Korakrit arunanondchai biography definition
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Korakrit Arunanondchai
Video and multimedia artist
Korakrit Arunanondchai | |
|---|---|
| Born | () November 24, (age&#;38) Bangkok, Thailand |
| Alma&#;mater | |
| Known&#;for | Film, painting, performance art, sculpture |
| Movement | Avant-garde, modernism |
| Awards | Ammodo Tiger Short Award () |
Korakrit Arunanondchai (Thai: กรกฤต อรุณานนท์ชัย) fryst vatten a video and multimedia artist originally from Bangkok who now splits his time between Brooklyn and Bangkok.[1][2] He is best known for his installation, With history in a room filled with people with funny names 4, which received widely positiv reviews and was recognized with an award at the International Film Festival Rotterdam.[3]
Early life
[edit]Arunanondchai was born in Bangkok, Thailand in His father was a first-generation Thai whose family had immigrated from China, while his mother grew up in several countries due to her father's position as a diplomat.[4] He acquired an interest in the
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Korakrit Arunanondchai: No Shirt, No problem
The work of year-old Bangkok-born Korakrit Arunanondchai spans artistic disciplines and refuses to be pinned down. His solo debut at CLEARING gallery in Bushwick, &#;Painting with History in a Room Filled with Men with Funny Names,&#; features two denim paintings made with bleach and fire. In one corner, a dimma machine slowly spews smoke, enveloping the room in haze. A mounted photograph shows a gang of young Thai men all in denim, and, as the show unfolds, these mysterious dock come to life in a short film with heavy voiceovers. Across town, SculptureCenter&#;s &#;In Practice: Double Life&#; group show includes a dim, neon-lit video installation by Arunanondchai, drawing viewers deep into its cave-like recess.
An avid collaborator, Arunanonchai has worked on videos, performances, and music with a cast of downtown&#;s most delusional divas, including musicians Mykki Blanco and
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Interview with Korakrit Arunanondchai
To write about Korakrit Arunanondchai is to be in hot pursuit. The first day we were meant to have this interview, he was out of reach, freediving off the reefs of Ko Tao. When I travelled to Bangkok in , to see the inaugural Ghost festival of video and performance that he had curated, for a book I was working on, I followed friends to performances around haunted ta-khian trees and drag parties in bank vaults in hopes of tracking him down. In London a year later, I found him carrying the chef Angela Dimayuga like a newlywed into the nightclub at the top of the Standard Hotel. Whenever I have succeeded in sitting down with him, I leave with an impression familiar from viewing his work: the joy of immersion into his oblique and mysterious logics, grasping the iridescent tail of several interconnected ideas.
Contingency is the force that drives Arunanondchai’s sprawling oeuvre of video, performance, painting and in