Interview with Araya Rasdjarmrearnsook. | อารยา ราษฎร์จำเริญสุข

Interview with Araya Rasdjarmrearnsook.


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Interview with No Country: Contemporary Art for South \u0026 Southeast Asia exhibiting artist, Araya Rasdjarmrearnsook.
Araya Rasdjarmrearnsook was born in Trad, Thailand, in 1957. After earning both a BFA and an MFA in graphic arts from Silpakorn University, Bangkok, she continued her studies in Germany at the Hochschule für Bildende Künste Braunschweig, receiving a diploma in 1990 and an MA in 1994. Around 1998, after early experiments with intaglio printmaking and sculptural installation, Rasdjarmrearnsook began to concentrate on film and video. Her work is an articulation of personal loss and the movement between life and death, approached in a way that challenges viewers’ moral sense and tolerance through complex and provocative imagery.
In Rasdjarmrearnsook’s film The Class (2005), the artist is shown directing a tutorial to a classroom of six corpses, which are shrouded in white sheets and arranged sidebyside on silver morgue trays. Confronting the diversity of cultural and religious attitudes toward mortality, the work also satirizes academic convention, the living professor teaching death to an audience already well versed in the subject. Two Planets (200708), a quartet of video vignettes, takes on the conventions and assumptions of western art appreciation. Deep in the Thai countryside, a group of people is presented with reproductions of 19thcentury European masterpieces. The subjects sit with their backs to the camera and their untutored dialogue is subtitled in English. Their responses reveal myriad social and cultural nuances, while their perspectives on the works are entirely lacking in pretention. Exploring the interactions between opposing but connected realms—life and death, human and animal, conditioned and unconditioned—Rasdjarmrearnsook presents a meditative rethinking of the meaning of periphery.
Rasdjarmrearnsook’s work has been installed in solo presentations at international institutions including the National Gallery, Bangkok (1987, 1992, 1994, 1995, and 2002); Tensta Konsthall, Stockholm (2003); Bass Museum of Art, Miami Beach (2012); and Walters Art Museum, Baltimore (2012). In addition to regular appearances at biennials and other periodic exhibitions including the Sydney Biennial (1996 and 2010), Istanbul Biennial (2003), and Documenta 13 (2012), the artist’s work has also been shown in group exhibitions internationally, at venues including the Kiasma Museum of Contemporary Art, Helsinki (2001 and 2007); Fine Arts Museum, Berne, Switzerland (2006); National Art Gallery, Singapore (2010); National Museum of Art, Osaka (2011); and Asian Art Museum of San Francisco (2012). Rasdjarmrearnsook, a lecturer at the Faculty of Fine Arts, Chiang Mai University, lives and works in Chiang Mai.
Click into the following link to find out more: http://asiasociety.org/hongkong/exhibitions/nocountrycontemporaryartsouthandsoutheastasia

Interview with Araya Rasdjarmrearnsook.

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Subjective Histories of Sculpture: Araya Rasdjarmrearnsook | The New School


SculptureCenter, in collaboration with the Vera List Center for Art and Politics (http://www.veralistcenter.org), continues the artistled lecture series Subjective Histories of Sculpture. This program, initiated in 2006, furthers the exploration by both institutions of how contemporary artists think about sculpture: its history, legacies, and potential for innovation.
This year, SculptureCenter presents two artists to consider the thematic focus of alignment. Utilizing sculpture as a point of departure and source of inspiration, B. Wurtz and Araya Rasdjarmrearnsook consider tensions and translations between the animate and inanimate, and the empirical and the subjective. Engaging with a rich collection of social, cultural, and political associations, these artists explore the material conditions of our lives and ask how we can rethink official narratives and systems of knowledge. Citing specific works, texts, and personal anecdotes taken from inside and outside cultural production, these subjective, incomplete, partial, or otherwise eclectic histories question assumptions and propose alternative methods for understanding sculpture’s evolving strategies.
Araya Rasdjarmrearnsook was born in 1957 in Trad, Thailand. She received an MFA from Silpakorn University in Bangkok, Thailand in 1986. In winter 2015, SculptureCenter will present Araya Rasdjarmrearnsook’s first comprehensive, largescale solo exhibition in the United States. Past solo shows include the Bass Museum of Art, Miami Beach, FL; the Walters Art Museum, Baltimore, MD; and Tensta Konsthall, Tensta, Sweden. Group exhibitions have taken place at the Solomon R. Guggenheim Museum, New York; the Asia Society, New York; National Museum of Art, Osaka, Japan; the Musée de l’Objet, Blois, France; the Zentrum für Kunst, Karlsruhe, Germany; the Palazzo Fortuny, Venice, Italy; MDE11 (Encuentro Internacional de Medellin), Medellin, Colombia; the Changwon Asian Art Festival, Gyeongnam, South Korea; and the Singapore Art Museum. Araya represented Thailand at the Venice Biennale in 2005 and was a featured artist in dOCUMENTA (13), Kassel, Germany; the California Pacific Triennial; the Dojima River Biennial, Osaka, Japan; the Asian Art Biennial at the National Taiwan Museum of Fine Arts, Taiwan; Sydney Biennale, Australia; the Nanjing Biennale, China; the International Video Art Biennial in Tel Aviv, Israel; the Ural Industrial Biennale of Contemporary Art, Russia; the Incheon Women Artists Biennale, South Korea; and the Taipei Biennial, Taiwan.
SculptureCenter at The New School (http://www.newschool.edu) is organized by the SculptureCenter in collaboration with the Vera List Center for Art and Politics.
Location: Theresa Lang Community and Student Center, Arnhold Hall
Monday, April 7, 2014 at 6:30 pm to 8:00 pm

Subjective Histories of Sculpture: Araya Rasdjarmrearnsook | The New School

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