mit jai inn differently painting, aditya novali nicole coson

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1 mit jai inn painting, differently aditya novali nicole coson

2 NICOLE COSON MIT JAI INN ADITYA NOVALI Copyright 2018 Silverlens Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or otherwise, without the prior written consent of the above mentioned copyright holders, with the exception of brief excerpts and quotations used in articles, critical essays or research. Text Josephine V. Roque All rights reserved. No part of this essay may be reproduced, modified, or stored in a retrieval system or retransmission, in any form or by any means, for reasons other than personal use, without written permission from the author. painting, differently mit jai inn aditya novali 2263 Don Chino Roces Avenue Extension Makati City 1231 T F M Tue-Fri 10am-7pm, Sat 10am-6pm nicole coson

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4 The group show, Painting, Differently, begins even before you enter the door: with a huge sheet of jute canvas crumpled and shaped on the floor like wildly colored rock with huge dots and splotches by Mit Jai Inn. Is it a painting with the character of sculpture? This piece sets the tone for a show that stretches the pictorial conventions and material qualities of what paintings could be. Simply speaking, painting refers to the act and object. An artist applies paint or other media to a surface typically using a brush. Its history spans as far back as 10,000 years ago when early man gathered coloured earth to rub images on rock. Materials and pigments used in painting have evolved since from plant-derived colors to oil and synthetics. In Asia, the tradition of painting is even older than in the West as it came with the flourishing of the first civilizations. The trade routes never closed. Eastern and Western art have continued to influence each other, thriving in the originality of their cultural contexts. For this show, Asian artists spanning three generations who spent the formative years of their art practice in Europe show their engagement with the act and object of painting. Mit Jai Inn is considered a pioneer of Thai contemporary art. Trained in Austria under Franz West, one of the leading European artists in the late 20th century, he works from a large open-air studio in Chiang Mai. Here his untitled and unmounted works are nailed on the wall sideways or hung from the ceiling with the canvas exposed showing their back painted in vibrant candy color blocks or stripes. In front, the massive works have paint applied in thick clumps like stiffened cement overlaid with dense, maddening applications of subdued shades. There is an energetic, performative quality to it because of its large scale that on viewing one is compelled not only to step forward for a closer look but to touch it. Two more bright jute canvas sheets playfully lie on the floor like deflated balls, unprotected from being jostled or stepped on.

5 mit jai inn Untitled # SL-1, h x 43.31w in (110h x 110w cm)

6 Untitled # SL-2, h x 43.31w in (110h x 110w cm) Untitled # SL-3, h x 43.31w in (110h x 110w cm)

7 Untitled # SL-4, h x 43.31w in (110h x 110w cm) Untitled # SL-5, h x 43.31w in (110h x 110w cm)

8 Untitled # SL-6, h x 44.88w in (230h x 114w cm) Untitled # SL-7, h x 44.88w in (230h x 114w cm)

9 Untitled # SL-8, h x 44.88w in (230h x 114w cm) Untitled # SL-9, h x 44.88w in (230h x 114w cm)

10 Untitled # SL-10, h x 70.87w in (215h x 180w cm) Untitled # SL-11, h x 70.87w in (215h x 180w cm)

11 Untitled # SL-12, h x 86.61w in (250h x 220w cm) Untitled # SL16-AT, h x 62.99w in (220h x 160w cm)

12 Untitled # SL18-ST, h x 61.42w in (158h x 156w cm) Untitled # SL17-CF10, h x 65.35w in (196h x 166w cm)

13 Untitled # SL19-DD, h x 45.28w in (230h x 115w cm)

14 Untitled # SL-13, h x 70.87w in (340h x 180w cm) Untitled # SL-14, h x 70.87w in (340h x 180w cm) Untitled # SL-15, h x 70.87w in (340h x 180w cm)

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16 This instinctive use of pattern as substance continues in Nicole Coson s monotype prints on framed canvas where a series of black and gray patterns of what looks like overlapping netting and rickrack, are manipulated to propose both undulating movement and stillness. The young London-based artist has been known to experiment with various media with an expertise in analog printmaking processes and techniques honed during her studies at the Central Saint Martins School of Art and Design. This is seen in a large print work of militaristic camouflage in red that takes on the notion of in-betweenness as elements of the pattern are made opaque to appear floating, intersecting and moving across three canvases that appear as one. Camouflage is a disruptive pattern that traces its historical use to war and conflict. What is it trying to conceal and protect?

17 nicole coson Untitled, h x w in (160h x 390w cm) (triptych)

18 Untitled, h x 43.31w in (150h x 110w cm) Untitled, h x 43.31w in (150h x 110w cm) Untitled, h x 43.31w in (150h x 110w cm) Untitled, h x 45.28w in (150h x 115w cm)

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20 In Aditya Novali s works of black ink and paint on rectangle plexiglass, methodological repetition layers linear grids on grids with blocks of paint that appear smeared or blurred at first glance. On inspection, the work is tiered with condensed markings of ink a dichotomy of material and substance that contrasts the flatness of the medium with gradations of applied pigments without added surface texture. Based in Central Java, Novali trained as an architect with further studies in conceptual design from the Netherlands. This reflects in his skill for composition and respect for material found in his oeuvre. In this work, while the cumulative markings are not immediately identifiable it is a made object that occupies a language for space and form.

21 aditya novali Abstract of the absence series (#FFFF00 + #8B #FF4500), 2018 ink, paint on transparent Plexiglass 21.46h x 21.46w x 1.57d in (54.5h x 54.5w x 4d cm) each

22 Abstract of the absence series (# #FFFF00), 2018 ink, paint on transparent Plexiglass 13.19h x 21.26w x 1.57d in (33.5h x 54w x 4d cm) each

23 Abstract of the absence series (#F0E68C, #FFD700, #DAA520, #FFA07A, #FF8C00), 2018 ink, paint on transparent Plexiglass 45.28h x 19.29w x 1.57d in (115h x 49w x 4d cm) each

24 Abstract of the absence series (#FFFFFF and #FFFF00), 2018 ink, paint on transparent Plexiglass 10.24h x 7.09w x 1.57d in (26h x 18w x 4d cm) each

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26 These works bring to mind ongoing debates questioning if painting was a dying medium because what does it in mean to be a painter in this day and age of hybrid forms? There are no quick and easy answers. Maybe that is for the best. The show presents new positions for painting when under each artist the medium is used as a critical way of seeing and making albeit differently. josephine v. roque

27 nicole coson aditya novali Nicole Coson (b. 1992, Manila, the Philippines) is an artist raised in Manila and currently based in London. Coson works on a variety of media with a focus on analogue printmaking methods and techniques. Recently, working mostly with monoprints that explore nature vis-à-vis camouflage, a conversation between sign and signifier. Coson s work revolves around the analogy of the ghost: a loose and phantom form that, though beyond our grasp, invades our tactile and physical world. The suggestion of movement or rather, of momentum is integral to her work; the singular impression of the monotype printmaking process captures the blur of fleeting signals in stasis, leaving behind a flurry of figures that appear almost recognisably and residually organic. In her work, she seeks the contemplation of something caught mid-flight, captured for a brief moment in time when these forms become strangely perceptible but whose physical make-up and origin are impenetrable. SOLO SHOWS 2017 Camouflage, Silverlens, Manila 2016 Process of Elimination, Display Gallery, London Process of Elimination, Finale Art File, Manila 2015 How to Appear Without A Trace, Display Gallery, London Ghost, Stamperia Del Tevere, Rome, Italy How to Appear Without A Trace II, Asia House, London 2014 Untitled, Finale Art File Gallery, Makati City 2013 Spirit Captures, West Gallery, Quezon City SELECTED GROUP EXHIBITIONS 2018 Equivalent/s, Silverlens, Manila Tirada: 50 Years of Philippine Printmaking , Cultural Center of the Philippines, Manila Art Fair Philippines, Silverlens, Manila 2017 Art Fair Philippines, Silverlens, Manila 2016 START Art Fair, Saatchi Gallery, London (solo booth) 2015 Undisciplined, NA Collective, London, UK Di Carta, Palazzo Fogazzaro Schio, Vicenza, Italy Collection of Small Paintings, The Contemporary London, London, UK 2014 Field Trip, Display Gallery, London, UK Fine Arts BA Degree show, Central Saint Martins College of Art and Design, London, UK Print /3, Arcane Gallery, London, UK 2013 Dis/location, INIVA (Institute of International Visual Arts), London, UK Curious Limbo: Scavenger Sale, Post Gallery, Manila, Philippines NOMINATIONS 2014 Nominated for the Saatchi New Sensations Award Aditya Novali (b. 1978, Solo, Indonesia) is an artist based in Solo, Indonesia. Trained as an architect, with further studies in conceptual design, Novali has an idea-based artistic practice. All his art, whether they be three-dimensional rotating dollhouses, abstractions of historical paintings, or geometric renderings of cultural practices, point towards finding the right form and material the work will take. Novali s work has been exhibited in galleries and institutions all over the world, including in Indonesia, Singapore, Taiwan, UK, Italy, Switzerland, Japan, and Lebanon. Some of his previous exhibitions include Imaginary Synonym (2016), Tokyo Wonder Site, Japan; Aku Diponegoro (2015), National Gallery of Indonesia, Indonesia; Shout! Indonesian Contemporary Art (2014), Museo d Arte Contemporanea (MACRO), Italy; Dojima River Biennale (2013) in Osaka; South East Asia (SEA) + Triennale (2013), National Gallery of Indonesia, Indonesia; Of Human Scale and Beyond: Experience and Transcendence (2012), Hong Kong Arts Centre, Hong Kong. A Finalist in the 2010 Sovereign Asian Art Prize, Novali was also awarded Best Artwork in the Bandung Contemporary Art Awards (BaCAA) in the same year. He was most recently nominated for Best Emerging Artist Using Installation at the 2016 Prudential Eye Awards in Singapore and had his work featured in a solo presentation titled Caprice in the Discoveries Section of Art Basel Hong Kong AWARDS 2016 Best Emerging Artist, Prudential Eye Awards 2011 Best Artwork, Bandung Contemporary Art Award rd Winner, Jakarta Art Award Finalist, Sovereign Asian Art Prize 2003 Finalist, Indonesia ASEAN Art Award SELECTED SOLO EXHIBITIONS AND PRESENTATIONS 2018 Significant Other, ShanghArt Gallery, Singapore 2017 Caprice, Discoveries Section: Art Basel Hong Kong 2017, Hong Kong 2016 Acrylic, ROH Projects, Jakarta, Indonesia 2014 The Order, Makan Angin #2 (Residency Exhibition), Cemetri Art House, Yogyakarta, Indonesia Painting Sense, ROH Projects, Jakarta, Indonesia 2013 Beyond the Walls, Primo Marella Gallery, Milan, Italy 2012 Method of Polarity, Umahseni, Jakarta, Indonesia The Wall: Asian (Un)Real Estate Project, Project Stage, Art Stage, Singapore 2011 Indoscape: A Geo-History, Galeri Canna, Jakarta, Indonesia 2004 Art Portable, CP Artspace, Jakarta, Indonesia SELECTED GROUP EXHIBITIONS 2018 Painting, Differently, Silverlens, Manila Art Jakarta 2018, ROH Projects, Indonesia DIASPORA: Exit, Exile, Exodus of Southeast Asia, MAIIAM Contemporary Art Museum, Chiang Mai 2017 West Bund TALENT, West Bund Art Centre, Shanghai, China Jogja Biennale 2017, Jogja National Museum, Yogyakarta, Indonesia The 15th Asia Art Festival: Multiple Spectacle Art from Asia, Ningbo Art Museum, Ningbo, China SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, Mori Art Museum and The National Art Center, Tokyo, Japan Lines, Borders, Boundaries and The In-Betweeners, Yamamoto Gendai, Tokyo, Japan Shared Coordinates, The Arts House, Singapore 2016 Imaginary Synonym, Tokyo Wonder Site, Tokyo, Japan Prudential Eye Awards 2016, ArtScience Museum, Singapore EkstrakurikuLab SERRUM, Gudang Sarinah Ekosistem, Jakarta, Indonesia The Man who Fell into Art: Collecting as A Form of Personal Narrative, Song Eun Art Space, Seoul, Korea Indonesialand, Selasar Sunaryo Art Space, Bandung, Indonesia Southeast Asia Forum, Marina Bay Sands, Singapore Constituent Concreteness, Mizuma Gallery, Gillman Barracks, Singapore 2015 Object: About Memory and Time, Nunu FIne Art, Taipei, Taiwan Titik Silang, Dia Lo Gue Artspace, Jakarta, Indonesia Infinity in Flux, Artjog 2015, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Aku Diponegoro, Galeri Nasional, Jakarta, Indonesia (Dis)appear, Primo Marella, Lugano, Switzerland 2014 Shout! Indonesian Contemporary Art, Museo d Arte Contemporanea (MACRO), Rome, Italy Sculpture Triennale, Galeri Nasional, Jakarta, Indonesia The Wall/ Structure/ Construction/ Border/ Memory, Ark Galerie, Yogyakarta, Indonesia Fiesta Fatahillah, Jak Contemporary Artspace, Jakarta, Indonesia Art 14 London, London, England Scope Basel, Primo Marella Gallery, Basel, Switzerland After Image: Images of Conflict, Galleria Civica di Trento, Italy 2013 Little Water, Dojima River Biennale, Osaka, Japan Pressing, Cntro Video Insight, Torino, Italy Southeast Asia (SEA)+ Triennale, Galeri Nasional, Jakarta, Indonesia Homo Ludens #4, Bentara Budaya Bali, Bali, Indonesia Collective Perspective on Southeast Asian Wing, Beirut Art Fair, Beirut, Lebanon 2012 Of Human Scale and Beyond: Experience and Transcendence, Hong Kong Arts Centre, Hong Kong Deep S.E.A Contemporary Art from Southeast Asia, Primo Marella Gallery, Milan, Italy Re.claim, Galeri Nasional, Jakarta, Indonesia Deviation- New Sculpture, Galeri Salihara, Jakarta, Indonesia 2011 Maximum City: Jakarta Biennale, Galeri Nasional, Jakarta, Indonesia Religiosity in Indonesian Art, Mon Décor Gallery, Jakarta, Indonesia Ekspansi, Galeri Nasional, Jakarta, Indonesia Contemporary Landscape, Lawangwangi Art Space, Bandung, Indonesia Homo Ludens #2, Emmitan CA Gallery, Surabaya, Indonesia Cultural Bridge, Wendt Gallery, New York, United States Sovereign Asian Art Prize 2010 Finalist Exhibition, Hong Kong BaCAA Finalist Exhibition, Lawangwangi Art Space, Bandung, Indonesia RESIDENCIES 2016 International Creator Program, Tokyo Wonder Site, Tokyo, Japan 2014 Makan Angin #2, Cemetri Art House, Yogyakarta, Indonesia EDUCATION 2008 IM Master of Conceptual Design, Design Academy Eindhoven, The Netherlands 2014 BE Architecture, Universitas Katolik Parahyangan, Bandung, Indonesia COLLECTION Bank Indonesia Uli Sigg Private Collection

28 mit jai inn Mit Jai Inn was born in 1960 in Chiang Mai, Thailand. Studying in the late 1980s in Vienna, Mit began a vocabulary of serial forms with relational intentions, seeking to counter aspects of formal painting and its market and exhibitionary frameworks of that time. Returning to Thailand in 1992, Mit founded Chiang Mai Social Installation and has since engaged in numerous socially and politically engaged art initiatives. Today, he works from his Chiang Mai open-air studio, where multiple workstations show evidence of rigorous manual and optical labour. Tables are brimming with crushed and mixed pigment of his own making. In place of brushes, mark makers are palette knives, hands, and fingers. Canvases, often treated on both sides, stretch across floors, drape from tables and hang from metal beams. Paint has been plotted, pulled and pushed, overlayed, and scraped away. While this corporeality of colour is embedded and perceptible in Mit s painted forms, it is also his way to channel, resist, and make offering around the conditions related to the nations, spaces, hosts and publics of his often site-specific work. SELECTED SOLO EXHIBITIONS 2018 Light, Dark, Other, TKG+, Taipei, Taiwan The good, the bad and the ugly (part 2.2), Gesso, Vienna, Austria Beautiful Futures, H Gallery, Bangkok, Thailand Mit Jai Inn, Chauffeur, Sydney, Australia 2016 Pastorale, H Gallery Bangkok / Eat Me Restaurant, Bangkok, Thailand Wett, Gallery VER, Bangkok, Thailand 2015 Patchworlds, Yavuz Gallery, Singapore AN-TI-TLE, Lyla Gallery, Chiang Mai, Thailand Gesso Art Space, Vienna, Austria 2014 Postpositive: Freaky You Are Always, SA SA BASSAC, Phnom Penh, Cambodia 2012 Untitled, H Gallery Chiang Mai, Thailand 2011 Duckocrazy, Toot Yung Gallery, Bangkok, Thailand :11 Freedom from the Known, Angitgallery, Chiang Rai, Thailand. The Social Mandala and other Mit-ologies, Valentine Willie Fine Art, Malaysia Six Hours of Suffering, Chiang Mai University Art Museum, Chiang Mai, Thailand 2007 Don t be Happy. Do be Worried, 15th anniversary of worrying about global climate change, shifting world views, societal collapse, the cult of bourgeois rectitude, Chiang Mai Social Installation Project and art is over, Ver Gallery, Bangkok, Thailand Kaminattawatupatan, Numtong Gallery, Bangkok, Thailand 1994 Pain on Paint, Art Forum Gallery, Bangkok, Thailand 1992 Magic Set, Visual Dhamma Gallery, Bangkok, Thailand SELECTED GROUP EXHIBITIONS 2019 (upcoming, March) Art Basel Hong Kong: Encounters, Silverlens, Hong Kong 2018 Painting, Differently, Silverlens, Manila Wild West, De 11 Lijnen, Oudenburg, Belgium Field Recordings, Rua Red, Dublin, Ireland These Painter s Painters, Roh Projects, Jakarta, Indonesia The 21st Biennale of Sydney, Cockatoo Island, Sydney, Australia 2017 Heads or Tails? Uncertainties and Tensions in Contemporary Thailand, Sundaram Tagore Gallery, NYC, USA Abstraction of the World, Duddell s x Biennale of Sydney, Hong Kong Totem: Sacred Beings and Spirit Objects, Mehta Bell Projects, Saatchi Gallery, London, UK SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, Mori Art Museum, Tokyo, Japan Terra Incognita, ARNDT, Vienna Death in the Afternoon, KS Room, Vienna BlissFullness (At Death s Door), Esplanade, Sinagpore 2015 REV ACTION: Contemporary Art From Southeast Asia, Sudaram Tagore Gallery, New York, USA Mad in Austria, Galerie Konzett, Vienna, Austria 2014 HISO LOSO, SNO111.SNO Contemporary Art Project, Sydney, NSW, Australia The Good, The Bad and The Ugly, Gesso, Vienna, Austria Traitor and Tradition, ARNDT, Berlin, Germany. Medium At Large, Singapore Art Museum, Singapore Summer Exhibition: Paintings and Photographs by Gallery Artists, H Gallery, Bangkok, Thailand Light Space Project Rituals of Exhibition II, H Gallery, Chiang Mai, Thailand Oida Gallery, Bangkok, Thailand All Our Relations, 18th Biennale of Sydney, Sydney, Australia Northern Lights, Art Month Sydney, Artereal Gallery, Sydney, Australia Quiet Noise, H Gallery, Chiang Mai, Thailand Retro VER-Spective, Gallery VER, Bangkok, Thailand 2011 Somewhere in the Distance, H Gallery, Bangkok, Thailand Museum Serve Project, Motorcycle Station at Bangkok Art and Culture Centre (BACC), Bangkok, Thailand Dialogues, Bangkok Art and Culture Centre (BACC), Bangkok, Thailand SNO 75, SNO Contemporary Art Project, Sydney, Australia 2008 Nim Kruasaeng and a Friend, Stone Gallery, Dublin, Ireland A Salon, Studio 6, Temple Bar Galleries, Dublin, Ireland 2007 Eternal Flame: Imagining a Future at the End of the World, Gallery at REDCAT, Los Angeles, USA Art / Not Art, Fix 07 Catalyst Arts Gallery, Belfast, Ireland 2006 Dong-Na, Singapore Biennale, Singapore Tropical Nights - Lost in Paradise, Palais de Tokyo, Paris 2005 AK in AKA, AKA Gallery, Chiang Mai, Thailand Le Invasioni Barbariche, curated by Pier Luigi Tazzi, Galleria Contiuna, San Cimignano, Italy Representation, GareGaron, Chiang Rai, Thailand Soi Project, Yokohama Triennale, Yokohama, Japan 2004 Archetype, Akko Gallery, Bangkok, Thailand Spirit of Art, Hof Art Gallery, Bangkok, Thailand Collection Mantrini, Chiang Rai, Thailand 2003 Umong Sippadhamma, Chiang Mai, Thailand 1993 Magic 2, Bangkok National Museum, Bangkok, Thailand 1992 Magic Set Visual, Dhamma Gallery, Bangkok, Thailand Chiang Mai Social Installation, Chiang Mai, Thailand EDUCATION University of Applied Arts Vienna, Vienna, Austria Silpakorn University, Bangkok, Thailand BIBLIOGRAPHY 2018 Where I Work, Art Asia Pacific, Anniversary Issue, by Elaine Ng Cockatoo Island Exhibits Miss the Boat, The Sydney Morning Herald by John McDonald, 23 March, 2018 / au/entertainment/art-and-design/biennale-of-sydney2018-reviewcockatoo-island-exhibits-miss-the-boat h0xngw.html Review: The 21st Biennale of Sydney, Artist Profile by Artist Profile, 20 March, What to see at the Sydney Biennale, The Design Files by Sally Tabart, 16 March, Sydney Biennale: Reflecting A Changing Society, Aljazeera by Andrew Thomas, 15 March, com/news/2018/03/sydney-biennale-reflecting-changingsociety html A New Significance: Mami Kataoka on the 21st Biennale of Sydney, 14 March, article/a-new-significance-curator-mami-kataoka-on-the-21stbiennale-of-sydney Critic s Guide / Looking Forward 2018: Asia and Australia, Frieze, 4 January, asia-and-australia Review: Beautiful Futures by Mit Jai Inn, Art Asia Pacific by Rathsaran Sireekan, March WebExclusives/BeautifulFutures Moran Maze of Modern Thailand by Ariane Kupferman- Sutthavong, Bangkok Post, 7 February, 2018 / News: Beautiful Futures by Mit Jai Inn, com/news/story/ /beautiful-futures-by-mit-jai-inn-at-hgallery-bangkok Review, Problems of the Present, Forces of the Past, The Nation, 2 February, art/ Other People Think: Auckland s Contemporary International Collection, Auckland Art Gallery, New Zealand, 10 March 10 June, exhibition/other-people-think Review, Group Exhibition, Duddlell s x Biennale of Sydney: Abstraction of the World, Duddells, Hong Kong, Art Radar Asia by Valencia Tong, 23 March, com/2017/05/23/duddells-x-biennale-of-sydney-abstraction-ofthe-world-at-duddells-hong-kong/ Heads or Tails, Exhibition Catalog, Sundaram Tagore Gallery, NYC, USA: headsortailscatalogue 2017 Review, Patchworlds by Mitt Jai Inn, Yavuz, Singapore, by Maryanne Stock, Art Asia Pacific (Print). Magazine/WebExclusives/MitJaiInnPatchworlds Hanging Politics on the Wall, by Ariane Kupferman-Sutthavong, Bangkok Post, 31 May, lifestyle/art/ /hanging-politics-on-the-wall 2016 Research Thailand: Chiang Mai, SEA Project / asia/en/research/thailand_01/ 2015 Rev/Action: Contemporary Art from Southeast Asia, 2 October 2015, Wall Street International Magazine / art/17639-rev-action-contemporary-art-from-southeast-asia

29 ABOUT SILVERLENS Through its artist representation, institutional collaborations, art consultancy, and exhibition programming including art fairs and gallery partnerships, SILVERLENS aims to place its artists within the broader framework of the contemporary art dialogue. Its continuing efforts to transcend borders across art communities in Asia have earned it recognition from both artists and collectors as one of the leading contemporary art galleries in Southeast Asia. SILVERLENS was founded by Isa Lorenzo and Rachel Rillo in 2004.