When the body remembers

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STAGE REVIEW

Olivier Saillard's “Models Never Talk” was like a living exhibition with models' movements making it look like a dance performance. Photo/Giovanni Giannoni

Olivier Saillard’s “Models Never Talk” was like a living exhibition with models’ movements making it look like a dance performance. Photo/Giovanni Giannoni

Fashion may come and go but models’ bodies still have memories of certain dresses they wore

One of the most memorable parts of The O.P.E.N, the prequel to the Singapore International Festival of Arts, was French fashion historian Olivier Saillard’s performance “Models Never Talk”. Staged at 72-13 on a white set that looked like a fashion photo shoot, it featured seven fashion models – namely Christine Bergstrom, Axelle Doue, Charlotte Flossaut, Claudia Huidobro, Anne Rohart, Violeta Sanchez and Amalia Vairelli – attired in black body suits. The ladies sat on, in front of and next to the five identical chairs brought in by stage managers, striking poses, then taking turns to walk downstage to recount their recollections of certain dresses, the memories of which had remained imprinted on their bodies and minds long after they first modelled them in the 1980s and ’90s.

Without the actual clothes, their well-chosen words – of note is that almost all the models were not speaking in their mother tongues – gracefully delivered anecdotes about these outfits. The pace was unhurried, the hand gestures every bit as precise as those in dance choreography, and the delight in the telling, frequently with humour, not only made those clothes come alive in our imagination, but also the relevant people, place and time. One model, for example, explained how it was so difficult for her to walk in a tightly draped dress designed by fashion icon Madame Gres that she had to keep kicking the dress – a physical movement that later became her signature on the catwalk.

The image painted by their verbal and non-verbal languages was so clear and the impressions so strong that the last scene when each of them showed a photograph of themselves in those particular dresses and recreated the same pose seemed somewhat redundant.

The performance was not for the sake of nostalgia, though, as the experience reminded us that the models are also behind the success of these dresses and designers. It also reconfirmed that models are performers who can express themselves verbally as well as physically, without having to be cast in reality-TV-cum-soap-operas like “The Face”. Of course, once on stage, they’re performing and presenting to us only the parts of themselves they want us to see. Catching a glimpse of them smoking cigarettes outside the stage door before the show allowed a brief look into their real lives.

Much credit is due to Saillard, who is the director of the Paris Galliera, “Models Never Talk” was so alluring that it grasped my full attention for an entire hour, notwithstanding its monotonous pace. Come to think of it, I’ve reached a certain age when I much prefer works that are simple and clear to those that are overfilled with words and images.

I also adhere more to the notion that less is more and I still believe that we go to the theatre to experience what we cannot experience elsewhere.

Once again, The O.P.E.N. lived up to the meaning of its acronyms—open, participate, engage and negotiate—and the slogan “Be open to the individual in you” which encourages different interpretations. With its theme-oriented curation scheme, The O.P.E.N. effectively prepared the audience for the upcoming main festival SIFA with this year’s theme of potentialities.

And that’s not just a big word used by academics but one which duly explains a major characteristic of contemporary arts – that the future is indeed wide open.

Not long to wait

– Singapore International Festival of Arts (SIFA) 2016 begins August 11 and runs until September 17 at various venues.

– Admission prices range from free to SGD 80 (20-per-cent discount for students and seniors).

For reservation and more details, visit http://www.SIFA.sg.

Where old and new collide

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STAGE REVIEW

Set designer Jirakit Sunthornlapyos and lighting designer Tawit Keitprapai make the small studio look not only larger but just like the rooms in an old mansion. Photo/Tawit Keitprapai

Set designer Jirakit Sunthornlapyos and lighting designer Tawit Keitprapai make the small studio look not only larger but just like the rooms in an old mansion. Photo/Tawit Keitprapai

The return of the family's youngest sister Potchaman (Pariya Wonrabiab, right) and the introduction of her new love Rain Junior (Jirakit Sunthornlapyos, on the floor) shakes the world of Khunying Kirati (Nilacha Fuengfukiat) and Chai Klang (Supasawat Bur

The return of the family’s youngest sister Potchaman (Pariya Wonrabiab, right) and the introduction of her new love Rain Junior (Jirakit Sunthornlapyos, on the floor) shakes the world of Khunying Kirati (Nilacha Fuengfukiat) and Chai Klang (Supasawat Bur

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New Theatre Society’s new comedy is more than a simple laughing matter

The two core members of New Theatre Society, namely Damkerng Thitapiyasak and Parnrut Kritchanchai, are both in action this month. The former staged “Sainam Morakot”, based on the life of Madame Mao, at Thailand Cultural Centre’s small hall last weekend and the latter’s “Ni khue sathan haeng phap khanglang”, or “The Place of Hidden Painting”, is now being staged at Thong Lor Art Space (TLAS). Both directors are known for their Thai adaptations of foreign plays, and Parnrut is also especially renowned for her comedies, the humour of which oftentimes waters down their messages and interrupts the flow of the play. That’s not the case, however, in her latest work.

It’s not that she has cut down on her comedic ammunition, which as a whole is like a weapon of mass destruction blasting the audience with all kinds and levels of comedy, jokes included. If you’ve a bad day, this play is the perfect medicine as well as another hit for TLAS.

Inspired by the Tony Award-winning play “Vanya and Sonia and Masha and Spike” by Christopher Durang, Parnrut has as its centre three siblings named after popular characters from Thai novels, namely Chai Klang, Khunying Kirati and Potchaman. The former two, who still live in the old world of those novels, live in their old mansion in the woods along with their nurse Nom Thip. Their conversation resembles lines directly taken from Thai novels, in which the beauty of the language, as opposed to the colloquial counterpart, can be cherished. Potchaman on the other hand is a TV actress, who has long supported them but is now considering selling the house. She is also the link to the contemporary world, bringing with her Rain Junior, her new, and much too young, Korean-looking singer boyfriend and Tui, a young woman who is one of Potchaman’s die-hard fans and is visiting her grandparents nearby.

With a central conflict this clear, both the comedy and the drama move along smoothly, marred only towards the end when Chai Klang’s monologue comes across as somewhat didactic and contrived.

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As Chai Klang, veteran actor Supasawat Buranavej, after having stolen many scenes in previous works, is a leading man well equipped with clear diction, spot-on characterization and arresting physicality. Fellow veteran Nilacha Fuengfukiat, as Kirati, is never overshadowed by his performance. Supasawat is reunited here with Pariya Wonrabiab as Photchaman, who was his co-star in New Theatre Society’s Thai translation of David Ives’ “The Universal Language”, which won the pair top acting prizes at the Bangkok Theatre Festival. In this play, the trio becomes the three-headed comedic monster with solid support from Donruedee Jamraschai who is always believable as Nom Thip, a character much older than herself.

The two young thespians, Chanida Panyaneramitdi as Tui and Jirakit Sunthornlapyos as Rain Junior, shine through on occasion though the former is far too often cast as a young and innocent woman. Much credit is also due for the latter’s set design, which deftly makes use of the space inside and outside the studio on the 3rd floor of TLAS. Tawit Keitprapai’s lighting design greatly helps in the telling of this story by clearly defining the rooms and separating the realistic from the surrealistic.

Bangkok is a city of contrasts where the immediacy of the social media co-exists and at times clashes with centuries-old tradition, which the play underlines with ease.

And now we’re being encouraged to wear clothes made of Thai fabrics every Friday. Does this request to make us look like models in Tourism Authority of Thailand’s posters come with bonus money for extra laundry and electricity bills? Or should we get back to writing letters and taking them to the post office on our bicycles?

Let the debate on what is, and is not, Thai continue.

Last laugh tonight

The last performance of “The Place of Hidden Painting” is at 7.30 tonight at Thong Lor Art Space, a three-minute walk from BTS Thonglor Exit 3. It’s in Thai with no English surtitles. Tickets are Bt550 (Bt350 for students).

– Next up at Bangkok’s most prolific venue is Surachai Petsangrot’s “The Adventures of Tik-Tok Man of Oz”, running from Friday to August 21. It’s in English with Thai surtitles. Tickets are Bt550 (Bt350 for students and Bt300 for kids not taller than 120 cm.)

– There are also free puppetry workshops, every Saturday and Sunday at 2pm throughout the run. Tickets for both can be booked at (095) 924 4555.

– Find out more at Thong Lor Art Space’s Facebook page.

 

Much ado over art

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VIETNAMESE ART

Visitors head to the HCM City Fine Arts Museum during the final days of the exhibition. Photo/Viet Nam News

Visitors head to the HCM City Fine Arts Museum during the final days of the exhibition. Photo/Viet Nam News

A row erupts in Ho Chi Minh City about the authenticity of rare Vietnamese paintings

Shockwaves ran through the local art world last week after museum officials, artists and experts emerged from a meeting to declare that 17 paintings belonging to collector Vu Xuan Chung shown at the recent exhibition “Paintings Returned from Europe” at the HCM City Fine Arts Museum appeared not to be authentic and signed by artists who had not painted the works.

Chung, who was not present at the meeting, stands by his claim that the works by renowned Vietnamese artists are authentic, despite disagreement from the art committee established by the museum.

The 17 paintings have sparked the interest of local experts, who have questioned their authenticity.

Experts said two of the 17 paintings appeared to be real but were signed with the names Ta Ty and Sy Ngoc.

Painter Nguyen Thanh Chuong, who was born in 1949, claims the painting signed with the name of Ta Ty is his own and was created in 1970.

The collection is currently being held by the museum pending further investigation.

Nguyen Thi Ngoc Oanh, the wife of Vu Xuan Chung said that she and her husband were shocked after hearing from Trinh Xuan Yen, the museum’s deputy director, via a phone call after the meeting concluded.

“Though we are the owners, we were not invited to attend the meeting. We don’t agree with this conclusion. We have the certificates from the sellers to prove their authenticity,” said Oanh, adding that she would send the collection abroad to be independently inspected by international experts.

She added that she doubted the objectivity and ability of local experts and officials.

“There is no evidence or basis to prove the paintings in our collection are not authentic. We have known Jean-Francois Hubert from the auction house Christie’s Hong Kong since 2010 and we completely trust him and his inspection results,” she said, adding that she did not want to disclose the amount paid for the paintings, collected over the last four years.

The exhibition, the first to be held by the couple, opened on July 10. It included works by Vietnamese artists Nguyen Tu Nghiem, Duong Bich Lien, Nguyen Sang, Bui Xuan Phai and other well-known painters who graduated from the Indochina College of Fine Arts.

Doubts about the collection surfaced when artist Chuong said his name and the year of completion on the painting “Abstract” had been erased and replaced with the name of artist Ta Ty.

He and his wife reported their concerns to the museum.

Chuong, who attended the Vietnam University of Fine Arts, has won several awards for his work. He said he was shocked to see someone else’s name on one of his paintings.

Chung, however, rejected Chuong’s claim, saying that Chuong could not have created such a beautiful painting when he was only 21 years old, while Vietnam was still at war and the country was suffering severe shortages.

The doubts led the museum to set up a committee, including members of the HCM City Fine Art Association and experts from HCM City University of Fine Arts and other researchers, to inspect the collection.

Visiting the museum after the conclusion was announced, artist Tran Hai Minh, said he believed that some of the paintings were authentic and others were fake.

Pointing to a painting by Bui Xuan Phai, Minh, who once studied in Europe and is familiar with Phai’s paintings, said he was sure it was genuine.

Close examination revealed the scratches and poor materials that Phai often used, including cartons that he had salvaged.

However Minh agreed with Chuong about the painting with Ta Ty’s name.

“The painting was, of course, created by artist Nguyen Thanh Chuong. The way of signing on the painting proves that it was not created by Ta Ty,” he said.

Responding to Chuong’s complaint, Hubert sent the collector a photograph proving that it was a painting by Ta Ty composed in 1952.

The photo shows Nguyen Ba Dam, Thai Ba Van, Bui Xuan Phai and Tran Quy Thinh in Ha Noi in 1972. The disputed painting can be seen in the photo.

Local artists however disagreed, saying the painting in the photo appears to have been Photoshopped.

Chuong said he had also found an authentic sketch of the painting and had shown it to the media.

Collectors Chung and Oanh said they had brought to the collection in HCM City so that the public could enjoy Vietnamese works that had not been exhibited.

“Not many Vietnamese people would have a chance to see them in their lifetime,” Oanh said.

In that galaxy, FAR, FAR AWAY

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SPECIAL FEATURE

Mark Hamill and Carrie Fisher

Mark Hamill and Carrie Fisher

Three generations of Star Wars fans in one family

Three generations of Star Wars fans in one family

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Star Wars fans gather in London for a blow out weekend of celebration, collectibles and chats with stars and industry insiders

STAR WARS FAN from all over the world converged on the British capital last weekend, gathering at the ExCel exhibition centre for the latest Star Wars Celebration.

With tickets sold out months in advance, the eleventh celebration in the overall series and the third hosted by the UK, kicked off last Friday for three full days of sci-fi splendour with galactic creatures in full, elaborate costumes posing and interacting with other fans. An event “by fans, for fans”, Star Wars Celebration also featured licensed shops offering Star Wars-related merchandise. And in addition to the t-shirts, posters, figurines, toys and costumes, there was fan art, Star Wars-inspired shoes plus kitchenware, bed linens and blankets.

Shopping and collecting aside, celebrants were treated to exclusive panels with actors in the Star Wars franchise including Mark Hamill (Luke Skywalker), Carrie Fisher (Leia Organa), Anthony Daniels (3-CPO) and John Boyega (Finn) and autograph signing sessions with various others. Directors, executives and the masterminds behind the story made special appearances, answering questions and dropping hints about the films to come.

“I’ve always been a big fan of Star Wars, and coming here with my wife and son, who is growing into Star Wars fan, is such a great experience,” a man in a jedi master costume told us as we queued for one of the panel sessions.

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“It’s welcoming, it’s fun and it’s fulfilling because it’s not just about dressing up and buying figures. It’s about solidarity and celebration. The stories of Star Wars and the characters have touched me in many ways at different points of my life. To have these fellow fans showing up with such enthusiasm and love really warms my heart. This is very special experience. No other film has a celebration of its own like this!”

The love of Star Wars of the fans certainly runs deep. After acquiring those hard-earned tickets last year, they stood for hours in line to get a wrist band that allowed admission to each panel session and then queued up for several hours before the panel started to get the best seats.

“It’s worth every minute,” the same fan told us. “I would really kick myself if I couldn’t get in.”

Created by George Lucas in 1977 as a cinematic endeavour, “Star Wars” was an overnight success, spinning off several sequel and prequel trilogies and spawning an entire spectrum of entertainment media including animation films and series, books and video games. The Celebrations were launched in 1989 in Denver, Colorado and have been organised regularly ever since.

“I think of the key strength of Star Wars is that it doesn’t hang on one character,” Pablo Hidalgo, creative executive with the Lucasfilm Story Group, told XP.

“There is no one character you must have for a Star Wars movie and that differentiates us from other franchises. When you have a franchise that weighs on one character, for example a superhero, it hinges on the actor who is that superhero. And when he or she decides to leave, you have to start telling the story all over again.”

The Lucasfilm Story Group was set up in 2013 to keep the continuity, the connectivity and most importantly, the legacy of Star Wars’ unique storytelling.

“A lot of it comes from years of working with George Lucas and the way he develops stories.”explained Hidalgo, who like many at Lucasfilm, came from the fan community.

“You should be able to strip away all the Star Wars stuff and find a central core of the story that is interesting – then add Star Wars later. We also have characters that people are interested in, so we have the best of both worlds. In “Rogue One”, you will meet characters that you haven’t met before. You don’t what their story is, but you understand the history around them. ‘The Force Awakens’ proves it: Rey, Finn and Poe were well received and these are new characters. Fans don’t only want to be reunited with the characters they love, they want new stuff, too.

“‘The Force Awakens’ was designed as an entry point for new viewers as the new characters are strong enough by themselves. But I’m a purist, so my recommendation would be to start with the original films. For bite-sized entertainment, our animated contents are very solid. We’ve seen a lot of people coming to Star Wars from ‘Clone Wars’ and ‘Star Wars Rebels’. These are not ‘Star Wars for kids’, but Star Wars expressed through animation with the same storytelling DNA done by the same team,” Hidalgo said.

At the end of this year, fans will get to enjoy an anthology film “Rogue One”, directed by Gareth Edwards and starring Felicity Jones, Diego Luna, Riz Ahmed, Donnie Yen, Jiang Wen, Forest Whitaker and Mads Mikkelsen. The original cast and other familiar characters will be back for “Star Wars Episode 8”, directed and written by Rian Johnson, in December 2017 followed by another anthology film about the early life of Han Solo in 2018, with Alden Ehrenreich portraying the young galactic smuggler.

The next Star Wars Celebration is at the Orange County Convention Centre in Orlando, Florida, from April 13-16. Tickets are available at http://www.StarWars Celebration.com

THE FORCE IN THAILAND

OF ALL THE fan groups of Star Wars around world, the 501st Legion is probably the most recognised and dedicated. Made up entirely of volunteers with screen-accurate costumes, the Legion, which was founded in South Carolina back in 1997, now has more than 8,000 active members in 50 countries.

Here, the 501st Thailand Garrison currently has up to 40 members and is expanding, thanks to the revival of the Star Wars franchise that has made Star Wars “cool again”.

“Four years ago, if you searched for ‘Star Wars fan Thailand’ on the Internet nothing came up except the 501st Thailand Garrison. There were no Star War toys or costumes in the stores so finding the Garrison came as a real relief to me and helped me settle in Thailand,” says Bangkok-based Londoner Martin Readhead of 501st Thailand Garrison.

Readhead says he became hooked on the fantasy after watching “Star Wars: Episode VI – Return of the Jedi” in 1983.

“And like most kids, I grew out of it. There were other things that kept me busy and I forgot about Star Wars until my son came along. I introduced him to the original Star Wars trilogy and fell back in love with it myself. It’s a great way of escaping reality. Whenever you’re having a bad day and need to get away, you watch Star Wars.”

“I didn’t realise that I could do more as a fan until I discovered the 501st Thailand Garrison. Joining the group is probably one of the best decisions I have made in my life. I have met so many people through this group, and we have become a big, ever-expanding family,” says Readhead, who is known for his Darth Maul impersonation.

The 501st Legion is not all about cosplay and posing for cameras. Their motto, “bad guys doing good”, underlines their contribution to the society as much as their passion for the cinematic brand.

“We help raise money for children-related charity and orphanages and visit kids in schools and hospitals. Our contribution is voluntary, and we do not accept payment. Sometimes when there is no event, we just put on our costumes and go for a walk around town – just to make people smile. So if you see us walking about, come say hi and take pictures with us.” Readhead says.

Join the legion at Facebook.com/501Thailand.

 

Udomsak by the dots

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THAI CONTEMPORARY ART

Udomsak Krisanamis has his recent works at Gallery Ver for the solo show “Paint It Black”. Nation/Anant Chantarasoot

Udomsak Krisanamis has his recent works at Gallery Ver for the solo show “Paint It Black”. Nation/Anant Chantarasoot

“The red wall is itself a giant painting that makes everything a single whole,” Udomsak says. Nation/Phatarawadee Phataranawik

“The red wall is itself a giant painting that makes everything a single whole,” Udomsak says. Nation/Phatarawadee Phataranawik

“Poppong” offers a “slice of life” glimpse at the artist’s studio’ in Chiang Mai. Photo/Gallery VER

“Poppong” offers a “slice of life” glimpse at the artist’s studio’ in Chiang Mai. Photo/Gallery VER

The Chiang Mai Art Museum is hosting the comprehensive “Retrospective”. Photo/Gallery VER

The Chiang Mai Art Museum is hosting the comprehensive “Retrospective”. Photo/Gallery VER

Udomsak invokes Buddhism, his life – and a little golf – in his abstract pieces. Photo/Gallery VER

Udomsak invokes Buddhism, his life – and a little golf – in his abstract pieces. Photo/Gallery VER

Long Life Non Senses ” features rice noodles, wire and nails. Nation/Phatarawadee Phataranawik

Long Life Non Senses ” features rice noodles, wire and nails. Nation/Phatarawadee Phataranawik

“Between the Sheets” is painted on a pingpong table.Nation/Anant Chnatarasoot

“Between the Sheets” is painted on a pingpong table.Nation/Anant Chnatarasoot

“Any Day Now” bears the phrase 'Golf, Eat, Sleep and Repeat' Photo/Gallery VER

“Any Day Now” bears the phrase ‘Golf, Eat, Sleep and Repeat’ Photo/Gallery VER

“Numbers of the Beast” uses spray paint and acrylic on straw mat. Photo/Gallery VER

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Finally, we discover why New York loves our boy

Udomsak Krisanamis manages to see art, Buddhism, his life – and golf – wrapped up together. The Bangkok-born 50-year-old, now a resident of Chiang Mai, made a name for himself in the New York art scene in the early 1990s but is less known in his homeland and rarely exhibits his work here.

Not that there would be many buyers in Thailand – his abstract paintings fetch the equivalent of Bt1 million. But they feature in the prestigious collections of the San Francisco Museum of Modern Art, the Walker and the Albright-Knox in the US and the Cartier gallery of contemporary art in Paris.

Udomsak’s local profile is rising, however, with his fellow artist Rirkrit Tiravanija curating a show titled “Paint It Black” at his Gallery Ver in Bangkok and a concurrent “Retrospective” at the Chiang Mai University Art Museum.

Gallery Ver’s solo show is Udomsak’s first in Thailand in a decade. “Not many people have seen my work in Thailand,” he admits. But the exhibition up North is perhaps the more interesting of the two because it entails reproductions by a dozen young artists in Chiang Mai of pieces that were sold privately overseas and are thus tricky to have shipped here.

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The red and white walls of the Art Museum have more than 20 paintings that, with the installations they surround, chronicle Udomsak’s creative life since 1989. He studied and worked in New York from 1990 to 2008 and has been in Chiang Mai since 2009. The originals of every single piece found buyers in the West.

“It would have been very complicated to ship the originals to Chiang Mai and our time was very limited, so we asked younger artists to recreate them,” says Udomsak, who seems pleased with the results.

This retrospective is much more narrative than his previous shows, and conceptually comprises one huge installation, with white dots on the wall guiding the viewer along step by step. “The red wall is itself a giant painting that makes everything a single whole,” he says.

The artist’s handwritten notes about themes and inspirations accompany each piece, a change from the usual practice of listing just title and medium, which forces viewers to draw their own interpretations of sometimes complicated abstract works. Here they’re allowed into the thought process with memories, song lyrics and poems, sometimes sad, sometimes cheerful.

“The text becomes part of the work,” Udomsak says. “I wrote all of it except for the Emily Dickinson poems, a story from my favourite golf book by Timothy O’Grady and some quotes I found online.”

What’s this about golf? “Playing golf makes me happy, the same as making art!” he explains. Fair enough.

Udomsak has long used collage, adding shards of newspaper, noodles and cellophane to the paint. “Long Life None Senses” features rice noodles, wire and nails. “Art isn’t necessarily produced by skilful workmanship, profound elements or superfluous materials,” he’s scrawled on the wall next to it in pencil.

“More importantly, art is not a supernatural thing that ordinary people find hard to understand. My work is made of whatever I have in my life.”

“Creative work,” he avers elsewhere, “should be produced in accordance with full emotion and feeling, in both the elements and the expression.

“The paintings and mixed-media pieces in this exhibition utilise objects found nearby, such as steel, wood, plastic, cloth, plant life, food and other scraps. These things seem to have in them my own memories and close relationships. They are the sources of my creative inspiration.”

In the earlier paintings done in New York, densely layered and textured grids resemble stellar landscapes, satellite imagery, twinkling cityscapes and blinking digital universes. His work shifts between the worldly and otherworldly, the sublime and the everyday.

Udomsak came out of Chulalongkorn University and studied at the Art Institute of Chicago, as did Rirkrit. He found living and working in different cultures and art scenes difficult. “More than anything

I learned how to survive under pressure and to be patient,” he says.

And yet, while for most contemporary artists, getting a toehold in New York during early 1990s was next to impossible, Udomsak breezed in.

“For me it was much easier,” he says. “I had my first solo show in my own tiny apartment. [Painter] Elizabeth Peyton saw it and told Gavin Brown [the gallery owner who made her a star], so I took all my paintings on the subway to show Gavin Brown, and that’s how it began.”

When he migrated to Chiang Mai in 2009 he rented the traditional Lanna-style wooden house seen in the small monochrome painting “Untitled”. “I could be closer to my parents, but I prefer somewhere other than Bangkok,’ he says. “Chiang Mai is perfect if you want to raise a family – it has everything.”

You can see “a slice of life” from Udomsak’s studio there in the installation “Poppong”, with its table loaded with the tools of the trade, a black-and-white photo on the wall and records playing on the turntable.

Surprisingly, Udomsak says there is no difference between the art scenes in Chiang Mai and New York “except Chiang Mai is so pretty and slow and you can get lazy very easily!”

In his more recent work on view in Chiang Mai, intricate detail is replaced by bold statements in dazzling but monochrome hues, the surfaces built up with layers of found material.

Rirkrit’s Gallery Ver is in contrast dominated by large paintings in black, white and blue done this year. The show’s title, “Paint It Black”, is borrowed from the Rolling Stones, whose song of the same name is a lament on bleakness and depression.

“I had a blast making these, even though I’d been through some tough times,” Udomsak says, “but that’s life. What you see at Ver, though, is the result of what came before.”

White loops appear on black or blue canvas. One bears the phrase “Golf, Eat, Sleep and Repeat”.

Glimpses of the spiritual void become evident, a Buddhist theme emerging, as it also did when he was working in the US. “For me, nothingness in both art and Buddhism mean peacefulness,” he says.

TWO SHOWS TO SEE

– Udomsak Krisanamis’ exhibition “Paint It Black” at Gallery Ver in Bangkok and “Retrospective” at the Chiang Mai University Art Museum continue through July 31.

– Find out more on the “GalleryVer” Facebook page.

 

Into the deep with Omega

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FASHION

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The Diver’s Seamaster Planet Ocean wristwatch changes colours as you reach new depths

THE FOOD was scrumptious at a recent dinner hosted by Swatch Group Trading (Thailand) country manager Tipanat Lenbury, but the star of the evening was the Omega Seamaster Planet Ocean “Deep Black”, the first diving watch made entirely of ceramic.

Unveiling the wristwatch for the first time in Asia, Tipanat, who is also brand manager for Swiss luxury watchmaker Omega, set up test bars brought in from Switzerland for the guests to gauge their watches.

There was a Diving Test Bar, a Magnetic Demonstration Test Bar and a New Technologies Test Bar. Magnetism has no effect on Omega watches, since they’re certified for |precision and performance at the industry’s highest level established by the Swiss Federal Institute of Metrology.

Omega’s more than 168 years of expertise in horology becomes clear in the Seamaster Planet Ocean “Deep Black”, which takes its design cues from the bond between the Earth and its moon and the magnificent natural phenomena that ensue.

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Evolving from the Speedmaster Dark Side of the Moon released in 2013, Omega’s expertise in the use of ceramics has resulted in the first all-ceramic diving watch, which can withstand deep-sea pressure to a depth of 600 metres.

The remarkable 45.5mm case is crafted from a single block of ceramic. Inside is the Omega Master Chronometer Calibre 8906, certified at the highest standard by METAS in Switzerland as well as earning the traditional COSC certification.

A GMT ring is fixed to the dial, which features Arabic numerals and a diving scale on the unidirectional ceramic bezel, formed in Liquidmetal or Omega Ceragold. The hands and indices are 18K white gold or 18K Sedna gold and coated in white Super-LumiNova.

Another first is the patented ceramic Naiad Lock caseback, which ensures that the engraved wording sits perfectly in position.

For added uniqueness, the “alveoli” design features an aesthetic wave pattern on the back.

There are four models. On the Blue and Red models the dials are brushed for a matt effect, and for the first time injected rubber has been blended with ceramic, covering the first quarter hour on the dial bezel, GMT hands and indices for better visibility underwater. The colours change the deeper you dive. The helium escape valve and Omega crown are also coloured using rubber injection.

The Black model is polished to a gloss and Liquidmetal is used on the “He” symbol marking the helium valve and Omega logo on the crown.

These three models come with a Kevlar-pattern black rubber strap that looks like fabric, with anti-bacterial rubber underneath. Each costs Bt391,000.

The 18K Sedna gold model featuring bezel, helium valve and crown of Ceragold uses a unique gold-injection technique to ensure the colour’s longevity. The case is glossy and the strap is water-resistant black alligator leather with the same anti-bacterial rubber underside. The price is Bt522,000.

 

Watch out for great prices

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http://www.nationmultimedia.com/life/Watch-out-for-great-prices-30291020.html

FASHION

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The Siam Paragon Watch Expo gets underway next week with 180 brands participating

AN ESTIMATED Bt350 million worth of timepieces will be on view and on sale at the Siam Paragon Watch Expo opening on Monday and continuing midway through August. More than 180 brands will be represented in the show, which has as its theme “The Icon of Timepieces”.

This year’s exposition is being run in partnership with Swiss manufacturer Breitling, whose watches typically celebrate “the spirit of aviation”. Breitling will transform Parc Paragon out front of the mall into an “airport” where a 12-metre-long jet will be parked.

The firm will also be promoting its latest collection, including the Exospace B55, which for the first time connects the chronograph and data functions. You can use your smartphone to set the time and time zone, and also transfer to your phone measurements such as flight time, recorded time and split time.

Meanwhile the Navitimer 1884 – of which 1,884 units were made – revisits the original pilot’s model of that vintage.

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Other participating brands include Baume & Mercier, Corum, Frederique Constant, Graham, Gucci, Glashutte Original and Nomos Glashutte, Hubolt, Maitre Du Temps, Montblanc, Longines, Oris, Perrelet, Tag Heuer and Zenith.

In all there will be more than 30,000 timepieces set out in three categories – Masterpieces, Luxury and Trends. Some of the watches commemorate the makers’ historical achievements. Mont Blanc is celebrating its 110th anniversary, Tudor 90 years and Seiko 135 years.

Rolex is marking the 60th anniversary of its Day-Date models and the 90th of its Oyster model. Jaeger-Le Coultre introduced the Reverso 85 years ago, and Tag Heuer the Monza and Citizen the Eco Drive 40 years ago.

Also on view will be museum pieces first displayed earlier this year at Basel World, the premier watch event in Switzerland.

The Grand Seiko Avant-Garde Exhibition underscores the beauty of craftsmanship and the power of creativity in the contemporary art of Japan’s Daido Moriyamo and Nobuyashi Araki, as applied to Seiko’s Black ceramic model. And Gucci’s travelling exhibition features its “Cabinet of Curiosity”, arriving in Southeast Asia for the first time.

The Masterpieces segment includes the Glashutte Original: PanoMaticLunar in stainless steel with striking grey settings on the ruthenium dial, rhodium indices and white-gold hour, minute and subsidiary second hands.

The automatic-winding, 47-jewel mechanical Panorama Date has white numerals on a grey ground with a silver moon and stars set against a silvery night sky.

The Hublot Classic Fusion Tourbillon Skull boasts a skeleton movement housed in ceramic-coated aluminium for a truly striking appearance. It’s been micro-blasted by hand to ensure extreme hardness, resistant to corrosion and friction and yet twice as light as ceramic.

With a manually wound HUB6014 calibre and an astonishing five-day power reserve, it’s been limited to just 50 pieces – nine of which are available in Thailand.

In the Luxury category, jewels and craftsmanship come to the fore. The Gucci Diamantissima borrows the firm’s Diamante criss-cross canvas motif.

The Maurice Lacroix Masterpiece Skeleton features a finely finished, pared-to-the-bone movement in a transparent case. Large spaces between each double spoke let you admire the numerous movement parts, particularly the house’s own hand-wound ML134 with its sandblasted details.

The TAG Heuer Carrera Calibre Heuer 01, so named in honour of company founder Edouard Heuer, similarly reveals its chronograph controls and has an open-work date disc on the dial side. A red column wheel on the caseback, a skeleton bridge and a black weight also draw the eye.

In the Trends segment are stylish timepieces such as the Oris El Hierro Limited Edition, of which 2,000 pieces are being sold around the world and 50 in Thailand. The diver’s watch takes its inspiration from an underwater volcano off the coast El Hierro, one of the Canary Islands, mimicking the black and grey of volcanic rock and the red (in the bezel minutes scale, dial and central seconds hand) of the molten lava.

The 44.3mm Seiko Zimbe Limited Edition, with 1,299 pieces on sale in Thailand, has a grey dial resembling the hide of a whale shark. It deploys Air Diver technology to protect the case up to 200 metres deep in the ocean.

The Sevenfriday Kuka II is equipped with an NFC chip for authentication via a mobile application, a stainless steel case treated with black PVD, and a highly resistant black silicon animation ring with a “robot track” pattern.

– The Siam Paragon Watch Expo 2016 takes place at the Bangkok mall from Monday through August 15.

– Watch Galleria outlets at the Emporium and all branches of The Mall will also have promotions through September.

 

Pretty in Prints

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http://www.nationmultimedia.com/life/Pretty-in-Prints-30291016.html

FASHION

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Finish fashion brand Marimekko brings its cutting-edge designs to Siam Discovery

BEST KNOWN for its bold prints and neat tailoring, Marimekko, a fashion and lifestyle brand from Finland, recently unveiled its new concept store at Siam Discovery and used the occasion to launch its autumn and winter collection. Much of the focus was on its simple tunic dress, a favourite with the ladies, which looks as good for a day at the office as for a power lunch.

ML Chanika Patpongpanich, brand manager, talked about the highlights of the new collection, noting that Marimekko is a classic brand that often plays with prints from the past.

“Some of the prints we see today were created more than 50 years ago but still look great when they are mixed with contemporary designs and high-quality materials and cutting. For this latest collection, designers Katsuji Wakisaka, Vuokko Eskolin-Nurmesniemi, Oiva Toikka and Joe Duke introduced elements that add an edge to the clothes, such as asymmetrical arrangements and pattern build-ups, inspired by the brand’s original designs.

Highlight pieces include a signature silk shirt, peony dress shirt, and the print-on-print total look. There are also shoes and bags that Marimekko fans will definitely want to wear in this upcoming winter.”

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Straight from the Finnish wardrobe, the innovative ideas are translated through the fashion’s house trademark prints and interesting colour combinations. Creative director Anna Teurnell was fascinated by the surrealists’ investigation of the space between fantasy and reality, and how this dialogue could be combined with Marimekko’s inclusive and functionalistic design approach.

The print “Adam and Eve” with its blooming cityscapes was designed by Wakisaka in 1972. Duke’s “Taped Pansy” print is a picturesque flower print mixed with quadrangles that creates an interesting rhythm. “Pieni Pioni”, as the small peony pattern is known, is a small-scale version of Maija Isola’s floral Pioni from 1970.

The collection also includes a new bijou line designed by Ilenia Corti plus large scarves and shawls that add a chic touch to the season’s outfits. Boots and shoes come in black, burgundy and white and in leather and suede and offer the perfect complement to casual and festive attire.

Aniporn Chalerm-buranawong, Miss Universe Thailand 2015 led the fashion show, which wrapped with a champagne toast to officially open the store. The event was joined many of Thailand’s A-listers including Mayuree Chaipromprasith, Kleddao Panichsamai, MR Chantaraladda Yugala, ML Chanika Patpongpanich, Kuntinee and Nopmanee Krairiksh, Yumi Kiangsiri and ML Oradis Snidvongs as well as celebrities Kemisara Paladesh, Panida Iemsirinoppakul, Ploy Chariyaves, Pimlada-Sirima Chaipreechawit, Pattreeda-Nualtong Prasarnthong, Maneerat Kham-uan and Sopitnapa Chumpanee.

 

Pointe and Twirl

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http://www.nationmultimedia.com/life/Pointe-and-Twirl-30290859.html

Swan Lake

Swan Lake

The power of ballet returns to the stage of the Thailand Cultural Centre in September

Ballets are very much part of Bangkok’s International Festival of Dance and Music. This annual festival has always showcased this classical art form at its best and the audience has responded with enthusiasm; Bangkok, it seems, just cannot get enough of ballet.

In its 18th edition this year, the festival is carrying forward its pledge to bring only the best to the Thailand Cultural Centre’s stage. The ballets being showcased are by four established and world famous companies: Stanislavsky Ballet, Ballet du Grand Theatre de Geneve, Karlsruhe Ballet and France’s Ballet Preljocaj.

Stanislavsky Ballet, now celebrating its 75th anniversary, is the ballet company of the Moscow State Stanislavsky and Nemirovich-Danchenko Music Theatre. One of Russia’s leading and most artistically successful companies, it is presenting a double bill this season – “Swan Lake” and “Giselle” – with 90 dancers, 11 of them gold medallists at international ballet competitions, and a full symphony orchestra. Formed in the 1920s, Stanislavsky’s goal was to train ballet dancers to act as well, and create ballets that bring out both skill sets and in this it has succeeded admirably.

Over the years, the company’s has collaborated with such leading contemporary choreographers as John Neumeier, Sir Kenneth MacMillan, Sir Frederick Ashton, and of course Vladimir Burmeister, whose version of “Swan Lake” is regarded as the best ever staged. And it this version of “Swan Lake” that Stanislavsky Ballet will perform in Bangkok.

Being staged on September 8 and 9, it has Oksana Kardash and Erika Mikirticheva alternating as Odette/Odile and Ivan Mikhalev and Denis Dmitriev taking on Prince Siegfried. Award-winning maestro Felix Korobov conducts.

Stanislavsky Ballet’s second offering is Adolphe Adams’s Giselle on September 11, a passionate and magnificent work with Natalia Somova as Giselle and Denis Dmitriev as Albrecht. Anton Grishanin holds the baton.

Later in September Switzerland’s Ballet du Grand Theatre de Geneve and its 22 dancers will take Bangkok by storm. Known for its classically trained dancers and spectacular repertoire performances, this company goes back to the 1800s when dancers performed with the Theatre Neuves on the site of the present-day Grand Theatre de Geneve. It is currently under the direction of ballet director Philippe Cohen.

The company will stage Richard Wagner’s dramatic “Tristan & Isolde” on September 24 and Carl Off’s Carmina Burana on September 26. Joelle Bouvier’s choreography of “Tristan & Isolde” brings into focus the Celtic legend of the adulterous love between the Cornish knight Tristan and the Irish princess Isolde. Dancing Isolde is Thai ballerina Sarawanee Tanatanit, winner of 2001 Prix de Lausanne and formerly a dancer with the American Ballet Company. She is the only Thai ballet dancer currently on the international stage.

Carmina Burana” choreographed by Claude Brumachon underlines the power of movement in a spectacular work in which music, movement and words are indistinguishable from each other.

On October 8 and 9, Karlsruhe Ballet, one of Germany’s leading classical ballet companies, brings a dramatic production of “The Nutcracker – Christmas Carol” to the stage. Set to Tchaikovsky’s music, this revised version of a classic, with spectacular costumes and sets, brings together “The Nutcracker” and Charles Dickens’ “A Christmas” Carol in a seamless production where Scrooge learns about the meaning of Christmas. It is the creation of Youri Vamos, a leading European choreographer whose primary aim is to ‘secure the survival of full-length ballets’.

The last ballet of the season takes place on October 12.”Romeo and Juliet” by Ballet Preljocaj is a romantic and contemporary retelling by French choreographer Angelin Preljocaj set in the totalitarian regime of an East European country.

Angelin Preljocaj was commissioned in 1989 by Lyons Opera Ballet to create this ballet. He set the age-old romance in an eastern Europe state, where everyone was under surveillance. The resultant ballet is no longer just the story of a fight between clans but of a confrontation between the militia responsible for keeping social order and the family of the homeless, on the fringe of society.

Partnering the Festival in ensuring that Bangkok gets to see the very best in Ballet are: Crown Property Bureau, Bangkok Bank (PCL), Bangkok Dusit Medical Services (PCL), BMW Thailand, B Grimm Group, Dusit Thani Bangkok, Indorama Ventures, Ministry of Culture, Nation Group, PTT(PCL), Singha Corporation, Thai Airways International and Tourism Authority of Thailand.

  • “Swan Lake” by Stanislavsky Ballet, Moscow is on September 8 and 9 at 7.30pm. The company’s “Giselle” can be seen on Sunday, September 11 at 2.30pm.
  • “Tristan & Isolde by Ballet du Grand Theatre de Geneve, Switzerland is on September 24 at 7.30pm and is followed on September 26 by “Carmina Burana”, also at 7.30pm.
  • “The Nutcracker – Christmas Carol” by the State Ballet of Karlsruhe, Germany is on October 8 at 7.30pm with a matinee performance the |following day at 2.30pm.
  • “Romeo and Juliet” by Ballet Preljocaj is on October 12 at 7.30pm.
  • All performances are at the Thailand Cultural Centre, Bangkok.
  • Tickets are now on sale at all Thai Ticket Major counters and online at http://www.ThaiTicketMajor.com.
  • Find out more at http://www.BangkokFestivals.com.

Pictures of a giggle

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http://www.nationmultimedia.com/life/Pictures-of-a-giggle-30290858.html

EXHIBITION

A girl reads a comic in the main exhibition room of “Humour Business” while her father hovers nearby.

A girl reads a comic in the main exhibition room of “Humour Business” while her father hovers nearby.

A cartoon showcase from Kai Hua Ror comic magazine

A cartoon showcase from Kai Hua Ror comic magazine

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A new exhibition at The Thailand Creative & Design Centre examines the business of humour

In a world where what’s good for us changes from week to week, seemingly on a whim, no one, at least to date, has taken a pot-shot at laughter, hailed as one of the best remedies for all kinds of problems. Humour, experts insist, can be found in everything, which is probably why even the corniest jokes or the most stupid of game shows have us in fits.

And now we have an exhibition dedicated to humour. “Utsa Ha Kam:Phlit Khum Thum Ngern”, which roughly translates as “Humour Business”, got off to a giggly start last week at the Thailand Creative & Design Centre (TCDC), and sets out to show us that humour is in our lives to a much greater extent than we ever imagined.

A collaboration between the TCDC and local publishing group Bunluesan, “Humour Business” explores the possibilities of humour as a communication tool and driver of business and is destined to draw the crowds. Indeed at the opening last Thursday, visitors and guests queued up to meet cartoonists from Bunluesarn Publishing, not for their autograph but for their portraits, which were obligingly drawn on the cover of long-running comic magazine Kai Hua Ror.

Comedy and its various incarnations in Thai culture is extensively covered in the exhibition, with space devoted to a video made by movie director Chayanop Bunprakob, in which the sole actor dresses up as different characters, bringing to mind the popular comedy “Shaolin Soccer” by Stephen Chow’s and the robot girl Arale from the Dr Slump animation.

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There’s Thai literature too including “Raden Lundai”, a parody poem written during the reign of King Rama 3, examples of “Phleng Patipart” (Dialogue Songs) such as “Lamtat”, the Thai-style antiphon common to merit-making ceremonies where singers and songwriters verbally outwit each other with the help of an ensemble cast. Further examples are “Kharuehat Suad Sop”, the funeral parody performed during the reign of King Rama 5 and Likay.

Space is also given over to influences from the west, which first found their way to Thailand through print, mainly satirical cartoons focusing on politics and social problems. The West also inspired such humorous novels as “Phol Nikorn Kim-ngaun” and songs like “Phooyai Lee” with lyrics that joke about the communication gap between civil servants and people in 1961.

But it is show business that has played the biggest role in bringing humour to the masses. Comedians first started appearing on the stage during luk thung (Thai folk country) music performances and it wasn’t long before they were superstars, showing off their skills in different media including films, TV dramas and TV shows. In the 1990s, comedy cabaret venues – known as cafes – were springing up in every part of town with troupes hopping from one venue to another to keep audiences entertained. On show in the main part of the exhibition is the Chernyim comedian band’s gag notebook from the shows, which reveals how they developed their gags. Visitors might well be surprised to discover that they employed a youngster known as a “gag boy” to jot down notes during the show as a check on whether the audience was made up of the same faces or newcomers.

Humour can also be found in product lines, such as Propaganda’s household objects and utensils such as its Mr P collection.

And then there’s the movies. Would the all-time top grossing film “Pee Mak Phra Khanong” have been such a hit had it not taken a humorous look at the folk legend? Probably not, which director Banjong Pisanthanakun confirms in the showcase of his post-it board that reveals how he used comedy to draw viewers closer to the character. Another example is portrayed through the works of the Phantamit dubbing team, who have lent their original scripts filled with their scribbled notes that add current hot topics or headline news to make the films relevant to Thai audiences. Among their most successful works are Stephen Chow’s deadpan comedy movies.

One of the highlights is the stand-up comedy corner of prominent comedian Udom “Nose” Taepanich. In one of the exhibition boards, Udom insists that he is not a funny man and his comedy shows stem from his extremely serious take on nonsensical stuff, which crystalises into messages that tickles the audience’s collective funny bone. Also on show are the story photo boards he prepares for his shows.

He and other comedians and directors also appear on the large screen in interview clips.

The social networks have created a new platform for laughter, and the exhibition has picked several Facebook pages as an example. One of the funniest is the “Pim Thai Mai Dai” page, which uses karaoke-style English spelling to post comments on Thai stories.

The next room is devoted to Bunluesarn Publishing company, which has been producing comic magazines and books for the last 60 years and the popular magazine “Kai Hua Ror” for 43 of them. Hundreds of their comic pieces decorate the walls, covering everything from daily life to gags. Their most memorable characters include the wife and their editor Vithid, a comic tough guy always chasing after them to meet his deadline. Now published in pocket-book size and available online, as an eBook and as an app, “Kai Hua Ro” is using the exhibition to invite members of the public to draw their gags in the Flash cartoon corner, and submit the original copy in the box provided nearby. Vithid will consider all entries and if he likes them, will not only publish then in the magazine but also pay for them!

The last room is devoted to a variety of humour initiatives including the Dream Doctors Project, which trains professional clowns to become medical clowns in Israel, and bumper stickers, including “True love is no match for a (Mercedes) Benz”.

And there’s more laughter at the exit of the exhibition where giant speakers play the sound of laughter.

FUNNY BUSINESS

    • “Humour Business” is the last exhibition to be shown on the fifth floor of Emporium Shopping Centre before TCDC moves to its new home at General Post Office Building.
    • The exhibition is showing until October 2 and is open daily except Monday from 10.30am to 9pm.
    • Admission is free.
    • For more information, call (02) 664 8448 extensions 213, 214.