{"id":36253,"date":"2022-03-24T18:09:02","date_gmt":"2022-03-24T10:09:02","guid":{"rendered":"http:\/\/www.artsg.com\/?p=36253"},"modified":"2023-12-11T11:32:28","modified_gmt":"2023-12-11T03:32:28","slug":"a-conversation-with-arin-rungjang","status":"publish","type":"post","link":"https:\/\/artsg.com\/a-conversation-with-arin-rungjang\/","title":{"rendered":"A Conversation With Arin Rungjang"},"content":{"rendered":"\t\t
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Portrait of Arin Rungjang<\/span><\/h6><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Interview by Tan Siuli<\/h4>

Images by Marisa Srijunplaeng<\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Arin Rungjang\u2019s research-led work interweaves personal, cultural and political histories. His video installations often focus on objects or symbols that connect major and minor narratives across time and space, offering up a lens from the present to view overlooked episodes from the past, and vice-versa. He represented Thailand at the 55th Venice Biennale with his artwork Golden Teardrop<\/em> (2013) which centres on a traditional Thai dessert, through which Arin narrates a journey spanning five centuries of trade, war, and political intrigue. Another work, Mongkut<\/em>, presented at the Jeu De Paume in 2015, traces the history of Franco-Thai relations through the cherished symbol of the royal crown, the title of the work itself a play on King Rama IV\u2019s name (Mongkut) as well as the Thai word for \u2018crown\u2019 (Mongkut).<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"'Golden
'Golden Teardrop', installation, 2013, Arin Rungjang. Image courtesy of the artist. <\/figcaption><\/figure><\/div>
\"'Golden
'Golden Teardrop' (detail), installation, 2013, Arin Rungjang. Image courtesy of the artist. <\/figcaption><\/figure><\/div>
\"'Golden
'Golden Teardrop' (detail), installation, 2013, Arin Rungjang. Image courtesy of the artist. <\/figcaption><\/figure><\/div>
\"'Golden
'Golden Teardrop' (detail), single-channel video, 2013, Arin Rungjang. Image courtesy of the artist. <\/figcaption><\/figure><\/div>
\"'Mongkut'
'Mongkut' (single-channel video), 2018, Arin Rungjang. Image courtesy of the artist. <\/figcaption><\/figure><\/div>
\"'Mongkut'
'Mongkut' (installation view), 2018, Arin Rungjang. Photo by Takeru Koroda, courtesy of Kyoto City University of Arts.<\/figcaption><\/figure><\/div>
\"'Mongkut'
'Mongkut' (installation view), 2018, Arin Rungjang. Photo by Takeru Koroda, courtesy of Kyoto City University of Arts.<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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In this feature, Arin takes ART SG around sites in Bangkok that have inspired his projects, including his monumental work for documenta 14, and an upcoming presentation that revisits the reign of King Rama IV and his deft negotiation of power and sovereignty through the use of symbols and aesthetics.<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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WAT BOROM NIWAT<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\""Wat
\"Wat Borom Niwat is notable for its murals painted by Khrua In Khong. Khrua In Khong and King Rama IV developed their friendship when they were in the monkhood during the reign of King Rama III. The King was very fond of him. Therefore, once he ascended the throne, he frequently ordered Khrua In Khong to paint murals in the temples he built or restored.\"<\/figcaption><\/figure><\/div>
\""Western
\"Western painting greatly influenced Khrua In Khong\u2019s style, thus distinguishing it from other conventional Thai paintings. He is the first artist to introduce linear perspective to Thai traditional art.\"<\/figcaption><\/figure><\/div>
\""In
\"In Wat Borom Niwat, Khrua In Khong created a traditional mural painting with non-traditional techniques, such as the application of perspective.\"<\/figcaption><\/figure><\/div>
\""He
\"He significantly re-ordered the Traiphum (three-world cosmology) style of mural painting commonly found in temples.\"<\/figcaption><\/figure><\/div>
\""For
\"For example, in one part of the mural, the perspectival technique of a vanishing point on the horizon is used as a metaphor for the destination of nirvana. The ocean then becomes an obstacle to be surmounted, but there is a wise man who builds a ship to help carry all humans across the ocean to reach nirvana.\"<\/figcaption><\/figure><\/div>
\""I
\"I am researching how we, humans, have transformed nature into culture through perception, and created a significance of topography into identity.\"<\/figcaption><\/figure><\/div>
\""The
\"The work of Khrua In Khong is part of what I am interested in, a specific period in which tools and techniques become essential in modernization.\"<\/figcaption><\/figure><\/div>
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DEMOCRACY MONUMENT<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\""I
\"I have been traveling to various cities to exhibit my work and undertake artist residencies. I had time to create work, and work continuously, but I was away from my family.\"<\/figcaption><\/figure><\/div>
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\"My sister\u2019s passing and the pandemic brought me back to Bangkok, and now I am closer to my family and have started teaching art students at a university. I\u2019m currently preparing my new work for a solo exhibition in Bangkok.\"<\/figcaption><\/figure><\/div>
\""The
\"The Democracy Monument was erected in 1939 to commemorate the 1932 Siamese Revolution. This was a bloodless coup against King Prajadhipok, staged by a group of military and civil officers. It changed the system of government in Siam (today\u2019s Thailand) from an absolute monarchy to a constitutional monarchy.\"<\/figcaption><\/figure><\/div>
\""The
\"The design of the Democracy Monument is overflowing with symbolism, especially in terms of numerological signification. For instance, the turret contains 6 gates decorated with swords and Buddha images, referring to the 6 principles of freedom, peace, education, equality, economy, and unity.\"<\/figcaption><\/figure><\/div>
\""The
\"The 3 meter high turret also denotes the month of June, the third month of the traditional Thai calendar, along with the national triumvirate of administrative, legislative, and judicial powers.\"<\/figcaption><\/figure><\/div>
\""The
\"The wings are 24 meters high, and this is also the radius at the base of the Monument, marking the fact that the 1932 coup took place on 24 June.\"<\/figcaption><\/figure><\/div>
\""The
\"The Democracy Monument has a dual function: on the one hand, it celebrates the victory of the 1932 democratic revolution over absolute monarchy. On the other hand, its militaristic connotation undid everything democracy stood for. It was completed during the Pibul administration, and ironically became a symbolic manifestation of military tyranny and fascism.\"\n\n\n\n\n\n<\/figcaption><\/figure><\/div>
\""Thailand
\"Thailand was the only country in Southeast Asia to support the so-called Axis powers during World War 2. This historical connection of Thailand to Germany interests me very much, and has led me to research my relationship with Germany. My father worked in Germany in the 1970s; unfortunately he was harassed and subjected to physical violence.\"<\/figcaption><\/figure><\/div>
\""Through
\"Through my research, I also found out that the last person to visit Hitler, as recorded in his guest book, was a Thai person: Prasat Chuthin, one of the Thai People\u2019s Party leaders involved in the 1932 revolution. He was appointed the Thai ambassador during the time of rule under the Nazi party led by Hitler.\"<\/figcaption><\/figure><\/div>
\""In
\"In Prasat\u2019s memoirs, the author describes his first impression of Hitler as \u2018a German gentleman\u2019, as opposed to public perception of Hitler as one whose 'voice is like the sound of a thunderbolt'.\" \n\n<\/figcaption><\/figure><\/div>
\""I
\"I am interested in an authentic commemoration of violence, conflicts, and warlike acts. My participation in Documenta 2017 in Kassel enabled me to reappraise my father's story emotionally and process it artistically. In my works, I also show how history is sometimes rewritten and instrumentalized.\"\n<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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Arin Rungjang, “246247596248914102516… And then there were none”, 2017.
Installation view, images courtesy of the artist.<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ABOUT THE AUTHOR: TAN SIULI<\/p>

Tan Siuli is an independent curator with over a decade of experience encompassing the research, presentation and commissioning of contemporary art from Southeast Asia. Major exhibition projects include two editions of the Singapore Biennale (2013 and 2016), inter-institutional traveling exhibitions, as well as mentoring and commissioning platforms such as the President’s Young Talents exhibition series. She has also lectured on Museum-based learning and Southeast Asian art history at institutes of higher learning in Singapore. Her recent speaking engagements include presentations on Southeast Asian contemporary art at Frieze Academy London and Bloomberg’s Brilliant Ideas series.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tWhatsApp\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Arin Rungjang revisits lesser-known events in Thai history, deftly drawing together distant events across time and space to find their intersections with the present. His practice spans different media and often involves video and site-responsive installations. 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