Mai Iam’s modern marvels

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Mai-Iams-modern-marvels-30290753.html

CONTEMPORARY ART

The new Mai Iam Contemporary Art Museum boasts vast exhibition space, but can still only share glimpses of its permanent collection at any given time. Photo/Mai Iam Contemporary Art Museum

The new Mai Iam Contemporary Art Museum boasts vast exhibition space, but can still only share glimpses of its permanent collection at any given time. Photo/Mai Iam Contemporary Art Museum

Co-founder Jean Michel Beurdeley, right, checks in at the gift shop. Photo/Mai Iam Contemporary Art Museum

Co-founder Jean Michel Beurdeley, right, checks in at the gift shop. Photo/Mai Iam Contemporary Art Museum

Museum cofounders Jean Michel Beurdeley, far left, and Eric Bunnag Booth, far right. Photo/Mai Iam Contemporary Art Museum

Museum cofounders Jean Michel Beurdeley, far left, and Eric Bunnag Booth, far right. Photo/Mai Iam Contemporary Art Museum

Architecture firm allzone converted an abandoned warehouse into a home for contemporary art. Photo/Mai Iam Contemporary Art Museum

Architecture firm allzone converted an abandoned warehouse into a home for contemporary art. Photo/Mai Iam Contemporary Art Museum

The high ceiling makes the space ideal for film screenings and stage shows. Photo/Mai Iam Contemporary Art Museum

The high ceiling makes the space ideal for film screenings and stage shows. Photo/Mai Iam Contemporary Art Museum

The late Montien Boonma is the star of the permanent collection. Nation/Phatarawadee Phataranawik

The late Montien Boonma is the star of the permanent collection. Nation/Phatarawadee Phataranawik

Navin Rawanchaikul donated his portrait of the late Patsri Bunnag to the museum. Nation/Phatarawadee Phataranawik

Navin Rawanchaikul donated his portrait of the late Patsri Bunnag to the museum. Nation/Phatarawadee Phataranawik

“Phantom of Nabua” by Apichatpong Weerasethakul. Nation/Phatarawadee Phataranawik

“Phantom of Nabua” by Apichatpong Weerasethakul. Nation/Phatarawadee Phataranawik

“Super(M)art Bangkok Survivors” by Navin Rawanchaikul. Nation/Phatarawadee Phataranawik

“Super(M)art Bangkok Survivors” by Navin Rawanchaikul. Nation/Phatarawadee Phataranawik

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Thai contemporary art gets a permanent home in Chiang Mai

The art scene in the northern capital has received a massive boost with the opening of the private Mai Iam Contemporary Art Museum, whose remarkable permanent collection features some of the country’s biggest names and which is currently hosting a retrospective on acclaimed filmmaker-artist Apichatpong Weera- sethakul.

Eric Bunnag Booth and his stepfather Jean Michel Beurdeley of the Jim Thompson silk firm have established the 3,000-square-metre museum to showcase the more than 600 works that they and Eric’s late mother Patsri Bunnag amassed over the last 25 years.

“The idea is to have a permanent collection of contemporary Thai art on display at all times,” Eric says. “In no way does it represent the whole history of Thai contemporary art, but rather our own points of view, based solely on the emotional response these pieces give us. A work of art exists as a result the artist’s creativity, but also in the emotional response it produces in the viewer.”

Chiang Mai, already a vibrant centre of arts and crafts, is now home to three ambitious private museums, the others being artist Kamin Lertchaiprasert’s 31st Century Museum and the DC Museum owned by Bangkok-based collector Disaphol Chansiri.

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“Mai Iam means ‘brand new’,” says Eric, “and in our case it refers to Chiang Mai – ‘new city’ – and to my greatgrandmother’s aunt, Chao Chom Iam, to whom the museum is dedicated. The dialogue between old and new interests us very much, and you encounter it all the time in Chiang Mai.”

Gridthiya Gaweewong of the Jim Thomson Art Centre, who curated the permanent collection and Apichatpong’s show, lauds the museum’s founders for choosing San Kamphaeng district as the location.

“San Kamphaeng has always been and always will be one of the most important areas for the arts-and-crafts tradition of the North. I hope the Mai Iam will become fully integrated within this cultural landscape and bring more exciting creativity and innovation to the community.”

The site in the town of Baan Ton Pao is a 15-minute drive from the city core, and no one could have anticipated the dramatic architecture – an ultramodern two-storey structure that over the course of 18 months grew out of an abandoned warehouse.

The firm allzone, led by Rachaporn Choochuey, conceived the design, which includes a dazzling array of mirrored tiles on the exterior fa็ade. The mirror mosaic, found in a Lanna temple, adds to the museum’s modern appearance but also lends a traditional touch. Visitors love taking selfies in front of it.

The Mai Iam was the first art museum that allzone designed, but it’s handled art-related projects before. It mounted Pinaree Sanpitak’s vast installation “Breast Stupa Topiary” at Chulalongkorn University in 2014 and set up with space for the “Temporary Storage #01” exhibition curated by Chitti Kasemkitwattana at the Bangkok Art and Culture Centre in 2012.

“We wanted it to look contemporary, but at the same time not too alienated from the context of Chiang Mai,” says Rachaporn. “We tried out many materials for the exterior but finally settled on the small mirrored tiles. We searched all over the country for craftsmen capable of putting the tiles on the wall, but everyone was busy with temple work, so we asked the government’s Fine Arts Department, and they helped us develop a new technique for installation that’s faster and more efficient than the traditional method.”

With 1,300 square metres devoted to displaying art, the facility has plenty of room left for screening films in its 35-seat cinema and hosting educational workshops, stage performances and small-scale concerts. It also has a library, a 60-seat restaurant and a gift shop.

Nearly 100 people visit the museum each weekday and more than 130 visitors on weekends, Eric says.

A selection from permanent collection, entitled “Feeling the 1990s”, is on the second floor, comprising paintings, sculpture, installations and photography.

“That was when we entered the age of globalisation,” Gridthiya explains, “and it was an important period for many Thai artists as they began to join in conversation with the global art world. With their groundbreaking work they became mentors to the younger generations of artists, who are also represented here.”

The late Montien Boonma is given centre stage with key works on display including “Painting and Candles (Stupa)”, “Perfume Paintings” and “Handprints in Cement Construction” and the installations “Venus of Bangkok” and “Sala of Mind”. Alongside you can see Rirkrit Tiravanija’s huge charcoal abstract “Untitled 2013 (Study for freedom cannot be simulated)”.

Chiang Mai-based Navin Rawanchaikul is represented by another massive work, “Super(M)art Bangkok Survivors”. On the walls surrounding it are Kamin Lertchaiprasert’s “Death is Dhamma”, an untitled self-portrait by Chatchai Puipia and Prasong Luemuang’s “Kor Kon”.

On the ground floor is Araya Rasdjarmrearnsook’s 1995 installation “Isolate Moral Female Object, in a Relationship with a Male Bird I”. Hung nearby are Pinaree Sanpitak’s “The black, the white and the body”, Udomsak Krisanamis’s “Paint It Black” and Cambodian Sopheap Pich’s “Far From the Sun”.

Eric’s family lineage is traced back to the Ayutthaya Period in a separate exhibition, including his great-grandmother Chao Chom Iam, consort of King Rama V. They are depicted in paintings and photos, including a portrait of Patsri by Navin that he donated to the museum.

Also sharing the ground floor and half the second is the temporary exhibition “The Serenity of Madness”, dedicated to Apichatpong. Well known as a filmmaker, his work in the other arts is less known. This show is the first time his fellow Thais are getting to see his photography and printmaking talents.

From his earliest experimental films, Apichatpong has always explored themes of memory, animism, Buddhism and the supernatural, using the narrative traditions of his native Isaan. Visitors can see the reference materials used in his films “Mysterious Object at Noon”, “Blissfully Yours” and “Uncle Boonmee Who Can Recall His Past Lives”, including scripts and production sketches. And 30 of his short films, newly re-mastered, are being screened.

What’s on view at the Mai Iam is only the tip of the iceberg, says Beurdeley. “This is only 10 per cent of what we have. We’re planning more shows with new themes.”

Thus we can look forward to seeing works by National Artists Thawan Duchanee and Chakrabhand Posyakrit, and Eric says he “can’t wait” to exhibit his latest acquisitions, including pieces by Ruangsak Anuwatwimon, Tawatchai Pattanatorn, Parapet Jiwarangsan, Tada Hengsapkul and Latthapon Korkiatarkul.”

The Apichatpong retrospective will be replaced at the end of September by another devoted to Kamin Lertchaiprasert. In December, Eric says, “there’ll be an exhibition dedicated to my mother, who had a unique vision of ‘what is style’. It will be a dialogue between fashion and the works of art.”

MUCH TO SEES

– The Apichatpong Weerasethakul retrospective “The Serenity of Madness” continues through September 10.

– The Mai Iam Contemporary Art Museum is at 122 Moo 7 Ton Pao, San Kamphaeng, Chiang Mai. It’s open daily except Tuesday from 10 to 6.

-The admission fee is Bt150 (Bt100 for students, free for children under 12).

– Find out more at http://www.MaiIam.com and the “maiiam” page on Facebook.

 

Documenting euthanasia

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Documenting-euthanasia-30290752.html

STAGE REVIEW

In a rare light moment, Markus & Markus toyed with the idea of death, and the theme song of

In a rare light moment, Markus & Markus toyed with the idea of death, and the theme song of “Ghostbusters” was played. Photo/komun.ch

Markus & Markus reenacted their time with Margot who enjoyed the flowers in springtime Dusseldorf. Photo/komun.ch

Markus & Markus reenacted their time with Margot who enjoyed the flowers in springtime Dusseldorf. Photo/komun.ch

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A German theatre collective incites debate and discussion at a prefestival of ideas in Singapore

A composer acquaintance of mine passed away recently. His younger sister was at his bedside in the hospital and she and her husband, also a composer, then took it upon themselves to put the finishing touches to his last and unfinished composition, which she also sang. At the funeral, they handed out a CD with both this song and other finished ones. The CD has been on my office desk for a few weeks now and I don’t know when I’ll be able to listen to it. It’s a piece of art I don’t want to enjoy, at least not yet.

Two years ago, when Markus & Markus, German political theatre collective, made up of performers Markus Schafer and Markus Wenzel, dramaturg and manager Lara-Joy Hamann, designer Manuela Pirozzi and video artist Katarina Eckold, were conducting research for “Ibsen: Ghosts” the second instalment of their contemporary adaptation trilogy of Henrik Ibsen’s plays, they were told about Margot, an 81-year-old woman living alone in Dusseldorf. With no relatives to worry about, she was planning euthanasia and was willing to have them document the last month of her life. The young theatre makers did just that and also drove her to Basel, Switzerland where euthanasia is legal, and stayed with her until the end.

Last year, they premiered the documentary theatre work “Ibsen: Ghosts” in Germany and have since been invited to stage it at many festivals in Europe. Last weekend at the School of the Arts (SOTA) studio as part of the closing weekend of The OPEN, a pre-festival of ideas for the Singapore International Festival of Arts (SIFA), the Asian premiere offer audiences a uniquely harrowing |experience.

The artists walked a thin moral line here. In the documentary film, Margot enjoyed their company so much that she said if they kept coming to visit her she might change her mind. Had that been the case, then of course we wouldn’t have watched “Ibsen: Ghosts”. In the original play, a masterpiece of naturalistic drama from the last quarter of the 19th century, Mrs. Alving was faced with the dilemma of whether or not to put an end to the life of her son Oswold who was suffering from a terminal disease. Both Margot and the accompanying theatre makers, by contrast, were more determined in what they set out to do, notwithstanding some hesitation. Many of us here in Asia, because we live in societies that are based on the institution of family, can better relate to Alving’s situation and images of relatives discussing this matter with doctors at hospitals are not uncommon. Neither is the sight of doctors who need to unplug life support apparatuses in order to make available the bed for those who still have a chance to live. Of course, both these cases are recorded as natural death.

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Film excerpts showed Margot’s last month in Dusseldorf – in a park, at a supermarket, at her neighbours’, in her living room and at her dining table, in addition to her last moments of life, when Schafer and Wenzel sat among the audience, watching her last breath. Eckold, probably wisely, decided to the mute the sound a few moments before. These excerpts were juxtaposed with the two performers’ re-enactment of their time with Margot using many of the props from the old lady’s former apartment, and performance of related texts. The duo aimed for imperfection in their acting, but the “try not to act” mode, actually more artful and less realistic, was in a stark contrast to the reality of the film, and at many moments I found myself wishing for the next chapter of the film to start.

How we respond to death and loss varies from one religion, culture and country to another. And our background plays an important part in our judgement, which is partly why I’ve been expressing my strong reactions to both the content and form of this documentary play for more than a week now. I’ve been so outspoken that many friends wanted to watch it, and that’s how contemporary theatre, as democratic as it is, should also be – inciting debate, discussion and disagreement among the audience.

And it’s also a very good example of what any international performing arts festival should do – select a performance that doesn’t spoon feed the audience with the familiar in their comfort zone, but always challenges their morals.

When I met with the German company an afternoon after watching their work, one member asked me, “Do you know Ibsen?” Evidently, it’s their first time performing outside Europe and I should have told them that I watched a Thai translation of Ibsen’s “Ghosts” before they were even born.

Plenty of potential

The Singapore International Festival of Arts (SIFA) 2016 runs from August 11 to September 17 at various venues. Admission prices range from free to SGD 80 (20percent discount for students and seniors). For reservations and more details, visit http://www.SIFA.sg.

 

Somtow’s chariot halfway to Heaven

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Somtows-chariot-halfway-to-Heaven-30290751.html

STAGE REVIEW

A scene from Somtow Sucharitkul's 10-part opera epic 'DasJati'. Photo/Siam Opera

A scene from Somtow Sucharitkul’s 10-part opera epic ‘DasJati’. Photo/Siam Opera

Work proceeds on history’s most ambitious opera cycle, and there’s every indication of glorious success

Ii seems to have happened overnight, but Somtow Sucharitkul is at the halfway point in composing his 10-opera epic “DasJati” (“Tossachat – Ten Lives of the Buddha”), collectively touted by trade publications as the “biggest opera of all time”. It will be, too – provided that the composer survives to realise his extraordinary ambition.

Opera Siam’s compilation of scenes from the first five installations in the cycle – staged at the Thailand Cultural Centre on June 25 and 26 in honour of His Majesty the King’s 70th year on the throne – afforded a wonderful opportunity to revisit some of the more unusual highlights from Somtow’s fevered imagination.

Presented once again in wondrous fashion were the shipwreck and angelic rescue scene from “Mahajanaka”, the animals in the forest mourning the death of “Sama: The Faithful Son”, and the temptation of the Death-God from “The Silent Prince”, as well as the wittily electrifying Baby Dragon Dance from “Bhuridat”.

These musical dramas were performed in Bangkok over the past four years, but most interesting of all was the “sneak preview” of the next entry, “Chariot of Heaven”, from which the audiences at the Cultural Centre were treated to the scene “Tavatimsa Heaven”.

One of the problems in setting these 10 beloved Jataka tales of the Buddha’s incarnations to music is the sheer variety of storytelling techniques involved. Some of the stories are intimate and simple. Others have complicated, generation-spanning plots, and “Chariot of Heaven” derives from one of the latter. It’s based on Nimi Jataka, the story of King Nemiraj, who was so noble that the gods invited him to preach to them in Heaven.

It will be interesting to see how Somtow ultimately copes with this Jataka, since it is virtually without a plot, and yet 84,000 generations pass by within its first few pages. In place of the usual conflict that drives drama, this tale offers a tour of Heaven and Hell.

Knowing he had no plot to rely on, Somtow has resorted to a stunning array of musical devices. There is the lush orchestration that includes Tibetan bowls, an Indian tanpura and even a theremin. There are the edge-of-your-seat vocals. The god Agni, sung by Stacey Tappan, has some of the toughest, wildest coloratura passagework ever heard in an opera, and the American diva brings it off with elan.

And, for the entry into Heaven, Somtow has conceived a musical effect that is surely Guinness Book of Records material. The Davadueng heaven of Buddhist cosmology is populated by 33 named gods. To represent this, Somtow wrote the operatic ensemble number with 33 solo voices, a remarkable feat given that the biggest ensembles in opera tend to be sextets.

Finding capable singers for such a monumental grouping would be daunting for any opera company. Somtow enlisted an eclectic team including Purcell School-trained Khun Ploypailin Jensen, the royal granddaughter, who gave a touching account of Atma, the Soul. Other notable non-opera gods were luk thung star Jonas Anderson, as the wind god, jazz songstress Athalie de Koning as the God of Mind, and “Thailand’s Got Talent” winner Myra Molloy as a star goddess.

Somtow’s vision of Heaven combines the Buddhist ideal of stillness (there are only two chord shifts in eight minutes) with exotic colouration. It’s a bit like an oriental transformation of the opening of Wagner’s “Rheingold”. The stage and costumes are white – the 33 gods, garbed in an array of costumes that owe as much to Mount Olympus as Mount Sumeru, dance in an intricate slow-motion clockwork. One visitor from France was heard to remark on the way out, “If this is Heaven, I’m not afraid of death anymore.”

Whether a vision that has begun with such ambition can in fact be sustained over a span of 10 works has yet to be tested in the history of music. Even Wagner’s Ring Cycle has boring parts, as any but the most devoted Wagnerites will admit. Based on this mini-sampler, though, it looks as though Somtow plans to combat this danger by propelling the action and laying on the colour at an accelerated, cinematic pace. It’s a “Spielbergian” view of opera. Perhaps with works such as these, opera can begin grabbing some of the movie business’ market share.

Where life jackets bloom

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Where-life-jackets-bloom-30290750.html

CONTEMPORARY ART

‘F Lotus’ by Chinese artist Ai Weiwei at the Belvedere Palace in Vienna. Photo/AFP

‘F Lotus’ by Chinese artist Ai Weiwei at the Belvedere Palace in Vienna. Photo/AFP

A visitor walks under the artwork ‘Wang Family Ancestral Hall’ during last week’s press preview of the exhibition ‘Ai Weiwei translocation – transformation’ at the 21er Haus, Museum of Contemporary Art in Vienna. Photo/AFP

A visitor walks under the artwork ‘Wang Family Ancestral Hall’ during last week’s press preview of the exhibition ‘Ai Weiwei translocation – transformation’ at the 21er Haus, Museum of Contemporary Art in Vienna. Photo/AFP

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Ai Weiwei brings his visual comments on migrants to the pond of Vienna’s palace

Visitors to Vienna’s Belvedere Palace were confronted Wednesday with 1,005 refugees’ life jackets drifting in the baroque pond – courtesy of Chinese dissident artist Ai Weiwei.

The installation, entitled “F Lotus”, consists of 201 rings each holding five life jackets – retrieved from the Greek island of Lesbos – arranged in the letter “F” and floating like lotus flowers.

Ai, who in February this year attached 14,000 life jackets to the columns of a Berlin concert house, says the work is his way of addressing the tragedy of Europe’s migrant crisis.

Despite the mixed responses to his intervention in Berlin, the Chinese descendant artist has brought his first solo exhibition “translocation – transformation” to Austria for the first time.

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“There are more than 500,000 life jackets left on (Lesbos) and it looks like a landscape,” he says. “It is something so related to individuals. It could be the last thing you grab when you have to escape.”

Spanning multiple locations from the 21er Haus to the Upper Belvedere, the exhibition features a number of large-scale installations and interventions that explore and address the main theme of “translocation – transformation,” which the 21er Haus defines as the metamorphosis caused by the migration, deliberate relocation, and expulsion of people and objects.

Surrounded by the pond is his remarkable installation “Circle of Animals/Zodiac Heads”. The iconic installation “Wang Family Ancestral Hall” and gigantic installation “Teahouse” and “Spouts” are displayed in the 21er Haus.

The artist went too far for some earlier this year when he recreated the death pose of Aylan Kurdi, the Syrian toddler found dead on a Turkish beach in 2015, in a photo shoot for an Indian magazine.

China’s most prominent contemporary artist helped design the Bird’s Nest stadium for the Beijing Olympics, but his works have often fallen foul of China’s authorities. In 2011, he was detained for 81 days.

Migrants on the march

“Ai Weiwei translocation – transformation” is at the 21er Haus in Vienna through November 20

 

Dark secrets of the man who opened architecture to the light

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Dark-secrets-of-the-man-who-opened-architecture-to-30290814.html

LE CORBUSIER

This file photo taken on July 01, 2016 shows the church of Saint-Pierre built by French architect Le Corbusier, in Firminy, near Saint-Etienne, eastern France. / AFP PHOTO / PHILIPPE DESMAZES

This file photo taken on July 01, 2016 shows the church of Saint-Pierre built by French architect Le Corbusier, in Firminy, near Saint-Etienne, eastern France. / AFP PHOTO / PHILIPPE DESMAZES

his file photo taken on July 01, 2016 shows the Maison de la Culture (House of culture) (bottom) built by French architect Le Corbusier, in Firminy, near Saint-Etienne. / AFP PHOTO / PHILIPPE DESMAZES

his file photo taken on July 01, 2016 shows the Maison de la Culture (House of culture) (bottom) built by French architect Le Corbusier, in Firminy, near Saint-Etienne. / AFP PHOTO / PHILIPPE DESMAZES

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PARIS – Love him or loathe him, few people have changed the world we live in more than Le Corbusier, one of the fathers of modern architecture, whose works were placed Sunday on UNESCO’s prestigious World Heritage List .

His ideas about utilitarian concrete buildings have altered the face of cities across the planet and have had an equally profound influence on urban planning.

From his modernist masterplanning of Chandigarh in northern India to Paris, which he dreamed of levelling to make way for his own more rational city, the Swiss-born designer was never afraid of thinking big.

He left his greatest mark on France, his adopted home, where no less than 10 of the 17 projects which UNESCO classified as world heritage sites are located.

From the La Cite Radieuse housing project in Marseille to the Dominican monastery of La Tourette near Lyon and La Villa Savoye near Paris, it is also where he left some of his greatest masterpieces.

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His designs for functional apartment blocks surrounded by parks dominated France’s postwar urban planning until eight years after his death in 1965 when it became clear that many were depressing and anonymous, and blamed for urban alienation.

Vertical cities

“You have to put him in context,” said Vanessa Fernandez an expert at the Paris-Belleville School of Architecture. “He came from an incredible avant-garde in the 1930s” when building techniques had yet to catch up with architects’ ideas.

“After the war in the face of a baby boom and slum housing they had to build three million homes in 30 years.”

Some of his “vertical cities” were adored by their residents, particularly his Marseille block built in 1945.

When the Mediterranean city was made a European cultural capital three years ago, La Cite Radieuse was one of its most visited attractions.

Le Corbusier allowed light to bath the double-aspect duplexes with their open plan kitchens, then a design revolution.

Inside everything was planned to Le Corbusier’s own human scale he called the “modular”, based on his ideal man, who, added Fernandez, was “handsome, sporty and six foot tall”.

Out-and-out fascist

The image, in fact, of the perfect Aryan. For the architect was also “an out-and-out fascist”, Xavier de Jarcy, one of his biographers told AFP last year.

Another biographer, Francois Chaslin, said he was a longtime far-right supporter, who was “active for 20 years in groups with a very clear ideology”.

He said his anti-Semitic beliefs were “kept hidden” long after his death to protect his architectural legacy.

Soon after arriving in Paris in 1920 Le Corbusier hooked up with Pierre Winter, a doctor who headed France’s Revolutionary Fascist Party, and worked with him to create the urban planning journal “Plans”. When it closed, they started another called “Prelude”.

Jarcy said that Le Corbusier wrote in support of Nazi anti-Semitism in “Plans” and in “Prelude” co-wrote “hateful editorials”.

His 1925 urban plan to flatten the historic centre of Paris included razing the Marais, a district long home to the capital’s Jewish community.

In October 1940, after France had fallen to the Nazis, Le Corbusier wrote to his mother, “Hitler can crown his life with a great work: the planned lay-out of Europe.”

Writer Marc Perelmen, who has investigated the architect’s ideas for more than three decades, said that Le Corbusiers’s political and architectural ideas “are viewed separately, whereas they are one and the same thing”.

Born in Switzerland in 1887 as Charles-Edouard Jeanneret-Gris, the architect moved to Paris at 20 and adopted his maternal grandfather’s name to show that man was capable of reinventing itself.

That was certainly true of his own life.

Despite his links with the wartime collaborationist Vichy regime, when he drowned in the sea metres from his famously tiny cabin he had built for himself on the French Riviera, he was given a state funeral at the Louvre.

– AFP

 

Thailand by design

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Thailand-by-design-30290627.html

ENTERTAINMENT

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The Kingdom has plenty of talent in the design field as evidenced by the entries for the 2016 DEmark Awards

THE COMMERCE Ministry’s Department of International Trade Promotion (DITP) recently joined up with the Thailand Institute of Design and Innovation Promotion to present the creative designs that made it into the finals of the 2016 edition of the DEmark Awards. The DEmark Show 2016, as it was dubbed, was held last week at Siam Paragon’s Lifestyle Hall and also brought together design experts from Thailand and Japan including G-Mark representative Yoshiaki Irobe, and Kazushige Miyake from Japan Institute of Design Promotion (JDP). A DEmark concept store was also opened to customers and assembled the DEmark products from over the past eight years in one place.

“The Design Excellence Award (DEmark) has been held annually for the last nine years. The aim is to promote Thai products and help them become internationally recognised. We try to encourage Thai companies and Thai designers to improve their products and services by adding creativity in terms of functionality and aesthetics, as well as creating a brand that is unique, outstanding, and different. DEmark is a project that has helped Thai designers and Thai brands compete with other countries,” DIPT’s deputy director general Chantira Jimreivat Vivatrat explained.

“Over the past eight years, we have seen Thai designers continue to improve and there are now many new Thai brands whose creative design has been recognised by DEmark. DEmark is a symbol of design excellence. To date, 568 items have been granted the DEmark stamp of approval. Thailand is transforming into a creative economy, and this will lead to sustainable growth in international trade with Asean and international markets.

“This year’s awards have as their concept “Design-Driven Business” to highlight Thailand’s status as a creative economy and to show the Asean and international markets that Thai products are creative, unique and different,” Chantira continued.

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“This year, DITP has partnered with Siam Piwat to open the Object of Desire Store in the newly renovated Siam Discovery. This will serve as a retail channel for Thai brands which have won DEmark and other design awards in the home decor category and features more than 160 products.”

ML Kathathong Thongyai, director of Thailand Institute of Design Promotion, was delighted by the interest in the awards noting that the 2016 edition had received 616 entries from 330 applicants.

The awards are divided into six categories: “Industrial Process/Industrial Craft”, “Gift & Decorative Items/Household Items”, “Fashion Apparel/Leather Goods/Jewellery/Textile”, “Home Appliances/Equipment and Facilities for Office”, “Food Packaging/Health & Beauty Packaging”, and “Font/ Graphic on Surface/Digital Media/Identity Design.”

 

Game for a laugh

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Game-for-a-laugh-30290588.html

AFTER DARK

5

Comedy club founder drew McCreadie shares what it takes to be funny

KNOW THERE’S a funny person hiding away behind your straight-faced interior but unsure how to let it out? Then drop in to the Comedy Club Bangkok on Sukhumvit Soi 33/1 tonight, look for Canadian funnyman Drew McCreadie and ask him about the next improv comedy workshop he’ll be hosting.

An actor, playwright, director and improviser, McCreadie has an impressive CV. He’s a member of TheatreSports in Vancouver, The Second City, Urban Improv and Rock Paper Scissors and has taken the stage in comedy clubs throughout Canada and the US. The winner of the Canadian Comedy Award for Best Male Improviser made his way to Bangkok and co-founded Bangkok’s first English language comedy venue in September 2012 and continues to bring in globally renowned comedians to perform every weekend while raising the bar of the local comedy scene with open-mic sessions and improve comedy workshops.

We had a chat with him about how to be funny.

SO COMEDY CAN BE LEARNED?

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Nope! There is nothing that can be done if you are not funny. Humour is a natural instinct, you either have it, or you were a good-looking child. But what can be taught is how to do funny things on stage! Improv is a team sport, and as such, there is a built in surprise that comes from the fact that you don’t know what the other player is going to say next. And comedy is all about surprise, so if you do certain things on stage, the amount of surprise is heightened, and the chances that something funny will drop out of your unfunny mouth increases.

WHAT DO YOU TEACH IN THE WORKSHOP?

The improv workshops are as much about unlearning as they are about learning. There are things we do in our normal, boring, non-improv lives, that are very useful for getting through the tedium that is the average non-improviser’s banal existence. However, those same things often get in the way of making us exciting, interesting, and ultimately funny people when we get on stage. We like to block ideas in real life, say ‘No’ to things first, and then allow life to convince us that we should have said ‘Yes’. It is a natural habit that most of us have. On stage you need to do the exact opposite. You need to say ‘Yes’ first. That is way more interesting.

WHAT IS IMPROV COMEDY?

Improv comedy is a group form of comedy, where a team of improvisers will take a suggestion from the audience and turn it into a hilarious scene. It differs from stand-up which is one person on a mic, telling a bunch of pre-written jokes. Improv involves the audience in a totally different way than stand-up. Improv is non-combative. The performers and the audience work together to create the fun. That’s why I love it so much.

HOW DOES IT WORK?

Improv comedy is about ‘being in the moment’, which means listening to what has just been said, not trying to force a pre-planned story, reacting to what has just happened, not worrying about how things will be perceived or received the split second after you say something. Being in the moment is letting go of all fears by focusing very, very intently on the current moment, forgetting any judgement about the past, and not worrying about how you will be judged in the future. You get to a place where you can trust that something funny will come out of your mouth.

WHO ARE YOUR STUDENTS?

Students for improv workshops fall into three very clear categories. There are those who are interested in becoming performers, those who want to work on their self-confidence and public speaking skills, and those who just want to have fun. The good news is that it is fun for everyone. And you learn a lot without even feeling like you are learning!

WHAT WOULD THEY BE LIKELY TO PULL OFF AFTER ONE WORKSHOP?

One workshop will open your eyes to behaviours that you have that you were not even aware off. You will notice how often you say “no” to things as a first response. You will also have a clearer understanding of why certain people are funny. You will begin to see the things they do that make them funny and interesting.

HAVE ANY OF THE STUDENTS MADE IT TO PROFESSIONAL LEVEL SO FAR?

Almost all of the performers at the Comedy Club Bangkok have come up through the workshops. And now they are performing regularly in front of a live audience.

WHAT DO YOU THINK MAKES A GOOD COMEDIAN?

A good comedian makes you see something that you have seen a thousand times before in a completely new way. A good comedian can see the absurdity of life, and make the tangential connections that we all have made subconsciously, but were not aware of. A good comedian is also great in bed – just saying.

Joking Apart

– Find out more at http://www.ComedyClubBangkok.com.

 

A true taste of France

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/A-true-taste-of-France-30290489.html

Imported art tools sennelier from HHK

Imported art tools sennelier from HHK

French ambassador Gilles Garachon and Alexandre Dupont

French ambassador Gilles Garachon and Alexandre Dupont

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French fashion and lifestyle products take centre stage over the next three days at the Bonjour France Fair at Central World

The Franco-Thai Chamber of Commerce turns 50 this year and to celebrate the occasion, its new president, Alexandre Dupont, is inviting members of the public to raise a toast to France by coming along to the “Bonjour France” fair at Central World.

More than 40 booths will be showing the latest in French fashion and lifestyle items and Dupont is hoping that it will serve as an inspiration for Thai designers to develop and create new designs that will give them the same cachet as French brands.

He took time out from his busy schedule to chat by email with XP.

In the 50 years since the French Chamber was established in Thailand, what have been the most significant changes in the trade between the two countries?

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Thailand and France have been trading partners since the Ayutthaya period and French East India Company sent its first ship to Siam in 1680.The first goods France bought back from Thailand was tin from Phuket. The first Siamese ambassador went to France in 1684 and France sent its first ambassador to Siam the following year.

Our most recent trade relations started flourishing about 50 years ago, which is why the chamber was set up in 1966. At that time, the Franco-Thai Chamber of Commerce was a business club for French people coming to do business in Thailand to meet and exchange their views. We welcomed various engineering and industrial companies to Thailand as well as French banks, which accompanied and supported these companies. Air France, Banque Indosuez (formerly Banque de l’Indochine), BFCE and SOAEO were among our founding members.

During the ’90s, Thailand attracted a significant number of French companies. The Office of Board of Investment even had a French expert to facilitate contacts for French investors starting their projects in Thailand and again the chamber played a key role. During that time, many big industrial groups established subsidiaries or joint-venture with Thai partners.

Today, the FTCC has more than 300 members, 70 per cent of which are French companies based in Thailand. They are in various sectors ranging from heavy industry to services. We see an increasing number of companies arriving here Thailand and with the explosion of the luxury market, we now have such major lifestyle players as Laduree, Fauchon, Pierre Hermes, Van Cleef &Arpels and more.

France has a major influence on lifestyle. Which product category creates the most impact and why?

The luxury brands in cosmetics, leather goods, clothes and accessories have the biggest impact and while more furniture and design objects are coming to Bangkok, they are destined more for the niche market. This is because France is known the world over not only for its unique design but also as a trend setter. The food and beverage industry has also impacted social and consumption habits, which we have observed through the increasing success of our Bonjour French Fair.

Taking the luxury lifestyle market’s needs, what do you see as the main challenges in Thailand?

The prices of lifestyle products remain expensive in Thailand, which is mostly due to the high import duties whereas other tourist destinations in Asia are duty-free. The main challenge would be therefore to lower or remove trade barriers in relevant luxury products sectors so that Thailand could become a leading luxury shopping destination and thus attract more high-end tourists.

How is the AEC affecting your relationship with Thailand?

The AEC will attract more manufacturers to take advantage of the zero per cent import duties in some sectors while exporting their goods in the zone. Thailand has to become more competitive in terms of labour costs, tax incentives and ease of doing business. France is now looking at the AEC as a big trading partner in which Thailand can play a key role as partner on a regional scale.

Can you rank the top five French products that are popular in Thailand?

The top five French products are handbags and leather goods, clothes and accessories, perfumes, wine and spirits and delicatessen goods. What Thai consumers love about French products are the design, quality and prestige and overall French “Art de vivre” (life style).

How about Thai products? Which Thai products do the French people like?

Overall, French people like the quality of services in Thailand, the Thai hospitality and the legendary Thai smile. French people love Thai food and appreciate Thai handicrafts. More furniture and design items from Thailand are also now being exported to France and Europe. The FTCC represents Maison&Objet Paris, the world’s leading trade fair for furniture and lifestyle products. We have been promoting this fair for almost 20 years now and are proud to bring more Thai furniture and lifestyle exporters to Paris each year.

n French Fashion and lifestyle products are |on show and for sale in “Bonjour France” at CentralWorld from today through Sunday.

n Find out more by |calling (02) 650 9613-4 or check out the “Bonjour France Bangkok” |page on Facebook.

 

Born in American, made in Japan

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Born-in-American-made-in-Japan-30290487.html

Jill Stuart’s fans crowded over the beauty hall

Jill Stuart’s fans crowded over the beauty hall

Jill Stuart cosmetics find a home in Bangkok

When American designer Jill Stuart expanded her reach from clothes to beauty products more than 20 years ago, she turned not to the US market but to Japan. Today, despite its Western-sounded name, Jill Stuart cosmetics is 100-per-cent Japanese, and now the popular range of makeup has found its way to Thailand with the opening of a counter at high-end shopping mall Siam Paragon.

“The Jill Stuart look is innocent but sexy while the packaging is luxury vintage. That’s what makes us unique,” says brand manager Mayumi Sato, adding that the DNA of the brand is based on the designer’s belief that women are at their most attractive when they are in their transitional period – going from girlhood into womanhood.

Yoshifumi Yamamoto, managing director of Kose (Thailand) joined Sato at the recent launch, which drew long queues of Thai ladies who previously had stocked up on their Jill Stuart goodies on trips to Japan/

“Stuart, who introduced her first fashion collection back in 1992, visited Japan the following year and was blown away by Japanese fashion. She defined it as ‘happy and kawaii’, meaning ‘cuteness’. The makeup collection was launched soon after and focused on creating a pure and sweet facial expression reminiscent of a young girl but with the allure of a grown-up woman. Our most popular items are the Mix brush cheek colour and the Jewellery eye colour, which comes in several misty shades,” Sato explains.

Yamamoto adds that Kose has carefully researched its potential markets over the last six years. “We checked the number of visitors to Jill Stuart’s Facebook page and found that Thai users were the third biggest group, followed by the Japanese and Chinese. We’ve also seen that more and more Thai customers are visiting the Jill Stuart beauty counters in shopping malls and duty free shops so it made sense to open here.”

“Stuart’s creativity is coherent with her fashion design and she hosts regular shows using the beauty products for her runway look. Once she unveils her new collection, the cosmetic team gets to work as it can take one year for the production of the beauty range but only six months for the clothes,” Sato adds.

“We use black eyeliner and pink eye shadow to create a ‘Jill’ girl, with a cute vibe and a sensual look. Juicy fruit scents are mixed with seductive floral fragrances.”

Rosemary, lavender and rosehip are key components in Stuart’s range of products. The flowers and leaves of rosemary strengthen, tighten and hydrate the skin while inhibiting sebum production. Lavender oil acts as an emollient and eases inflammations and sores while rosehip oil, extracted from the bright red fruit that appear after wild roses bloom, contains a highly concentrated amount of essential fatty acids, antioxidants, and fat-soluble vitamins, which combine to prevent ageing in the skin. Wild Rose extract is also used to calm sunburn and tone down pigmentation.

The full range of Jill Stuart beauty products, which are all made in Japan, will be available in Thailand. In addition to makeup, they include shower cream, lotion, nail polish, fragrance and sunscreen plus such essentials as make-up brushes, make-up bags, pocket mirrors, eyelash curlers and soft towels.

Fendi walks on water

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Fendi-walks-on-water-30290482.html

Models present fashion show at the Trevi Fountain./AFP

Models present fashion show at the Trevi Fountain./AFP

The Italian fashion house celebrates 90 years of Luxury with a specacular event in Rome

Fendi sealed its profound and long-lasting bond with Rome by choosing its hometown to celebrate the Maison’s 90th anniversary around the city’s iconic landmarks.

The event started last Thursday in the late afternoon with a private cocktail at the San Luca Academy inside Palazzo Carpegna, an historical Roman Palazzo hosting an artists’ association founded in 1593, just a few steps away from the Trevi Fountain, where it launched –

as a worldwide preview – the “Fendi Roma” book. The book, conceived to celebrate 90 years of the Maison, its history, identity and the profound links with the city of Rome, was presented in an exclusive set up inside the exhibition area where its photographic images were displayed as in an art gallery.

The celebration continued at the glorious Fontana di Trevi, for a never seen before fashion show with the Legends and Fairytales Haute Fourrure Collection, designed by Karl Lagerfeld, once more an example of the unique craftsmanship, daring creativity and expression of the excellence of the Roman brand. The Trevi fountain’s water and play of lights fused with the catwalk rhythm giving life to an iconic Roman atmosphere. International top models Kendall Jenner and Bella Hadid walked down the transparent catwalk placed on water during sunset looking for all the world like floating fairies.

The fashion show was followed by a breath-taking dinner at Terrazza del Pincio in Villa Borghese, which hosts one of the most amazing landscape views of Rome. The guests walked through a corridor immersed in Karl Lagerfeld’s sketches since 1965 in a special artwork called Gust of Wind conceived by the internationally renowned designer Paul Cocksedge Studio. An unexpected and circular “Fendi fountain” was constructed to embrace the dinner venue, underlining once again the profound and historic bond between Fendi and the Roman fountains.

The dinner was followed by a special performance by singer Giorgio Moroder, an award-winning singer who has collaborated with such icons as Barbara Streisand, Freddy Mercury, Donna Summer and Daft Punk.

The following day, guests were invited to the preview of the exhibition “Fendi Rome”- The Artisans of Dreams” on the Palazzo della Civilta Italiana’s first floor and enjoyed a brunch on the Palazzo’s terrace. The exhibition, which opened to the public last weekend, has been conceived to celebrate the Maison’s unique craftsmanship and creativity, founding and distinctive elements of the luxury Roman House core values.

Fendi is continuing its birthday celebration with the launch of the Peekaboo 90 Years, designed by Silvia Venturini Fendi, a one-of-a-kind bag entirely made by hand in only 60 pieces. Using the most ancient techniques of the Roman master saddlers, the Peekaboo 90 Years, is available exclusively in the Palazzo Fendi boutique in Rome. Special windows have been developed exclusively for the boutique t where special paper craft techniques are used to illustrate the story of the Maison, where suitcases become the cover of a giant books and paper miniatures, examples of fine craftsmanship, represent the five Fendi sisters, Karl Lagerfeld and Silvia Venturini Fendi.

Among the celebrities attending the event Bernard Arnault with his son Alexandre, actresses Kate Hudson and Gong Li and singer Bella Thorne.