Pratchaya Phinthong

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02.12.2018 - 27.01.2019

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This page is intentionally left blank by internationally renowned artist Pratchaya Phinthong, curated by Thanavi Chotpradit. It is Phinthong’s first solo exhibition with the gallery and a rare occasion to view his work in Thailand.

The originating idea of This page is intentionally left blank was stemmed from Phinthong’s visit to The National Gallery of Thailand back in 2009, he spotted the logbook which later became working materials of this exhibition. From a compilation of materials in his mind, Phinthong thoroughly conceptualized structures and elements of the show before he removed all the dispensable parts, and ultimately, only the key features remain. This artistic process implicates a consolidated relationship of
evident objects and the artist’s criticality, whilst audiences are invited to discern some imperceptible affairs in the art world.

Similarly, Phinthong’s previous works encompassed divergent resources and combinatorial forces to create new meanings. The artist is also aware of spatial aspects that entail invisible relationships, so his artworks diligently unfold connections that, even if obvious, seem to escape detection. In This page is intentionally left blank, Phinthong intends to paint the walls of BANGKOK CITYCITY GALLERY in the exact color pantone as the walls at recently renovated gallery at The National Gallery of Thailand, as well as presenting an ever-changing site specific installation throughout the period of the exhibition. Architectural spaces, precast concrete parking curbs (from 123 Parking where BANGKOK CITYCITY GALLERY is situated), cardboard archive storage boxes and logbooks on loan from The National Gallery of Thailand are link up issues whose connection was not previously suspected.

Pratchaya Phinthong

b. 1974, Ubon Ratchathani, Thailand

Lives in Bangkok, Thailand.  Works in Bangkok and Paris, France

Pratchaya Phinthong is an alchemist of economic value and social functions. In the work of this Thai artist, financial fluctuations, media alarmism, and the world labor market are transferred into matter as it transforms from solid to liquid to gaseous states, and then back again. Perhaps, we can describe Phinthong as a trader who operates according to a logic opposite to that of profit, and who deals in cultural and value systems, trafficking in everyday meanings, hopes, and troubles. Phinthong accepts the perpetual transformation of forms and politics, of existence and daily life, poetically transferring the metaphor of fluctuation in currency values to various areas of human action. Phintong’s works often arise from the confrontation between different social, economic or geographical systems. They are the result of a dialogue, and bring all their poetic forces from an almost invisible artistic gesture.

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