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.
Among the highlights of the fair are peeks into Korakrit Arunanondchai's studio in Bangkok and Melissa Tan's studio in Singapore.
The homage to obsolete TV formats will also allow viewers to shop Cindy Sherman and Barbara Kruger from their sofas.
The fifth Dhaka Art Summit plotted movements, solidarities, and exchanges across the Global South.
The Seventh Continent 'acknowledges and addresses the end of the division between nature and culture'.
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...