Shaping the History of Thai Modern and Contemporary Art
Sixty Years of Thai National Exhibition of Art
After the financial crisis, the political situation in Thailand had gradually been stabilised. Thailand had emerged out of social, political and economic crises. During the premiership of Prime Minister Thaksin Sinawatra, the Thai society was relatively stable. Bottom-up policies were devised to address long-standing and deep-rooted problems facing the rural poor. Thai economy grew very quickly, and Thailand was able to repay the International Monetary Fund (IMF) ahead of schedule.
It can be said that in this period, Thailand ultimately entered the period of economic reconstruction, political stability and rapid human development.
However, once again the civilian government was seized power, and this crisis has continued until today. The coup and the successive one has caused protracted political complication and entrenched polarisation in the Thai society.
Between 1907-2007, there had rarely been any obvious artistic development in the National Exhibition of Art, one of the most significant art competitions in Thailand. Art works were in search of subjectivism and absolute truth. The tenet that goodness equals beauty still largely influenced artists. If there was any development at all, it was formalism, which gained traction in the period.
Formalism geared towards social representation as its main principle. Formalist works touch upon social realities in a broader dimension, emphasising perfect composition and the use of visual elements to achieve intended messages.
HOME: Political Crisis (2014) by Parinya TantisukArt Centre Silpakorn University
Interestingly, colours used between 1987 to 2017 went to the same direction. The period saw a tendency towards black and gloomy tones.
Lighter tones had not rarely been used in the works of Parinya Tantisuk since 1987, whose previous works adopted lively colourful tones. In some of his later works, there was one bright spot in a dark or dim atmosphere.
In sculpture works, black colour were painted onto the surface of material in order to emphasise the heaviness and thickness of the volume of form.
In the midst of a gloomy political climate, art works selected for the Nation Exhibition of Art tended to speak more about issues and departed from its own self-obsession.
Works touched upon various social issues, ranging from urban life and society, threats arising from technologised societies, religion, karma and afterlife. Intriguingly, art moved away from formalism.
Ghost Family (2009) by Weerasak SutsadeeArt Centre Silpakorn University
Once formalism reached the level of saturation, what replaced it was the creation of human body to represent stories and social absurdities.
This new development was both influenced by realism and romanticism, highlighting the emotions of human bodies and atmospheres in art works. Furthermore, surrealism, which combined all modes of artistic expression, was also adopted to express what was needed.
From 1997 to 2007, art works selected for the National Exhibition of Art did not longer follow long-standing norms or certain forms. Nor were they influenced by any artistic movements. Form and conception was varied and multidimensional. This diversity itself reflected the globalised world of information and technology, which propelled the change of artistic creation and induced continual, limitless flows.
Fragment of Merit - Sin (2006) by Anupong ChantornArt Centre Silpakorn University
Buddhist art and contemporary art was hugely popular after 1997. There were new interpretations of the Triphumpraruang or The Three World. Artists turned to Buddhist philosophy as a main source of inspiration in their representation of peace, goodness, beauty and body.
Art works also offered a critique of Buddhist monks who violated the code of monastic disciple.
This story flowed into the space of the National Exhibition of Art. Later, art examined society or subjective body. Buddhism became a philosophical framework through which artists used to investigate the issues. Indeed, it was a main principle for artistic creation.
After 2007, issues that interested artists were cultural issues such as diaspora, ethnicity, marginality and local communities whose stories had long forgotten and suppressed by the state. Violence in the Southern provinces of Thailand was a principal topic of concern. The National Exhibition of Art became a main stage through which issues related to Southern violence was presented.
Sanctuary Inside the Soul No.2 (2015) by Praween PiangchompuArt Centre Silpakorn University
Another phenomenon that merits mentioning was the re-emergence of printing with its particular emphasis on craftsmanship, realist light and shadow as evidenced in the works of Boonmee Sangkhum, Jakkee Kongkaew, Praween Piangchompu or Surasak Soensena.
Emptiness (2012) by Kamolpan ChotvichaiArt Centre Silpakorn University
Also, there were forms that departed from flat dimension such as Kamolpan Chotvichai and Jiranan Julrabot. It is interesting that artists turned to craftsmanship and placed an importance on contents.
Formation of One Thing Lies on Deterioration of Another No.3 (2011) by Suporn KaewdaArt Centre Silpakorn University
It is noteworthy that between 2007-2017, black and gloomy colours had been readopted again. Colours such as grey, white and black were enormously popularly among new and experienced artists.
This was particularly prominent in the works of Suporn Kaewda, who used only white pencils to paint on black canvases.
There was no clear explanation as to why such practice was widely adopted, but it is possible that this tendency came from artists’ life as well as socio-political environments, all of which were factors that contributed to the trend.
Since its inception, the National Exhibition of Art has played a pivotal role in developing Thai modern and contemporary art and it will still play this role. Art serves as a mirror to reflect society, so as the National Exhibition of Art.
Throughout the history of Thai modern art, the National Exhibition of Art has developed together with the Thai society.
Obviously, there have been lots of changes in this art space over 60 years. Intriguingly, various new developments and artistic movements in the art world provides us with a mirror to reflect social phenomena and human developments.
Finally, the National Exhibition of Art is like a long river which nourishes and enriches art. It is an archive of countless stories, bearing witness to artistic and cultural revolutions in Thailand. Also, it is truly part of the history of Thai modern and contemporary art.
Artworks featured in this story are parts of Silpakorn Art Collections. They are award-winning works from the National Exhibition of Art and Exhibition of Contemporary Art by Young Artists, under the care and management of the Art Centre Silpakorn University.
