THE FROZEN / Saen Saep | Prach Pimarnman

THE FORZEN (ธาราพันลึก)

A group Exhibition by Prach Pimarnman, Surasit Mankong Curated by Penwadee Nophaket Manont

SAC Gallery

27 Apile - 27 July 2024

In the wake of the global crisis of the 21st century, humans must adjust or change their ways of thinking and living their lives quickly and inevitably. As the new world of disorder, filled with complexity and new types of uncertainty, has created confusion in human existence; the ability to understand the world through stories and the contemporary historical narrative has changed. Questions have arisen regarding the role of mass media in both the online and offline platforms. The main focus of those inquiries is on the subtle composition of mythologies as though it was normal, until they have become the key motivators that cause social, economic, and political changes, and even affect beliefs and cultural adjustment.

If humans in the era of the disordered world under multipolar conditions are unable to analyse, understand, or be aware of a good balance between politics, economy, and society; stories or historical narratives - often used as the main tools for learning and understanding the world - can seriously impact on the way people think and live. It may disrupt economic growth and social security. And it can even lead to political conflicts that affect economic growth and social security - just like Thailand under the Deep State political concept.

the FROZEN contemporary art exhibition, which went through physical research, invites viewers to observe and experience some fractions of local stories and tales, including historical facts - from near and far distances - of two different regions outside of Bangkok which seem to be dominated by the powers under the Deep State concept. This concept aims for political and administrative results as well as commercial benefits, with the influences that are involved in dictating the feelings, thoughts, existence, and conflicts of people in Thai society broadly.

These powers, both visible and invisible, have led us to the frozen phenomenon which can be called a hardness or even numbness of thought. It distorts people's ability to think analytically or discern fact from illusion. It's noteworthy that these stories and tales contain mythologies that are subtle and can cause ripples of conflict in society. Imagine that we are unable to comprehend the origins of these issues or the roots of these mythologies. What measures can we take to move toward a new multipolar world that is disordered, unstable, and lacks a good balance between politics, economics, and society?

Pantry from Homeland 1 / อู่ข้าวอู่น้ำ 1, 2024

Pantry from Homeland 1

Bard wire sculpture

VDO Tide-Bound

2 Ceramic flowers

Scrap gold from Sukhirin

166 x 77 x 65 cm

Geography of Memory 20 September 2024 - 12 October 2024 Ratchadamnoen Contemporary Art Center,

Art Acquisitions 2024 Office of Contemporary Art and Culture

Artworks from the series "Saen Saep" delve into the history of the loss of the Patani Kingdom, as well as the story of the Patani Malays who were taken captive in the early Rattanakosin Era. Traces of migration and the drift of people lead to scars caused by the collective memory of the creation of the Thai nation as 'victims'. Traces of memory have affected the present in many different dimensions and issues.

The marks of ancient wounds, arising from past memories, are explored through various perspectives, fueled by the artist's deep curiosity in untangling and intertwining stories. By delving into themes of identity, borderlands, and multifaceted origins - covering the establishment of Rattanakosin City and the crucial role of Patani as a state capital - echoing consequences resonate in our present. What are we reclaiming, expressing, and what remains as the poignant vestiges of a forgotten history, all encapsulated within the essence of "Saen Saep Canal".

Pimarnman queries the weight of living beneath the burden of past narratives. The Melayu people in Patani, once captured, were reduced to mere breadbaskets, each assigned or utilised for different purposes according to their status. These encounters have left numerous impressions of memories on the wounds, deeply resonating with enduring emotions. As an observer from within and without, embodying the experiences of 'Malays Patani' and 'Malys in Siam', individuals who have faced Thailand's state actions, the aftermath of this division has left lasting marks. From stark differences in denied pleas to resilient acceptance, these diverse responses have interwoven complex stories, each exposing a unique aspect of the tale, arising from diverse origins

Pimarnman is captivated by the continuous thread of narratives that evolve, resonating from historical archives enshrined in documents and artifacts, and stories passed down through generations, akin to an expansive domain of introspection and reflection. Within Prach's imaginative realm, there exists a trans- formative interplay between historical artifacts and the evocative influence of memories, all set against varied contexts. The artístic display comprises two pantries, each meticulously arranged to symbolise diverse narratives poignantly. These showcases embody the emotional scars uncovered from the historical beginnings of the "Saen Saep Canal" and the enduring recollections of Patani's populace. Through curated and harmonised information, they craft a captivating scene, evoking a profound connection with historical marks.

The first pantry unveils the captivating tales of the people of Patani State from ancient eras, evoked through the Golden and Silver Flowers (the tributary flowers), the Rice (depicting an exchange cultivation, symbolising the prosperity and sustenance of Patani's people), The allegiance in the past through discovered materials, and symbolic representations of artifacts meticulously arranged to interlace the revealed narratives within the locale. These encompass ancient pottery, echoes of past grandeur, the genesis of Patani State, alongside historical accounts mirrored through diverse voices including scholars, local historians, and historical maps.

The second pantry unravels the narrative of people being herded into captivity, symbolised by the Golden Anklet, the migration and establishment of settlements, the lingering traces of language, covering place names that provoke inquiries into historical marks, and the ancestral land deeds that have transitioned to the modern era.