Kamin Lertchaiprasert and a new Chiang Mai enterprise
Since around the time of Thailand's financial meltdown in 1997, artist Kamin Lertchaiprasert and others based in that country, have dedicated much of their creative energy and networking skills to establishing alternative points of focus for contemporary art. As is well known, innovative practice in Thailand has long suffered from a lack of public appreciation and government support. In Bangkok, where one would expect to find an extensive infrastructure for promoting established and emerging art, it has largely been left to the capital's university exhibition spaces (at Silpakom and Chulalongkom, for instance) and to a few commercial galleries with altruistic leanings to carry out this function. Additionally, foreign cultural bodies such as the Goethe Institut and at times the temporary exhibition halls of the National Gallery, have supported progressive work. Even when Bangkok seemed set to have its own civic contemporary art museum, plans went awry in 2002 with a change of governor. 1 It has therefore been independent organisations and artist initiatives which have ensured that presentation and dynamic discussion on contemporary issues occur on a regular basis. One very positive development in this respect, has been a recent attempt to restore the Bhirasri Institute of Modem Art, which had been a locus for 'cutting edge' art in the 1980s. With Ark Fongsmut as resident curator, BIMA held its first exhibition ('Present Perfect') in late 2002.
These are courageous efforts, as the broad cultural preference for 'consensus art' is entrenched. 'The official Thai art world has been geared towards political correctness: art institutions, competitions and exhibitions are all organised to cater to consensus art on the assumption that art must reflect characteristics that are uniquely Thai ... As one... The rest of this article is available to subscribers of Eyeline