The beauty of diversity is vividly reflected in the significant collaboration in The Thai Ceramic Society International Exchange 2025. This exhibition is jointed between the Department of Materials Science, Faculty of Science, the Department of Industrial Design, Faculty of Architecture, with the support of the Office of Art and Culture Management, Chulalongkorn University, and the Thai Ceramic Society, merging their distinct perspectives into a harmonious whole.

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Creating exquisite ceramic art requires a balance of science and art. The Department of Materials Science focuses on technical aspects, understanding the properties of materials, industrial production, and consistency in manufacturing. Meanwhile, the Department of Industrial Design emphasizes creativity, artistic expression, and aesthetics. When these two perspectives converge, they result in a rich fusion of knowledge, encompassing design, visual composition, semiology, storytelling, expression, material selection, craftsmanship, as well as diverse firing techniques—whether through temperature variations, kiln types, or fuels. Together, they craft pieces that embody uniqueness, innovation, and the profound beauty of interdisciplinary collaboration.

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The meeting of these two seemingly opposite disciplines creates a fascinating synergy, unified through ceramics—a material that both scientists and designers passionately explore for new possibilities and distinct identities. This collaboration is eloquently showcased in the exhibition, illustrating the limitless potential of merging contrasting perspectives into one unified artistic vision.

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Pim Sudhikam is a prominent contemporary ceramic artist. She received a bachelor degree from the Department of Industrial Design, Faculty of Architecture, Chulalongkorn University and a master of Fine Arts degree, School of Design and Crafts, Gothenburg University, Sweden. Engaged with the properties of “clay”, the main raw material for creating ceramic works, she often tries to overcome technical challenges and material disadvantages to discover modern ideas and forms for ceramic art. A Conversation with a Potter originates from her background of growing up and living in the heart of the rapidly changing metropolitan. She observes the construction of large-scale projects that dig down the ground deep to the clay layer. The characteristics of the clay are the same as that used for pottery since prehistoric times, millions of years ago before the foundation of the city. They are connected as a single piece of soil from the same tectonic plate as the Ban Kao cultural site in the western part of Thailand.

She uses clay from underground excavation for construction projects in historical areas of Bangkok and various subway projects as raw materials to make vessels with hand building methods that are subject to the limitations of tools and techniques, just like a potter in other time. The vessels that look similar to prehistoric pottery and the ones that have shapes reflecting their current use become a medium for exchanging conversations between potters from two periods of time. Both connect memories of the land with the same earthen plate through different times and places.

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Museo “Raffaele Bendandi”, “Alta Collezione/High Collection” 2023. Curator Prof. Rolando Giovannini, President of Museum Dr. Paola Pescerelli Lagorio

Invited collection of works of art by the great international Masters, with a permanent character.

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Bangkok Art and Culture Centre, in collaboration with the artist-organisers of Womanifesto, present "Womanifesto: Flowing Connections", an exhibition presenting Womanifesto’s significant projects starting from the very first exhibition in 1997 up to the present. The exhibition features over 30 artists from Asian and other countries, and showcases works exhibited at previous events and works created more recently by some of the artists who have participated in Womanifesto over the years. Additionally, material from Womanifesto Archive, ‘WeMend’ – a workshop space with educational programs, and current and ongoing projects have been gathered making visible Womanifesto’s sustained development as an artist-led initiative since 1997. As one of the first feminist collectives of its kind to have emerged and developed from Southeast Asia, Womanifesto continues to be of historical significance to art in Thailand and internationally.

Starting with presenting group exhibitions in 1997 and 1999, Womanifesto instantly took on a life of its own and transformed into a meeting point based on friendship and hospitality for artists to gather and share. While the original aim was to present exhibitions to strengthen links between and the visibility of women artists, that aim developed to include exploration and valuing of local cultures, including artisanship.  Adopting fluidity as a strategy, Womanifesto developed projects to consider and open up diverse ways of doing by not setting final outcomes but supporting for things to evolve organically, with the focus also being on passing on of knowledge down the generations and engaging in critical thinking.

Continuing to set up a point of interaction based on care and conviviality, the exhibition, Womanifesto: Flowing Connections represents the Womanifesto ethos – of setting up a collective space and inviting intergenerational and multi-skilled woman artists to present and interact with the public.

Artists: Arahmaiani (Indonesia), Dounghatai Pongprasit (Thailand), Jarunun Phantachat (Thailand), Jiratti Khuttanam (Thailand), Jittima Pholsawek (Thailand), Kanya Chareonsupakul (Thailand), Karla Sachse (Germany), Lawan Jirasuradej (Thailand), Lena Eriksson (Switzerland), Liliane Zumkemi (Switzerland), Maneerat Thamnarak (Thailand), Monthatip Suksopha (Thailand), Morakot Ketklao (Thailand), Narumol Thammapruksa (Thailand), Nilofar Akmut (Pakistan), Nitaya Ueareeworakul (Thailand), Onanong Glinsiri (Thailand), Pan Parahom (Thailand), Pattree Chimnok (Thailand), Phaptawan Suwannakudt (Thailand), Pinaree Sanpitak (Thailand), Preenun Nana & Pim Sudhikam (Thailand), Rashmimala (India), Sriwan Janehuttakarnkit (Thailand), Surojana Sethabutra (Thailand), Tari Ito (Japan), Uanklom Happyfarm (Thailand), Varsha Nair (India), Virginia Hilyard (Australia), Watcharaporn Srisuk (Thailand), and Yuvana Poonwattanawit (Thailand)

The exhibition and related publication are conceptualized by Womanifesto artists: Nitaya Ueareeworakul, Jamilah Preenun Nana, Phaptawan Suwannakudt and Varsha Nair.

Artist statement and biographies  Click

For more information, please contact
Exhibition Department, Bangkok Art and Culture Centre
939 Rama 1 Road, Wangmai, Pathumwan, Bangkok 10330
Tel. 02 214 6630 – 8 Ext. 531

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(For English press release, please scroll down)

The Messenger Through The Twilights

นิทรรศการกลุ่มโดย 5 ศิลปินเซรามิก:

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พิม สุทธิคำ

วิทวัส ปิยะชัยวุฒิ

อ้อ สุทธิประภา

โม จิรชัยสกุล

อิ๊แอร่

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9 - 31 ตุลาคม 2564

ณ 333 Anywhere (Warehouse 30)

พบศิลปิน: 9 ตุลาคม 2564 เวลา 18.00 น.

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สนับสนุนโดย POTTERY CLAY

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ดินเป็นจุดเริ่มต้นที่นำความชุ่มชื้นมาสู่ชีวิต ในความน่าอัศจรรย์ของวัสดุ ดินสามารถเปลี่ยนสภาพจากความยืดหยุ่นให้แข็งแกร่งเมื่อถูกเผาด้วยพลังงานความร้อน และมีความทนทานต่อการเสื่อมสลาย เครื่องปั้นดินเผาที่ถูกสร้างขึ้นเพื่อเป็นเครื่องใช้ในชีวิตประจำวันจึงถือเป็นหลักฐานทางประวัติศาสตร์ชั้นยอดสำหรับสืบค้นอารยธรรมของแต่ละยุคในอดีต ผ่านคุณสมบัติของการเป็น “สื่อ” และ “สาร” ที่สามารถส่งต่อเป็นบันทึกไปสู่คนรุ่นถัดไปได้อย่างไม่ขาดตกบกพร่อง 

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ชะตากรรมของมนุษยชาติที่กล่าวถึง ‘วันสิ้นโลก’ อันเกี่ยวเนื่องกับการล่มสลายของอารยธรรมได้ถูกพยากรณ์ไว้ในเกือบทุกความเชื่อและศาสนามานับแต่โบราณกาล เริ่มต้นจากการถูกอ้างถึงในรูปแบบของการสร้างศรัทธาเพื่อต่อสู้กับความชั่วร้าย จนกระทั่งใช้เป็นการสร้างตระหนักเพื่อสะท้อนถึงผลกระทบจากการกระทำของมนุษย์ที่พยายามเอาชนะและควบคุมธรรมชาติ โดยเฉพาะแนวคิดของระบบทุนนิยมตะวันตกที่สร้างสิ่งอำนวยความสะดวกครอบงำวิถีชีวิตในโลกยุคใหม่ วิกฤติการณ์ในรูปแบบต่างๆ เกิดขึ้นนับครั้งไม่ถ้วน และมีแนวโน้มที่จะเกิดถี่ขึ้นเรื่อยๆ อันตอกย้ำถึงสัญญาณเตือนของชะตากรรมวันสิ้นโลกที่ใกล้ตัวเรามากขึ้นทุกที หรือนี่คือเหตุผลที่ธรรมชาติเริ่มเข้ามาจัดระเบียบโลกที่กำลังถูกเปลี่ยนแปลงไปอย่างรวดเร็วเพื่อดึงกลับสู่สภาวะสมดุล?

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ช่วงเวลาของการเปลี่ยนผ่าน เป็นภาวะรอยต่อแห่งการเปลี่ยนแปลงของเวลาที่มักเกิดขึ้นในระยะเวลาอันสั้น ดังเช่นในยามสนธยา อันเป็นห้วงเวลาที่เปลี่ยนจากกลางวันไปสู่กลางคืนขณะดวงอาทิตย์ลับขอบฟ้า และเปลี่ยนความมืดไปสู่ความสว่างในช่วงเวลาก่อนดวงอาทิตย์ขึ้น เป็นภาวะต้องมนต์ที่ทำให้หยุด-ใคร่ครวญถึงสิ่งที่ผ่านมาและสิ่งที่กำลังจะเกิดขึ้นถัดจากนี้ไป เปรียบได้กับช่วงเวลาก่อนและหลังของการสิ้นสุดอารยธรรม ที่ถือเป็นช่วงเวลาแห่งการเปลี่ยนผ่านให้ต้องหยุดคิดและเตรียมรับความเปลี่ยนแปลงไปสู่การเริ่มต้นใหม่ที่เราต่างต้องเผชิญอย่างเลี่ยงไม่ได้

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“ดิน” จึงเป็นจุดเริ่มต้นของนิทรรศการที่รวมศิลปินเซรามิกทั้งห้าคนมาถ่ายทอด สร้างหลักฐานทางอารยธรรม และส่งสารข้ามเวลาจากปัจจุบันไปสู่อารยธรรมใหม่ในอนาคตในฐานะของการเป็นวัสดุต้นกำเนิดของการสร้างชีวิต

The Messenger Through The Twilights

A group ceramic exhibition by 5 artists:

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Pim Sudhikam

Wittawat Piyachaiwut

Aor Sutthiprapha

Mo Jirachaisakul

Eiair 

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Curated by Manipa Jayawan

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9 - 31 October 2021

at 333 Anywhere (Warehouse 30)

Meet the artists: 9 October 2021, 6PM onwards 

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Supported by POTTERY CLAY

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Soil is the origin of nature earth, considered as life moisturizer’s primary source. It also has some magical wonder in its physical state, for it can be transformed from elasticity to the enduring rigidity by means of a particular thermal energy of the firing process. A daily-used utensil like pottery is subsequently accepted as an efficient archeological evidence tracing the past civilizations of each era. Within its qualities of being a “media” and “message”, the ceramics are therefore the great medium as a perfect conveyor flawlessly connecting to the future. 

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The end of the world resulting from the collapse of civilization frequently depicted in almost every belief and religion since ancient times. Apparently, it was prophesied as a destiny of mankind. It started out by manifesting forms of faith to defeat all evils. Then the awareness was raised to reflect the impact of human endeavor to dominate nature. Especially, the concept of Western capitalism that prevails the way of life in the modern world by creating all kinds of facilities. However, rapid changes cause numerous crises in different ways and tend to occur more frequently. It underscores the warning signs of an apocalyptic fate that is coming closer to us. Or is this the reason why nature has begun to reregulate and equilibrate a rapidly changing world?

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Transition period is a connection stage that usually occurs in a short duration. The twilight is likewise a juncture between day and night at a time of the sun rising and setting. When the brightness of daylight gradually turns into darkness; it seems like a trancelike moment interrupting us so that we begin to retrospect what we have been through and anticipate what will happen next. Parallel stands of those phenomena are comparable to the period of pre- and post-world ending where these transitions cause a notion and preparation by a slight nudge to respond to the enormous change of a new beginning inevitably.

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“Clay” as a type of fine-grained natural soil, is the beginning of this exhibition gathering five ceramic artists to convey and create the evidence of present civilization by its magical characteristic as the origin of life.

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Press kit (information & photo) : https://drive.google.com/drive/folders/1E81aaFC-m7vNMZB5QvxGF_ZLOG3-dusB?usp=sharing

Virtual gallery : https://333art.gallery/virtual-exhibition-the-messenger-through-the-twilights/

Catalog : https://333art.gallery/the-messenger-through-the-twilights/

Opening reception photo : https://www.facebook.com/333anywhere/posts/605865020832600

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Suchness, site-specific installation teaser : https://www.facebook.com/a.sutthiprapha/videos/200282685426018

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DESIGN PIER TOKYO 2020

Design Pier returned to Designart Tokyo 2020, compiling a selection of high-end design objects that capture the preciousness of time and the fragility of a moment and compels them to experience life to its fullest. The selection includes unique and precious pieces that challenge commercially made objects' homogeneity and brings a refreshing perspective, creating an emotional attachment between products and users.

Exhibitors: Dazingfeelsgood, Pim Sudhikam, Matthias Demacker, Nendo, Ichiro Iwasaki for Sovet Italia, Studio EJ, Wataru Sakuma

Date: 26 October - 3 November

Venue: Space O, Omotesando Hills

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Four ceramic artists were invited to produce the Breast Stupa Cookery for Pinaree Sanpitak's exhibition called BREAST STUPA COOKERY: THE WORLD TURNS UPSIDE DOWN. They also created their own interpretation of the Breast Stupa and the works were shown in a section called BREAST STUPA COOKERY and Beyond.

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the act of eating takes place entirely on a Breast Stupa Cookery Table. Food both savory and sweet will be served in plates and bowls shaped like the Breast Stupa, created by ceramic artists from Bangkok, Chiang Mai, and Sakon Nakhon. All of this combined creates an effect as if we have stepped into the imaginary world of the Breast Stupa Cookery, a parallel world of dreams and reality.

‍Kittima Chareeprasit
Curator

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My interpretation of Pinaree's work lies within femininity and how I see inward energy in her work. My work features holes and openings in the boxy and rough forms. I focus on the transition from outside to inside. The soft quality of the edge was captured in the clay at the moment it was torn.

Collected : Collectibles is an exhibition that showcases small-scaled artworks by local and international artists in Atty Tantivit’s private collection alongside small-scaled artworks by the same artists that are available to be collected. Collected and Participating ArtistsChumpol Utayophat, David Clarke, Imhathai Suwatthanasilp, Kamin Lertchairprasert, Pairote Phothiphongsakun, Pim Sudhilkam, Piyatat Hemmatat, Pornpraseart Yamazaki, Yutdanai Sripaiboon

‍The International
Cluj Ceramics Biennale

The profound shifts in today's world have strongly influencedthe course of contemporary ceramics, an originally sensitive art which evolvedtowards an interdisciplinary and integrative strategy. The new concepts thatare gaining ground attest a type of aesthetics with forms of expressionspecific to many other genres, the outcome being an ingenious and resourcefulalchemy.

Every two years, over the course of a month, Cluj CeramicsBiennale enables a synergistic series of cultural events in several cities:gallery exhibitions, pottery fairs, film projections, workshops, conferences,public round tables and other smaller events, all gravitating around the maininternational competition for which a renowned jury usually selects more than ahundred artists from around the world. 

Besides this hub for intercultural and inter-professionaldialogue, we stimulate visual educational awareness towards this complex artform by introducing new and local viewers to international artists andcontemporary art practices. As a mission, we are striving to get national andinternational institutions to work together with the aim of creating anenvironment for ceramics in the city of Cluj and other cities in Romania.

The Biennale and all it's connected events are organized by agroup of founders through the Ceramart Foundation in Cluj-Napoca. It'straditional supporting partners include Cluj-Napoca Museum of Art, ClujUniversity of Arts & Design, Cluj Fine Arts College, Romanian Visual ArtistsUnion between other organizations. As a cultural project we have alsotraditionally co-founded by the AFCN (Romanian National Cultural Fund), ClujCity Hall, Cluj Local Council and various corpoate or private supporters.

Cluj Ceramis Biennale was founded in 2012 and it's first editiontook place in 2013, now being in it's seventh year and fouth edition. The eventwas the results of the collaboration between local artists, organizations andinstitutions and founded by Arina Ailincăi, Marius Georgescu and GavrilZmicală. We warmly thank all other artsits who have also been involved overtime:Vasi Hirdo, Calin Stegerean, Mihai Florian.

We also have to mention the many locations that graciously lendtheir space to our events: Cluj-Napoca Museum of Art, The Casa Matei Gallery,IAGA Gallery, Horeb Gallery, Quadro Gallery, OctavianGoga Memorial Museum inCiucea, Cluj-Napoca French Institute as well as galleries in Bistrita andBucharest that hosted the best works of each edition after the closing of themain events in Cluj.

2019 Selected Artists & Winners

For the 2019 edition, ourjury deliberated and selected 137 main competition candidates fromalmost 400 entries received. We thank all who applied and we congratulateeveryone on their effort and the quality of their work!

On October 1, 2019, the same jury selectedthe final winners of 2019 Cluj Ceramics Biennale from all the works sent by theselected artists participating into the main competition. The awards fund willgrant each Award of Excellence recipient a $500 cash prize and each Youth Awardrecipient a $250 cash prize.

Awards of Excellence

JungHui Liu, Taiwan
Lily Wang, Taiwan
Sunbin Lim, South Korea

Youth Award

Daeun Lim, South Korea
Ioan Iosif, Romania
Kristina Rutar, Slovenia

Honourable Mentions

Agnes Husz, Hungary
Aniela Ovadiuc, Romania
Altay Şule, Turkey
Debra Sloan, Canada
Doina Stici, Romania
Dori Schechtel Zanger, Israel
Ieva Bertasiute Grosbaha, Lithuania
Janina Myronowa, Poland
Stephanie Marie Roos, Germany
Maria Roxana Cioata, Romania
Kristina Okan, Russian Federation
Hanna Miadzvedzeva, Belarus

The final 137 selected artists

Adil Writer,India

Agnė Šemberaitė,Lithuania

Agnes Husz,Hungary

Alberto Bustos,Spain

Alexandru Murar,Romania

Amparo AlmelaCatala, Spain

Ana Hanzel,Slovenia

AnandaAragundi-Hanus, France

Andrei Alupoaie,Romania

Angel Igual ,Spain

Aniela Ovadiuc,Romania

Arny Nadler,United States

AugustineGarrigou, France

Avital Avital, Israel

Şule Altay,Turkey

Brian Kakas,United States

C.A. Traen,United States

Carlos Martínez,Spain

CatherineSchmid-Maybach, United States

Chi Yau MonicaChan, Hong Kong

Chisato Yasui,Japan

ChristaZeitlhofer, Austria

Claire Murray,United Kingdom

Cristina Mato,Spain

CristinaBolborea, Romania

Daeun Lim, SouthKorea

Dana Jeschke,Germany

DanielAdascalitei, Romania

David LeonidOlteanu, Romania

Debra Sloan,Canada

Denise Braune,Brazil

Dilek Demir,Turkey

Dilek AlkanÖzdemir, Turkey

Dmitrij Buławka- Fankidejski, Ukraine

Doina Stici,Romania

Dori SchechtelZanger, Israel

Doris Dittrich,Austria

Dragica Cadez,Slovenia

EglėEinikytė-Narkevičienė, Lithuania

Elena Amariei,Romania

Enver Güner,Turkey

Erika Rejka,Hungary

Ernest Palko,Romania

Farouk N. SarhanAl-Isawi, Iraq

Florence Corbi,France

Francoise Joris,Belgium

GabriellaSacchi, Italy

Güngör Güner,Turkey

GheorgheCrăciun, Romania

Gloria Grati,Romania

Grit Uhlemann,Germany

Hanibal Salvaro,Croatia

HannaMiadzvedzeva , Belarus

Hasan NumanSucaglar, Turkey

Hatice NiluferAksu, Turkey

Havva EkerAktas, Turkey

HeideNonnenmacher, Germany

Heidi McKenzie,Canada

HeidiDegenhardt, Germany

Ieva BertasiuteGrosbaha, Lithuania

Ihor Kovalevych,Ukraine

Ileana Crăciun,Romania

Ilona Benczedi,Sweden

Ioan Iosif,Romania

Iordanka Cioti,Romania

Irina Salmina,Georgia

Ivan Albreht,United States

Jan Drzewiecki,Poland

Jane Jermyn,Ireland

Janina Myronowa,Poland

Jihye Myung,South Korea

Joseph Paushel,United States

Judit Crăciun,Romania

JuliaKovalevych, Ukraine

Julia Hanzl,Austria

Julie Progin,Switzerland

JungHui Liu,Taiwan

KatarzynaPlucinska, Poland

KatarzynaWoźniak, Poland

Kristina Rutar,Slovenia

Kristina Okan,Russian Federation

Laura Scopa,Italy

Lily Wang,Taiwan

Linda Swanson,Canada

Lise Zambelli,France

Lucia MihaelaLobont, Romania

Lynn FrydmanKuhn, Switzerland

Magdolna Toth,Hungary

Makoto Hatori,Japan

Marcia LimaniBaumgarten , Brazil

Marek Jacisin,United States

Maria TenKortenaar, Netherlands

Maria RoxanaCioata, Romania

Marilena Isacescu,Canada

Mark Goudy,United States

MartaJakobovits, Romania

Márta Radics,Hungary

Michael Moore,Ireland

Nadia Allario,Italy

Nicola Filia,Italy

NicolaeMoldovan, Romania

Nina Van Geffen,Netherlands

Noémi-AbigélJankó-Szép, Romania

Norma De SaintPicman, Slovenia

Pemra Pilevneli,Turkey

Peter Olson,United States

Pim Sudhikam,Thailand

Pinar Baklan,Turkey

PiotrStachlewski, Poland

Rachel Grimshaw,United Kingdom

Ray Chen, UnitedStates

Ritika Anand,India

Robert LaWarreIII, United States

Salih VeyselÖzel, Turkey

Sandra Ban,Croatia

Shanyar Algarad,Iraq

ShulamitTeiblum-Millar, Israel

Stephanie MarieRoos, Germany

Suchit Manale,India

Sunbin Lim,South Korea

Suzanne Au HoLam, Hong Kong

TheodoraTsirakoglou, Greece

Thomas Stollar,United States

Tony Briffa,Malta

Ulla Harju,Finland

ValdasKurklietis, Lithuania

ValentinaFracchiolla (Atipica Ceramic), Italy

Valerie Zimany,United States

VelimirVukicevic, Serbia

Viorica Bocioc,Romania

Vlad ConstantinBasarab, Romania

Willy VanBussel, Netherlands

Yacoub Alatoom,Jordan

Yeal Roll,Israel

Yu-Jung Kim,South Korea

Yuriy Musatov,Ukraine

Zsófia Karsai,Hungary

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The Officeof Art and Culture, in collaboration with the Ceramic Major at the Faculty ofFine and Applied Arts, and the Craft Product Development Research Unit atChulalongkorn University, invites all to visit the CLASS – Clay & GlassInternational Exhibition 2019, from 2-26 December 2019, at the Exhibition Hall,Art and Culture Building, Chulalongkorn University. Professor Bundhit Eua-arporn, President of Chulalongkorn University,presided over the exhibition’s opening ceremony on December 2, 2018.

Theexhibition showcases the melded works of 7 international artists from 7countries around the world, including Croatia, Turkey, the United States ofAmerica, Australia, Italy, Japan, and Thailand.  During the event,professors and artists will demonstrate their skills and share techniques incrafting art from clay and glass.

For moreinformation, please contact the Office of Art and Culture at 0-2218-3634 or0-2218-3635.

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*Opening Reception:
Friday, March 29th, 5:00 - 9:00 pm, CoExhibitions Gallery

*Exhibits Hours:
Tuesday, March 26 - Friday, March 29, 10:00 am -6:00 pm. Saturday, March 30, Noon - 6:00 pm

Location:
1101 NE Stinson Blvd, Minneapolis, MN 55413

Bus Routes:
Northeast Minneapolis Friday Evening ReceptionShuttle Stop 1
Minneapolis Picks Wednesday daytime tour: Stop 9
Northeast Minneapolis Wednesday Daytime shuttle:Stop 3


Description:

Southeast Asian Contemporary Ceramics is anemerging field that is underrepresented in America’s cultural landscape andceramic community.

This exhibit showcases an array ofmultidisciplinary Southeast Asian artists who also work with clay. The artistsin this show include both established artists who have been collected byprestigious museums such as painter, Aung Myint (Myanmar) whose work is incollection of the Guggenheim, to emerging artists like Eiair (Thailand), arecent graduate from Thailand’s prestigious Chulalongkorn University.

The artists in this exhibition use clay toengage in the field of contemporary arts. What brings these artists together istheir use of clay and their Southeast Asian origin.

With their various artistic backgrounds, eachartist uses clay with a different sensibility to bring out diverse approach inthe materiality of clay, ranging from traditional pottery, figurative sculptureto miniature porcelain.

This show aims not only to survey the scope ofSoutheast Asian artists working with clay along with their diverse practice butalso to expand international artist community by creating friendship,understanding and an appreciation of artists from various backgrounds.



Participating Artists:

Aor Sutthiprapha - Thailand

Aung Myint - Myanmar

Chanakarn Semachai (Punch) - Thailand

Eiair - Thailand

Hadrian Mendoza - Philippines

Jason Lim - Singapore

Rita Badilla Gudiño - Philippines

Naidee Changmoh - Thailand

Nyan Soe - Myanmar

Pim Sudhikam - Thailand

Vasan Sitthiket - Thailand

Win Han - Myanmar


Curated by Soe Yu Nwe – Myanmar | Forbes 30under 30 Art & Style 2019

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“POTs-The - Vessels” assembled by 12 ceramic artists from United States of America, United Kingdom, Japan, Sweden and Thailand which their pieces of art are recognized and collected by national and international museums & ceramic art galleries.This ceramic art exhibition aims to present another perspective of simple ceramic objects, cups, bowls, jar... The makers/artists see simplicity as the ideal beauty. Clay is a material that can be everything. To work on clay, damage is something ones have to face repeatedly. Expectations are often shaken by the nature of clay. Through decades of fighting, then the makers/artists and clay became friends. However, this fight is not a battle to win over others but one's self

'one ton'

one ton of clay one month time two people and the rest is history. first it was a lump of clay, when was it a cup? when was it a sculpture? when was it a work of art? when does it happen? in this experimental "work" the artists invite you to examine their lives, their action, and their memories through interaction with a ton of clay in the gallery space for a month.

they will document it visually and literally throughout the period. you are invited to participate at the gallery everyday from 2 to 6 pm (closed Monday and Tuesday)

Aor Sutthiprapha and Pim Sudhikam are Thai artists. They were trained in the same high school, same undergraduate school and same graduate school (in Sweden) (many years apart). Both are working in the field of contemporary ceramic ranging from domestic item, objet d'art, sculpture and installation. Most of the time the works are created in their studio and were shown in the polished state. This is the first time they reveal what's behind the scene.

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สอบถามรายละเอียดเพิ่มเติม Contact Info
อังกฤษอัจฉริยโสภณ Angkrit Ajchariyasophon
Tel. 0994545955
email: angkrit@gmail.com

Public Opening on October 10, 2019 from14:00-18:00 hrs. at ARTIST+RUN Narathiwas rachanagarinda Rd. Soi 22 (N22)

Humble Projects is pleased to invite you to 'Breccia: Form, Fire, Surface', an exhibition of work by the leading Thai ceramic artist Pim Sudhikam. On show, a series of remarkable new works emerging from an experimental approach to ceramic practice that combines technical means of firing and aleatory methods of form and texture production. The result is an extended series of intriguing and ambiguous objects that occupy a liminal territory between sculpture, encrusted natural forms and familiar the functional objects of domestic everyday life.

SERES’2018Brings Ceramic People Together in Eskisehir

Withthe assistance of Anadolu University, Turkish Ceramic Society (TSD) organizesSERES'18 "IV. International Ceramic, Glass, Porcelain Enamel, Glaze andPigment Congress" which aims to bring academicians, artists, designers inthe fields of ceramic, glass, porcelain enamel, glaze, pigment and cement, andpeople of regarded industries together, supplying them suitable arena forsharing knowledge and experiences and for determining possible futurecollaborations with its wide range of coverage. SERES'18 will be held on the 10- 12 October 2018 in Anadolu University, Yunusemre Campus Congress Centre andin Eskisehir Technical University, Iki Eylul Campus Eskişehir/Turkey.

Asyou know, congresses are not only the activities anymore where scientistsgather together and foster the recent advances in art, science and industry butthey have also become the organizations where the culture and values of theirlocation are appreciated. Accordingly, a rich social program waits for you sothat you can enjoy the unique artistic and cultural features of Eskişehir.

Onbehalf of the organizing committee, it is my pleasure for me to invite you toparticipate in this exciting meeting.

Ilook forward to seeing you in October in Eskişehir.

BestRegards,

Onbehalf of Organising Committee
Prof. Dr. Alpagut KARA (Chairman)

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HOME (WE) MADE - a groupexhibition by Lamunlamai and friends
[Scroll down for English]

การแสดงผลงานครั้งใหม่ของละมุนละไม. กำลังจะเกิดขึ้นค่ะ !ซึ่งในครั้งนี้ไม่ได้มีแค่เราแต่ผู้เดียว แต่ยังไปเชิญชวนพี่ๆ กลุ่มศิลปินนักออกแบบ รวมถึงอาจารย์ที่เคารพ มาร่วมกันสร้างสรรค์และจัดแสดงงานฝีมือในแบบของตนโดยใช้สื่อในรูปแบบและเทคนิคที่แตกต่างกัน เช่น งานเครื่องปั้นดินเผา งานกระดาษและงานผ้าย้อมคราม เป็นต้น ซึ่งพวกเขาล้วนสื่อสารเล่าเรื่องราวเดียวกัน เกี่ยวกับ “บ้าน” หรือ“ของใช้ในบ้าน” ที่พวกเขาล้วนสรรค์สร้างขึ้นด้วยตัวเอง
ผลงานชุดนี้ต้องการนำเสนอเสมือนตัวแทนของบ้านแต่ละหลังเพื่อสะท้อนความเป็นตัวตนอันเป็นปัจเจกชนของผู้ที่อยู่อาศัยใช้ชีวิตและทำงานสร้างสรรค์ ซึ่งอาจกล่าวได้ว่า บ้านของศิลปินและนักออกแบบนั้นเป็นส่วนผสมหลักอย่างหนึ่งที่ส่งผลไปยังความรู้สึกนึกคิดและมีผลต่อการสร้างสรรค์ในงานศิลปะของพวกเขาเหล่านั้นด้วยนั่นเอง

ศิลปินทั้งหมด ได้แก่
อาจารย์พิม สุทธิคำ ผู้เชี่ยวชาญในการผลิตของใช้รวมถึงเครื่องไม้เครื่องมือต่างๆด้วยมือ
ละมุนละไม. คราฟท์สตูดิโอผู้ซึ่งทำงานฝีมือประเภทเครื่องใช้บนโต๊ะอาหารและของประดับตกแต่งบ้านโดยเน้นไปที่ประโยชน์ใช้สอยและการตกแต่งด้วยมือทั้งสิ้น
Pianissimo Press สตูดิโอผู้ซึ่งทำงานกระดาษ ออกแบบกราฟฟิค และนำเอาเทคนิค Letter Press มาใช้ผลิตผลงานให้เกิดความน่ารักน่าสนใจ
และ Jibberish สตูดิโอจากเชียงใหม่ ผู้ซึ่งหลงใหลในการทำงานผ้าและวัสดุต่างๆด้วยมือโดยใช้เทคนิคย้อมครามและการตัดเย็บเป็นของใช้ ของจุ้กจิ้กหลากหลายรวมถึงการทำเครื่องประดับจากโลหะ

ร่วมเปิดงานในวันพฤหัสบดีที่ 5 กรกฎาคม 2561
ตั้งแต่เวลา 18.30 น. เป็นต้นไป ที่หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร (BACC) ชั้น 2 ห้อง P1 People's Gallery
ละมุนละไม . ขอขอบคุณที่ให้ความสนใจและหวังเป็นอย่างยิ่งว่าจะได้พบกันที่งานนะคะ :- )
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HOME(we)MADE art exhibition byLamunlamai.Craftstudio and friends is a group exhibition by artist anddesigners who create their works with craftsmanship using different techniquesfrom sculpture, painting to indigo dying. The exhibition aims to reflect eachunique point of view about ‘home’ where an individual artist lives and createshis/her works. The artists’ homes, we may say, are one of the components thatinfluences their thoughts and feeling that led to creations of their arts.

Artist and Designers are :-
PIM SUDHIKAM who loves for making craft thingsfrom her own tools to utensils for use at home.

LAMUNLAMAI.CRAFTSTUDIO, We create pottery byhand with our own technique of decoration for a daily life tableware.

PIANISSIMO PRESS, A Graphic Studio, who lovesthe process of how we print on the paper in the past called Letter press, theybring it back and create a print by hand in every piece.

JIBBERISH, Studio Zakka shop from Chiangmai- WhoEnjoy making a little thing for home use especially in indigo dye technique.

We are greatly excited to welcoming you at ourexclusive "HOME (WE) MADE - a group exhibition by Lamunlamai and friends",
July5th - 29th , 2018 at Bangkok Art and CultureCentre (BACC)

Opening party will be held on Thursday July 5th,2018 from 6.30pm onward. We appreciate your interests and look forward toseeing you there!

#Homewemadeexhibition

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The Exhibition theme of the 2018 Congress will focus on the redefinition and re-examination of the Oriental soul, chi or life-force. Repositioned as the “New Orientalia”—the theme is meant to capture the essence of what constitutes the thousands of years of influence and impact of the Asian temperament and its effect upon our Global perception and interpretation of the Eastern spirit. Artist members will consider three aspects of investigation in their submissions, namely Functionality, Spirituality and Diversity. Functionality addresses the practical and technical aspects of clay encompassing the aesthetics of ritual and use. Spirituality is meant to focus on the intangible but powerful forces of tradition that constitute the inner nature of the culture rather than external forces. Diversity accentuates the interrelatedness of ceramics with multimedia and its crossovers into other aspects of cultural expression. Artists are asked to focus their submissions by interpreting any or all of these three qualities as it relates to the theme of the New Orientalia in their practice and creative perspectives.

The exhibition unveils the relationships between men and objects. Presenting a new interpretation of hidden values in everyday objects through subjectivity in each creation.Participants: Suwan Kongkhuntien/ Pim Sudhikam/ Sarngsan Na Soontorn/ Imhathai Kanjina/ Sumanatsaya Voharn/ Pichan Sujaritsatit/ Teema Muekthong/ InClay Studio Pottery/ Chatchaiwat Pottery Studio/ o-d-a/ Another New Design Studio / THINKK Studio / Atelier2+ / Trailer Espresso Bar / Issaraphap

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One of the most significant cultural events to take place in Gualdo Tadino is undoubtedly the famous and well-established International Competition of Ceramic Art, organised by the Tourist Association ‘Pro Tadino’ which has been held 38 times since 1959 with the most recent edition in 2009. More than 600 Italian artists and 400 artists from more than 41 nations have exhibited during that time achieving success with an ever-increasing number of participants. A competition with a theme, a peculiarity of this event, allows Italian and foreign artists to express experiences at the vanguard of innovative ceramic art techniques with awards given to illustrious artists. Amongst the most prestigious artists who have won prizes are Edoardo Abbozzo, Lee Babel, Angelo Biancini, Pino Castagna, Salvatore Cipolla, Otto Eckert, Goffredo Gaeta, Guido Gambone, Nedda Guidi, Vlastimil Kvetensky, Hans Marks, Muky, Aligi Sassu, Nino Strada, Natalia Nicolaevna Viatkina and Carlo Zauli. After a pause of a few years, a promotion committee made up by the ‘Pro Tadino’, the municipal administration and the Polo Museale, have decided to reactivate the initiative and launch the 39th edition which once more aims to demonstrate the cultural commitment of Gualdo Tadino as ‘CITY OF CERAMICS’ in the joining of tradition and innovation.

Sju svenska och thailändska konstnärer och konsthantverkare inledde ett samarbete 2015. Under en månad arbetade de tillsammans i Bangkok - Homo Faber 1. Nu är du också varmt välkommen till en kväll fylld av kollegiala samtal på tvärs över jordklotet. Homo Faber - den skapande människan - löper som en röd tråd genom utvecklingen. Genom att skapa blir vi en aktiv del av vår historia och vår samtid. Vad innebär det?Konstnärerna har undersökt villkoren för skapande - görande. Förutsättningarna är olika; kulturellt, religiöst, politiskt, geografiskt. Vad skiljer oss och vad är likt? Utställningen HOMO FABER II visas i Konsthallen Blå Stället 2/9 - 15/10, som en del av GIBCA Extended och under samma tema – sekularitet. Vi inleder kvällen i Konsthallen med en förhandstitt i utställningen. De thailändska konstnärerna får sedan en närmare presentation. Projektets curator Paramaporn Sirikulchayanont, The Art Centre, Silpakorn University, sammanfattar bakgrunden till arbetet. Därefter bjuder vi på thailändska snacks och förfriskningar, och avslutar med ett samtal lett av professor Jessica Hemmings, Högskolan för Design och Konsthantverk.

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Dear Sven /Dear Lars

In this playful collaborative project Pim Sudhikam and Jennifer Forsberg create an exchange of letters between the two fictive characters Sven and Lars, two friends from Sweden in the turn of the last century. Sven and Lars describe things and objects to each other and because of the descriptions potential to be objects of use and desire, the interpretations are made into real.The project is inspired by the notion that fantasy and ability to imagine has historically played a central role in taking on new tools, methods and improvements with the skills and materials available in a new context.

Curated by Hadrian Mendoza

Participating Artists from: Cambodia | Indonesia | Malaysia | Myanmar | Philippines | Singapore | Thailand

From November 29, 2016 until January 15, 2017, Ayala Museum becomes the proud host to an exhibition of works by 48 contemporary ceramic artists from Southeast Asia. The show, entitled, “The Tree of Life: The 4th SEA Ceramics Exhibition and Festival” will be on display at the second and third levels of the museum as well as in the glass exhibition areas along the cross-stairs in between.As part of the festival proper, there will be nine visiting artists slated to conduct public talks and live demonstrations from December 16 and 17.The Tree of Life refers to a common motif and symbol seen in traditional and religious art throughout the region. As mentioned in a shared artist statement, “Through this exhibition, 48 artists explore their roots in relation to ‘The Tree of Life.’ Despite our different religious backgrounds, we come together to discover how this sacred tree connects us to the past and to the next life.”2017 is potentially a very important year to highlight the position of the country vis-à-vis our neighbours in Southeast Asia as the Philippines will be hosting the ASEAN summit and related events as its chair. The exhibition offers a great window to present regional affinities and create an open dialogue among ASEAN artists and between artists and the public.

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“Tree of Life:4th Southeast Asian Ceramics Festival”

by Hadrian Mendoza

The tree of Life has been a common symbol associated with cosmography and religion throughout Southeast Asia.   Southeast Asia reflects the ethnic and religious diversity of the region’s people who have beliefs rooted in Buddhism, Islam, Christianity and Hindu.  Through this exhibition, 40 artists explored their roots in relation to “The Tree of Life.”  Despite different religious backgrounds they have come together to discover how this sacred tree connects them to the past and to the next life.   As artists, they have imagined and created a piece that maps the heavens and the earth through a material that has been used since humans have walked this planet.

On the opening day celebration of the exhibit, the last candle burned down in the pitch-dark lobby of The Ayala Museum in Makati, Philippines as darkness and silence filled the room.  The audience broke out in cheers and applause as performance and ceramic artist Jason Lim had just completed his piece titled “The Cycle” in which he balanced a branch from a cherry tree on his head, 12 feet in length, for almost 1 hour.  During the performance the audience was encouraged to participate by lighting candles and fusing them to the branch using melted wax.  The performance lasted the amount of time that it took for the final candle to burn down.  This was the end of Lim’s performance, and at the same time marked the beginning of the opening reception of “Tree of Life” exhibition, which took place at the 3rd floor gallery of The Ayala Museum from November 28, 2016 to January 15, 2017.

The event also included a 3 days workshop of lectures and demonstrations by presenting artists Soe Yu Nwe(Myanmar), Pang Swee Tuan (Singapore), Jason Lim (Singapore), Sekporn Tansripraparsiri (Thailand), Pim Sudhikam (Thailand), Noi Morton Gonzales (Philippines),Tessie Baldo (Philippines) and Eiair (Thailand).  Artists who exhibited their works include Thomas Cheong, Hui Min Teo, Todd Tok, Alvin Tan Teck Heng,Steven Low, Nelson Lim, Ng Yang Ce and Madhvi Subrahmanian from Singapore,Suwanee Natewong, Krisaya Luenganantakul, Nino Sarabutra, Smith Takroodkaew, Naidee Changmoh and Sayumporn Kasornsuwan from Thailand,  Hadrian Mendoza,Winnie Go, Mark Valenzuela, Pablo Capati, Rita Badilla-Gudio, Jon Pettyjohn,Tessy Pettyjohn, Siegrid Bangyay, Krista Nogueras and Catcat Mendoza from the Philippines, Vooi Yam Tan, James Seet, Cheah Yeow Seng and Lileng Wong from Malaysia, Antin Sambodo, Endang Lestari, Natas Setiabudhi and Chia Huie from Indonesia.

A wide range of techniques were demonstrated such as cutting with wires to create a waved texture, using drill bits of varied sizes to emulate a coral reef,  attaching coils of different thicknesses and lengths to create roots of a tree, sculpting a human torso by addition and subtraction, and even using needles as tools to create tiny sculptures that seem to be microscopic.  Participants also gave lectures about their works and specific customs related to their respective countries.

The pieces in the exhibition reflected personal ideas and interpretations of the theme.  There were many images related to that of a tree, including branches, stumps, leaves,birds nests, cacti and roots.  There were also symbolic images such as thoughts from one’s mind, achieving zen through audio headphones, corals and arms grabbing one another.

“Tree of Life” marks the 4th of a series of Southeast Asian ceramics conferences that travel the globe and focus on introducing contemporary ceramic artists from this region, and at the same time creating a synergy and tight bond among the participants.  The Southeast Asian region is made up of 10 countries which include Thailand,Myanmar, Singapore, the Philippines, Vietnam, Laos, Brunei, Cambodia, Malaysia and Indonesia.  This group is referred to as SEApots and is comprised of over 150 ceramic artists from these countries.  The concept and formation of SEApots was developed by this author and was made possible through generous grants from Toyota Foundation Japan,  Asian Cultural Council, FLICAM museums and The Ayala Foundation.

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The concept Ceramic View derives from an old practice where artists invited people to view their art before showing it to the general public. The Ceramic View Symposium is an effort to bring the artist and audience relations closer, with means that are relevant and social in nature.The Ceramic View Symposium is a modern ceramic arts Symposium in South East Asia, to be organised in Bangkok in 2016. In collaboration between IAC members, Kullstrom/Park and Faculty of Architecture, Chulalongkorn University, it is first of its kind in the region. The Symposium is set to promote modern ceramic art and showcase the creative process involved in the art of pottery in Thailand, and beyond. With the Ceramic View Symposium we wish to emphasise the social benefits of art and how creativity in arts can have a broad and positive impact on society. We wish to take the Symposium to a social level where we can see the creative process of the artists and bring the artists closer to the audience. We believe that witnessing the artists work is one of the most valuable aspects of art. This Symposium gives a platform for the audience to go behind the scenes and to understand and appreciate modern art of craft in a more durable way.

Sur le thème de la page, une "invitation au voyage", où une vingtaine d'artistes céramistes proposeront une interprétation de ce poème de Charles Baudelaire.Formes, textures et couleur, chacun présentera une composition de 3 à 5 éléments, le format A4 étant la référence.Exposition en partenariat avec l'association Suisse Dialogue Céramique.Les céramistes invités : Abbas AKBARI (Iran), Sheherazad ALAM (Pakistan), Violette et Arnold ANNEN (Suisse), Hara BAHARIOU (Grèce), Lise CASSANI (France), Tristan CHAILLOT (France), Christine FABRE (France), Noémi HANDRICK (Suisse), Agathe LARPENT (France), Christine MACE (France), Océane MADELAINE (France), Xavier MODOUX (Australie), Daniel MOLINA (France), Claude PRESSET (Suisse), Pascal SAINI (Suisse), Kazuji SATO (Japon), Pim SUDHIKAM (Thaïlande), Alexandre TISSOT (France), Catherine VANIER (France), Barbara WEIBEL (France).

The contemporary art exhibition showcases works from 6 renowned artists whose skills are based on various types of crafts, from ceramics, textiles, paper, to jewellery.

Thai Showcase was established by the office of Prime Ministerand the Ministry of Commerce to provide an international platform for localcreative talent.As a whole, Thai Showcase demonstrates the kingdom’sindividuality and enterprise. It also leads to the creation of jobs and animproved quality of life by promoting innovation and investment at home.

www.modern-thailand.com/discovering-crafts/thai-showcase

https://www.maison-objet.com/en/asia/exhibitors/march-2014/thai-showcase

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THE PREVIOUS SHOW POTLUCK: DINING TOGETHER by Torlarp Larpjaroensook took place on this exact spot just a few months ago. It questions relational aesthetics- the contemporary art discourse that has been so fashionable for nearly 20 years, by inviting people to do potluck on the horizontal plinth, on which there was a text 'IT'S NOT ART EXHIBITION JUST ENJOY DINER WITH US' [sic]. This was tantamount to both acknowledgment and rejection of the colossal impact of Rirkrit Tiravanija, whose seminal art work known as Padthai involves literally cooking and servin padthai (and later other Thai dishes) in art galleries - the activity that was intended to provide viewers with platforms for dialogues within art spaces. THIS SHOWPOTLUCK is Pim Sudhikam's parody of that previous show she partook its potluck, by creating a three dimensional map of objects that was on the same plinth, which was then virtually used as a dining table. Pim chooses to focus only the labels of food packages as she saw on the plinth-table in the previous show, painted these labels in the traditional blue-and-white on specially cast porcelain bottles that mimic a water bottle she found on this plinth-table. The bottled could vaugely, yet bluntly, represent Chiangmai as the second largest consumerist city of Thailand. The non-mechanical reproduction she exploits, both slip casting and cobalt oxide hand painting, certainly would not result in exact standardised objects and images.The result is therefore questioning what has been questioned in the previous show. From Rirkrit's rejection of art objectsm to Torlarp's rejection of rejection of art objects, to Pim's creation of art objects as a form of rejection of rejection of rejection of art objects. To comprehend this subversive contemporary art world is as damn difficult as to live in this unnecessarity conplex contemporary society.

THAI ARTISTS AND DESIGNERS TACKLE THE AMBIGUOUS “LAGOM”“Lagom is Best” art and design exhibition at RMA Institute starting May 2nd.13 Thai artists and designers contemplate on the Swedish term “Lagom” ('just right', 'just enough') in "Lagom Är bäst" exhibition which showcases multidisciplinary art and design including fine art, ceramic, furniture, jewelry and textile design. All artists and designers are graduates from renowned Swedish art universities who have lived and worked in the land of the Vikings and exhibited internationally, the list includes Elle Decor award winning designer, Ploypan Theerachai and ASEAN Awards Thailand representative in Arts & Crafts and Chulalongkorn University lecturer, Pim Sudhikam.Many Swedes believe that "Lagom är bäst" (Lagom is best), it’s a way of living in moderation, having just enough, not too much or too little. Lagom mentality is similar to Aristotle's “Golden Mean” and Buddhist “Middle Way”, it can be translated as "just the right amount". It is said to describe the basis of the Swedish national psyche; its consensus process and equality. It has a sense of appropriateness; one should never be too popular, too good or too rich! The collective exhibition Lagom Är Bäst shows artists’ interpretation of the middle way into form of art and design, criticizing our culture of consumerism, questioning what is the “right” amount and if lagom is really the best.

Bangkok, Thailand – H Project Space is very pleased to announce a special project by the artist and performer Henry Tan. Engaging with recent trends and critical debate in participatory art or social practice, Henry has invited a variety of designers, writers, musicians and other practitioners to create works in the elegant but demanding environment of H Project Space.A Spatial Experiment faces questions of the universal significance of artistic practices. Henry is interested in the erosion of individual beliefs and understandings in regard to contemporary technologies of communication more generally. How can or do individuals make sense of artistic practices in an era of endlessly circulated memes and ever-shifting boundaries and cultural contexts?Simultaneously a director and facilitator, Henry highlights tensions between claims for the directed or controlled and the general or dissipated. A Spatial Experiment most notably explores such tensions in a physical rather than virtual environment.

1,2,3…One, two, three is the usual order that signifies the beginning of many things in everyone’s lives. It is the title of the first group exhibition by Pim Sudhikam, Wittamon Niwattichai, Juthamas Tangsantikul and Apon Palanuwech. As mothers, daughters and a son, each of us reflects on our ‘chores’, how housework forms the basis of our fragmented everyday lives … where the beginning seems to have no end.

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หนึ่ง, สอง, สาม
ลำดับและการนับอันเป็นจุดเริ่มต้นของหลากสิ่งหลายอย่างในชีวิตถูกเลือกให้เป็นชื่อของการแสดง
งานร่วมกันครั้งแรกของพิม สุทธิคำ วิทมน นิวัติชัยจุฑามาศ ตั้งสันติกุล และอาพร พลานุเวช คนสี่คนกับเรื่องเล่ามุมสะท้อนของ 'งานบ้าน' จุดเริ่มต้นเหมือนจะไม่มีที่สิ้นสุดในทุกวันของชีวิตแม่(และลูก) บ้าน

ที่ RMA Institute วันที่ 12 พฤษภาคม เวลา 17.00 - 20.30น.
ถึงวันที่ 6 มิถุนายน เวลา 19.00 น.

Domestic Ware showcases the latest series of ceramic sculptures by Pim Sudhikam, a ceramic artist/potter whose obsessions are ceramic wood firing processes and throwing clay into domestic utensils. Here Pim’s two obsessions collided as she embeded her glazed thrown porcelain cups, pots, etc. into what seem to be solid masses of clay, then fire all of them slowly for many days in an ancient wood-firing kiln in Ratchaburi. The results of this intense time-consuming firing process are ‘quiet’ depth of tactile surfaces that beg viewers to appreciate them carefully as these surfaces are so subtle they could have gone unnoticed What visually voice out loud are the stark contrasts between forms of those porcelain domestic wares and the seemingly compacted clay masses. These formal binary oppositions release their tensions, stable but not static, as if they were balancing themselves along an viciously sharp razor blade.

Laurence Causse-Parsley/Top Changtrakul/Martin P. Collins/Michael Croft/Flora Cruells Benzal/Jonathan Gent /Chaisiri Jiwarangsan/Ing K./Ralph Kiggell/Kriangkrai Kongkhanun/Justin Mills/Thunska Pansittivorakul/Be Takerng Pattanopas/Steven Pettifor /Ohm Phanphiroj/ Pim Sudhikam/Wasinburee Supanichvoraparch/ Henry Tan/Audrey Tulimiero-Welch/Sujin Wattanawongchai Curated by Brian Curtin, Another Side features 19 artworks that have been produced by the individual artists in response to one of their dreams. All the artwork have been created especially for this exhibition.Another Side thematically explores notions of the unconscious in terms of visual representation that addresses unpredictability and the non-linear, questions of esoteric symbolism, and issues of how the personal can be accounted for publicly. Most provocatively, Another Side skews conventional critical and historical frameworks for interpreting the contemporary artwork. Instead, this exhibition celebrates the irrational, the atypical in terms of an artist’s oeuvre, and a resistance to easy categorizations in terms of given theories and pervasive perceptions.Another Side showcases painting, sculpture, printmaking, video installation and photography, offering a contemporary view of ideas that were radically explored by the 20 th century Western art movements of Dada and Surrealism, among other examples. Against these precedents, however, and in the face of critical issues of globalization, Another Side explores the continuing artistic importance of forms of resistance to canonical norms.

Super Normality, a ceramic art exhibition on the know-how and forms of Thai Celadon-ware features works by Wasinburi Supanichworapart, a veteran ceramic artist. Celadon, a French word referring to a type of colour coating, is explained as an ashy green stone and the colour originated from oxide. with the color similar to French shepherds form the old days. Celadon has been produced in Chiang Mai for a long time now. Most people’s perception of ceramics is limited to flatware, not to mention the limited space for presenting ceramics in contemporary art scene.Artists such as Pim Sudhikam, Udom Udomsrianan, Vipoo Srivilasa, Australia’s acquaintance, as well as celebrity/artist Udom Tae-panish have all joined this exhibition to express their art through different forms of ceramics, expanding the medium and presenting to a wider group of audience.

“Eleven streptococcus on the bench” consists of 11 ceramic pieces hand built and raku fired, and a wooden bench. “Eleven streptococcus on the bench” illustrates the power through space enlargement of microbe (streptococcus pneumoniae, in this case) originally cannot be seen bare eyes, to come forward and interact with viewer, being treated differently in their larger size. The work is part of my doctoral research project “An application of microscopic imageries into ceramic surface design” that focuses on aesthetic of microscopic imageries and effect caused by their being transformed, from not being seen to being seen.

The Jim Thompson Art Center, the French Embassy in Thailand and Alliance Française Bangkok organize“THE PLACE & THE PLATE”Food, Feeling and the New French Table Way of LifeAn exhibition of design and gastronomyfrom June 28 to September 30, 2007(Part of LA FÊTE – French Thai Cultural Festival in Bangkok)LA FETEThe exhibition at the Jim Thompson Art Center is a part of the 4th annual celebration of La Fête, the French Thai cultural festival which is being held from June 6th to 28th 2007. The grand finale of La Fête 2007 will be celebrated with the opening reception of The Place and the Plate exhibition. In collaboration with the Bangkok Metropolitan Administration, the organizers of the festival aim to contribute to the celebration of His Majesty the King Bhumibol Adulyadej’s 80th birthday anniversary commemorations.AN EXHIBITION DEDICATED TO THE MEETING OF DESIGN AND GASTRONOMYTHE PLACE & THE PLATE is an exhibition of Design, Gastronomy, Food, Sound, Video and Installation. The exhibit will include Jim Thompson’s private tableware collection and the latest exclusive tableware design pieces from famous French and Thai designers, artists, craftsmen and chefs. Inspired by the East and the West, modernity and tradition, heritage and innovation, Jim Thompson was able to use his artistic creativity and outstanding sense of design to balance an appreciation of the past with implementing new ideas and trends. This philosophy has a great deal in common with the exhibition, thus there is no more suitable place to celebrate the closing of the festival and the opening the exhibition than at the Jim Thompson Art Center. In a way, “La Fête” could not find a better “Place” to serve its “Plates”.The exhibition will stress the importance of the culinary arts, and will focus on food decoration and design in France and Thailand. Accompanied by music to contribute to the culinary atmosphere, the show will feature new tableware designs selected by two curators: Cédric Morisset from France and Gridthiya Gaweewong from Thailand. Video installations of trendsetting designer restaurants and bars from around the world will also be included. This dialogue between the two countries will honor know-how and creativity, encourage up-to-date innovation and highlight the permanent pursuit of a new lease on life. The reinterpretation of tradition, the use of new techniques and traditional production methods under the theme of “Fooding” (the mixing of Food and Feeling, a term invented in 1999 by famous French writer and critic, Alexandre Cammas) will be used to explain the unconventional gastronomy of blending the joy of food, the place and the plate together.EXCLUSIVE GUEST CONTRIBUTORSANDRÉE PUTMANInternationally known French designer Andrée Putman is a major figure in interior and product design. More than a visionary, she has always been a bridge between cultures and has managed to anticipate the evolution of lifestyles. From the first boutique-hotel of all times “the Morgan’s” in New York, which she designed in 1983 to her latest hotel “The Putman” which opens this month in Hong Kong, she has been a leader in her field. In the very heart of her work, the art of receiving has always played a central part as highlighted by her numerous collaborations in tableware, including working with French silversmith Christofle, for whom she designed the best selling Vertigo line. Mrs. Putman has been invited to set and style a table mixing exclusive items from the Jim Thompson collection with contemporary designs of her own which will be presented as a focal point of the exhibition. This will serve as a link between the Thai and the French, the past and the future, and the formal and the casual.PINAREE SANPITAKAfter a month of exchanges between the two food cultures, the exhibition will invite its guests to combine ingredients to prepare a soup “à la provençale” and taste a fresh and healthy “Sain/Sein” menu from the Breast Stupa Cookery Project. These dishes will be cooked by both professional and amateur chefs using breast-shaped moulds, the creation of Thai artist Pinaree Sanpitak.Breast Stupa Cookery is an ongoing collaborative art project started in 2005. The project intends to examine through culinary art the meaning and interpretation of the artist’s signature work, the breast-shape stupa. Guest chefs will be asked to create dishes using the artist’s specially designed cooking moulds made of aluminum and ceramic. In this way, food truly becomes medium and connection of art.To celebrate this event, special menus and chocolate desserts will be exclusively created by Jim Thompson chefs and will be served at the opening night reception. Professional and amateur chefs will be invited to create various menus for Breast Stupa Cookery. These menus will be available at Saladaeng Café and the Thompson Bar and Restaurant during the period of the exhibition, June to August 2007.RIRKRIT TIRAVANIJATo begin the exhibition, Rirkrit Tiravanija, a well-known contemporary Thai artist will interact with guests in an ephemeral food cooking and serving performance. His signature work, making meals for participants, becomes, in a sense, a manifesto of the rebellion against strict museum regulations. For years his work has been highly praised as an important and interesting social art form.WORKSHOPSDuring the exhibition period and for the opening ceremony, Workshops will be organized with the collaboration of French designers Cédric Ragot and Anne Xiradakis and Thai designers Rachaporn Choochuey and Pim Sudhikam. The later two designers are both from the Faculty of Architecture, Chulalongkorn University. Topics will include, for example, Benjarong (traditional five-colored Thai porcelain) or the Soup Culture.French curator: Cédric MorissetThe 32 year-old Cédric Morisset started to work in the world of contemporary arts at the end of the nineties. He quickly left this to follow his passion for design. He has been working since then in the field of interior and product design for seven years as a design consultant for major companies in the world of luxury products, retail design and media. In addition to his consulting business, Cédric Morisset has also been developing extensive expertise in design through his work as a journalist (collaborating with A.D. France, L’Officiel, Mixte, Intramuros…) leading him to seek out the latest innovations in every part of the world. Adding culture to his quest for innovation, he also worked as a design curator and has curated several product design exhibitions such as “French Reference” presented in Rotterdam, Berlin and Reykjavik in 2006 and “Essayage” at the Villa Savoye by Le Corbusier near Paris in 2007. Cédric Morisset is also a close collaborator with worldwide trends forecasting agency Nelly Rodi.Thai Curator: Gridthiya GaweewongGridthiya Gaweewong co-founded and served as a director of Project 304, an independent art organization which has been based in Bangkok since 1996. Gaweewong has curated many local and international exhibitions, including alien(gener)ation, Bangkok, Chiangmai, Khonkhaen (2000); under construction, Japan (2002); nothing, a retrospective of Rirkrit Tiravanija and Kamin Lertchaiprasert, Chiangmai (2004) ; bangkok, Bangkok, Barcelona and Brussels (2005) ; politics of fun, Berlin (2005); and the Bangkok experimental film festival, Bangkok (with tours to Dublin, LA, Stockholm, Singapore, and Sydney (1997-2006), Saigon Open City project in Vietnam (2006-7). Currently she serves as an artistic director of the Jim Thompson Art Center, Bangkok.Exhibition Designer: Wit PimkanchanapongWit Pimkanchanapong, after studying at the Faculty of Architecture, Chulalongkorn University in 1994, did his Masters Degree in Visual Communication at the Kent Institute of Art & Design of Maidstone, Great Britain. Presently he is one of the Thailand’s elite Multimedia Designers / Artists and is responsible for the scenography design of the exhibition.Boonsanga TeoBoonsanga Teo received his Bachelor Degree in Architecture from the Faculty of Architecture, Chulalongkorn University and is responsible for all production aspects of the exhibition. He is a co-founder of KUUWORLD, an architectural studio where he works in conjunction with his colleague Sadtha Jareonrat.This exhibition is organized by The Jim Thompson Art Center, The French Embassy, Thailand, The Alliance Francaise Bangkok, in partnership with CultureFrance, La Fete, Jim Thompson Thai Silk, and The James H.W. Foundation. The exhibit is sponsored by Evian, RCSC, Sofitel Silom, Bangkok and Christofle. Official Airline: Thai Airways & Blue Amadeus.For further information please contactLa Fête team – French EmbassyKhun Alongkorn Thaubol, assistant to Cultural AttachéTel: +66 (0) 2627 2106E-mail: alongkorn.thaubol@diplomatie.gouv.frThe Jim Thompson Art CenterKhun Penwadee, Exhibition CoordinatorTel: +66 (08) 4709 3440E-mail: penwadee@jimthompsonhouse.comKhun Somsuda, Education Program CoordinatorTel: +66 (08) 1409 7860Email: somsuda@jimthompsonhouse.com(Admission free of charge)The Jim Thompson Art Center(2nd floor, The Jim Thompson House compound)The Place & the PlateExhibition Period: June 29th – September 30th, 2007Gallery Hours: 9:00 a.m. – 5:00 p.m.(Admission free of charge)The Jim Thompson Art Center Office(4th floor, behind the Jim Thompson House’s parking area)Tel: +66 (0) 2612 6741Tel/Fax: +66 (0) 2219 2911E-mail: artcenter@jimthompsonhouse.comOffice Hours: 11:00 a.m. – 8 p.m. dailyAddress & Access:6 Soi Kasemsan 2, Rama I Rd., Wangmai, Pathumwan, Bangkok 10330(BTS: National Stadium Station)Exhibition: “THE PLACE & THE PLATE”Exhibition period: June 29 – September 30, 2007Venue: The Jim Thompson Art CenterOpening ceremony: Thursday, June 28, 2007 from 18:00 p.m. onwardsFrench curator: Cédric MorissetThai curator: Gridthiya GaweewongExhibition designer: Wit Pimkanchanapong & Boonsanga TeoExclusive guest contributor: Andrée PutmanThai artists in the exhibition: Pinaree Sanpitak, Rirkrit Tiravanija, Pim Sudhikam & Be Takerng Pattanopas