A POSSIBLE ISLAND? BANGKOK ART BIENNALE 2018

DESCRIPTION

A POSSIBLE ISLAND ? is a possible answer
MAI and the 8 performance artists are giving to the 2018 Bangkok Art Biennale title, BEYOND BLISS.

When

OCTOBER 18 – NOVEMBER 11, 2018

Who

Lin Htet, Taweesak Molsawat, Pantea, Yiannis Pappas, Reetu Sattar, Vandana, Jihyun Youn, Despina Zacharopoulou.

The Bangkok Art Biennale title refers to the quality of contemporary time: social and political disorders, climate changes, diseases, migrations, pollution, dehumanisation, fake news, but also to the search for quietness, escapism, refuge.

A distinctive quality of our time is certainly the constant flux of information, such as images and news, almost immediately being replaced by new information without giving the necessary time for analyzation and comprehension.

The lack of time is a symptom, a symptom of fear; the fear of loneliness, of social misplacement and of being or thinking “outside the box.

”A POSSIBLE ISLAND ? is an attempt to place the visitors in a space where they will breathe, reunite with themselves, face all these issues, and maybe find some answers while watching the 8 long duration performances.

Despina Zacharopoulou, Protreptic (2018)
The artist invites the audience to enter into an encounter with her, after a series of protocols are established and consent is explicitly given. This performance investigates questions revolving around the thickness of boundaries, governmentality, preciousness, use and expenditure.

Jihyun Youn, Geometry of Lamentation (2013/2018)
This performance is an attempt to measure the unmeasurable such as an inner landscape of emotion. The artist will try to isolate the movement as a single event without meaning or reference to makes a suitable condition to measure the emotion.

Lin Htet, Our Glorious Past Our Glorious Present Our Glorious Future (2018)
Conceived as a meditative sit-in, for this edition of Our Glorious Past Our Glorious Present Our Glorious Future, the artist is going to spend three weeks within an enclosed structure made up of barriers as an artistic protest against the mass confinement of the immigrants from the Global South including the Rohingya.

Pantea, Circle (2018)
Interacting with audiences for the performance , Pantea will creates an improvised challenge to communicate with them in a dancing stage.

Taweesak Molsawat, The Gardener (2018)
The artist will walk while holding plastic flowers in a tray with his two hands in the giving posture and carrying a bag of soil from his house to the gallery at BACC about four and a half hours, approximately 21 kilometers for three weeks starting at noon each day. This ritualized walk will be in different routes each day through busy streets with the invisible walls of urban structure of Bangkok.

Reetu Sattar, Orbit (2018)
“Lives under the sky forever under the spell of missing or ‘Desaparecidos’. Us are missing under the engendered complicity in a safe box. Moving with the UTC provided is life.”

Vandana, I The Flame (2018)
The act of constantly gazing at the flame is a challenge for the mind to stay in the present moment. The title of the piece, I The Flame, directly comes from the phenomenon of oneness and reunion.

Yiannis Pappas, Telephus (2018)
Yiannis Pappas wraps parts of his body with plaster, and in doing so he suggests a devotion to self-awareness. He sculpturally produces a paradoxical quasi-embodiment of the civilized global body, thus positing a critique about personal and collective asphyxia.

Abramovic Method

The Abramovic Method is a large scale, public participatory event joining people in a communal experience to connect with oneself and with each other. Inside this quiet and non-hierarchical space, the public is invited to participate in a number of exercises and to observe others as they participate. Connecting people in this basic way and creating a space of mutual witnessing, the Method encourages the kind of collective vulnerability that human beings need in order to better coexist. Participants are both guided by facilitators and self-guided and can stay in the Method for as long as they wish.

8 Long Duration Performances

‍Artists
Reetu Sattar
Yiannis Pappas
Pantea
Lin Htet
Vandana
Despina Zacharopoulou
Taweesak Molsawat
Jihyun Youn
‍
Curators
Serge Le Borgne
Paula Garcia
‍
Assistant Curator
Kitipatra Jude Tandikul
‍
Translator
Varissara Borkird
‍
Installation Team
supernormal studio
Amornman Piamrungreung
Akkachet Sikkakun
‍
Graphic Designer
Nut Namsowan

Communication & Public Relation
Kachapan Boonrasri
Pimonpun Littiboonchai
Kullakan Kinrakhon
‍
Education Team
Pattara Danutra
Vorachat Vadhabukkana
‍
Special Thanks
Assistant Professor Pawit Mahasarinand
Narongsak Nilkhet
Pichaya Aime Suphavanij
Patthira Kongraj

The Abramović Method
‍
The Abramović Method Managers
Billy Zhao
Lynsey Peisinger

Facilitators
Inarm Aemittipol
Rattanakan Kanchanaphanbun
Pornthip Singrotai
Suksri Arayavilaipong
Mullika KoKkaew
Phadungkiat Sohap

Sirapat Deesawadee
Aninthita Meejan
Juliana Cappi
Paricha Buddharaksa
Pichapa Wangprasertkul
Patiparn Meesuwan
Wanasiri Thongchoo
Akkhara Worasak
Raveewat Panchuay
Kan Nukhaw
Thipnaree Hunsakul
Rata Aksornthong
Buntariga Chatburanayont
Warinda Thepkunchone
Chayanis Phetsuwan
Bhornpavee Poodang
Danish Seksan
Virinsire Chomchey
Siriwit Mueanpiw
Ammarin Areedee
Praewa Chaipunna
‍
Marina Abramović Institute
Marina Abramović
Thanos Argyropoulos
Paula Garcia
Serge Le Borgne
Billy Zhao
Lynsey Peisinger