The WTF Cafe & Gallery has pitted “red shirt” sympathisers against “other-coloured Shirt” proponents in its art arena and until April 27, is set to play moderator.
Country Of Bangkok, by Prakit Kobkijwattana.
The works of Manit Sriwanichpoom have been placed next to those by Prakit Kobkijwattana, while some of Miti Ruangkritya’s pieces have been put next to Pisitkun Kueantaleng’s. It’s as if the curators are employing Eisenstein’s montage theory to spark a new dialectic.
Conflicted Visions presents works of various media by seven politically-active Thai artists, including Sutee Kunavichayanont, Jakapan Vilasineekul, Manit, Prakit, Miti, Pisitkun, and another anonymous artist, in an attempt to “allow their conflicting visions to refract into a kaleidoscopic whole”.
Curators Somrak Sila and Christopher Wise have accomplished the exacting task of bringing together artists, many of whom are not on speaking terms due to opposing political leanings, in order to address the stigma attached to political discussions between opposing sides. Such fraternisation with the enemy is unprecedented.
The exhibition raises the question as to whether we can ever actually have disagreements over fundamental beliefs and ideologies without becoming overwrought. Conflicted Visions is about reaching beyond prejudices.
“The idea grew from our frustration as well as curiosity,” says Somrak. “People from both sides do not engage in conversations, particularly artists from those two extremes. We wanted to convey the artists’ creative visions and their attitudes towards politics without taking sides or highlighting a particular political view. We want to know if the art can rise beyond the conflicts.”
The wall along the alley leading up the gallery and bar is covered with vandalised election posters of both the Pheu Thai Party and the Democrat Party collected by Miti from the election in 2011 — a pertinent introduction to the exhibition which conveys a range of expressions and reactions to the propaganda, the injustice, and the harsh realities of the conflict.
“We have seen artists expressing themselves verbally or on Facebook and Instagram, ‘I’m here, I’m protesting here’, I knew they were producing interesting works. I think of [the exhibition] as a way to elevate the dialogue and make it a little more subtle, instead of all the shouting.” says Wise.
Instant Democracy, by Prakit Kobkijwattana.
The deep political division in Thai society has largely inhibited its ability to participate in productive and civil debates. Works of art grant a freedom to explore politics from a perspective not typically offered in everyday conversations.
In putting together Conflicted Visions, Somrak and Wise channelled a great effort into convincing the artists of the neutrality of the gallery space, of the agenda and of the exhibition itself. They like to think of the result as like Prime Minister Yingluck Shinawatra and Suthep Thaugsuban actually participating in a debate in front of a large crowd.
“We were questioned. People doubted us. As you know, with both sides, people assume that if you’re not completely with them, then you are against them. The exhibition was a test. We might not agree with you but can you still trust us?” explains Somrak. The exhibition is a far cry from a political rally. Each of the seven artists translates injustice and imbalances into their works, which while serious, are satirical and cheeky. The works are mixed up — pro-red adjacent to pro-yellow, in brooding conversation. Wise and Somrak have aimed for a visual salad of points of view and topics.
And while some works, like those of Manit and Prakit, leave little room for ambiguity, others might lead to larger speculations — they are critical of the political system and the resulting crisis as a whole. Pisitakun’s paintings reach into his psyche to explore how he has internalised the turmoil.
For artist Prakit, it is impossible to separate art and politics.
“Art doesn’t stand on its own. In this world, it stands on politics, on the economy,” he says. His work, Living In A Pretentious City, Our Lives Gotta Be POP! utilises the politics of Pop Art to reflect how the mass consumes politics.
“The Campbell's soup can conveys how we expect instant gratification. Say you don’t like Thaksin today, you want him removed and replaced by tomorrow. In a civilised society, change requires time,” he says.
Conflicting Visions, thus, also inquires into the role of the artists within a society.
“We believe art has a role to comment on and be a part of the political process. We come from a side that is always questioning and challenging things intellectually,” says Wise. Placing the opposing works together uncovers an intriguing thread of similarity.
“Sometimes, it’s like they are actually saying the same things, particularly the works of Prakit and Sutee, even if they ‘belong’ on opposite sides,” observes Somrak. Sutee’s works, done over two years ago, seems to have predicted the current conflict. “His attitude leans towards the PRDC but it’s interesting to see the words he produced then echo the words used to attack the PRDC today,” says Somrak of the aphorisms Sutee employs, such as “You love democracy but you hate the majority”.
Conflicted Visions presents a range of contradictions that ultimately illuminates the convoluted nature of the political conflict itself. The WTF Bar and Gallery, frequently visited by many expats, also lends room for further contemplation on the meaning of democracy and how it is viewed and valued in different cultural contexts.
“This exhibition shows that people with opposing ideas can exist within the same space. They aren’t fighting each other,” says photographer Manit. “If we look at the gallery as a micro space, the two sides are at peace. Sure, in the real world, the conflict is much larger. But at least it’s not happening in an art arena and that’s very reassuring, especially because a lot of artists have big egos.”
Conflicted Visions is on view at WTF Cafe & Gallery, Sukhumvit 51, until Apr 27.
Obscene Mantra, by Manit Sriwanichpoom.
