Migrants as art

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Tear gas canisters and marble statues mix in a new exhibition by Ai Weiwei

ARTIST AI WEIWEI has opened a new show in one of Athens’ top archaeological museums, with Macedonian police tear gas canisters as one of the main exhibits.

“Ai Weiwei at Cycladic”, which opened last Friday at the Museum of Cycladic Art, features a number of works inspired by Europe’s migrant crisis.

One of them, “Tear bottle/tear gas canister” – a display of canisters alongside antique bottles used to collect the tears of mourners – refers to an incident last month when Macedonian police used tear gas and rubber bullets against refugees trying to enter Macedonia from the Greek border camp of Idomeni.

Outside the museum, there are flags in silver and gold – the colour of emergency blankets given to refugees and migrants by aid groups as they emerge from the cold waters of the Aegean Sea.

One of the flags evokes the image of Aylan Kurdi, the Syrian toddler whose tiny body was found lying face down on a Turkish beach in September, drawing global attention to the crisis for the first time.

Ai himself caused a stir earlier this year by re-creating Aylan’s death pose on beach on the island of Lesbos, a key hot spot for new arrivals, in a photo shoot for India Today magazine.

Other exhibits titled “Tyre” and “Zodiac Boat” recall the perilous crossing made by hundreds of thousands of refugees and migrants in flimsy rubber vessels, wearing makeshift lifejackets often more likely to kill than to help.

The exhibition runs to October 10.

Ai has taken a personal interest in the thousands of refugees and migrants who have risked their lives to get to Europe, only to find their path barred by a barrage of border closures.

Now a regular visitor to Lesbos, Ai has set up a studio and plans to create a refugee memorial on the island.

In February, he draped thousands of life jackets discarded by migrants arriving in Greece around the columns of Berlin’s Konzerthaus concert hall.

And earlier in May, he visited Gaza for a documentary he is filming on the refugee crisis, as hundreds of Palestinians have also made the treacherous journey.

China’s most prominent contemporary artist, Ai helped design the Bird’s Nest stadium for the Beijing Olympics and has been exhibited around the globe, but his works have often fallen foul of China’s authorities.

He was detained in 2011 for 81 days over his advocacy of democracy and human rights as well as other criticisms of the government in Beijing.

Mystery in the Palazzo Cipolla

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Will Banksy show up to an exhibition of his work in the Italian capital?

A MAJOR EXHIBITION of Banksy’s works has opened in Rome and, as ever with the secretive British street artist, there is mystery attached.

What will he make of a project he has not been involved in? Will he show up incognito? If he doesn’t approve, will he make his displeasure known on the walls of Rome?

The collection of more than 100 Banksy paintings, prints and sculptures sourced from private collections around the world is being billed by organisers as the first time such a large collection of the artist’s work has been brought together in a curated, museum exhibition.

“War, Capitalism and Liberty” runs until September 4 at the Italian capital’s Palazzo Cipolla.

The organisers are a private, not-for-profit foundation who readily admit that Banksy is not associated in any way with an exhibition being staged in the kind of mainstream art venue he has long shunned.

Perhaps because of that, the exhibition includes a wry nod to the artist’s views of the art establishment.

The first work visitors come across is a print of Banksy’s image of an arthouse auction with bidders competing over a frame carrying the slogan “I can’t believe you morons actually buy this s**t.”

In rare interviews, Banksy has described himself as conflicted over the impact the high value of his works may have on his integrity, and the need for all artists to sell their output to survive.

“When you look at how society rewards so many of the wrong people, it’s hard not to view financial reimbursement as a badge of self-serving mediocrity,” he told New York’s Village Voice in an e-mail interview in 2013.

But according to London gallery owner Acoris Andipa, one of the curators, the Rome exhibition demonstrates that the Bristol-based artist has always been willing to sell his work to well-heeled buyers.

“Oh heaven, he has always been commercial because that is how he puts food on his plate,” Andipa says.

The dealer said it was important to distinguish between site-specific Banksy works removed from their street settings to be sold, and works he had himself sold or given away.

Asked what he thinks Banksy would make of the exhibition, he quipped: “I have no idea – you will have to ask him.

“You could be him for all I know. I would imagine he will have quite a giggle.”

Andipa was an early spotter of the likely future value of the “romanticism, immediacy and poignancy” embodied in Banksy’s creations and way of operating.

“If there is one thing that defines him it is intelligence. He is very intelligent, and his artwork is very intelligent.

“Each piece contains its own moral or social story, sometimes through humour sometimes through a bittersweet pill to swallow. At the end of the day he is a very smart individual.”

Emmanuele Emanuele, chairman of the foundation hosting the exhibition, says it demonstrates how Banksy had addressed three central themes of 21st Century life.

“War, the changing nature of capitalism and the fight for individual liberty – this is what is radically changing the face of our society.

“His art tells us that if we throw flowers, instead of bombs and deadly weapons, probably life would be better,” he adds in a reference to one of Banksy’s most emblematic images – a youth throwing flowers in the manner of someone launching a Molotov cocktail.

Andipa says he had owned or sold most of the works on display – and that he had no trouble persuading the owners to lend them for the exhibition.

“A lot of these pieces are here because of a few lunches and telephone calls,” he says “It was a miracle. What you see here came together in a matter of weeks.”

All in the artist family

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



The paintings of Chinese artist Li Yugang are also part of the exhibition.

The paintings of Chinese artist Li Yugang are also part of the exhibition.

A work by Maymay Jumsai na Ayudhya.

A work by Maymay Jumsai na Ayudhya.


THAILAND’S FAMILY of artists, the Jumsais, join with celebrated Chinese artists Li Yugang and Xueyi Fan for “Rencontre”, an exhibition opening on Saturday at the XYZ Gallery in Beijing’s 798 Art Centre.

On display will be vivid abstract paintings by the respected architect Sumet Jumsai na Ayudhya, his daughter Maymay’s contemporary paintings and his son Prisdha’s architectural designs. Sumet’s wife Suthini is curating the show, which is the first exhibition by the Jumsais in China and follows their “3” showcase, which was held in Bangkok 18 years ago.

The Jumsai family trace their roots to 19th century Siam, in the reign of Rama IV, King Mongkut. Prince Choomsai, son of Rama III, later named Prince Krom Khun Rajsihavikrom, was the first of the Choomsai family. This was an era of accelerated modernisation for the Kingdom and the Prince was in the forefront as an architect and engineer.

The paintings of Sumet emphasise line and shape through delineated motifs against colourful backgrounds.


Maymay’s luscious prints of thickened paint and gloss sit atop a transparent surface that reveals the wooden support of her innovative painting practice.

And Prisdha’s bold approach to architectural design is highlighted in his plans for the New Art Museum (NAM), yet to be built in Bangkok, where grand, colourful and irregular shapes were inspired by Picasso’s 1915 painting “Harlequin”.



– “Rencontre” runs from Saturday until June 17 at the XYZ Gallery in Beijing’s 798 Art Centre.

– For more details, check http://www.XYZArtGallery.com.


Growing pains in Singapore

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation




The art market takes steps back, but experts says all it really needs is time to develop

WITH THE CLOSURE of a commercial art museum and the exit of several galleries and art fairs from Singapore over the last two years, a persistent cloud of gloom appears to be hanging over the city-state’s art market.

The Singapore Pinacotheque de Paris, plagued by poor attendance and financial challenges, bowed out last month, less than a year after it opened.

The Gillman Barracks gallery cluster saw the departure of two tenants earlier this year, following an exodus in April last year – when nearly a third of the 17 galleries then chose not to renew their leases, citing poor sales and visitor numbers.

Two art fairs, Singapore Art Fair and Milan Image Art and Design Fair Singapore, have also been missing from the scene after high-profile debuts in 2014.

Industry observers say the spate of closings points to growing pains in a still developing art market, but they are mostly optimistic that the market will take off in time, if efforts to grow the visual arts scene continue.

While the economic value of the visual arts industry has increased over a 10-year period, it belies the struggle of galleries, such as Silverlens from the Philippines, which left Gillman Barracks last year. The gallery’s director, Isa Lorenzo, 41, says the art cluster, which opened in 2012 with 13 galleries, “was a case of too much, too soon”.

“The weakness was that there wasn’t much of an audience. We were aware there was a lack of a ready audience, but we didn’t realise the full extent of it,” Lorenzo says.

Malaysia-based gallerist Richard Koh, 51, who closed his eponymous gallery at Artspace@Helutrans in Tanjong Pagar Distripark last year, echoes the sentiment that Singapore has a “very small” art market, given its modest pool of collectors.

Yet it is this budding art market that drew the Affordable Art Fair to set up shop in Singapore in 2010. Its mission, says the fair’s regional managing director for Asia, Camilla Hewitson, 37, is to provide a platform that serves as a “starting point” for art buyers and artists.

“That Singapore is a young market is a benefit to us because it gives us the opportunity to convert people into art lovers,” she says.

Douwe Cramer, 55, show director of the Singapore Contemporary art fair, which launched this year, is equally upbeat about the potential for fairs such as his, noting that the country ranks among the richest in the world and is a major centre for private wealth management.

Experts agree that what the art market here is time to develop fully.

Art expert Matthias Arndt, 48, who has a gallery in Gillman Barracks, says: “Singapore is only 50 years old. Art and culture need time to develop and the art market in Singapore is still developing.

“We are seeing growing pains, but we have to build on what we have successfully created and, with the dedication of the galleries, fairs, art institutions and art associations, and the support of collectors, I believe we can achieve great success.”

Not all businesses in the art market, however, have the wherewithal to stay for the long haul.

Ute Meta Bauer, 56, founding director of the NTU Centre for Contemporary Art Singapore, which anchors the art cluster at Gillman Barracks, says some of the galleries which were in the area told her they would like to return, but in a different capacity, perhaps as pop-up galleries.

She is confident that Singapore’s art ecosystem, which has a “healthy foundation”, will allow the art market that is part of the ecology of artists, galleries, museums, collectors and audience to grow. “We now have National Gallery Singapore, free access to museums, a bigger group of society that sees art as interesting and a solid group of collectors here and in the region,” Bauer says.

It is for this reason that Silverlens continues as part of Singapore art scene. It held a nine-day pop-up exhibition featuring Filipino artist Gabriel Barredo at Artspace at Helutrans in November to coincide with the opening of the National Gallery Singapore, which drew artists, curators and art lovers from around the world.

Similarly, Koh’s gallery in Malaysia continues to take part in art fairs here because he is able to meet and sell to regional collectors at these events.

Indeed, many art industry observers, such as Bala Starr, 50, director of the Institute of Contemporary Arts Singapore at the Lasalle College of the Arts, believe Singapore’s strength as an art market is influenced by its place in the wider art world.

“The art scene here needs to be connected to the world. Commerce occurs in the context of the wider scene. The biggest advantage for Singapore is to form a positive and consistent reputation as a backer of the arts in Asia,” she says.

‘Peach Blossom’ in bloom

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation




Next stop, contemporary art, at Seoul’s former railway station

The former Seoul train station, now Culture Station Seoul 284, is hosting a multi-arts festival that might prompt commuters to linger before catching their trains at the new station next door.

The arts show “Peach Blossom: Hopeful Flower of Utopia”, organised by the Korea Craft and Design Foundation and the Ministry of Culture, Sports and Tourism, brings together 27 individual artists and teams from seven countries.

They’re presenting interactive art that attempts to “stimulate the six senses of visitors”, says artistic director Shin Su-jin.

The Culture Station Seoul 284, a Western-style building erected in 1925, reopened in 2011 to offer diverse arts projects, ranging from contemporary dance, theatre and music to visual arts and films.

The festival has site-specific installations that explore innovative forms of art such as sound, interactive media and video in the old lobby, the waiting rooms and the stationmaster’s office.

At the entrance, architect Kook Hyoung-gul has built a vertical labyrinth using plastic shipping pallets. Viewers navigate through to find an image of waterfalls painted by Lee Hee-won.

In the former stationmaster’s quarters, Kim Joon has installed a wooden casket in which viewers can lie to listen to Buddhist percussion and prayers and sounds captured in churches.

The sound can also be heard from outside the coffin, but the bolder visitors will want to experience the strange feeling of lying inside a casket. It’s up to them to interpret what’s intended, since the staff offer no clues.

In the old VIP lounge is a tree hanging from the ceiling that appears to be supported by floating red balloons. Kim Myeong-beom’s installation is a popular photo spot for passers-by.

The art project also affords chances to participate in theatre, dance and music performances presented by foreign artists.

On Saturday at 2pm London-based composer Gabriel Prokofiev will be mingling classical and electronic music. The grandson of celebrated Russian composer Sergei Prokofiev is known for mixing classical and popular styles for his record label Nonclassical.

Spain’s Marisa Silbatriz Pons will demonstrate how she turned her childhood habit of blowing whistles into an artistic performance at 2 on May 28.

And at 8pm on June 17, Korean-American Bora Yoon will give a recital of music created from the sounds cellphone buttons make when pressed. The concert is called “Phonation”.

The third floor of the station is a theatre screening 38 movies recommended by Korean and French artists, fashion designers, actors, film critics and psychiatrists.

In June you can see the satirical comedies “Modern Times”, “Idiocracy” and “Playtime” – the choices of French artist Orlan, who underwent plastic surgery to resemble the Mona Lisa and the goddess of love in Botticelli’s painting “The Birth of Venus”.

On the Web:


Farewell to Plateau

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Exhibition by Chinese artist Liu Wei brings the curtain down on Seoul’s 17 year-old museum

CHINESE ARTIST Liu Wei has been at the centre of controversy in the Chinese contemporary art world.

In 1999, he and fellow artists put up a radical exhibition that displayed a dead foetus on an ice bed, with human and animal parts hanging from the ceiling. Liu also presented a video installation showing naked people crawling on the floor like bugs.

The exhibition prompted authorities to enforce a legal ban on “bloody, brutal displays and obscenity in art” a few years later.

The radical imagery that made him the talk of the town is not seen in his solo exhibition at Plateau, Samsung Museum of Art, in Seoul. Rather, the works that span the 17 years of his career are moderate in expression, but complex in thought.


Installations that consist of building debris and old textbooks that criticise the competitive urban development in China and other cities in Asia are being exhibited at the 17-year-old Plateau, which closes its doors in August.

“Borders and geographical boundaries have become meaningless. Whether it’s Korea or China, I don’t think there is much difference in people’s criticism of reality,” said Liu at last week’s press preview.

Titled “Panorama”, the show sheds light on the fast-changing landscapes in cities like Shanghai, Beijing and Seoul and the complexities of modern urban life. Liu presents large Gothic-style wooden installations that are assembled with wooden door frames, panels, metal pipes and other architectural detritus from an old Chinese hospital and government buildings.

“We grew up when things were constantly changing and nothing seemed stable. There was a turnaround in values every couple of years. Today you’d believe in one thing and tomorrow you’d believe in something completely different,” he said.

Liu, who was born in 1972 as the Cultural Revolution was coming to an end, has been categorised as being part of a group of artists who were not as political as their predecessors. But they experienced firsthand the pro-democracy protests and the subsequent Tiananmen Square Massacre of 1989, and they left a “profound influence” on his future art activities, as well as on his contemporaries, Liu said.

Although political messages don’t show up explicitly in his works, resistance to the existing system has been an underlying theme in Liu’s works.

For the 2004 Shanghai Biennale, Liu presented photographs that looked like old Chinese landscape paintings, which in fact, captured the naked buttocks of people. The photo series “Looks Like a Landscape” was made in resistance to the biennale organisers, who had rejected Liu’s earlier proposal of a large-scale installation that he had wanted to make with artists who had not been invited to participate in the biennale exhibition.

“It was a rebellion against the system. The butt was a replacement for swearing,” said Liu.

Ironically, the photo series “Looks Like a Landscape” made Liu a star in the international art world. The work was sold to Swiss collector Uli Sigg, one of the most influential art collectors today with the largest collection of Chinese contemporary art. Since then, Liu has participated in numerous biennales around the world and has held solo exhibitions at major museums and galleries.


A big bang for the Bay

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



San Francisco’s revamped modern art museum eyes making a global splash

THE SAN FRANCISCO Museum of Modern Art reopens in the middle of this month after an ambitious $305 million (Bt1.06 billion) expansion and facelift that aims to rival the world-class art spaces of New York, Paris or London.

The revamped museum will be unveiled May 14 following a three-year upgrade entrusted to the Norwegian architecture firm Snohetta – best known for the dramatic new Alexandria Library in Egypt – that included more than doubling the exhibition space.

The brick structure that has housed the SFMoMA since 1995 in downtown San Francisco is now attached to a huge 10-floor “annex”. Outside, a wavy white facade made of more than 700 fibreglass-reinforced polymer panels seems to come alive as the light bounces off at different angles.

Snohetta says the facade is meant to represent the waves in the San Francisco Bay and the city’s iconic fog banks.


At ground level, large glass windows invite pedestrians to enter and visit the massive steel artwork by Richard Serra titled “Sequence”, or the “Untitled” eight-metre-wide white mobile that hangs in the atrium above the central staircase.

“The signature material in this building is glass,” says museum director Neal Benezra.

“You know right away that we want you to come in. We’re transparent, we’re open, and we’re free at the first floor level.”

When SFMoMA opened its doors in the 1990s, the neighbourhood was shabby and affordable. Today the area has dramatically gentrified and become a symbol of the vast income disparity caused by the high-tech boom that began in nearby Silicon Valley.

The new museum, Benezra stresses, “embraces the community” it is rooted in.

The SFMoMA expansion more than doubles its galleries to 16,000 square metres and creates one of the largest modern art spaces in the United States.

There is extraordinary work by key 20th-century artists, from Diego Rivera to Henri Matisse, Alfred Stieglitz to Andy Warhol, and career surveys of individual artists, including what is touted as a one-of-a-kind collection by the painter and abstract sculptor Ellsworth Kelly.

Its new Pritzker Centre for Photography, which takes up almost an entire floor, is billed as the largest in the country.

The expansion was primarily designed to accommodate the huge private art collection of Doris and Donald Fisher, founders of the Gap clothing store chain.

Their son Robert Fisher describes their parent’s art collection as “a hobby turned into obsession”.

He says his parents had two simple rules in acquiring works of art: “they had to both love the work, and they had to be able to afford it.”

Starting in the 1970s the Fishers collected 1,100 works by 185 artists, first quietly and then on display in two galleries at the Gap headquarters in San Francisco.

After looking into building a private museum, the Fishers decided in 2009 to hand their collection over to the SFMoMA in a 100-year trust.

The museum will display part of the collection on several floors, with several thematic exhibits focused on pop art icons such as Warhol and Roy Lichtenstein, as well as artists who emerged in post-war Germany like Anselm Kiefer and Gerhard Richter.

Robert Fisher believes that a Richter painting, “Zwei Kerzen” (“Two Candles”) best symbolises the love of his parents. “It usually hung over the fireplace in our home in San Francisco,” he explains.

Each summer “they would take the painting with them” wrapped in a blanket in the family station wagon to their summer home, where Fisher’s father would hang it “up over the television set”.

Aside from the Fisher collection, the museum has enriched its own reserves thanks to a campaign starting in 2009 to convince wealthy collectors to entrust them with some of their art work. More than 3,000 pieces have been promised, including works of Francis Bacon, Alberto Giacometti, Yves Klein and Jackson Pollock.


The art of animation

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Approximately 500 works from Pixar.  Animation, including images from the film “Toy Story” are on show. Photo/The Japan News

Approximately 500 works from Pixar. Animation, including images from the film “Toy Story” are on show. Photo/The Japan News

Pixar’s touring retrospective comes to Tokyo

An exhibition marking the 30th anniversary of Pixar Animation Studios, underway at the Museum of Contemporary Art Tokyo until May 29, offers a unique opportunity to see how the studio’s films are conceptualised, planned and produced.

California-based Pixar Animation Studios is known worldwide for its cutting edge technology and computer graphics art, as represented in such works as the 81-minute-long “Toy Story” (1995, directed by John Lasseter), the world’s first fully computer-generated animated feature film. But little is known about how the individual elements of the studio’s animation are planned and formed.

The three essential aspects of Pixar films – “story”, “character” and “world” – are sketched, moulded and completed through numerous hand-drawings, paintings and sculptures created by Pixar’s artists.

The exhibition, “Pixar: 30 Years of Animation”, is the latest presentation of a serial show that first opened at the Museum of Modern Art in New York in 2005.

Then called “Pixar: 20 Years of Animation,” the exhibition first came to Japan the following year. Its aim is to highlight the artists and present their behind-the-scenes work. The exhibition has travelled to more than 25 cities around the world, adding content as new films are produced.

The greatest appeal of the exhibition is how the show itself transforms, says Chika Mori, curator of the Museum of Contemporary Art Tokyo.

“The exhibition is continually revised and updated,” she says. “This is interesting to see.”

The present show includes the artwork for the studio’s latest film – “The Good Dinosaur” (2015, directed by Peter Sohn).”

A wide variety of media are shown through approximately 500 artworks. They employ both old and new techniques, such as marker and pencil drawings, sketches in pastel, paintings in watercolour and digital painting.

Mori points out that while innumerable artworks are created for each film, very few survive in their original form.

“You will definitely understand that what you’ve seen at theatres is only the tip of the iceberg,” she says. “Out of sight, artists expended an enormous amount of energy and work to create the films.”

The current exhibition also marks the 20th anniversary of the release of “Toy Story” in Japan. It displays artworks related to the first film as well as its two sequels, including models of its main characters Woody and Buzz and the colour-script for “Toy Story 3” (2010, directed by Lee Unkrich).

A colour-script depicts the whole story in a chronological format that allows one to see the basic colour structure applied to the entire film. Daisuke “Dice” Tsutsumi, an animation artist who worked with Pixar at the time, produced the colour-script.

Also on display are two installations – “Toy Story” Zoetrope and Artscape – that were created for the exhibition at MoMA and continue to tour with the show.

The “Toy Story” Zoetrope allows viewers to see how animation works by placing figures in successive poses on a disc that rapidly rotates under a strobe light.

Artscape is a wide-screen media installation using digital technology that offers viewers a behind-the-scenes look at the details of pre-production artwork.

There are also short films by Pixar as well as video interviews on the production process.

After Tokyo the exhibition moves to the Nagasaki Prefectural Art Museum from July 27 to September 8.

Romancing the rickshaw

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



Rickshaw painting is an art unique to Bangladesh./ANN

Rickshaw painting is an art unique to Bangladesh./ANN

Bangladesh’s uniquely colourful conveyances inspire a fashion line

Rickshaw art can be introduced into the home through household decor, accessories and tableware, but today it’s also an increasingly popular theme in fashion.

The style itself incorporates bright colours with vivid motifs portraying birds, flowers, and other aspects of nature. Colours like yellow, red, blue and green come together to invoke the deeply rooted traditional look of rickshaw art of which Bangladeshis are so fond.

These motifs are found in saris, shalwar kameez sets, and kurtis, made in a range of fabrics so they are appropriate for daytime-wear, as well as being suitable for more formal dressy events.

You can wear a plain top with a rickshaw-themed skirt, or wear a bright and bold kurti with monochrome leggings or trousers.

There are many options available, thanks to local fashion houses like Aarong, Chondon and Jatra, which are revitalising the fashion scene by injecting it with the vibrancy of rickshaw art.

Rickshaw painting is an art unique to Bangladesh with its unusual burst of colours. What started in the ’40s, with a view to attracting more customers has now become an ambassador of the Bangladeshi way of life.

Over the years, this form of art has not only showcased film stars, animals, villages, and beliefs, it has also followed the curves of the country’s political and cultural history.

During and after the Liberation War, the rickshaw artists, with great patriotism, depicted the scenes of the atrocities of the conflict as well as the valiant faces of the war heroes.

In the mid-1970s, artists turned towards fabled animals. At the start of the ’80s, film stars came to rickshaws with their sunglasses, iconic hair, blushed cheeks, and huge eyes all too alluring to onlookers. Even though movie references have reigned over the rickshaw paintings, and for good reasons too, the cheerful animals, Taj Mahals, floral designs, religious motifs, country scenes and even aeroplanes have also found a place on numerous rickshaws in the more prominent cities.

While rickshaw painting in all its colourful glory has been able to capture the hearts of the city-dwellers and tourists alike, it didn’t enter homes on regular objects until the 2000s.

Around that time, fashion designers took a keen interest in the art and the rejuvenating of it. Fashion houses such as Jatra and Bibi Productions designed clothes and decor in the rickshaw art style. For a long time, there was even a rickshaw without the wheels in one of the Jatra outlets that could be used for trying on new shoes.

The art is more fashionable than ever. Clothes designed in rickshaw painting style are one of the high fashion trends and can be made to look traditional or contemporary,

A light coloured kurti with a hand-painted animal in front can portray a modest and serene beauty whereas a skirt showing off a collage of rickshaw panels paired with a dark top demands attention.

Rickshaw painting on cloth handbags is also a favourite with fashionistas who have sported them with edgy and trendy apparel.

Home decor items with rickshaw art are found in many stores around the city and there’s plenty of room for creativity.

For example, cushion covers painted with floral motifs or city scenes can be a great way to change the look of your house with minimum effort. It will create a warm and cosy sitting area perfect for afternoon tea. Perhaps a red rickshaw-painted kettle or a vivid yellow bowl can become the centrepiece of attention on your table.

Similarly, an eye-catching curtain on the living room window with partly hand-painted designs or a drape over a curtain in full rickshaw paint glamour will liven up the mood of anyone who enters your home.

Rickshaw art is, after all, about the people of Bangladesh.

Tracey Emin in Hong Kong, weeping

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



UK artist, now married to a boulder, opens a show coinciding with art Basel

BRITISH ARTIST Tracey Emin’s trademark themes – the pain of intimacy, raw physicality, love, sadness, loneliness – run through her new Hong Kong show “I Cried Because I Love You”, her first in the city under Chinese rule.

A mix of painting, embroidery and neon, the exhibition comes at a time when, despite an economic downturn, collectors in the region are becoming increasingly knowledgeable and focused on who they want to buy – and Emin is on their shopping list.

Her show coincided with the opening of Hong Kong’s Art Basel on Tuesday. More than 4,000 artists will participate in Art Basel, held at the harbourfront exhibition centre, with a host of events on the sidelines tapping into the creative buzz.

Emin’s show is split across Hong Kong’s Lehmann Maupin and White Cube – galleries with long-standing relationships with her.


“Everybody’s loved someone so much that it hurts,” says Emin. “You feel it’s going to kill you if you don’t see them. It’s about that feeling of love and understanding love.”

A large stone near Emin’s studio in the south of France is one thread running through the exhibition – the artist “married” the rock over the summer in an impromptu ceremony.

Emin says the stone is a metaphor for her tendency towards “impossible love” and its shape figures in some of the exhibition pieces.

Her work has already sold well since White Cube opened in Hong Kong three years ago, says the gallery’s Irene Bradbury. “She’s made her mark here. Collectors are becoming more knowledgeable and attuned to who they like, who they want to follow from Western galleries, alongside great artists that are developing here.”

Bradbury says there will likely be discussions about an Emin exhibition on the mainland in the future, but for the time being the artist is about to take a year out from exhibiting to focus on her work.

Cindy Sherman and Joana Vasconcelos are among leading female artists on show at Art Basel, which now also has its first female Asia director, Adeline Ooi, who took the helm last year.

“It’s both amazing and maddening, wonderful and urgent that many women lead art fairs, run non-profits and are important artists,” says Gina Wong, founder of Hong Kong’s independent art space Experimenta.

But she adds there’s still a “glass ceiling” at the top, where “art institutions and art collections are headed and owned by men”.

Emin has been a provocative female voice since she first came to prominence with “Everyone I’ve Ever Slept With” and “My Bed” in the 1990s.

Part of the Young British Artists movement and labelled an enfant terrible, she has now been recognised by the establishment – she received honours at Buckingham Palace in 2013 for services to the arts.

Her work has evolved with the years, particularly the images of her own body. “For a long time I drew myself as I was when I was about 20. About three years ago I suddenly realised, ‘Oh my god, I’m not a size zero’,” she says.

Despite acclaim, Emin says she is still nervous about the way her work will be received. “I never have been taken seriously in certain echelons of the art world,” says Emin, who believes great art “should make people stand still and be quiet”, even for a few minutes. “When I die, I hope I close my eyes and say, ‘I did it!'”