REVIEW: A walk through abstract minimalismby Pattara Danutra
During 1990s, site-specific installation art became a hit. At the time, many local sculpture and media artists began to explore the genre in both conventional galleries and alternative spaces. Unfortunately, after the passing of Montien Boonma, the major proponent of this format, the number of site-specific exhibitions decreased. Some ascribe site-specific installations' reduced popularity on the high expenses they incur, and low profitability. That is to say, they're difficult to sell.
Nonetheless, some art venues still welcome the chance to host this challenging medium. Among them is Tadu Contemporary Art. Two years ago, Tadu hosted Amrit Chusuwan's Being Sand, one of the best site-specific shows of recent years. Now, this leading private gallery is hosting another quality, site-specific experience: Passage by Jedsada Tangtrakulwong. The 35-year-old Jedsada is not only an art lecturer at Mahasarakham University but is also one of the few contemporary local artists to advocate site-specific work.
In Amrit's show two years ago, sand covered the floor of Tadu Contemporary Art. In Jedsada's Passage, thousands of threads of white cotton are used. Jedsada has put nothing inside the gallery except dozens of panels made from threads, which have been hung from the ceiling and arranged in rows to create temporary curtains or walls. On each panel, there is a space between each thread that is equal to the width of the threads themselves. This juxtaposes two artistic perceptions: The tangible component (that is, the threads) and the intangible (the empty space between them). As all the panels are arranged so as to have a narrow passage between them, slim viewers can carefully make their way through these improvised hallways. Others who cannot enter the maze-like passages can still view an unseen hemisphere of the gallery's space.
At the bottom of each panel, a piece of white yarn links the ends of all the threads. As the threads are of different lengths, the yarn forms a curving line. This wavy, horizontal line visually contradicts the vertically hung threads.
This unmistakably conceptual work is clearly the result of enormous effort and the patience during the installation process. To create such an artistic landscape, the artist needed to carefully design and meticulously explore the exhibition space beforehand as well as carefully managing the installation prior to opening. Jedsada has done a good job that has been aided by the gallery allowing him to nail innumerable hooks to floor to hold the threads in place. Passage is a site-specific installation in every sense, particularly as it has been tailor made for the venue and would be difficult to transport to another art space.
The other feature of this room-size project is its lighting. Many small beams of light are projected from lanterns installed on the ceiling with the light shooting out towards the panels in various directions, leaving some parts eerily half-lit.
This visual experience prompts viewers to undertake a moment of esoteric contemplation. For some art fans, this abstract, minimalist work will bring to mind that of Daniel Buren. However, Jedsada has achieved more than his renowned peer. While Buren has used straight stripes to regulate visual images, Jedsada goes further by twisting, cutting, stitching and even re-shaping his stripes into various geometric forms and figures. This was seen in his "Off the Frame" solo exhibition at Hof Art gallery last June. In that show, Jedsada played with the gallery's windows, doors and ceilings, adding temporary lining to these architectural components to change the look of the gallery. Jedsada extended the visual meaning of the gallery's structure in that exhibition. Now, in his current exhibition, he creates a new hemisphere that never existed in the gallery before. In this way, the two solo shows could be viewed as a series. It would be exciting to see this theme continued at other art spaces in future.
The show would benefit from a section displaying photographs of the installation process and sketched drawings of the artist's idea. Such sketches actually are available for viewing in folders near the entrance, though it seems many viewers were unaware of this.
'Passage' is at Tadu Contemporary Art, Barcellona Motor Building, Thiam Ruam Mit Road, until December 20, from 10:30am to 6:30pm, except Sundays.
- Outlook Section, Bangkok Post Newspaper, December 6, 2007
Review of 'Passage' Exhibition
by Apisak Sonjod, Director of Tadu Contemporary Art
“The most important things can’t be seen with the naked eye” – The Little PrinceIt is argued that the whole world has been designed and perfected long before human existence; we are only the latecomers.
Jedsada’s work, ever since he took up photography, reflects this idea in a clearer and more understandable light. Seeing the world through the camera lens has helped shaped Jedsada as a visual artist. The camera lens enables one to see clearer into the soul of the object and therefore cut out all other distracting details. In other words, the camera helps Jedsada to see the objects of his desire with his “heart”.
With each artwork, Jedsada observes his subject carefully and chooses to bring out its most or least significant qualities and therefore is presenting alternatives outlook to the subject. His subjects can range from architectural structures, social structures, areas, etc.Theses subjects serve as a jigsaw puzzle for Jedsada in which he can analyze, observe and present them as his piece of art.
This can be seen in his work “Chong” or “Passage” showing at the Tadu Contemporary Art. Jedsada puts a lot of time and travels in this site-specific installation work. The work itself spans the area of about 400 square meters. The artist chooses to present his work through the complicated construction of the gallery’s ventilation system that is painted in the same color as the walls and the ceiling.
In this work, Jedsada makes visible a formerly invisible trail. He ties white ropes from the ceiling, letting them hang down to the floor and, thus, creating a long line of white curtains. These curtains conduct a new walking trail within the gallery and also creating a surreal and maze-like feeling.
“Passage” attracts the viewer attention to minute and otherwise insignificant details in the gallery’s structure. Jedsada invites the viewer to have a closer look into things. Being able to participate and actually be walking through the work of art itself captures the viewers’ attention even more than the surreal qualities of the art piece itself. The way in which the artist chooses to present his work signify his outlook: “still, but yet moving”.