1. Thai Pavilion at the 55th International Art Exhibition – La Biennale di Venezia.
    Arin Rungjang: Golden Teardrop
    1 June – 24 November 2013, At Santa Croce, n° 556, 30135 Venezia, Italy
    --
    Arin Rungjang’s Golden Teardrop reassembles the disjunctive layers of private and public dialogues, heightening audience awareness of the conspiracies triggered by institutionalized domination versus individual limitation. The unfolding of individual dilemma and narrative incoherencies through fragmented anecdotes; result in the reciprocity of instant and persistent memories. Golden Teardrop embraces an oral history by a Japanese woman, the spouse of Arin’s colleague, the journey of a Greek adventurer who came to live in Siam (Thailand); and the story of Golden Teardrop, a dessert invented by a Portuguese nun. After journeying over the sea, it found its way to seventeenth century Ayutthaya and was recreated by a Catholic woman of Japanese-Portuguese-Bengali decent.
    --
    Arin Rungjang (b. 1975, Thailand) is based in Bangkok and graduated from Silpakorn University in 2001. In Arin's artistic practice, ready-made and daily household objects are deconstructed to reinterpret the poeticized space. His video and site-specific installations highlight the cryptic interrelations of: public and private spheres, space and memory, as well as space and its perceptible distance. Golden Teardrop by Arin reassembles fragmented layers of disseminated private and public dialogue.

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  2. A boat slowly glides by right before our eyes; it is playing music by Kjartan Sveinsson, i.e., the four-hour performance art piece “S.S. Hangover”, by Icelandic artist Ragnar Kjartansson.

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  3. Inspired by the Norwegian artist’s most famous painting, Cai Yuan and JJ Xi invited volunteers to take part in a performance of their own interpretation of ‘The Scream’, filmed in 2005 on the very bridge in Norway where Edvard Munch received his idea back in 1893.
    Cai & Xi, who gained international fame as the artists’ duo ‘Mad for Real’ by jumping naked on Tracey Emin’s bed, went on to perform ‘The Scream’ for the first time as a public intervention at Tate Modern and on the Millennium Bridge, London in 2012.
    The two Chinese artists see their interpretation of ‘The Scream’ as an expression of human existence – of reality, spirituality and humanity: “…a revolution exploding in the depths of your soul.”
    The ‘Scream’ series of performances is supported by the Office of Contemporary Chinese Art (occa-art.com), China Live Art (chinaliveart.com) and the artists’ network Artbetween (artbetween.org)
    Mad For Real (Cai Yuan and Jian Jun Xi)’s oeuvre has continually questioned the relationship of power to the individual. Using a position of resistance Cai and Xi have consistently produced work which is necessarily oppositional yet the warmth and humour of their work also acts to draw viewers in. Their performances have taken place as radical gestures calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.
    For more information about Cai Yuan, Jian Jun Xi and their co-operation as ‘Mad for Real’, please follow this link: madforreal.org

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  4. We are based in Seoul, Korea

    "gentle marimba" by Alastair Cameron (cameronmusic.co.uk/)

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  5. EXHIBICIONES

    [2013] La Generación del Giro, prácticas artísticas emergentes en Pereira, exposición colectiva, Sala Carlos Drews. Pereira Colombia

    Rider Técnico: Videoproyector, 12 páneles de proyección semi-transparentes, 1 TV 14', 2 reproductores de DVD, sonido stereo.
    Video mono canal. Aspec Ratio: 16:9. Proyectado, loop. Sonido.
    Video mono canal. Aspec ratio 4:3. TV, loop.
    2013

    La instalación se presenta como un lugar de inmersión para el espectador en el cual se proyectan imágenes y sonidos relativos a una “falsa caída” desde dos acciones repetitivas (video-performance) en las cuales se indaga metafóricamente al equilibrio de un cuerpo que desfallece, donde el no caer se manifiesta como canalizador de una desestabilidad emocional; fluctuaciones constantes en el movimiento hacen que la acción del cuerpo representada en los videos permanezca en un eje central de quietud y armonía, manteniendo así el balance y evadiendo la caída como la representación del sometimiento, la derrota y la muerte.

    El sonido incesante y repetitivo de la palabra Equilibrium, yuxtapuesta con la acción lenta e hipnótica y pendular de los videos genera en la obra una atmósfera contrastada y ambigua que encarna la dualidad de las emociones humanas.

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