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b. 1986, Thailand

Korakrit Arunanondchai Biography

Korakrit Arunanondchai (b. Thailand, 1986) uses video, painting and performance to engage with subjects such as history, self-representation, and cultural dislocation. Through a pastiche of styles and medium, his work seeks to find common ground between Western and Thai cultural narratives, belief systems and artistic practices. Arunanondchai earned his BFA from the Rhode Island School of Design in 2009 and his MFA from Columbia University in 2012. Solo exhibitions include 2557 (Painting with history in a room filled with men with funny names 2) in collaboration with his brother Korapat Arunanondchai at Carlos / Ishikawa, London; Letters to Chantri #1: The lady at the door / The gift that keeps on giving (featuring boychild) at The Mistake Room, Los Angeles and the installation 2012-2555 at MoMA PS1, New York. In 2014 Arunanondchai participated in the touring group exhibition Beware Wet Paint at The Institute of Contemporary Arts, London and Fondazione Sandretto Re Rebaudengo, Turin. Recent performances include The Last 3 Years and the Future (with boychild and AJGvojic) at the Old Selfridges Hotel, London for ICA Off-Site and 012-2555, 2556, Painting with history in a room filled with men with funny names and the Future (with boychild, AJGvojic and Harry Bornstein), at Warsaw Museum of Modern Art, Poland.

Korakrit Arunanondchai Featured Artworks

Untitled 2 by Korakrit Arunanondchai contemporary artwork
Korakrit ArunanondchaiUntitled 2, 2013Bleached denim, acrylic, synthetic gold foil and cigarettes
122 x 183 cm
Not for sale
Duddell's

Korakrit Arunanondchai In Ocula Magazine

Dhaka Art Summit 2020: Seismic Movements Ocula Report Dhaka Art Summit 2020: Seismic Movements By Radha Mahendru, Dhaka

Seismic Movements, the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.

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16th Istanbul Biennial Collapses Culture-Nature Divide Ocula Report 16th Istanbul Biennial Collapses Culture-Nature Divide By Stephanie Bailey, Istanbul

At the opening of the 16th Istanbul Biennial, The Seventh Continent (14 September–10 November 2019), curator Nicolas Bourriaud began his introduction with a clip from Werner Herzog's 1982 movie Fitzcarraldo, the story of a man who moves a steamship up a hill in the process of fulfilling a fantasy to build an opera house in the Amazon jungle....

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Whitney Biennial 2019: Between Resistance and Complicity Ocula Report Whitney Biennial 2019: Between Resistance and Complicity By Banyi Huang, New York

The 2019 Whitney Biennial, is driven by a collective sentiment of sociopolitical consciousness, writes Banyi Huang in this reflection on the 79th instalment of the longest-running survey of American art.

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Golden Jubilee: Art Brussels Ocula Report Golden Jubilee: Art Brussels By Denis Maksimov, Brussels

With 147 participating galleries from 32 countries and some 800 artists represented on the fair floor, over 30 percent of whom were below the age of 40, the fiftieth anniversary edition of Art Brussels was in youthful spirits, despite being the second oldest art fair in the world after Art Cologne.

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Korakrit Arunanondchai In Related Press

Review: 'The Present in Drag,' 9th Berlin Biennale Related Press Review: 'The Present in Drag,' 9th Berlin Biennale 7 June 2016, Art Agenda

Berlin’s history of internecine violence is visible on its civic surface, a characteristic that holds currency in both mainstream and art tourism; what differentiates these two modes is a style rather than a politics. Who can say what a city means? Gentrification mistakes lack of capital for lack of life, confuses the unexploited with...

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