Exhibition view on ILHAM gallery, Kula Lumper Malaysia
OUT SIDE IN SIDE OF FIATH
Art work by Prach Pimarnman
Year 2017
77 piece on steel sheet and 13 piece on linen fabric.
Prach present his idea in the form of art installation, featuring go houses, which represent the 13 districts and 77 sub districts of Narathiwat province - Prach' s hometown and current place of residence. These houses are connected according to the geographical features of the region, from the plains near the beaches all the way to the mountains. Each house is created from a variety of materials, including steel which has been melted and twisted symbolizing made from cloths used for wrapping the deceased, which represent three of the seven historic administrative cities that used to be situated close to Narathiwat province. The texts transcribed on each house are mixture of Thai and Jawi, which help to communicate and share local stories with the themes of tranquility, death, and prayers. The work aimed to encourage end to ongoing violence and loss.
PATANI SEMASE EXHIBITION
Group Exhibition
MAIIAM CONTEMPORARY Art Museum Chiang Mai Thailand
July 19, 2017 February 14, 2018
ILHAM GALLERY, Kula Lumper Malaysia.
March 25 - July 15 , 2018
Curated by Gridthiya Gaweewong, Kasamaponn Saengsuratham, Kittima Chareeprasit, and Ekkalak Napthuesuk
ILHAM in collaboration with MAIIAM Contemporary Art Museum is proud to present PATANI SEMASA: an exhibition on contemporary art from the Golden Peninsula. Artworks as well as cultural representations of the 'Patani Region' by 28 artists, both local and those engaged with issues relating to the area, have been selected. This exhibition is a kaleidoscope of different perspectives, methodologies, and responses developed throughout 13 years of experience.
The ‘Patani region’ refers to the geographical area known in modern-day Thailand as the provinces of Pattani, Yala, Narathiwat, and parts of Songkla. The dominant cultural identity of this area is historically informed by Malay ethnicity and Islam. The recurring narrative of Patani—especially in the last 13 years (2004–2017)—resonates with images of conflict. With this in mind, the preliminary question posed by this exhibition is: in what way are the contemporary works of art and cultural representations of Patani presented: formally, narratively, verbally, and structurally?
By way of exploring the various ‘reflections’ of visual artists, photographers, documentary filmmakers, architects, poets, and writers on the events and contemporary way of life of Patani, this exhibition is ultimately a revitalisation and expansion of contemporary art and cultural spaces. Patani Semasa does not claim to be a total representation of the voices of Patani, but it invites and provokes thought about the region, and the spaces in between the boundaries that define ‘us.’
Art work show process detail on fire
Exhibition view on MAIIAM Contemporary, Chiang Mai Thailand
