Korakrit arunanondchai interview with the vampire
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His parents migrated from Southern China and they didn't speak Thai, so my grandparents on my father's side were pretty Chinese. Through this image, Unity for Nostalgia creates a space for encounter and conflict, revealing layers of memory and expectation that remain latent.
Internationally recognized, Arunanondchai has presented solo exhibitions at renowned institutions.
You can keep archiving and keep changing your relationship to the archives. Religious artefacts, veterinary surgeries, news broadcasts and highlights from reality TV are interleaved with slow and sublime cinematic action, sewn together by Arunanondchai’s distinct poetic voice and grounded in a close relationship to location. I wanted to stay in America, because at this point all of my friends were here, and I didn't know anyone in the Thai art world.
Another channel is this instrument called the laser heart that’s being played in the video. Addressing themes of identity, history, and globalization, he also examines the making of his own artistic persona. There was a big rescue mission and the military in Thailand stepped in. On top of it, the area was a border area - the furthest away possible from the capitol.
He was shooting for one of my friends, Dora Bador. In early 2018, Arunanondchai co-founded Ghost Foundation, a non-profit organization aimed to support a video and performance art series in Thailand entitledGhost.
Interview with Korakrit Arunanondchai
To write about Korakrit Arunanondchai is to be in hot pursuit.
This power play between the edge of Thailand and the centralized government and all these different characters that came to collaborate on building the real life story that is the rescue was interesting.
TGL: You seem open to adventures when you shoot, is that true?
KA: I have a few places and situations that I feel like I need to go visit, and a lot of the time, I don't know what I'm going to get.
He is also the founder of GHOST, a platform dedicated to video art in Asia. Videos were played with the sound cut off, and I read all the subtitles. In the end, it's just research, so I can write. Lives in Bangkok, Thailand and New York, USA
A visual artist, filmmaker and storyteller, Korakrit Arunanondchai employs his versatile practice to tell stories embedded in cultural transplantation and hybridity.
So I applied to grad school. The narrator of the film asks: ‘How many lives do I have to live to see you again?’
All images are © Korakrit Arunanondchai 2021, courtesy the artist; Carlos/Ishikawa, London; Clearing, New York; Bangkok CityCity Gallery, Bangkok
“The most important materiality in my work is time and history, including the history of knowing someone from working together.”
Korakrit Arunanondchai is a multidisciplinary artist based between New York City and Bangkok.
In that performance, there was a showing and reading of every single video that I've made. This exhibition is held at Bangkok Kunsthalle, Bangkok.
SELECTED WORKS
Korakrit Arunanondchai, Garuda, 2024
Korakrit Arunanondchai, Songs for dying, 2021
Korakrit Arunanondchai, In a Room Filled with People with Funny Names 1-4 (An Oral History) - Installation, 2019
Korakrit Arunanondchai, ADAM, 2022
Korakrit Arunanondchai & Alex Gvojic (with boychild) No history in a room filled with people with funny names 5, 2019
Korakrit Arunanondchai & Alex Gvojic, With history in a room filled with funny names 4, 2017
Korakrit Arunanondchai, Painting with History (The sun is a clock that’s going to die one day), 2021
Korakrit Arunanondchai, Painting with history in a room filled with people with funny names 3, 2015
HIGHLIGHTS
EXHIBITIONS
KORAKRIT ARUNANONDCHAI & ALEX GVOJIC
“PRAY” (Songs for living in a room filled with people with funny names)
10 March–24 April 2022
KORAKRIT ARUNANONDCHAI & ALEX GVOJIC (WITH BOYCHILD)
No history in a room filled with people with funny names 5
20 April–19 May 2019
KORAKRIT ARUNANONDCHAI
Painting with history in a room filled with people with funny names 3
3 April–5 June 2016
SELECTED PRESS
CURA.
The first seed to this work was a performance that I did with boychild and Alex Gvojic, my collaborator in Geneva.
With boychild on one side and me, or this text, on another side.