Araya Rasdjarmrearnsook
ABOUT THE ARTIST
Araya Rasdjarmrearnsook is one of Southeast Asia’s most respected and internationally active contemporary artists, and for over thirty years her video, installation, and graphic works have been regularly shown in museums and biennials around the world, including the Venice Biennale (), Documenta (), and a retrospective exhibition at the Sculpture Center in New York City (). The North Carolina Museum of Art will present a solo exhibition, Art in Translation: Araya Rasdjarmrearnsook, running from March 7 through July 26, A Novel in Necessity’s Rhythm, her fourth solo exhibition with Tyler Rollins Fine Art, began on February 13,
Born in Trad, Thailand, in , Araya received fine art degrees from Silpakorn University in Bangkok in and from Hochschule für Bildende Künste Braunschweig in and Her etchings and aquatints of the late s and early s, with their ghost-like female figures in shadowy environments, set up themes – death, the body, and women’s experience – that would endure throughout her career. Feelings of loss and isolation, informed by the early death of her mother, and a heightened sensitivity to the strictures traditionally pl
Araya Rasdjarmrearnsook
Araya Rasdjarmrearnsook (born ) is a Thai artist who works primarily with film and video. She currently lives in Chiang Mai, Thailand. Araya Rasdjarmrearnsook was born in Trat, Thailand, in She received a Fine Art degree from Silpakorn University, Bangkok, in , and Hochschule für Bildende Künste Braunschweig in Germany. Araya listed the death date of her parents and her grandmother on her curriculum vitae, indicating the importance of including autobiographical and collective experience in her work. Araya Rasdjarmrearnsook experimented with intaglio printmaking and sculptural installations in the s and s, before starting to focus in on film and video. Several of her early sculptural installations have been interpreted as speaking to the position of women in Thai society. In Isolated Hands () and Departure of Thai Country Girls (), dismembered parts of female-coded bodies are presented in isolation; in the former, a pair of hands rest on a plate of water, and in the latter, pairs of upside-down legs are lined up on a wooden boat. In Isolated Moral Female Object, in a Relationship with a Male Bird II (), an isolated woman's head gazes out through a ci
Araya Rasdjarmrearnsook
Araya Rasdjarmrearnsook is an art teacher and one of Thailand's' foremost female artists. She had her first solo show in New York last month with a video exhibition showing historic art history pieces from western culture to rural and religious people in Thailand in an exhibit titled "Two Planets/ Village and Elsewhere"
However, for me, it is her previous work I wanted to touch on for this post. Araya first made headlines in the US with an group exhibit in More controversy came in late 's and early 's when her exhibits began incorporating corpses.
In works such as "The Class II" Araya is seen on video lecturing a classroom of corpses. The topic for this lifeless class? Death. You'll see her ask the dead bodies, "Did you die in autumn?" You can see this video on YouTube here. I was struck by the seriousness of her tone as she interacts with the class on a topic they surely must know.
In "Conversations I, II and III" she meanders through a room of corpses humming. In "This is Our Creations" she actually lies down next to the bodies and is heard saying, "I came here to know you, lying here mot
Araya Rasdjarmrearnsook
อารยา ราษฎร์จำเริญสุข
The air perfumed by death was so sad. Forcing herself, the weak one made the effort to be Giver. She then voiced a melodic strain: "Andromeda the maiden of heaven, the one I love more than life, Not seeing your glorious face, deprives the full-moon night of its light."
The soundless listening of the bodies emanated a perfume named Knowing, which oh, emotional fluctuations, disappointment of knaves. Even though they do not know the nature of art, the bodies were ready to join the game to celebrating the emptiness of the Art narrated by dejection and defeat. The bodies allow themselves to be covered by brightly colored drapes knowing perfectly well that it is unbecoming. "Death is should be dressed in black," a body reflects. "But, well, just for tonight." Some of the bodies have frangipanis, the flower of lament (that the living people would not grow in their gardens), tucked above their ears. Some of the bodies are so drawn into the game that they laugh good-naturedly, shaking the liquid in the glass tank that they had to remind one another to be careful. The floral designs of the drapes, which imitate the curves a
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