Basel each year but is concerned that the pressure to notch up multi-million-dollar sales have made the show stale and allergic to new galleries taking risks on provocative artists.

“Our focus is not to collaborate,” with Art Basel, he said. “Our focus is to do it right.”

Even Art Basel, the art world’s most dominant fair, recognises the industry is hurting.

A man walks next to an untitled artwork by Pascal Vochelet during the Frame Basel 2018 Art. /AFP

The Art Market Report commissioned by Art Basel and its main corporate sponsor, Swiss bank UBS, noted that while global sales of art and antiques ballooned to $2,047 billion last year – a 12-per-cent increase compared to 2016 – the smaller fish are struggling to survive.

In 2007, five new galleries opened for every closure, but in 2017 that trend had flipped, with gallery closures outnumbering openings for the first time in years, the report said. The main explanation for closures is that the costs of “maintaining a retail presence in a prominent urban location have become prohibitively high, versus the low and variable volume of sales”, the report added.

“This is a fair that is taking place at a moment when galleries are speaking openly, more openly than ever, about the struggle, how hard it is to be a gallerist,” Art Basel’s director Marc Spiegler told reporters last week.

Spiegler says that expanding Art Basel beyond the 290 galleries exhibiting this year wouldn’t help, as the show would risk becoming “a long, kind of death march experience,” with far too much art to digest.

He also dismisses the notion that making it to Art Basel indicates a gallery is financially solid.

“There are many galleries here who are going to struggle,” he says, adding that very few of the 290 are “cruising” financially.

Existing on what could be described as the Basel art scene’s scrappy fringe, a gallery called The Proposal, specialising in installation concept art, used stunts to attract pedestrians on their way to more prestigious venues.

In a space resembling a US fraternity house – including the hotdogs and beer in plastic cups – The Proposal was selling miniature statues of Damien Hirst encased in glass and sitting on a toilet, a spoof on Hirst’s influential series, “The Tranquillity of Solitude”, which encases dead animals in the loo.

The Proposal’s chief Jeremie Jean-Ferdinand Maret joked that he was exploiting “the richest artist in the world (Hirst)… to refinance (his) gallery.”

The gimmick, helped by staff shouting “Damien Hirst for sale” out the window to passersby, was a last-ditch option available to a gallery on the brink of extinction, he said, adding he would close after Art Basel and possibly reopen in Ibiza, partly because it was cheaper.

“I’m selling art like I’m selling fish. I’m screaming out (the window). All the things you shouldn’t do as a gallery,” Maret said.

Clare McAndrew, founder of Arts Economics research and consulting firm and lead author of the Art Market Report, said easing the gallery economic crunch had proved difficult.

“There is a lot of talk over the last year or two… but solutions haven’t come quite as quickly,” she explained.

Various things are being tried, like major galleries subsidising smaller ones to participate at important fairs, she said and added that online galleries would probably continue to attract mid-market buyers too.

McAndrew also said that while more prominent gallerists have always done better financially, the art market has been moving towards a “superstar, winner-take-all” mindset.

Hours after VIP viewing began at Art Basel Tuesday, the Hauser and Wirth gallery announced it had sold a painting by American artist Joan Mitchell for $14 million.

Public attention is often so focused on multi-million-dollar sales that some collectors erroneously feel they cannot get “anything good” for less then $100,000, McAndrew said.

“It threatens the entire infrastructure,” she added, stressing that emerging artists need medium-sized galleries to help them develop and survive.

“If that is not there, then where do (new artists) come from?” she said.

SOMETIMES IT’S necessary to take a long step back to move yourself forward and that’s exactly what artist Phattharakorn Sing-Thong decided to do when he quit Thailand’s art scene seven years ago.

Now he’s making a return and doing it in style with not one but two major exhibitions – “Deeper in Still Life-World-Life” in Bangkok and “Colours Amidst the Gloom” in Lamphun.

Both shows reflect Phattharakorn’s turning point, offering the viewer a glimpse into a mind inspired by nature and brushstrokes that underline his newfound maturity.

The exhibition “Deeper in Still Life-World-Life” at Bangkok’s Numthong Gallery features a collection of monochrome abstract canvases plus a few paintings in white, red and black. By contrast, “Colours Amidst the Gloom” showing at the cosy cafe-cum-art space Temple House Lamphun in the northern city is more relaxed, offering colourful landscapes in a semi-abstract style.

Phattharakorn Sing-Thong with some of his works 

“I started to paint again slightly more than two years ago after stopping completely in 2010,” Phattharakorn, who is in his 40s, tells The Nation. “It’s taken me all this time to discover what I really want out of my life. It wasn’t that I hadn’t tasted success. Quite the contrary in fact: I’d enjoyed healthy sales of my work since I started drawing and my last two exhibitions at Koi Art Gallery and Numthong were a financial success.”

Needing a complete change of both life and pace, Phattharakorn debunked to Lamphun province, a small province in the north of Thailand close to Chiang Mai and the place where his wife was born and raised.

Six hundred of Phattharakorn’s paintings are being displayed at Temple House Lamphun until mid August, with the exhibits being changed every week. 

“In Lamphun, the life is slow. The people are friendly and share close relationships. As you’d expect, it’s short on resources like art supplies but the natural beauty is inspiring and encourages creation. I learned how to paint with my soul, changing my style from realistic to abstract and drawing on the nature that’s part of my everyday life here,” he says.

Phattharakorn was born and raised in the northeast province of Ubon Ratchathani. He graduated with a certificate in art from Ubon Ratchathani Vocational College then headed north to work towards a Bachelor’s degree in fine arts at Chiang Mai University.

His formal training paid off and it wasn’t long before his drawings and paintings were receiving praise. Soon too, he was attracting the attention of Bangkok’s art galleries, among them Koi and Numthong, and finding buyers for all his exhibited works.

And, he says today, therein lay the discomfort that led to his seven-year hiatus.

“For the first 10 years of my professional career, I focused on realistic art. I preferred realistic art because it demanded such a high level of perfection,” he explains.

“I even went as far as to cut my paintings into pieces when I made a mistake. Every detail had to be absolutely perfect.

“The problems started when the galleries started to suggest the kind of paintings I should be doing to achieve commercial success. I followed their advice but I also found I was far less challenged in my work. That led me to question my life and in the end I decided to quit.”

Phattharakorn started to paint again two years ago, using watercolour and acrylics paints along with the other art equipment he could find in his adopted hometown.

“The limited resources were not a problem and I quickly found I could paint without expensive gear just by using what I was feeling inside and the inspiring nature around me. I don’t have a studio at home but rent space in a longan orchard. I walk to work every day in my natural studio and paint surrounded by longan farmers taking care of their fruit. Some days I face the rain but I don’t stop painting. And when the paint dries, it has created a new texture. This is nature’s way and it’s how I work today,” he says.

Phattharakorn  showcases 20 of the works at Bangkok’s Numthong Gallery

Since taking up his brush again, Phattharakorn has created more than 600 paintings that to him represent the real art of nature. They vary between abstracts and semi-abstracts but all reflect his growth as an artist.

Six hundred of these works are being displayed at Temple House Lamphun through August 15. The space will change the exhibits – usually 50 paintings at any one time –every week.

Twenty of Phattharakorn’s works have been selected for the show at Numthong Gallery, which continues until June 29.

“Each exhibition has a different theme but both present real life through nature,” he says.

LOOKING AHEAD IN ABSTRACT

“Deeper in Still Life-World-Life” is at Numthong Gallery, Bangkok on Soi Ari off Phaholyothin Road (BTS: Ari) through June 29. The gallery is open Monday to Saturday from 11am to 6pm.

“Colours Amidst the Gloom” is at Temple House Lamphun at 102 Intayongyos road, Muang District, Lamphun, though August 15. It’s open Tuesday to Sunday from 7am to 7pm.

The Foreign and Culture ministries have responded quickly by launching an investigation into the case. The move came after Thai media early this week revealed that School of Oriental and African Studies (SOAS) scholar Angela Chiu had accused her institution of accepting the potentially looted one-metre-tall Buddha statue that stands at the entrance to its Brunei Gallery. It was gifted to the SOAS by American alumni Mary and Paul Slawson who reportedly bought it minus documents of its provenance some 30 years ago. On its website, the SOAS describes the statue as “a delightful 13th-century Lopburi Buddha torso of Thai origin”. It has denied any wrongdoing in accepting the sculpture.

A scholar of London’s School of Oriental and African Studies (SOAS) accusation her prestigious institution possesses a 13th Century sculpture possibly smuggled from Thailand. Photo courtesy of Angela Chiu

“We strongly reject any suggestion that SOAS University of London has handled this donation improperly. The allegations made in the blog post by this student are without foundation,” SOAS spokesperson Vesna Siljanovska told The Nation by email.

Thai Ambassador to the UK Pisanu Suvanajata has since contacted SOAS director Baroness Valerie Amos for answers. Thai embassy officials in London also met with John Hollingworth, head of Galleries and Exhibitions at the SOAS. “He informed them that his team had checked with the International Council of Museums and found that the artefact is not on the ICOM [International Council of Museums] Red Lists of lost or vulnerable artworks.”

However, Chiu commented that checking ICOM Red Lists was not sufficient. “ICOM does not say that checking its Red List is a substitute for documented provenance.”

There are no Thai objects on the Red List.

SOAS is preparing information on the statue to hand over to the Thai Embassy in London. The Foreign Ministry will report back to the Culture Ministry’s Fine Arts Department (FAD) with the results.

“If we feel there is a case to be made, we will ask the Thai authorities’ ad hoc committee responsible for retrieving looted art from abroad to follow up,” FAD director Anan Chuchote told The Nation.

Chiu had already consulted a member of the ad hoc committee, archaeologist Tanongsak Hanwong, as part of her own investigation.

“This Thai treasure is very important as the 700-year-old artefact is among the rarest of Lopburi Buddha statues,” said Tanongsak, adding that Chiu’s investigation had considerably cut the time Thai authorities required to gather information.

“If we prove that it’s our treasure, Thai authorities will negotiate with SOAS for its return,” Anan said.

Archaeologist Tanongsak has for decades devoted himself to retrieving looted Thai treasures.

“I hope this case will inspire the ad hoc committee to hasten efforts to retrieve many other smuggled Thai artefacts from US museums,” he said.

Set up just over a year ago, the ad hoc committee has located several missing Thai treasures in prestigious institutions overseas.

“After a one-year investigation, the ministry’s urgent task is to bring back five architectural artefacts, including two prominent 11th-century stone lintels from Prasat Nong Hong in Buri Ram and Prasat Khao Lon in Sa Kaew, which are currently in the permanent collections of the Asian Art Museum in San Francisco,” Anan said.

“Another masterpieces – an eighth-century bronze preaching- Avalokitesvara Buddha statue from Prasat Hin Khao Bat II in Buri Ram – is currently at the Metropolitan Art Museum,” Tanongsak added.

Thailand calls on the return of the 8th-Century bronze preaching Buddha statue called Avalokitesvara from Prasat Hin Khao Bat II in Buri. It’s a permanet collect of NY’s Metropolitan Art Museum.  Photo courtesy of MET

Thai authorities are also working with US counterparts to verify whether 69 prehistoric Thai artefacts currently stored in US museums were also looted.

In 2014, the US returned more than 500 prehistoric artefacts from Ban Chiang, from the Bowers Museum in Santa Ana, California.

Among other Thai looted art treasures retrieved are the Narai stone lintel, from the Art Institute of Chicago in 1988, and a 12th-century Lopburi-style Buddha Statue that was stolen from Tung Saliem Temple in Sukhothai in 1977.

Efforts to retrieve more missing Thai heritage are being spurred by the rise of a new hi-tech National Artefacts Storage facility, which will house five millennia of Thai artefacts.

The Bt491.5-million storehouse in Pathum Thani’s Klong Luang district will be finished by the end of this year. Its four storeys will shelter more than 200,000 cultural relics over 30,000 square metres, protected by hi-tech humidity controls, handprint scanners and a fire-fighting system of the type found in the finest museums.

“When the storage facility dubbed ‘Thailand’s Smithsonian’ opens its doors in early 2019 it will be a learning centre for archaeologists and museologists from across Southeast Asia,” explained Anan.

“The new building will be a modern ‘visible storage and study collection’ centre for both academics and the general public to learn more about the region’s history and heritage.”

WHEN THE energetic Khun Sirikitiya “Mai” Jensen, the youngest daughter of Princess Ubolratana, started work with the Office of Architecture of Thailand’s Fine Arts Department, she quickly became aware of the mountains of historical documents about Wang Na or the Front Palace, the handsome series of buildings that served as the residences for five viceroys and one second king during the reigns of Kings Rama I to V.

Wanting to connect the past and the present, Sirikitiya came up with the idea of assimilating and reinterpreting the historical and textual collection into an understandable visual language that would be easily accessible to the public, particularly the young generation. The first phase of her project “The Architectural Ensemble of Wang Na” is now on show at Bangkok Art and Culture Centre until June 27.

The historical bodies of the Front Palace are reinterpreted into visual language for the digitally engaging exhibition “The Architectural Ensemble of Wang Na”.

“Five years ago, the Fine Arts Department started its programme of renovations of Wang Na and I found that there was tons of information. I want to recall the past and recreate the old feelings but without force-feeding the information. Accessibility, connectivity and continuity are key words of our exhibition. With the new technology, we can integrate layers of historical contexts between the old and the modern day to create shared experiences,” says Sirikitiya who serves as the project director.

Khun Sirikitiya Jensen, the project director

The exhibition’s knowledge bodies are based on “The Study of the Front Palace (Wang Na): A Digital Revitalisation of the Palace’s Past”, a project led by the Office of Architecture. The exhibition design is supported by the Foundation of Mrigadayavan Palace led by its curator Chitti Kasemkitvatana. Google maps, 3D models, interactive maps and moving images on double screens are integrated to recall the past.

The Front Palace was constructed in 1782, about the same time the Grand Palace was built and was one of the very first structures to be erected at the beginning of the Rattanakosin Era. The site encompasses the land now occupied by Thammasat University, the National Museum Bangkok, the National Theatre, the Bunditpatanasilpa Institute and the northern part of Sanam Luang.

Moving images of the Front Palace ensemble are layered on two screens to link past and present.

The palace was the residence of the viceroy, who held the title Krom Phra Rajawang Bovorn Sathan Mongkol (literally Lord of the Front Palace) and was considered the heir apparent of Siam from 1782 to 1885. The title was established by King Rama I when he appointed his younger brother Maha Surasinghanat as the first viceroy of Siam. Prince Itsarasunthorn, who served as the second viceroy between 1806 and 1809, would later become King Rama II.

“The exhibition focuses mainly on the architectural ensemble of the Front Palace during the reigns of Kings Rama IV and V as many documents on and about the site during that period have been found. They include old photographs of various architectural units, notably the ones that are no longer in existence, maps and journals especially those of Prince Damrong Rajanubhab’s “Tamnan Wang Na” (The Chronicle of the Front Palace),” explains curator Chitti.

The exhibition also boasts an interactive map displaying the whole of Rattanakosin Island with the territory of the Front Palace marked in red. Visitors can use their hand to track the map to see the location and the architecture of two buildings that have since been dismantled, namely Kotchakam Pawet Pavilion and Phlup Phla Soong (High Pavilion), as well as the still existing Issaravinitchai Throne Hall.

“The architectural structure employed a hierarchy,” explains Anandha Chuchoti, the director of Fine Arts Department. “The prasat-style (tier-spire roof) buildings and the exquisite decoration with gold and glass mosaic were reserved only for the kingship. The buildings of the Front Palace were thus generally built with two-tiered gable roofs covered with unglazed terra-cotta tiles. Kotchakam Pawet Pavilion was the only building in the Front Palace that was built with a five-tiered spire roof.”

Kotchakam Pawet Pavilion was the only building in the Front Palace to be constructed with a prasat-style roof. (Courtesy of the National Archives of Thailand)

King Rama IV constructed this building for his younger brother King Pinklao, who was dubbed the second King of Siam, as a symbol of equal honour to himself. Due to its wooden structure, the pavilion fell into disrepair over the years and all that remains today is the concrete platform used to climb on elephant back, which is now located in front of Buddhaisawan Throne Hall in the National Museum Bangkok’s compound.

The touch screen provides brief information and old picture of the now-demolished Kotchakam Pawet Pavilion.

The touch screen allows visitors to see the integrated images of the architectural drafting of Kotchakam Pawet Pavilion and its old photo. The pavilion was designed in a style similar to Aphorn Phimok Prasat in the Grand Palace, an image of which is placed adjacent for comparison.

Another demolished building translated into the digital map is Phlup Phla Soong, which King Rama IV ordered to be built in honour of King Pinklao. It was located at the palace’s eastern wall, and presently forms the northern edge of Sanam Luang.

A rare photo shows the Phlup Phla Soong (High Pavilion) located at the Front Palace’s eastern wall. Its former site is now the northern part of Sanam Luang. (Courtesy of the Architectural Ensemble of Wang Na exhibition)

“We found a rare picture of Phlup Phla Soong a few years ago,” says Sirikitiya. “In addition to the digital architectural structure of Phlup Phla Soong, the Office of Architecture has also built a 3D model so visitors can admire all its aspects.”

The moving images of the present-day premises of the National Museum Bangkok, Thammasat University and Sanam Luang as well as an up-to-date Google map of Rattanakosin Island are layered on double screens alongside the architectural drafting and old photos of the Front Palace’s ensemble to give viewers a visual perspective of their former locations.

The 3D model of Phlup Phla Soong (High Pavilion) by the Office of Architecture, Fine Arts Department.

There is also a reading room zone with glass cabinets displaying old books, journals, documents and rare photos, which served as references for the exhibition’s organiser.

“The exhibition has only a little text as we want to recall old memories of the historical site and transmit its heritage to the contemporary platform,” says Sirikitiya. “Anyone who is interested can learn more from the information, rare pictures and old maps we gathered for the exhibition, which will be uploaded to our website (wangnaproject.space) and open for consultation in August. Our media partner The Standard (thestandrad.co) will also run a series on different aspects of the Front Palace.”

The Reading Room zone displays documents and photographs that serve as references to the exhibition.

The title of the Front Palace was replaced by that of Crown Prince following the death of viceroy Vichaichan in 1886 in the reign of King Rama V. Since then, the Front Palace area has been used in part as the Royal Museum (1893-1926) and the Royal Guards’ Camp (1893-1926) while its outer court was demolished to give more space to Sanam Luang.

The surviving structures of the Front Palace that can still be seen today are mainly located within the site of the National Museum Bangkok and include the Siwamokkhaphiman, Issaravinitchai, Buddhaisawan and Issaresrajanusorn Throne Halls as well as Moo Phra Wiman – the former residential complex of the viceroys. Another existing building is Wat Bovornsatharnsuthavart – known as Wat Phra Kaew of Wang Na – that was formerly situated behind the palace but is now in the compound of Bunditpatanasilpa Institute.

Some references and copies of old maps are on display.

The Fine Arts Department has been working on the renovation of the buildings making up the National Museum Bangkok since 2014. The first fully renovated hall in the complex, Siwamokkhaphiman, opened two years ago with an entirely revamped interior, greatly improved lighting, and shorn of its walls and other obstacles to exploration. Four refurbished halls in Moo Phra Wiman opened early this year. Work is continuing on the other 12 halls and the aim is to complete the project within the next two years.

To see the actual sites, interested persons can join a walking tour “Walking with the Cloud: The Hidden Palace” next Sunday (June 24), starting at 9am. The tour, which will led by celebrated historian Santi Leksukhum and Sirikitiya herself, will start at Thammasat University and explore many sites that were formerly in the compound of the Front Palace. To reserve, go to readthecloud.co.

“The complete version of the exhibition will return home for display at Issaravinitchai Throne Hall of the National Museum Bangkok in December,” says Sirikitiya.

A PALACE EXPLORED

“The Architectural Ensemble of Wang Na” exhibition continues until June 27 at the studio on the fourth floor of Bangkok Art and Culture Centre.

The centre is located at Pathumwan Intersection, opposite MBK mall |(BTS: National Stadium).

It’s open daily except Monday from 10am to 9pm.

Call (02) 214 6630-8 or visit http://www.Bacc.or.th.

    Their stories as human beings shall be told as they are human beings who have their past and challenging present. And they have their hope and dream of their future, too. It is important that refugees be accorded with human rights protection and life assurance, just like other human beings. Every year, we organise a variety of activities to celebrate and to show our solidarity with refugees worldwide.

“Today’s activity is organised to raise the awareness about the state of refugees through arts and cultural activities and exhibition. A number of Thai people have no idea about the situation of urban refugees in Thailand and cannot differentiate between refugees and migrant workers. The activity today should help urban Thais to have a better understanding and awareness about the situation of refugees,” says Piyanut Kotsan, director of Amnesty International Thailand.

“If possible, no one wants to be a refugee. But we can help by maintaining peace in the world and treating refugees with respect of their human dignity,” says Saengduan Erwing, director of Asylum Access Thailand.

This exhibition recounts their stories from the past, the present, and into their future. The exhibition on their past stories features drawings of refugees made by student from Poh-Chang Academy of Arts to illustrate the plight of refugees in the past and their feelings toward what happened to them.

For example, James, 23, a young man from Cambodia, has to live in exile since young with his family simply because the political opinion held by his father. Or Kalma, a Rohingya, who has to run away from explosion used during the forced eviction.

For the exhibition about the present, visitors shall be invited to experience simulated atmosphere in the living quarter of urban refugees via the 360 VR (Virtual Reality) technology. The real utensils of urban refugees will be put on display. They are all the items these refugees use in their daily life while still living in their countries of origin prior to the start of conflicts that prompted them to seek a refuge elsewhere. This includes their uniforms, clothes, textbooks, shoes, mirrors, and makeup kits. As to the exhibition on the future, it recounts the stories of their hopes and dreams via audio clips of the refugees. We will get to know what kind of dream they have and what do they expect from society in terms of acceptance.

On the stage, an informal discussion will be held on “The Past, The Present and the Future: Hopes of the Refugees”. The informal exchange will be facilitated by Sakda Kaewbuadi, a freelance actor and friend of refugees and AS, a refugee from Pakistan. It will be followed by a musical performance of Chulalongkorn University students and another cultural and musical performance by refugees and other activities.

In the hall, participants can get to know about culture of refugees and get to know them more as fellow human beings through a workshop on “Henna Painting” which has part of the fashion and applied during wedding ceremonies in many cultures. Within 30 minutes, one can learn to have their hands painted by oneself.

Another workshop is on “Hmong style embroidery”, a skill passed on from generation to generation. Participants will get to learn skill and exchange stories with artisans. There will also be a chance to exchange on cuisine culture of five nations including Syria, Pakistan, Sri Lanka, Vietnam and Somalia.

Amnesty Thailand believes that everyone can be a part of change.

All participants are encouraged to send postcards to show their solidarity with refugees and to demand their rights by writing to Prime Minister Gen Prayut Chan-o-cha, who promised during the Leaders’ Summit on Refugees in 2016 that the Thai government was developing a refugee screening procedure in compliance with international standards. It was to minimise the risk of becoming victims of human trafficking and to offer the right to education and skill training for those who are offered a place in a temporary shelter. Amnesty’s campaign aims to ensure that the government shall make good of their word.

“We strongly reject any suggestion that SOAS University of London has handled this donation improperly. The allegations made in the blog post by this student are without foundation,” SOAS spokesperson Vesna Siljanovska told The Nation by email.

Siljanovska was referring to allegations made by SOAS scholar Angela Chiu, who had accused her school of accepting the one-metre-tall Buddha statue that stands at the entrance to its Brunei Gallery. It was gifted to the SOAS by American alumni Mary and Paul Slawson who reportedly bought it minus documents attesting to its provenance some 30 years ago. On its website, the SOAS describes the statue as “a delightful 13th-century Lopburi Buddha torso of Thai origin”. It has denied any wrongdoing in accepting the sculpture.

Siljanovska added due diligence was carried out by SOAS in accordance with SOAS’s Collections Management Policy and Due Diligence Procedure for the acceptance of Philanthropic Gifts. These make clear that:

“The School will not acquire … any object or specimen unless the Governing Body or Responsible Officer is satisfied that the School can acquire a valid title to the item in question, and that in particular it has not been acquired in, or exported from, its country of origin (or any intermediate country in which it may have been legally owned) in violation of that country’s laws.”

Siljanovska said: “In line with this policy, before accepting the gift, checks were carried out by our experienced Galleries and Exhibitions Manager and included placing the details of the object on the Art Loss Register (the largest art data base in the world for lost or stolen artworks and artefacts).”

On Thursday the Foreign Ministry announced that Thai Ambassador to the UK Pisanu Suvanajata had contacted the SOAS director, Baroness Valerie Amos, about the case. Thai embassy officials in London also met with John Hollingworth, head of Galleries and Exhibitions at the SOAS. “He informed them that his team had checked with the International Council of Museums and found that the artefact is not on the ICOM [International Council of Museums] Red Lists of lost or vulnerable artworks.”

However, Chiu commented that checking the ICOM Red List was not sufficient to identify provenance. There are no Thai objects on the Red List.

“ICOM does not say that checking its Red List is a substitute for documented provenance. ICOM’s Code of Ethics states: ‘Museums should avoid displaying or otherwise using material of questionable origin or lacking provenance. They should be aware that such displays or usage can be seen to condone and contribute to the illicit trade in cultural property.’”

SOAS is now preparing documents and information on the statue for presentation to the Thai Embassy in London. Once it has gathered more information on the case, the Foreign Ministry will report back to the Culture Ministry’s Fine Art Department for possible action.