PRISM
8 – 25 April 2010
100 Tonson Gallery on Soi Tonson, Thailand
By Pawit Mahasarinand
Photos by Chakorn Amornset
"The House No. 1" photos courtesy of 100 Tonson Gallery

"Prism” cast all its light on the dancer, leaving the drawings in the shadow.
You don't have to be a dance aficionado or a hardcore fan of visual arts to get excited when Pichet Klunchun and Kornkrid Jianpinidnan collaborate for the first time. Of course, you’re extra thrilled if you are, and have watched either artist’s works and maybe are looking forward to how each will “converse” to each other.
For the exhibition "Prism", curator Thanavi Chotpradit asked Kornkrid to transform 100 Tonson Gallery "into a space in between the world of Thai traditional literature and the world of reality for Pichet Klunchun to perform Ganesh.

I went early last Thursday thinking I could leisurely take in Kornkrid's response—an installation with drawings, photographs and other media called "The House No. 1 (2010)". 

But the set for Ganesh overwhelmed the place, enfolded in sheets of corrugated zinc, leaving only some wall space for Kornkrid's work. The dance floor was partially covered with sand, neatly patterned, so no one wanted to "trespass" to get a closer look at what Kornkrid had created. 

The most easily accessible work was "The Deadly Sin", on a side wall—seven intriguing drawings on white paper in wine and ashes.

Once the lights dimmed and the traditional Thai music began, Kornkrid's efforts seemed to disappear. I felt as though I were back at the Chang Theatre, Pichet's studio in Thonburi, watching the premiere of Ganesh last July.
 

In the heat of the political moment, the story of how information can be distorted and how we easily get into quarrels—with unpredictable and unalterable results—is more relevant than ever. In Pichet's presentation this was accentuated by the costumes, predominantly red and yellow, and the national flag, which he seemed to hold on longer than in the premiere production.
In the end, a question seemed to linger. The Hindu god Ganesh loses a tusk in service to Shiva, fighting the Brahmin Parasuram. Viewers are asked what they might lose in the battle for peace and political stability.
 

Loud applause from the audience, half of whom were foreigners, filled the gallery. Everyone could read the many connections between the Ramakien episode and what's happening in Thailand. Plus, there was Pichet's unique choreography. He danced as Parasuram merely with his feet in the opening scene, for example. This was followed by a fine blend of movements from many traditions and stage acting, as he single-handedly and masterfully portrayed several different characters. Of course, it would have been much better if Pichet, Kornkrid and Thanavi had spent more time with one another and found ways for their work to be mutually supportive.
Butoh-trained Kittiporn Udomrattanakulchai danced in the midst of Amrit Chusuwan's exhibition "For-49-Days" in December at Bangkok Art and Culture Centre. Apparently a long-overdue trend has kicked off. Let's hope that, better sooner than later, there are more interdisciplinary collaborations like these to re-energise our arts scene.