‘nostalgia for unity’: death and rebirth

31 Aug

Korakrit Arunanondchai at Bangkok Kunsthalle
By Alger Law En Kai

This is a winning entry for the special book prize in the fifth Art & Market ‘Fresh Take’ writing contest. For the full list of winners and prizes, click here.

Korakrit Arunanondchai, ‘nostalgia for unity’, 2024, ash collected from the building, earth, latex paint, transparent gloss coating, lighting program, sound and haze, 35.85m x 8.52m. Image courtesy of Bangkok Kunsthalle.

As I step into the dark, foreboding chamber, the scent of heavy rain and wet moss fills my nostrils and mingles with the dense, artificial smog that enveloped the space. Echoes of ambient melodies, whispers, and mechanical noises reverberate off the grimy, concrete walls of the decrepit Thai Wattana Panich building, the remnants of decades past. Amber lighting bathes the seemingly endless hallway and cracked flooring in a golden atmospheric glow that creates an otherworldly scene—a glimpse into the underworld for any visitor.

Korakrit Arunanondchai’s ‘nostalgia for unity’ at Bangkok Kunsthalle is an installation that confronts themes of time, death and rebirth. Set within the streets of Yaowarat (Chinatown) at the former Thai Wattana Panich printing house, which was ravaged by a fire in the early 2000s and subsequently abandoned, the venue’s history is intricately woven into the exhibition. By blending the past and present, ‘nostalgia for unity’ recreates the ashen environment of the building fire. At the same time, the overwhelming scent permeating the halls are enough to evoke dizziness, serving to disorientate and simulate the experience of being caught in an active fire. This sensory overload in combination with the imposing brutalist architecture bears a striking resemblance to futuristic, dystopian aesthetics depicted in science fiction media, such as Bladerunner, Dune, and Prometheus. Within this context, Arunanondchai brilliantly blurs the lines between historical reality and imagined futures.

Text in a stylised gothic font pops out of the floor along the installation’s perimeter, forming a continuous prayer that cycles around without a clear beginning or end. This text, resembling the ouroboros, symbolises the unification of death and rebirth. The cracked floor, crafted from a mixture of paint, resin, and ash sourced from the building's remains, firmly anchors the artwork in the space's history. The tactile crunch and uneven terrain underfoot while treading across it becomes reminiscent of the sensation of scorched earth, a poignant reminder of the devastation left in the wake of the fire.

“From Dust to Dust.
Give Us Rebirth.
For Beings that Never Materialised.
Grant Them Flesh to Filter Every Sound.
And May All Their Songs Be Beautiful.
Let Those Songs Become Nightmares.
To Remind Us of the Finite Nature of This Earth.
Connect Us All Against the Infirmity of Space and Time.
Nostalgia for Unity in the Landscape of Mourning.
Blood of the Earth.
Cover Us from the Downpour.
The Sky Drenched in Flame.
The Sun of Consciousness Will Create This World.
With Unanswered Prayers.
Let There Be Splendor Beyond the Upheaval.
Beyond Threats of the Modern World. Love After Death.
A Secret that is Kept to Survive Reality.
The Ghosts Take Us by the Hand.
Decompose What is Left.” *
* In no specific order

Disembodied voices of phantom whispers, sacred chants, and heavenly choirs intermingle with mechanical, grotesque, and otherworldly sounds, creating a discordant, unsettling, and thematically tense soundscape that echoes through the hallway. This dissonant symphony, lacking clear structure, juxtaposes divine harmonies with profane noises, reflecting Arunanondchai's exploration of dualities—where order arises from chaos, beauty from horror, and life from death. These organic and mechanical sounds further critique modernity's impact on spiritual and cultural practices. Combined with the gothic text and brutalist architecture, the artist has created a space that seems to dissolve the boundaries between heaven, earth, and the underworld, merging these realms into a unified existence. This soundscape works in tandem with the floor installation to transform the space into an immersive experience.

It is also here that Arunanondchai weaves together the pivotal themes of time, death and rebirth. Mirroring the mythical Phoenix, the Thai Wattana Panich building, once deemed condemned by fire emerges from the ashes, is revitalised and reborn into a sanctuary for artistic expression. In alignment with Bangkok Kunsthalle's mission of inviting artists to activate the building through site-specific exhibitions, Arunanondchai’s manipulation of space in nostalgia for unity deepens the dialogue between art and the space it inhabits. Rather than engaging with isolated artworks, visitors interact with the entire building and are prompted to reflect on its history and place.

Through ‘nostalgia for unity’, Arunanondchai continues to explore themes central to his artistic practice, particularly the interconnectedness of death and rebirth. This concept—the samsara, which is deeply rooted in Buddhist philosophy, resonates strongly with his previous works, especially in the ‘Painting with History in a Room Filled with People with Funny Names’ series. In this series of video works, Arunanondchai engaged with and explored the intersections of spirituality, identity, and the cyclical nature of life and decay.

Applying these enduring themes of transformation and impermanence to the context of the Thai Wattana Panich building, Arunanondchai transforms the site's charred history into a powerful metaphor for the cyclical nature of existence. The building, with its past marked by destruction, serves as both a relic and a canvas for potential. Through this site-specific installation, he extends his exploration of cultural memory, identity, and the metaphysical dimensions of life, highlighting renewal and creation as processes intrinsically linked to cessation and transformation.

The exhibition runs from 31 May to 31 October 2024.

The views and opinions expressed in this article are the author's own and do not necessarily reflect those of A&M.

About the writer

Alger Law is a creative with four years of experience in curation, event management, and art management. Based in Singapore, he seeks to curate artistic journeys by transforming unassuming spaces into vibrant art venues that challenge conventional perceptions and engage audiences uniquely. His practice is marked by an interest in visitor experience, pushing the boundaries of traditional art presentations by fusing diverse disciplines. Often experimenting with unconventional concepts, Alger aims to develop immersive and thought-provoking experiences that captivate and inspire.