Thresholds

THRESHOLDS CONTEMPORARY THAI ART

new york • hong kong • singapore

GALLERY MISSION Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures.

We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

Left: Sakarin Krue-On, Lamentation, 2010, C-print, 16.5 x 22 inches

THRESHOLDS CONTEMPORARY THAI ART

By Gregory Galligan “Everywhere…this palpability of a simultaneous world…”

—Ronald Tavel, Bangkok, 2009

W

hile spending his last years in Bangkok, the 1960s Warhol screenwriter Ronald Tavel (1936–2009) spoke of having long been impressed in Thailand by an all-encompassing palpability of a simultaneous world.1 Tavel related the storyline behind a central chapter of his recent, semiautobiographical novel, Chain, in which a Thai lover arrives at his doorstep late one evening.2 Making a virtual ceremony of his entry into the domicile, Tavel’s guest takes special care to avoid stepping directly on the door’s wooden threshold. The spirit of the house dwells there, he informs Tavel, finally entering the space on winged footsteps—the better not to get on the ghost’s dark side.

Tavel’s citation draws our attention to how the Thai people—in his exact words—“see the world in greater width” than the common farang, or foreign interloper.

One might venture to call this, in popular terms, Thai magical realism, in which the facts of logical positivism continually exchange places with the virtual and the ghostly, indeed where everything seems contingent and transitional, and ready to tip, at any moment, toward either existential dimension. This seeing the world in greater width is a mode of visual perception, which regards everyday reality as only one locus on an inviolable continuum, along which the spirits of

ancestors—some friendly, others devious—dwell in the same landscape of the living in ways that defy common logic. Thus Thai society and its contemporary artists grapple continuously with forces of the sur-rational, the animistic, and the profoundly spiritual—even when they seem to be tending expressly to everyday, material reality.

Tavel’s message is timely for the exhibition Thresholds: Contemporary Thai Art, which sets out to delineate, through six selected case studies, how the progressive contemporary art of Thailand arises from a highly contingent moment in modern Thai history.

Only a generation ago Thailand was emerging from an extended period of experimentation with a host of modernist Euramerican idioms—namely Impressionism, Cubism, Abstraction (of both expressionist and minimalist variants), and Surrealism.3 Indeed the 1980s constituted the tail end of trajectory that had been set in motion at the dawn of the 20th century, when virtually the entire modern art history of Europe and the United States was imported into the country by royal imperative, expressly to lend Siam an air of the siwilai [“civilized”] as the nation’s privileged classes sought to convince their European counterparts of their equal status in a profoundly colonialist context.4 In an ironic twist of history, much of the ensuing Thai familiarity with modernism was acquired at second hand,

Left: Kamin Lertchaiprasert, Nature Give to Us, 2009, acrylic on canvas, 86.6 x 55.1 inches 5

namely through Italian expatriate masters who were themselves familiar with the major modern artistic movements of Europe and the United States through primarily academic channels.5 With the benefit of hindsight, it is clear that following upon the Thais’ extended period of assimilation, experimentation, halting progress and, at times, brilliant syntheses, contemporary Thai art is finally now “contemporary” in every sense of the term, suggesting original experimentation, an informed awareness of trans-cultural dialogues, a sophisticated grasp of post-Duchampian conceptualism, and, most recently, a stimulating thrust toward audienceparticipatory, or “relational” projects (Rirkrit Tiravanija the most famous among these practitioners).

In an era in which globalization and its seeming dilution of cultural specificity leads some to ponder whether we may soon be destined to live in “no country,” the recent coming of age of contemporary Thai art has occurred within a very local Southeast Asian geography.6 In this latitude the most discontinuous streams of thought and existential condition tend to intertwine, or trans-infiltrate each other in ways that can be utterly mystifying. This existential contingency is partly what makes the “Buddhist” element in contemporary Thai art decidedly difficult to articulate to outsiders. Thai society has long been characterized by a unique syncretism, in which elements of Hindu mythology, Buddhist scripture, and popular superstition all converge at a heady conceptual and spiritual crossroads.7 Thus the best of the spiritually inflected contemporary Thai art might arguably be said to remain palpably tentative, and lately constituting a unique Thai conceptualism that is only beginning to reach full maturity after the example of the brilliantly contingent, encounter-oriented, and multi-platform work of the recent Thai master Montien Boonma (1953–2000).8

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Two of the six participants in this exhibition were once mentored by Montien, further testament to his conceptual genius and enduring example for an entire generation that has followed him. Of this circle, KAMIN LERTCHAIPRASERT, is perhaps most succinctly engaging Buddhist principles in his series Before Birth—After Death (2010), each canvas functioning like a page torn from a montaged chronicle of pop culture or otherwise unremarkable passages through time and space—train tickets, advertisements, notes to self, news clippings, maps, receipts, baggage claim stubs, movie posters, and bar codes all tumbling precariously around skeletal self portraits. Kamin’s skulls evoke both Damien Hirst’s excesses and traditional memento mori, as they speak earnest, yet uncertainly realized transcendental maxims.

NIM KRUASAENG, primarily a self-taught painter but also once mentored by Montien, offers sublime, microcosmic “impressions” of the world around her, summoning up from visual perception and memory the silhouette schemas of rice baskets, alms bowls, and indeterminate forms, all of which hover silently and indeterminately between abbreviated records of empirical inquiry, and visions of an oneiric, internal camera obscura. Nim ultimately seems to capture projected, phantom profiles of light and shadow, tracing them on a gossamer surface for contemplation well beyond their temporal and ephemeral casting.

No concern with the spiritual in contemporary Thai art is sustained in a vacuum. As citizens of a constitutional monarchy (f. 1932) subsequently beset by intermittent military dictatorship and a series of calamitous, popular uprisings, no Thai contemporary artists of any sophistication today can pretend to be unaware of the

political, the spiritual, and the artistic precariousness of the current moment. Thai domestic politics of the past decade—roughly 2003 to 2013—have been a continuous, sometimes fierce contest between conservative and liberal factions, indeed a contest that erupted in bloody confrontation and the torching of a center-city, luxury shopping complex only two years ago (2010). Intermittent censorship of the mass media and the art world continues to frustrate many who wish to freely address a mass audience. Despite having never been colonized by Western aggressors, Thailand remained subject to unforgiving forces of modernization and hyper-consumerism, as well as swiftly evolving economic and strategic alliances.

All these factors combine to pose a heady challenge to anyone reflecting on Thailand’s history, as well as the Thai people’s ongoing fascination for ancient tradition.

The work of PHAPTAWAN SUWANNAKUDT is instructive, as she has the rare benefit of extended training and experience in the techniques of traditional Thai mural painting.9 Phaptawan turns this rich classical practice into a tool for exploring issues of personal identity, the latter something at once forever tethered to a specific geography and perpetually adaptable to relocation and self revision. Hand-loom fabric works

by Phaptawan incorporate her longstanding interest in Thai script and oblique, or fragmented quotation from Buddhist scripture—here drawn principally from the Traibhumikatha [The Story of the Three Planes of Existence], a major 14th century Thai royal edition—as well as scholarly histories of Bangkok and the semiautobiographical novella of her father, Paiboon.10 At once immediate and ephemeral, Phaptawan’s work manifests itself initially as a fully evident, material

substance—columns, scrolls, and dancing inscriptions— while promptly suggesting a kind of hovering in space like a wholly time-based vision, indeed one requiring participation, decoding, and assimilation before it promptly evaporates.

The Thai literary tradition of the apocalyptic “prophecy poem” informs Dream, by NIPAN ORANNIWESNA, who utilizes the 17th century Long Song Prophecy for Ayutthaya (purportedly by the hand of King Somdet Phra Narai, r. 1656–1688) to create a composite, pierced paper landscape speaking to the prophesized, apocalyptic collapse of the Siamese kingdom of Ayutthaya (a.k.a. Audhya, which eventually succumbed to Burmese invasion and destruction in 1767).11 Nipan’s implied re-mapping of the ancient capital is neither antiquarian nor apolitical; rather, it takes place as a cool metaphor and cautionary omen for Thailand’s current domestic standoff between a portion of Thai citizenry (largely concentrated in the provinces) loyal to the divisive, former prime minister Thaksin Shinawatra and a vociferously entrenched opposition.

Thai literature again comes into play in the film Menorah and Best Friends of the Snake, by SAKARIN KRUE-ON, who is known widely for his Terraced Rice Fields Art Project, at Documenta XII (2007).

Menorah is a 13th century Jataka tale, or Buddhist parable, about a kingdom under the sway of a jealous, if not megalomaniacal court advisor, whose dubious machinations threaten to undo the marital bliss of young Prince Suthon and an enchanting kinaree, a half-human, half-avian maiden who has forfeited her wings for a new life in his futuristic, regal metropolis of Benjalnakorn. Drawing on a long Thai tradition

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and deep affection for double entendre, symbolism, and thinly veiled metaphor, while simultaneously referencing his ancestors in German Expressionist cinematography (note the playful riffs on Fritz Lang’s Metropolis, of 1927), Sakarin calls into question the swift rise of corrupt politicians who are seeking in high office only an opportunity for self-aggrandizement.

by a very progressive sensibility couched in a complex geography of “Siamese tradition.” New and precarious thresholds of change suggest that contemporary Thai artists will continue to navigate them successfully only if they remain perpetually attuned to the palpability of a simultaneous world both within and among them.

—Bangkok, January 2013

ANGKRIT AJCHARIYASOPHON confounds all expectation in a recent series of painted abstractions, in which he arguably references post-Abstract Expressionist painting while remaining firmly rooted in Thai luminescent palettes derived, at least obliquely, from common Thai fabrics and decorative practices (perhaps nowhere other than in Thailand can one hail a taxi of pure fuchsia). Angkrit’s canvases and panels are minimalist in their hyper-materiality and refusal to accommodate “deep reading”; at the same time, they are maximalist for their power to approach the status of icons, or totems of a kind of sublime concrete practice.

Layered repeatedly and systematically with acrylic and— in some instances—iridescent enamel, these dense wood panels and canvases hover between optical poetry and complete aesthetic and spiritual agnosticism.

If Thresholds may be said to successfully typify the “Thai contemporary,” it may be merely to provide a glimpse on a current condition of constructive confusion—not in the colloquial sense of the term, as in evoking muddled or mistaken thinking, but in the sense of citing a collective puzzlement over the various paths to be pursued in an ever shifting and uncertain cultural panorama. This is a Thai contemporary—and here we may purposely confound the condition of contemporary Thai art with that of greater contemporary Thai society—characterized

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Gregory Galligan, Ph.D., the curator of Thresholds: Contemporary Thai Art, is the director and founder of the Thai Art Archives in Bangkok. He is a widely published independent curator and art historian, formerly based in New York (1985–2009), where he wrote for ArtAsiaPacific, Art in America, The Art Bulletin, and Arts Magazine among others. He is currently writing a book on the alternative art movements of Thailand since the mid 1980s.

NOTES 1. I would like to gratefully acknowledge Dr. Brian Curtain for introducing me in Bangkok to Ronald Tavel in early January 2009, from which all quotes in this essay originate. On Tavel’s important contributions to the 1960s cinematic work of Andy Warhol, see Douglas Crimp, “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: 2012), esp. 46–66.

I sincerely thank Professor Crimp for sharing with me his chapter focusing on Tavel via email in late December 2012.

2. I would like to acknowledge Ronald Tavel’s literary agent, Ira Silverberg, for kindly sharing with me the unfinished manuscript of Chain on Tavel’s untimely passing in 2010. The work has recently been published (Bangkok, 2012).

3. On the term Euramerican, see John Clark, Asian Modernities: Chinese and Thai Art Compared, 1980– 1999 (Sydney, 2010).

4. See Tongchai Winichakul, “The Quest for ‘Siwilai’: A Geographical Discourse of Civilizational Thinking in the Late 19th and early 20th Century Siam,” Journal of Asian Studies 59,3 (August 2000); see also Winichakul, Siam Mapped: A History of the Geo-Body of a Nation (Honolulu, 1994). Siam changed its name to Thailand in 1939.

5. See Alberto Cassio, Leopoldo Ferri de Lazara, and Paolo Piazzardi, Italians at the Court of Siam (Bangkok, n.d.).

6. See No Country: Contemporary Art for South and Southeast Asia, exh. cat., Solomon R. Guggenheim Museum, New York, 2013.

7. See Justin Thomas McDaniel, The Lovelorn Ghost and the Magical Monk: Practicing Buddhism in Modern Thailand (New York, 2011); see also McDaniel, Gathering Leaves and Lifting Words: Histories of Monastic Education in Laos and Thailand (Washington, 2008).

8. See Montien Boonma: Temple of the Mind, exh. cat., Asia Society, New York, 2003.

9. Phaptawan Suwannakudt grew up among, and eventually managed the widely celebrated studio of her father, Paiboon Suwannakudt (a.k.a. Tan Kudt; 1925– 1982), a master of Thai traditional mural painting.

10. I would like to thank Phaptawan Suwannakudt for graciously educating me about her father’s multifaceted practice in several email conversations in late 2012 and early 2013.

11. See David K. Wyatt, ed., and Robert D. Cushman, trans., “Translating Thai Poetry: Cushman, and King Narai’s Long Song Prophecy for Ayutthaya,” Journal of the Siam Society 89, 1 & 2 (2001); 1–31. I would like to thank Tom Vitayakul for providing the author with his recent, modern translation of the Long Song Prophecy for Ayutthaya as an aid to study during the course of the planning of this exhibition.

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Kamin Lertchaiprasert, Justice, Stop - Dhamma, 2010, acrylic on canvas, 86.6 x 55.1 inches

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Kamin Lertchaiprasert, No Ownership, 2009, acrylic on canvas, 86.6 x 55.1 inches 12

Kamin Lertchaiprasert, Birth-Death, Woman-Man, Right-Wrong, Husband-Wife, Good-Bad, Nothing, 2009, acrylic on canvas, 86.6 x 55.1 inches

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Kamin Lertchaiprasert, The Door to the New World, 2009, acrylic on canvas, 86.6 x 55.1 inches 14

Kamin Lertchaiprasert, Beyond Zen. No Style, 2010, acrylic on canvas, 86.6 x 55.1 inches 15

Nim Kruasaeng, Untitled, 2012, acrylic on canvas, 49.6 x 63 inches

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Nim Kruasaeng, Untitled, 2012, acrylic on canvas, 63 x 78.7 inches 18

Nim Kruasaeng, Untitled, 2012, acrylic on canvas, 63 x 78.7 inches 19

Nim Kruasaeng, Untitled, 2012, acrylic on canvas, 63 x 78.7 inches 20

Nim Kruasaeng, Untitled, 2012, acrylic on canvas, 63 x 78.7 inches 21

Phaptawan Suwannakudt, Un(for)seen, 2010, group of eight scrolls, ink and dye on silk, fabric, draft paper

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Phaptawan Suwannakudt, Cast-off Series, 2007-10, pencil and dye on handmade paper; hand-woven fabric, 5.9 x 3.9 inches each

Phaptawan Suwannakudt, One Step at a Time, 2010, six fabric cylinders; ink on hand-loom-woven fabric, 86.6 x 13.8 inches

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Nipan Oranniwesna, Dream, 2010, thirty-six sheets of paper on a platform, 177.2 x 287.4 x 15.7 inches

Sakarin Krue-On, Flying Lesson, 2010, C-print, 12.6 x 11 inches 30

Sakarin Krue-On, The Marriage of Pra Suthon and Manorah, 2010, C-print, 16.9 x 23.2 inches 31

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Angkrit Ajchariyasophon, 2011183, 2011, acrylic on canvas, 78.7 x 78.7 inches 33

Angkrit Ajchariyasophon, 2011187, 2011, acrylic on canvas, 78.7 x 78.7 inches 34

Angkrit Ajchariyasophon, 2011190, 2011, acrylic on canvas, 78.7 x 78.7 inches 35

Angkrit Ajchariyasophon, 2011071, 2011, oil, acrylic, spray paint on wood panel, 39.7 x 34.6 inches 36

Angkrit Ajchariyasophon, 2011093, 2011, oil, acrylic, enamel on canvas, 39.7 x 34.6 inches 37

THE ARTISTS Angkrit Ajchariyasophon (b. 1976) is from the northern city of Chiang Rai, where he lives and works. Angkrit’s artistic practice revolves around mixed media, performance, photography, video, and abstract painting. A notable element of his working processes is his interest in horticulture, which he practices on his family’s sixteen-acre property in rural Chiang Rai. He has exhibited his work in cultural centers and galleries around the world, including the Bangkok Art and Culture Centre, Thailand; the SNO Centre, Sydney; the Institute of Contemporary Arts, LASALLE College of the Arts, Singapore; Gallery Point-1, Okinawa, Japan; and Mo Room, Chiang Mai, Thailand.

Angkrit is also an independent curator, who has staged exhibitions at the Bangkok Art and Culture Centre and the Angkrit Gallery, Thailand. Angkrit was recently named co-curator for the Thailand section of the Singapore Biennale, 2013.

Nim Kruasaeng (b. 1974) was born and educated in the northeastern provice of Sisaket (along the northern border of Cambodia). She was partly mentored during the 1990s by the Thai master Montien Boonma (1953– 2000) before making her solo debut in Bangkok in 2000. Her work has been exhibited extensively in museums and galleries around the world, including in the Hariphunchai National Museum, Lamphun, Thailand; Fabio Tiboni Arte Contemporanea, Bologna; the Bangkok Art and Culture Centre, Thailand; Fondazione Lanfranco Baldi, Pelago, Italy; Collectif Naï Art Contemporain, Chateaulin, France; The Land Foundation, Chiang Mai, Thailand; the Cavin-Morris Gallery, New York; the Cecille R. Hunt Gallery, Webster University, St. Louis, Missouri; Galleria Spazio A, Pistoia, Italy; Gallery Achim Kubinski, Berlin; Stone Gallery, Dublin; Siam Art Space Gallery, Gallery 253, and Gallery VER, all in Bangkok. In 2007 Nim co-authored a deluxe, limited-edition artist’s book by VER Editions, Bangkok.

Sakarin Krue-On (b. 1965) is from the northern province of Maehongsorn and is a graduate of Silpakorn University, Bangkok (1989). He has exhibited at museums, cultural centers, and biennales around the world, including the Singapore Art Museum; the Heide Museum of Modern Art, Melbourne; The Institute of Contemporary Arts, London; the Joan Miró Foundation, Barcelona; the Venice Biennale, Thailand Pavilion (2009 and 2002); the 2008 Nanjing Triennial, Nanjing, China; the Animation & Single Channel Video Art Festival and the Busan Biennale, both in Korea; the 21st Asian International Art Exhibition (AIAE), Singapore; and Documenta XII, Kassel, Germany, where he installed his widely acclaimed Terraced Rice Fields Art Project and Nang Fa mural. Sakarin’s work has also been exhibited extensively in and around Bangkok, including the Bangkok Art and Culture Centre; The Art Center at Chulalongkorn University; the Ardel Gallery of Modern Art; Tang Contemporary Art; and the Museum of Mind (MOM). Sakarin is a recipient of the prestigious Silpathorn Award (2009), presented annually by the Thailand Ministry of Culture to a Thai contemporary artist of outstanding accomplishment.

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Kamin Lertchaiprasert (b. 1964) is from Lopburi province (south-central Thailand) and currently makes his home in the northern region of Chiang Mai. He studied in the early 1980s at the Chang Silpa College of Fine Arts under Thai master Montien Boonma (1953–2000), graduating from Bangkok’s renowned art academy Silpakorn University in 1987. Kamin lived in New York from 1989 until 1992 where he was part of the advent of the audience-participatory practice now known as Relational Aesthetics. He has participated in numerous group and solo exhibitions, including at the Heide Museum of Modern Art, Australia; Gallery ART U, Osaka, Japan; Biennale of Sydney (2012 and1993); the 2008 Busan Biennale, Korea; and the Venice Biennale in 2003. He has also exhibited extensively at galleries in and around Bangkok, among them, the NumThong Gallery at Aree, and 100 Tonson. Kamin’s work is in the collections of the Queensland Art Gallery, Australia; the National Gallery of Australia, Canberra; the Singapore Art Museum; Bangkok University; Silpakorn University, Bangkok; The National Museum of Art, Architecture and Design, Oslo. Kamin curates site-specific projects, including a 2012 workshop and exhibition at the School of the Art Institute of Chicago. He also co-founded and directs the 31st Century Museum of Contemporary Spirit (Station), a special project and alternative artistic platform.

Nipan Oranniwesna (b. 1962) was born and raised in Bangkok and educated at Tokyo National University of Fine Art and Music as well as Silpakorn University, Bangkok. Since 1997 Nipan has been a lecturer in the Visual Arts Department of Bangkok University. He has exhibited extensively in museums, cultural centers and galleries around the world, including at the Yokohama Museum of Art, Kanagawa, Japan; the Seoul Museum of Art, Korea; the Institute of Contemporary Arts Singapore; Tokyo National University of Fine Art & Music; Bangkok University Art Gallery; Yanaka Art Forum, Tokyo; 2012 Kuandu Biennale, Taipei; the 18th Biennale of Sydney (2012); the Bangkok Art and Culture Centre; Busan Biennale, Korea; Soka Contemporary Art Space, Taipei; The Art Centre, Chulalongkorn University, Bangkok; Chiang Mai University Art Centre, Thailand; Gallery VER, Bangkok; Osage Gallery, Hong Kong; Eslite Gallery, Taipei; Gallery Yoyogi, Tokyo; and Bischoff/Weiss, London.

Phaptawan Suwannakudt (b. 1959) is a native of Bangkok who has made her home in Sydney since 1996. She is a graduate of Silpakorn University, Bangkok, and Sydney College of the Arts, The University of Sydney. Throughout the 1980s and 1990s she worked temple mural schemes and other Thai neo-traditional commissions, originally as the only female member of the distinguished painting workshop of her father, Paiboon Suwannakudt (a.k.a. Tan Kudt). She later directed the studio after his death in 1982. Following her early specialization in Thai mural painting, Phaptawan has been active in the organization of women’s art exhibitions in Bangkok, and she is co-founder of the avant-garde artists’ platform Womanifesto (f. 1997, Bangkok). She has exhibited extensively around the world, including at the 18th Biennale of Sydney (2012), The National Gallery of Thailand, Bangkok; Campbelltown Arts Centre, Sydney; Northern Territory Centre for Contemporary Art, Darwin, Australia; 4A Centre for Contemporary Asian Art, Sydney; Drill Hall Gallery, ANU School of Art, Canberra, Australia; Tang Contemporary Art, Bangkok; Maroondah Gallery, Melbourne; Espai d’art Contemporani de Castelló, Valenciana, Spain; Cultural Center of the Philippines, Manila; ARC One Gallery, Melbourne; Concrete House and Tonson Gallery, both in Bangkok.

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SUNDARAM TAGORE GALLERIES new york new york hong kong singapore

547 West 27th Street, New York, NY 10001 • tel 212 677 4520 fax 212 677 4521• gallery@sundaramtagore.com 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 57-59 Hollywood Road, Central, Hong Kong • tel 852 2581 9678 fax 852 2581 9673 • hongkong@sundaramtagore.com 01-05 Gillman Barracks, 5 Lock Road, Singapore 108933 • tel 65 6694 3378 • singapore@sundaramtagore.com

President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Goldstein Designer: Russell Whitehead Printed in Hong Kong by CA Design

Art consultants: Teresa Kelley Bonnie B Lee Deborah Moreau Rupal Patel Benjamin Rosenblatt Melanie Taylor

Curator, Thresholds: Contemporary Thai Art, Gregory Galligan The curator would like to thank the participating artists for their generous and patient assistance. Warm thanks also to Aey Phanachet, Rene Feddersen, Reinhart Frais, Numthong Sae Tang, and Tom Vitayakul. Sincere thanks too to David Katz, Katz Architecture, for providing plans of the gallery, and to Patri Vienravi, of Works-V, for the exhibition’s visualization.

www.sundaramtagore.com First published in the United States in 2013 by Sundaram Tagore Gallery Text © Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.

Cover: Nipan Oranniwesna, Dream (detail), 2010, thirty-six sheets of paper on a platform, 177.2 x 287.4 x 15.7 inches ISBN-13: 978-0-9839631-7-2