‘Art Exhibitions’ Category

Top Changtrakul: Dreaming Out Loud

October 21st, 2015
15 October – 7 November 2015
Opening Reception: Thursday 15 October 2015, 7pm
Dreaming Out Loud will be the 7th solo exhibition in a 20-year long career as an artist, creative director, teacher and art instigator. Top is drawn to the reasons why people make art and the why and where of inspiration for his own his artistic expression. 
Intrigued by his vivid nocturnal dreams and images, he decided to experiment with various ways of generating and capturing  the extreme, colourful and bizarre visions of his sleeping world. He decided that this sleeping life is his life awake and a genuine truth of himself; a truth, calling and justifying from within to make another art exhibition. 
“ I usually don’t have long dreams, most dreams that I had are very short and jumpy much like when you are fast forwarding or rewinding the VDO tape, but once in a long while I had these long dreams where I am fully aware of my surroundings and being able to remember everything from the start to the finish and that is why I think it might be worth while to share it with my friends”  and now to a larger audience…

The exhibition comprises 3 different dreams interpreted and articulated into the three different installations. All of them experienced in 2014 when he awoke in awe of the vivid dream-state and decided to recorded them immediately.
Top Changtrakul is Bangkok a based artist and creative director of Farmgroup. He graduated with a MA in Fine Arts in New Genres/Performances from San Francisco Art Institutute, California. He had been in group and solo shows in New York, Korea, Bangkok, Finland as well as the Venice Biennale. His work is known for creating puns, expressing wit and hilarity as well as sarcasm. 
“Changtrakul’s pieces clearly function as Duchampian puns, resonating the wit and subversive humour of an artist well-versed in histories of the readymade, Conceptualism and Fluxus”  (Extract from review of Top’s New Inventions II Exhibition in New York in 2001 by Sirin Thada)
Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474
Email: somrak@wtfbangkok.com


Weatherproof // PhotoBangkok

August 23rd, 2015
[in collaboration with BACC]
4 – 30 September 2015
Opening 4 September,  7:00 pm.
‘Weatherproof’ is a collection of contemporary photography by 6 Thai artists—Angkrit Ajchariyasophon, Dansoung Sungvornveshapan, Miti Ruangkritya, Rasiguet Sookkarn, Soopakorn Srisakul and Withit Chanthamarit. The exhibition presents the truth of the uncountable catastrophic damage caused from the natural phenomena; Tsunami (2004), Severe Flooding (2011) and Earthquake (2014).
The natural phenomena are unavoidable and unpredictable. However, their aftermaths show the repetitive failures in management which are extremely deficient and inefficient. It is undeniable that the images shown to public repeatedly express loss and cruelty. Nevertheless, all 6 artists turned to present the other side of those tragedies. Their photos reflect the aesthetical dimensions that you will never ever see in any normal situation like they want to cover the everlasting phrase…Aow Yuu…Aow Yuu (under control)
Ark Fongsmut
Angkrit Ajchariyasophon
Dansoung Sungvornveshapan
Miti Ruangkritya
Rasiguet Sookkarn
Soopakorn Srisakul
Withit Chanthamarit
WTF Café & Gallery 
7 Sukhumvit Soi 51 Wattana Klongton-Nua
Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10am 
Free Admission
Jorge Carlos Smith
Tel: (66) 2 662 6246, (66) 81 893 5698
Email: electrojazzjorge@gmail.com


BrandNew Art Project: Rodwiroon Wannakaew

July 29th, 2015
August 4 – August 30
OPENING August 4 – 6:00pm


Bangkok University Gallery is delighted to invite you to BRANDNEW Art Project 2015 which has been organized for tenth consecutive year. Since the initiation, the project has been supported by both governmental and private sectors and many contemporary art galleries with the cooperation of art teachers and students from many universities which are Bangkok University, Silpakorn University, Chulalongkorn University, King Mongkut’s Institute of Technology Ladkrabang, 
Burapha University, Srinakharinwirot University, Chiang Mai University, Khon Kaen University and Mahasarakham University. 
The project aims to sustain young artists to develop their own creativity. Each year we invite international acclaimed Thai or foreign curator to select artists for the project with hope that those selected artists will gain experience and learn to develop their works which will promote them into international contemporary art network. This year (2015) we invite Mr.Nguyen Nhu Huy; independent curator, visual artist, art critic and poet from Socialist Republic of Vietnam, who has experience in running art project that point up the relation of Past and Present and also running alternative art activities in diverse spaces. This year, the selection process is intense same as usual.
For the exhibition at WTF, we’ll exhibit the work by Rodwiroon Wannakaew – installation of movable objects, electronics appliances, Thai local kitchen utensils and audio installation to depict Thai way of living and beliefs. 
WTF Café & Gallery 7 
Sukhumvit Soi 51, Wattana, Klongton-Nua, 
Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4pm-10am 
Free Admission
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474
Email: somrak@wtfbangkok.com


Wonderful Thai Friendship II

May 22nd, 2015

29 May – 24 July 2015
Opening Reception on Friday 29 May 2015, 1800h

Over the past 5 years, WTF Cafe & Gallery has operated on the core belief that art and artists matter profoundly to our society, and can meaningfully contribute to shaping civic dialogue and creating a better society. We support artists in their efforts to move the needle of social justice and to reveal new ways of looking at and understanding our world. As a result, our commissions range from the wondrous and uplifting to the unnerving and provocative.



In the last couple years, we’ve witnessed drastic changes in our country. The last coup has created more conflicts rather than solving them, and created confusion both even within and among groups who may have felt they had a stake in bringing this change about, because once the ‘good people’ were in charge, the violence and political shambles would magically come to an end.

At the height of the protests that preceded the coup back in 2014, WTF gallery curated the exhibition ‘Conflicted Visions”, aiming to create dialogue among the polarised artists and intellectuals who felt the urge to expressed their feelings through art – be it by criticising official policy, using art as a propaganda, or reflecting their confusion, anger, pride and doubt. While “Conflicted Visions” could hardly hope to singlehandedly unblock the dialogue channels between different ideologies, it did raise the question whether we can ever actually have disagreements over fundamental beliefs and ideologies without becoming overwrought. “Conflicted Visions is about reaching beyond prejudices” (Bangkok Post, 9/04/14).
A couple of months later, the military once again seized power openly and formed an authoritarian government who’s chief purpose is to reduce the country once again to a single vision. By doing that it has reduced the concept of human rights and freedom of speech to almost nothing, and this attitude has spilt over even into areas that have nothing to do with political conflict such as simple natural justice or compassion.
In view of the arbitrary detentions and intimidation that followed, the media, academic and art worlds have been virtually silenced with only a few brave non-visual artists or academics fighting relentlessly with the authorities.
Because many artists are silent, WTF tried to think of new ways of prodding the community out of its current stagnation and ennui – and turned to people who are not by profession artists at all for fresh eyes and a fresh perspective. This is not simply because we are giving up or abandoning the artists who have been shackled by authoritarianism, but because we would like to explore the boundaries of art – whether it can express an outright rejection of conventionally defined criteria as a means of defining what art is, and isn’t, and if it is still art if it is done by non-artists who understand themselves as such. 
We invited 13 non-artists to create their art under the theme of “Wonderful Thai Friendship II”. This was the theme that inaugurated WTF gallery with 13 traditional artists when we first opened our doors to Bangkok in April 2010. 
The participants this time are: 
Brian Curtin, art critic & curator
Gene Kasidit, singer-songwriter
Yuki Kunchon, vintage shop owner
Gregoire Glachant, magazine editor
Gabriel Camelin, visual communication lecturer
Shallow News In Depth, political satire show
Patrick Winn, journalist
Romain Dupuy, art director/bar owner
Sanya Souvanna Phouma, club owner/restaurateur
Nikan Bow Wasinondh, curator
Ka-ge Mulvilai, performer/producer
Kong Rithdee, journalist/critic
Christopher Wise, photographer/bar owner
The participators are allowed to interpret the theme in any way they want, or ignore it completely.
The exhibition comprises seven art installations, two photography sets, two video installations and two paintings. The ultimate goal of this exhibition is at all not about the quality or the content of the works, but it focuses on the process of the making as well as perspective and attitude of the creators as well as the viewers. The results have been surprising, ranging from serious social commentary to satirical and lighthearted approaches. 
Some of the works reflect or address social issues that are often overlooked. These include the daredevil behavior of bus and taxi drivers in Bangkok, the acceptance and awareness of sexuality, inequality and nepotism arising from the latest political changes, or the passing hysterias created by the 24-hour news cycle. Other participants take a different perspective to art, commenting on the demimonde or the fashion identity of Bangkokians, the endless recycling of the fads of yesteryear, and the so called role of patronage in the arts. Yet another group focus their creations, perhaps more traditionally than many traditional artists, on generating positive energy or finding beauty in the quotidian – accepting, in other words, that the country has changed so it can stay essentially the same. 
This Exhibition is made possible by Bacardi. 
Special thanks to: Nicolas Buchele, Wesley Hsu, Varsha Nair, Jaruphan Phan-in, Makha Sanewong Na Ayuthaya, Ar-tara Satraroj, Nguyen Tien Tu and Tanya Yordsrimuang
Somrak Sila
20 May 2015
Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission


Kathy MacLeod: Build Your Own Bangkok

February 17th, 2015
Painting exhibition
12 March – 3 May 2015 
Opening Reception: Thursday 12 March 2015, 6pm

Like the Amazonian rainforest, Bangkok is a wildly diverse ecosystem — teeming with an infinite number of specimens, living in an infinite array of habitats. Cartoonist Kathy MacLeod (of BK Magazine’s “That’s What She Said” fame) has selected and illustrated eight of these distinct ecosystems with surprise interactive elements.

The large and stunningly detailed drawings are accompanied by a Field Guide which visitors can use to spot uniquely Bangkokian species in their natural habitats. Learn about the different types of sexpats, their distinguishing characteristics, and see where you can spot them in the drawings. Explore the symbiotic relationship between Khao Sarn Road backpackers and the jaded vendors who cater to their whims. Observe the migratory habits of Chinese tour groups and see how many unique varieties of Sleeping Old Man you can spot in Chinatown. A small pop-up shop celebrates the materialism that makes Bangkok Bangkok, and an interactive display invites visitors to reconstruct the city according to their wildest visions. 
Kathy’s characterizations of human behaviour and stereotypes become visual symbols and a shorthand for more complicated issues. The cartoon-like characters and deliberately naive style Kathy employs serves to lower the guard of the viewer to allow her subtly tragic or obviously cruel messages catch the unsuspecting reader by surprise.
Kathy MacLeod is an illustrator and cartoonist whose work leans towards the autobiographical and deeply personal. Born and raised in Bangkok, she has often used the city with all its contradictions and zany characters as the backdrop to her comic adventures. Often the star of her own stories, she sees her work as an ongoing documentation of her own life which she is relentless compelled to record. For "Build Your Own Bangkok", she turns the focus around to the world outside with the same intimate and humorous touch yet never overlooking the pathos of life.


Visitor information

WTF Café & Gallery 

7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110


BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 

Free Admission


For further information please contact:

Somrak Sila 

Tel: (66) 2 662 6246, (66) 89 926 5474

Email: somrak@wtfbangkok.com



November 27th, 2014


8th December 2014 – 9th January 2015, 16:00 – 21:00
Opening Reception : 8th December 2014, 6pm.
Selected by
Vasan Sitthiket,  Praditchya Singharaj, Rungsima Kasikranund, Punsiri Siriwetchapun, Thanachai Ujjin and Tul Waitoonkiat

Wit Ariyasriwatana, or lovingly known as Oan, loved life.  He was enamored with everything around him.  He read all sorts of books.  He appreciated art.  He watched films.  He listened to all kinds of music—from classical to post rock.  
Even with his busy schedules being a full time architect and a part time lecturer, Wit was able to manage to slot everything and everyone that he cared for into his life.  He never once failed to look after his families, an
d he always made sure that friends were doing well.  Towards the end of his days, Wit became committed to biking.  
One of Wit’s long standing passions was that of photography.  Inspired by his late father, Dr.  Wichai Ariyasriwatana, Wit took up photography ever since he was young.  NIKON F—no longer functioning—always 
stayed in his bedroom for keepsakes.  Technological advancement prompted him to collect cameras as times went along, but his favorite lens was none other than his father’s NIKON 50 mm f/1.4 which he used regularly with CANON EOS 5D.
Travelling was a
nother core of Wit’s being.  It doesn’t necessarily mean from a place to another, but also a passage of time which can be captured through photography.  Wit displayed how growing up with people around him could create memories to hold on to when he bid farewell to us all. Wit left us during his biking trip with friends in Nakorn Ratchasima.  
“The Journey Continues…” is Wit’s first photographic exhibition. Selected by his trusted friends, the exhibition revisits the world through Wit’s keen eyes.  The opening date is December 8, 2014, which also falls on his birthday.  Through his photos, he bared his heart and soul Wit’s journey will never end.  It continues.  It continues happily and freely.
Until we meet again.
“The Journey Continues…” Photography Exhibition and Life of Wit Ariyasriwatana 
The exhibition displays six sets of photographic works by Wit Ariyasriwatana that have been selected by six of Wit’s friends. They include: 
1) Vasan Sitthiket, well-known visual artist and social activist
2) Praditchya Singharaj, leading architect and photographer
3) Rungsima Kasikranund, Managing Director of Post International Media Co., Ltd. and former Editor-in-Chief of ELLE DECOR Thailand 
4) Punsiri Siriwetchapun, celebrated fashion photographer
5) Thanachai Ujjin, Moderndog’s vocalist
6) Tul Waitoonkiat, Apartmentkhunpa’s vocalist
These six individuals have all played a part of Wit’s personal and professional life, and he held them in highest regards. The admirations traveled both ways.  
Their selection criteria are based on their preferences; moods, tastes, and perspectives derived from closely inspecting Wit’s photographs. The process displayed profound connections and understandings between Wit and his friends.

There is no curator for this exhibition, but Wit’s close friend from Chulalongkorn University Wuttinun Jinsiriwanich has taken on the designer role as a parting gift. He has selected and arranged the display of these different selections in the exhibition space.
These photographs are taken from Wit’s archives from 2000 to 2014. The common themes seem to be friends, people and places that he came across through traveling, instant reality, daily photographic journals, architecture and visual graphics.
From looking at these photographs, one can see quite vividly the photographer’s intention to capture the spirits and livelihoods of people he met as well as the immediate feelings and instant reactions that he grasped.  
As a lifelong keen reader, Wit’s knowledge, memories and viewpoints are kept alive by his photographs. 
Wit’s Life Journey
Wit was born on December 8, 1972 at Misericordia Hospital in New York, USA, where his parents practiced medicines. After graduation from the School of Architecture, Chulalongkorn University in 1995, he started his career as an architect at Axis ArchitectCo.,Ltd. in Bangkok. In the year 2000, Wit started his own business which is currently Studio Qube Co., Ltd. The company’s works include residential buildings, hotels and resorts in Thailand and Southeast Asia.
Wit has received several honors and awards for his works both in the conceptual design and architectural design criteria. He lectured part time at universities.
He was part of the “We Think”, a group of designers and creative people who organized the “Fashion Market for AIDS” during the World AIDS Day in 2004 and “Art Vote” campaign to call for the Bangkok Art and Culture Center during the Bangkok Governor election in 2005. He also joined the long march against the construction of the Mae Wong Dam in 2013. Two years ago, Wit found his new hobby, cycling, which became his passion. 
On 28th June 2014, Wit passed away from a cycling accident. He is survived by his loving wife, mother, brother, sister, Muji and Mookka.


Varsha Nair & Lena Eriksson: Monday 2 Monday

October 3rd, 2014

10 October – 9 November 2014

Opening Reception: Friday 10 October 2014, 6-8pm at WTF Gallery, Bangkok

WTF gallery is pleased to announce a contemporary art exhibition titled ‘Monday 2 Monday’ by Varsha Nair (Bangkok, Thailand) and Lena Eriksson (Basel, Switzerland). 
Based on the Monday 2 Monday project started in 2011 by the artists to engage with each other in regular, rhythmic, ongoing communication, this exhibition visualizes their conversations as a 2-channel video film and on-site installation on 2 floors of WTF Gallery in Bangkok. 
Although the conversation was originally for their personal and emotional expressions, and with no fixed outcome or time frame except to connect each Monday, the project has developed into a chain of thoughts, a great trial of artistic and creative processes and personal endeavour for both artists.
Intense dialogue, whether face-to-face or epistolary has a long history among artists and cultural institutions, and has become an increasingly important concept in contemporary practice. These exchanges can shed light on how art and dialogue can occur in a proactive and planned way.
Bridging the vast distance between Basel and Bangkok, the separation becomes a mutual studio space in which the two artists exchange freely by completely opening up to each other on both professional and personal levels. The chosen topics that matter most to them, at that point in time, are shared each Monday, including personal loss and comforting, friendship, family and country histories, current social and political issues, economics, identity, philosophy, morality, globalization as well as their process of creating art — failed or successful ones. 
The posts are usually very short — brief as bygone telegrams. Most are straightforward while some are planted with satire and humour. They could be considered love letters without lust but ones that speak of deep friendship and containing honesty, compassion and great effort to nurture a healthy long-distance relationship, driven purely by a need to communicate. 
Lena Eriksson was born in Brig, Switzerland, and recently gained a Master degree in Art in Public Sphere from Lucerne School of Art and Design, Switzerland. Eriksson works mainly with drawing, video, installation, performance and concepts, and prefers to develop works in collaboration. From 2004 to 2009 she established and managed “Lodypop” – an independent art space in Basel, for which she conceptualized exhibitions and brought together artists from Switzerland and elsewhere.
Varsha Nair was born in Kampala, Uganda, and studied Fine Arts at Baroda School of Art, Maharaja Sayajirao University, India. Inviting multidisciplinary collaborations her work encompasses various approaches and genres including making, writing, organising, and putting things + people together. Nair has exhibited her solo and collaborative works internationally and in Thailand, where she has lived since 1995.
Project archive at http://monday2monday.tumblr.com/
The exhibition is made possible by The Swiss Arts Council Pro Helvetial and Embassy of Switzerland in Thailand.
Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474
Email: somrak@wtfbangkok.com


Makha Sanewong Na Ayuthaya: Unidentified Familiar Object

August 4th, 2014

Makha Sanewong Na Ayuthaya: Unidentified Familiar Object

22 August – 21 September 2014
Opening Reception: Friday 22 August 2014, 6pm

Makha Sanewong na Ayuthaya is fascinated by everyday objects, their functionality and our dynamic perceptions of them. Simple objects to him are elaborate representational systems—what William Empson called “compacted doctrines”—that embody our beliefs about such things as creativity, form and function. Yet his work is not about form, or in any straightforward sense about the beauty of the quotidian: not for him the gorgeous shining contours of Duchamp’s urinal, the silkscreen prints of soup cans.
Instead, he focuses on the mundane and humble: rigidly rectangular school chairs and desks that perhaps embody an unattainable ideal of uniform education, tin weighing scales used in wholesale/retail shops. These objects allow him to reflect on the processes that shape our perceptions and by which representation mediates them to generate our sense of what the object is, where it fits into our hierarchy of things, and so on. 
An old-fashioned angle-poise lamp, such as might have lit the desk where you did your homework, still burns but lies unplugged on the floor, coiled in something like defeat, shining its light on nothing; a pair of equally weighted scales rise and fall according to no discernible principle; a rank-and-file of chairs teeters at an alarming angle, seemingly propped up only by a pencil…
On one level, Makha follows the time-honoured tradition of taking an object and defamiliarizing it to generate a kind of error message in the mind, to potentially comic effect. With at least half an eye on the political tribulations in Thailand, his installations depict the logical fallacies of positions whose underpinning has largely been stripped away: if you can’t sit on a chair, what good is it? Why did it ever need to be the shape it is?  
His work thus points to the upheavals that arise when new realities clash with our perceptions and pre-perceptions—in other words, with our fervent hope that the world will still be tomorrow what we believe it to be today.
But by the same token it has a thwarted nostalgic quality. Many of these objects, which have been familiar to most Thais since childhood—scuffed, dented, worn with use—have been superseded by sharper, more cost-effective devices and are turning up in scrapyards. To find them alarmingly manipulated, reintegrated, recontextualized and reconfigured is to experience them in some ways afresh, but in others to see them through a melancholy, scratched, sepia-tinted screen. And in that sense his work harks back to an even older artistic tradition concerned with memory and its pains, and with the insistent reminder that “this too shall pass”.
Makha is part of a new wave of Bangkok artists. He graduated with a BFA in sculpture from the Faculty of Painting, Sculpture and Graphic Art at Silpakorn University in 2008.  His works have been shown in several galleries and museums in- and outside Bangkok, including the eminently respectable 56th National Exhibition of Art at the Bangkok Art and Culture Centre in 2010, a group show, and a solo exhibition entitled "Non Still Life" at Pongnoi Community Art Space in Chiang Mai in 2011.  
Artist Statement
We rarely give a thought to mass-produced everyday objects, especially when they have been in use for a long time, and many would consider them worthless compared to a treasured asset or artefact in a collection. But in their very functionality, they point much more directly to the relationship between owner and object. Then there is their symbolic or iconic dimension, which may be quite independent of this individual relationship: for example, a pair of scales inevitably carries notions of accuracy and justice, of probity in commerce, of exact measurable value. Each object has a powerful fixed identity and an emotional and ideological charge.
Our understanding of the meaning and function of any object is formed early; we mostly learn in childhood what an object does, how to feel about it, and what to expect of it. But experiences peculiar to a person or group can also freight it with new meaning, as when lightbulbs and ladders combine to produce seemingly unreasonable fears, when our heart skips a beat at the sight of a bicycle, or when airport police go on high alert over an unaccompanied suitcase.
My experiences and memories give me a sense of how groups or individuals behave. Some of these are rational, but many are not. In this exhibition, I am trying to show how my own experience has sometimes painfully transformed and transfigured everyday objects. 
Choosing these objects and giving their functionality a slight nudge so their meaning becomes precarious raises the question whether the object is still the same we once knew so well. If you’re standing in front of an object you’ve known all of your life but it doesn’t behave according to the function or meaning you normally attribute to it—what does that do to your own place in your environment?


Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission

For further information please contact:
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474


Ungrateful Records

June 9th, 2014

Ungrateful Records by Pongsuang Kunprasop
14 June – 30 July 2014
Opening reception: 14 June 2014, 5pm 

•••••••••ARTIST STATEMENT•••••••••

My first exhibition is a retrospective look of my life stories to understand what constructed my identity, my entire being. I have discovered three main factors that influence my behaviors and mentality. They are music, friends and family.
This exhibition is a recollection of random memories being interpreted into record sleeves of imaginary bands. The paintings display what kind of musical genres my stories would be, if they were to be told by notes, chords and lyrics. From family, childhood, friends, lovers to influencing bands, these are stories I try to remember as well as forget. 
It started four years ago. After I lost my mother, I began to bury my guilt. I felt that I didn’t care for her enough, and it was too late. There was no return. I escaped by trying to run away, trying to forget. But I ended up causing rifts in friendships, relationships and professional undertakings. My life was hectic, and I carried on with a tangled subconscious. 
"Ungrateful Records" is my attempt to re-familiarize with myself by answering questions that I have been avoiding. It’s a confession, an admission of guilt, of my ignorance towards overwhelming love from those around me. It’s a cleansing process through acknowledging my problems in order to finally move on, hopefully, with a clean and clear mind.
•••••••••CURATOR STATEMENT•••••••••
WTF gallery pleased to announce a contemporary art exhibition titled “Ungrateful Records” by Pongsuang Note
A semi-public figure at the cutting edge of the fashion and nightlife scene in Bangkok, Pongsuang Kunprasop has spent 12 years creating visuals, delivering concepts and ideas for advertising and helping to market glamorous products and lifestyles. His acerbic commentary on social affairs, ebullient personality and ability to communicate both verbally and visually have enabled him to flit sprite-like between classes and cliques in Thai society. 
In a life steeped in popular culture, Pongsuang has become a touchstone for other creative professionals, would-be trendsetters and corporate trend-chasers. But fame and – to a lesser degree – fortune have not brought fulfillment, peace of mind or true happiness. Instead, he has become emotionally guarded, resulting in frequent depression and problems in his relationships with friends, colleagues and lovers.
In 2010, Pongsuang’s mother died of Lupus. Two years later, he came across a picture of his unknown father on the social media. The discovery of his errant father and the sudden loss of the only family member he was close to triggered a desire to re-examine the life he had lived so far.
The exhibition Ungrateful Records can be seen as an attempt to test a view of art that has become rather unfashionable – as a way of healing, of mending the cracks in life and integrating what appear to be disparate fragments; in short of seeing life steadily, as Matthew Arnold had it, and seeing it whole.
Or as Alain De Bottom and John Amstrong put it in their book "Art as Therapy", which tries to give this venerable view a new lease of life for our time, art is not only a tool to preserve life experiences that really matter, but also to fully inhabit and metabolize the negative — and by doing so with dignity and by reminding us “of the legitimate place of sorrow in a good life”. 
Ungrateful Records is an art installation consisting of 100 paintings of record covers, arranged as in an old-fashioned (or perennially hip) vinyl shop. Since music plays such a vital part in his personal and professional life, what better way to tell his life story through what appear to be the covers of records, lovingly cherished or scratched and broken, over- or underrated. Memories of childhood, of family, friends and lovers, of rare moments of happiness and events he would rather forget, and of the art and music that have influenced him, all come together to form a seemingly cacophonous but ultimately symphonic portrait of the artist.
As one of CNNgo.com’s “20 Thais to Watch”, Pongsuang Kunprasop has been credited as. After graduating from Silpakorn University of Fine Arts with a degree in Graphic Design, Pongsuang joined Praew Sudsupda magazine as a full time columnist and illustrator (2000-2001) and subsequently he joined several other major Thai magazines including Lips and MTV Trax while working on his own Thai-UK magazine, Supersweet (2004-2007). Together with his friends, he founded a graphic company, Slowmotion in 2005. Pongsuang’s pedigree in the fine arts has led to various illustrious curatorial position such as Elmgreen & Dragset at the National Railway Station (2007), and more recently at ‘Nocturne’ (2010) – a photographic exhibition celebrating music and youth subculture in Bangkok. Pongsuang also runs the eight year running Dudesweet, an indie-electro clubnight, which has a large and growing army of followers in the creative industries.
Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474
Email: somrak@wtfbangkok.com


Conflicted Visions

March 21st, 2014
2 April – 23 May 2014
Opening Reception: 2 April 2014, 6pm 

WTF gallery is pleased to announce a contemporary political art exhibition titled ‘Conflicted Visions’ by 7 Thai artists:

Prakit Kobkijwattana 
Sutee Kunavichayanont 
Manit Sriwanichpoom
Pisitakun Kuntalang
Jakapan Vilasineekul 
Miti Ruangkritya
Since 2010, political unrest in Thailand has given rise to unprecedented public expression, with almost every demographic in the country voicing often long-repressed concerns and grievances. It has exposed deep divisions in society that manifest themselves in different political ideologies, driven by a powerful urge among Thai citizens to press their position for political advantage, communicate their dissatisfactions, and connect with – or as might be, lose themselves in — something larger than themselves.


Conflicting, often self-contradictory definitions of morality, social norms, patriotism and established power have been propagated by those who would harness these concerns, desires and grievances to their own political ends, resulting in a cacophony of competing claims that has polarized the body politic from top to bottom, from grassroots to intellectuals to the highest levels of the social hierarchy. 


Inevitably, in a situation which inhibits open conversation or attempts to safeguard monolithic structures, artists and intellectuals from all over Thailand have sought a number of strategies to express their views — be it to criticize official policy, produce propaganda for one side or another, question the doctrines of culture and nation, or dissect mass thinking. Others are less interested in the surface issues in the political arena, but rather in examining their own inner response of confusion, anger, pride or doubt.


“Conflicted Visions” consists of works made between 2010 and 2014 by seven Thai artists, new and established, who have worked in different media inspired by the seemingly never-ending political crisis. 


Thailand’s most established photographer, Manit Sriwanichpoom, in a series entitled “Obscene Mantra” reworks some of his pre-existing images into a propaganda campaign that criticizes the current government’s attempts to hide policy and performance failures by repeating the mantra of its own propaganda.


Despite coming from different ends of the political spectrum, Sutee Kunavichayanont and Prakit Kobkijwattana employ similar mockery of country and mentality, commenting on superficiality, hypocrisy and disorder in Thai society – Sutee with work produced in 2012 as part of an exhibition titled "Crazily Good!", Prakit with his first installation work entitled "Living in a pretentious world, life’s gotta be pop" from 2014.


Jakapan Vilasineekul’s installation "Hanging in the Air/Balancing On The Rope" is a metaphoric articulation of the constant shuffle of influential figures jockeying for benefits, which is at the heart of the complex and corrupt Thai political game. 


Both Pisitakun Kuntalang and Miti Ruangkritya’s works are based on political speculation and the external and internal frustrations artists are subject to. Pisitkul returns to drawing as a way of documenting unfolding events on the streets, but also as a form of ”therapy’ to help him comprehend the current public and private turmoil. Miti’s series of photographs "Thai Political No 2" (2010) and "Thai Political No 3" (2011) observe of the public’s intense focus on and obsession with key players in the current political crisis — Thaksin Shinawatra, Yingluck Shinawatra and Abhisit Vejjajiva.


Lastly, the curator has included an anonymous artist whose works were originally created solely for display in online social media — one of the 21st century’s most effective propaganda tools, which has been fully embraced by the Thai public. The work uses the graphic format from 70s Thai textbook which was the first mandatory reader for all primary schoolchildren. By subverting the book’s benign sunlit world populated by children, their family and its dog, the scenes of aggression and conflict powerfully convey the parallel strains of innocence and deceit, pious cant and hate speech that exemplify the current dysfunctional state of Thai society.


The exhibition is not solely intended to articulate artists’ political views or social critique, but is also an attempt to test to what extent an extremely polarized Thai society and artistic community can be brought into a small dialogue in a small space on a small lane along the roaring highway of conflict.