Araya Rasdjarmrearnsook

A Novel in Necessity’s Rhythm

February 13, 2020 — May 31, 2020


Potpourri (detail), 2020

Photo print on canvas

37 x 69 in. (95 x 175 cm)

Damned Obstetrics, 2019

Digital print on ice silk, aluminum tray, papier mache dog, human hair, and lemons

104.75 x 78 x 29.25 in. (266 x 198 x 74 cm)

Damned Obstetrics (detail), 2019

Digital print on ice silk, aluminum tray, papier mache dog, human hair, and lemons

104.75 x 78 x 29.25 in. (266 x 198 x 74 cm)

A Flowery Birth of Departure, 2019

Silkscreen on Fabriano paper, glass vase, book, flowers, 2 papier mache dogs

55 x 82 x 10 in. (140 x 208 x 25 cm)

Group Photo, 2019

Digital print on Ilford Omnijet canvas, papier mache dog

69.25 x 112.75 x 10 in. (176 x 286 x 25 cm)

Pending-Suspending ‘Frustration’, 2019

Digital print on Fabriano paper, wooden bench and drying rack

131 x 40 x 45 in. (333 x 102 x 114 cm)

Philosophical Theater of Animals, 2019

Digital print on Ilford Omnijet canvas

81 x 150 x 1 in. (206 x 381 x 2 cm)

Philosophical Theater of Animals, 2019

Papier mache dog heads

67.25 x 84 x 12 in. (171 x 213 x 31 cm)

Potpourri, 2019

Digital print on Ilford Omnijet canvas, cotton, human hair, dog hair, stainless steel

132.5 x 88 x 57 in. (337 x 224 x 145 cm)

Psychosis, 2019

Digital print on Ilford Omnijet canvas

96 x 52 in. (244 x 132 cm)

Tender Gloom, 2019

Digital print on Ilford Omnijet canvas

107 x 106.5 x 1.25 in. (272 x 271 x 3 cm)

The First Road, 2019

Digital print on Ilford Omnijet canvas, book, wicker dog, acrylic paint

85 x 133.25 x 18.5 in. (216 x 339 x 47 cm)

Things of Disorder, 2019

Digital print on Ilford Omnijet canvas, wood, headrest, zinc, dog hair, oil paint

70 x 73 x 4.5 in. (178 x 185 x 11 cm)

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

ENLARGE

View of the exhibition "A Novel in Necessity's Rhythm" At Tyler Rollins Fine Art

February 13 - April 4, 2020

 

Works

INSTALLATION VIEWS

Video Walkthrough

ABOUT THE EXHIBITION

NOTE:  Due to the coronavirus and the temporary closure of our gallery, the current exhibition has been extended until further notice. We invite you to take a brief video tour of the exhibition, which can be found on the “Works” page.

Tyler Rollins Fine Art is pleased to present A Novel in Necessity’s Rhythm, a solo exhibition of new works by Araya Rasdjarmrearnsook. Araya is one of Southeast Asia’s most respected and internationally active contemporary artists, and for over thirty years her video, installation, and graphic works have been regularly shown in museums and biennials around the world, including the Venice Biennale (2005), Documenta (2012), and a retrospective exhibition at the Sculpture Center in New York City (2015). The North Carolina Museum of Art is currently presenting a solo exhibition, Art in Translation: Araya Rasdjarmrearnsook, running through July 26, 2020.

A Novel in Necessity’s Rhythm is centered on a novel written by the artist and published in Thailand in 2018, from which she has selected excerpts, submitting them to a process of distortion and transformation in keeping with her wish to decrease being “too human” through the help of what she calls a theater of animals. Presented across multiple media (printing on canvas, video, and installation), the texts are juxtaposed with sculptures of dog heads, a vase of flowers, and other materials, which become a source of both support and disturbance to the artworks. Dogs have been a recurring motif in Araya’s work; her installation at Documenta and her 2015 exhibition at Tyler Rollins Fine Art explored the interrelationship between humans and dogs, chronicling the daily routines of life, but also suggesting wider themes about overcoming the binarisms of self and object, life and death, human and animal. Writing has been an integral part of Araya’s practice for decades, and she has published extensively in fiction, including novels and short stories, and non-fiction, particularly art criticism, reflective of her longtime role as a lecturer at the Faculty of Fine Arts at Chiang Mai University.

Born in Trad, Thailand, in 1957, Araya received fine art degrees from Silpakorn University in Bangkok in 1986 and from Hochschule für Bildende Künste Braunschweig in 1990 and 1994. Her etchings and aquatints of the late 1980s and early 1990s, with their ghost-like female figures in shadowy environments, set up themes – death, the body, and women’s experience – that would endure throughout her career. Feelings of loss and isolation, informed by the early death of her mother, and a heightened sensitivity to the strictures traditionally placed on women within Thai society, would increasingly find their expression in her work through the physicality of the body and the concreteness of sculptural installations, which by the early 1990s had become the primary focus of her work. Often incorporating semi-abstract, totemic female forms, natural materials, and haunting photographic imagery, all marked by a patina of age and wear, these installations confront us with the raw physicality of both life and death, charged with an almost animistic power that seems to channel powerful psychological states. These works were widely shown in such seminal exhibitions as the first Asia-Pacific Triennial in Brisbane, Australia (1993), and Traditions / Tensions: Contemporary Art in Asia, at Asia Society and the Queens Museum in New York City (1996).

Living with these often fragile, ephemeral sculptural works in her home, Araya began to examine more closely her relationship with “otherness,” with entities that were radically distinct from her, yet intimately linked by a commonality of experience, a participation in the basic cycles of nature, of life and death. By the late 1990s, this led her to bring rituals of the dead into her artistic practice, and to a shift to video work, which has remained one of the primary media of her artistic practice to the present day. Still deeply informed by her earlier sculptural installation work, her videos are imbued with a strong physicality, with a close focus on bodies, often positioned in semi-abstract environments, their aura extending outward into the viewer’s own space. These videos typically imply the presence of an audience that is both observing the action and ceremonially participating in it. They reference traditions of village storytelling, which create continuities between the present and the past, the everyday world and the world of spirits and of legend. Her videos have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often centered on the idea of communication between different realms: between the living and the dead, the insane and “normal” people, humans and animals, the worlds of art and “real life.”

A Novel in Necessity’s Rhythm is Araya’s fourth solo exhibition with Tyler Rollins Fine Art. Other solo exhibitions in the United States have taken place at the Sculpture Center, New York (2015), Denver Art Museum (2013), Walters Art Gallery (2012), and the Bass Museum (2012). Her work is included in numerous museum collections, including: the Solomon R. Guggenheim Museum, New York; Asia Society, New York; Smith College Museum of Art; Orange County Museum of Art; National Museum, Osaka; Singapore Art Museum; Museum Arnhem, Netherlands; and Kiasma Museum of Contemporary Art, Helsinki.

EXHIBITION REVIEWS

GENERAL PRESS

Hyperallergic, Carnal Humans and Bookish Animals Cohabitate in a Sprawling Video Installation

July, 2017


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Galerie, 12 Exhibitions To See in New York This Summer

June, 2017


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Art Radar, “Jaonua: The Nothingness & Sanook Dee Museum”

June, 2017


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4Columns, Araya Rasdjarmrearnsook

June, 2017


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Artnews, 9 Art Events to Attend in New York City This Week

May, 2017


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Asia Society, In & Out of Context

March, 2016


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The Guardian, The best American art shows of 2015

December, 2015


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ARTnews, Araya Rasdjarmrearnsook at SculptureCenter and Tyler Rollins Fine Art

June, 2015


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Artillery, Araya Rasdjarmrearnsook at the SculptureCenter and Tyler Rollins Gallery

May, 2015


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Art in America, Araya Rasdjarmrearnsook at SculptureCenter

April, 2015


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The New York Times, SculptureCenter: ‘Araya Rasdjarmrearnsook’

February, 2015


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Bangkok Post, Confronting social taboos through art

February, 2015


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The New York Times, East and West Meet, Checking Norms at the Door

February, 2015


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The New Yorker, Araya Rasdjarmrearnsook

February, 2015


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Interview Magazine, The Artist, one of the Others

February, 2015


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Blouin Art Info, Cadavers, Canines, and Koons at the SculptureCenter

January, 2015


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Artspace, Araya Rasdjarmrearnsook on Lecturing the Dead, and the Art of the One-Sided Conversation

January, 2015


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Artforum, Araya Rasdjarmrearnsook at the SculptureCenter

January, 2015


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Blouin Art Info, Thai Artist Araya Rasdjarmrearnsook Emerges From the Shadows in Sydney

April, 2014


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Hofstra University Museum, Araya Rasdjarmrearnsook

2014


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Artshub, Thai artist’s overdue moment in the Australian sun

2014


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Dirge: Reflections on (Life and) Death

2014


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Artforum, 2013 California-Pacific Triennial

December, 2013


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Blouin Art Info, The Guggenheim UBS MAP Global Art Initiative’s “No Country: Contemporary Art for South and Southeast Asia”

March, 2013


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The Nation, A new country conquered

March, 2013


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The Miami Herald, At the Bass on Miami Beach, the Renaissance lives on

February, 2013


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The New York Times, Acquired Tastes of Asian Art

February, 2013


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Art Asia Pacific, Araya at Tyler Rollins Fine Art

February, 2013


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Los Angeles Times, Orange County museum names 32 triennial artists from Seoul to San Francisco

January, 2013


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California-Pacific triennial, Araya Rasdjarmrearnsook

2013


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Miami New Times – Art

December, 2012


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Forbes, Dispatches From Miami Beach: The Best Break From Basel

December, 2012


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Blouin Art Info, Miami’s Bass Museum Blows the Lid Off Tradition With “Endless Renaissance” Show

December, 2012


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Paper Magazine, The Mega Guide to Art Basel Miami Beach 2012: Wednesday

December, 2012


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The Art Newspaper, The Endless Renaissance

December, 2012


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dOCUMENTA (13) The Guidebook, Araya Rasdjarmrearnsook

June, 2012


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Artforum, Araya Rasdjarmrearnsook at Tyler Rollins Fine Art

May, 2012


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Art in America – International Review, Araya Rasdjarmrearnsook at Tyler Rollins

May, 2012


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The New York Times, Solo Show for Araya Rasdjarmrearnsook at Tyler Rollins

February, 2012


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Solo exhibition at the Walters Art Museum

2012


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Kaza Ana / Air Hole: Another Form of Conceptualism from Asia

2011


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Video, An Art, A History 1965-2010 catalogue

2011


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17th Sydney Biennale

2010


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Close Encounter exhibition catalogue

2010


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Asian Art Now, Politics, Society and the State

2010


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Art Asia Pacific, Dialogues With Difference

November, 2009


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Thermocline of Art: New Asian Waves, Araya Rasdjarmrearnsook

June, 2007


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Wind from the East exhibition catalogue, Araya Rasdjarmrearnsook

February, 2007


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Art Signal, Confronting Confrontation: An Interview with Araya Rasdjarmrearnsook

2007


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2006 Taipei Biennial, Araya Rasdjarmrearnsook

2006


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51st Venice Biennale Catalogue, Araya Rasdjarmrearnsook

2005


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10th Biennale of Sydney, essay by Lynne Cooke

1996


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Traditions/Tensions: Contemporary Art in Asia, Araya Rasdjarmrearnsook

1996


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Southeast Asian Art Today, Araya Rasdjarmrearnsook

February, 1996


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54th Carnegie International

1994


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Asia Pacific Triennial Catalogue

1993


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