Araya Rasdjarmrearnsook

Jaonua: The Nothingness & Sanook Dee Museum

June 1, 2017 — July 28, 2017


ENLARGE

Jaonua: The Nothingness, 2016

five channel video installation

ENLARGE

Jaonua: The Nothingness, 2016

digital print

31 x 47 in. (79 x 119.5 cm)

ENLARGE

Video still from "Jaonua: The Nothingness," 2016

five channel video installation

ENLARGE

Amusement in Sanook Dee Museum, 2017

digital print

31 x 47 in. (79 x 119.5 cm)

ENLARGE

Four Monks with Three Ladies in Sanook Dee Museum, 2017

digital print

31 x 47 in. (79 x 119.5 cm)

ENLARGE

Novices Eating Potato Chips in Sanook Dee Museum, 2017

digital print

31 x 47 in. (79 x 119.5 cm)

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

ENLARGE

Installation view of "Jaonua: The Nothingness & Sanook Dee Museum" at Tyler Rollins Fine Art, June 1 - July 28, 2017

 

 

Works

INSTALLATION VIEWS

ABOUT THE EXHIBITION

Tyler Rollins Fine Art is pleased to present Jaonua: The Nothingness & Sanook Dee Museum, an exhibition of two new video works by Araya Rasdjarmrearnsook, taking place from June 1 – July 28, 2017. Araya is one of Southeast Asia’s most respected and internationally active contemporary artists, and for the past 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 (2015). Her latest exhibition centers on Jaonua: The Nothingness (2016), a five-channel video installation commissioned for the 2016-17 Singapore Biennale and now making its international debut in an expanded format. It is shown alongside Sanook Dee Museum (2017), a single-channel video exhibited for the first time.

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 her sculptures and installations of the early and mid-1990s, set up themes – death, the body, and women’s experience – that have endured throughout her career. Since the late 1990s, video has been the primary medium of her artistic practice. Still deeply influenced 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, inflected by Thai Buddhism, 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.”

Jaonua: The Nothingness is in many respects a seminal work in Araya’s oeuvre, weaving together thematic strands from throughout her career into a powerfully integrated whole. It is perhaps her most complex video installation to date, with five intertwined video narratives projected onto various objects – including a bed, window, and rug – evoking a highly charged domestic environment in which dreams and reality seem to meld. It is a meditation on what she calls “the inseparable entanglement of things/lives/subjects.” Motifs, even actual video clips, taken from her earlier work, are incorporated into a series of almost surreal narrative fragments informed by Buddhist teachings relating to the nature of suffering, attachment, and karma, alongside musings on Western philosophy of Being. A montage of visual motifs coalesces into a powerful vision of the cycle of life, exploring the nature of attachment in its many forms – whether to sex or eating, to rigid philosophical systems, or even to the sensuality of the art work.

The nature of the work of art, and our relationship to it, are probed further in Sanook Dee Museum, a video that continues themes developed in two of Araya’s most acclaimed series, Two Planets (2008) and Village and Elsewhere (2011), in which she placed framed reproductions of iconic Western paintings in rural villages, markets, and Buddhist temples in Thailand, and filmed groups of farmers discussing the artworks, sometimes along with Buddhist monks. With the new video, she brings these participants into a museum, setting the stage for highly animated discussions. All the videos in these related series create a meeting point between apparent oppositions: high art and everyday life; the personal and private spheres; elite and mass culture; art and commerce; East and West. While issues of class and cultural differences, exoticization of the “other,” etc., are invoked, these videos also convey a sense of curiosity, humor, and joy that emphasize a common humanity.

EXHIBITION REVIEWS

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

July, 2017


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The New York Times, What to See in New York Art Galleries This Week

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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GENERAL PRESS

An Atlas of Mirrors An Endless of Beginnings

February, 2017


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Bangkok Post, Where time and space cease to exist

November, 2016


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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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Artforum, Araya Rasdjarmrearnsook at the SculptureCenter

May, 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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ARTnews, 9 Art Events to Attend in New York City this Week

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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