Korakrit Arunanondchai and Pratchaya Phinthong will be participating in DHAKA ART SUMMIT 2020: SEISMIC MOVEMENTS (DAS 2020) taking place in Dhaka, Bangladesh from February 7-15, 2020
Korakrit Arunanondchai and Pratchaya Phinthong will be participating in DHAKA ART SUMMIT 2020: Seismic Movements (DAS 2020) taking place in Dhaka, Bangladesh from February 7-15, 2020.
February 7-8, 2020 at 7pm First floor, Plaza
Together (Dhaka Edition)
Korakrit Arunanondchai and Alex Gvojic
Rising up three-storeys of the DAS venue, Korakrit Arunanondchai’s monumental sculpture of a ‘naga’ (a reincarnating deity found across the mythology of South and Southeast Asia that shifts between snake and human form) transforms into a stage for the artist’s newest performance work in collaboration with Alex Gvojic that connects the river-based histories of Bangladesh and Thailand. Arunanondchai will create a soundscape within an environment based on Ghost Cinema, a post-Vietnam War ritual in Thailand where outdoor screenings function as communions between the audience and the spirits. Introduced by American soldiers stationed in Thailand who screened films in the forests, creating enigmatic projections which locals attributed to ghosts, the appropriation of the ritual by locals reflects the rich history of military coups and their effect on local folklore and rituals.
February 7, 2020 at 2pm Second floor, Gallery Three
Way of the Hilsa
Pratchaya Phinthong with Dr. Arnab Biswas and Md. Sajedul Haque
Stories of the Hilsa fish and its migration across salty and sweet waters have been inscribed in South Asian culture for centuries as they historically swam from the Bay of Bengal up the Padma river and into the Ganges. In 1975 the Farakka Barrage (dam) was completed on the Indian side of the Bangladesh–India border, disrupting this migration. Pratchaya Phinthong draws a mental map of this cross-border conflictual reality, combining photos taken at the Farakka Barrage, reconstructed images, books, and objects – taking into consideration geopolitics, science, spirituality, and human relationships. Using Bangladesh’s “national fish,” this discussion with the artist and his collaborators metaphorically examines nation-state powers and the ability of sensations such as taste to transcend ideas relating to national identity.