Transcending Boundaries: A Journey Through BETWEEN BAB
Stepping into the realm of the BETWEEN BAB exhibition, I found myself immersed in a symphony of artistic expressions that transcended time and space. Featuring over 60 carefully selected artworks from 28 artists, drawn from previous editions of the Bangkok Art Biennale and the Bangkok Art Biennale Foundation collection, this showcase offered a tantalizing glimpse into the evolution of contemporary art.
Choi Jeong Hwa, Happy Happy Project, Flower Gun, 2016
98 plastic guns, chrome coating and steel frame
Among the myriad of creative expressions, Choi Jeong Hwa's "Happy Happy Project: Flower Gun" stood as a testament to the power of art to provoke contemplation. Known for his innovative use of everyday objects, Choi's installation transforms the mundane into a thought-provoking commentary on the pursuit of happiness in a troubled world.
Displayed first at the Bangkok Art Biennale in 2018, "Happy Happy Project" challenges viewers with its playful yet unsettling presence. By reimagining guns as vibrant metallic flowers, Choi prompts us to question the paradoxical nature of our society's pursuit of happiness amidst underlying societal issues. The installation beckons for interaction, inviting viewers to delve beyond its surface and engage with the deeper layers of meaning it holds.
The glittering sculpture immediately captured my attention and in an instant, synesthesia took hold, and the electric/acoustic guitar chords and triumphant trumpet blasts of the 007 Bond theme from Dr. No echoed in my mind. Surrounded by the vibrant metallic guns, I found myself immersed in a whirlwind of thoughts about the complexities of our modern world. Choi's work served as a poignant reminder of art's ability to challenge perceptions and ignite introspection.
Ulay/Marina Abramović
444-444 1978
Performed for television
15 min
RTB television studio, Liege, Belgium February, 1978
Ulay/Marina Abramović
But the surprises didn't end there. As I moved through the corridors of the exhibition venue, I could hear the guttural sounds of two people repeatedly screaming at each other. To my astonishment, it was the video installation of Ulay/Marina Abramović's "444-444 1978" performed for television. This was something that 30 years earlier I would have moved quickly past, but like fine wine, I was starting to appreciate and become transfixed by their 15-minute performance.
The addition of this televised performance from 1978 featuring heavyweight Serbian artist Marina Abramović and German creator Ulay added another layer of depth to the exhibition. The piece, which explores the dynamics of romantic relationships, was art-meets-real-life for the long-time collaborators.
But amidst the whirlwind of emotions stirred by Choi Jeong Hwa's and Ulay/Marina Abramović's artworks, I was also drawn to the captivating visual impact of Chiharu Shiota's "The Eye of the Storm." This reunion with Shiota's work was a happy one, reminiscent of my first encounter at the Art Gallery of South Australia in 2022.
Chiharu Shiota
The Eye of the Storm, 2022
Installation with ropes and paper
1220 x 1090 x 500 cm
In "The Eye of the Storm," Shiota masterfully weaves together thousands of sheets of white paper with red ropes, evoking the swirling motion of a typhoon. The surrounding papers dance wildly, rustling in an imaginary wind, while the center remains eerily serene and tranquil. Shiota's fascination with the contrast between stillness and movement is palpable, drawing parallels between the calm eye of a storm and the turbulence of human society and the human heart.
As I stood amidst Shiota's swirling masterpiece, I couldn't help but reflect on the profound symbolism it held. The eye of a typhoon, with its deceptive calmness amidst chaos, served as a poignant metaphor for the complexities of the human experience. In a world filled with turmoil and unrest, Shiota's installation offered a moment of quiet contemplation, inviting viewers to explore the depths of their own emotions and perceptions.
"The Eye of the Storm" seamlessly integrated into the overarching theme of Chaos:Calm, resonating with the turbulent times we've all endured. Exhibited as part of the Bangkok Art Biennale 2022, this remarkable artwork served as a powerful reminder of the resilience of the human spirit amidst adversity.
As I exited the exhibition, the image of Shiota's swirling vortex lingered, a testament to the enduring resonance of artistic expression. BETWEEN BAB transcends mere display; it is a crucible where the essence of humanity is distilled into evocative moments of insight. Here, amidst the curated tapestry of artistic creation, we confront the raw essence of existence—a dialogue between creator and audience, shaping and reshaping our perceptions of the world. In this space, art becomes a mirror reflecting the complexity of human experience, inviting us to explore the depths of our own consciousness and emotions.
