As Yet Unnamed

Young Star
As Yet Unnamed
SLEEPWALKING By Yason Banal
Friday, October 24, 2008


As Yet Unnamed is a collective of emerging artists, currently based at Misiem’s (About Studio/About Café) in Bangkok’s Chinatown. Apart from exhibitions, As Yet Unnamed hosts regular events and discussions, with the aim of opening up conversations about contemporary art.

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“The lesson to be learnt here … is that the divide friend/enemy is never just the representation of a factual difference: the enemy is by definition, always – up to a point, at least – invisible; he looks like one of us; he cannot be directly recognized – this is why the big problem and task of political struggle is providing/constructing a recognizable image of the enemy.” in Slavoj Zizek, Welcome to the Desert of the Real!: (Slavoj Zizek)

Bloodshed

Thailand’s recent political history is marked by bloodless coups, but uprising against those in power are often brutal. It happened again yesterday, and blood is once more flowing in the streets of Bangkok.

The first incidents of violence erupted early yesterday morning in front of parliament on Ratchawithi road. Riot police launched a surprise tear gas attack on thousands of People’s Alliance for Democracy supporters who had sealed all entrances to the building since Monday night to stop the government from delivering its policy statement.

As the day wore on, further incidents of ferocity broke out. Irate demonstrators who had sealed off the metropolitan Police Bureau were hit with a barrage of tears gas and flash and smoke grenades fired by police. When they turned back to parliament to isolate it yet again, they were hit with more. By that time, hundreds of people, including MPs, senators, and parliament officials, were trapped inside the building.

As the area around the Royal Plaza rocked to the sounds of explosions, two people lost their lives, one in a car explosion, and another later in hospital. Hundreds of demonstrators and police were wounded, with five demonstrators losing parts of their legs. Although the government managed to complete its policy statement to legalise its administrative power, outside it seems the political chaos has risen to a level it will be unable to manage. (Bangkok Post, Wednesday October 8, 2008)

Donald Rumsfeld philosophizing about the relationship between the known and the unknown: “There are known knowns. These are things we know that we know. There are known unknown. That is to say, there are things that we know we don’t know. But there are also unknown unknowns. There are things we don’t know we don’t know.”
What he forgot to add was the crucial fourth term: the “unknown knows,” things we don’t know that we know—which is precisely the Freudian unconscious, the “knowledge which doesn’t know itself.” (Slavoj Zizek)

The princess of Thailand said Thursday that she does not believe protests in her home country are being staged to benefit the monarchy.

Princess Maha Chakri Sirindhorn talked about the importance of public service Thursday at the Choate Rosemary Hall prep school in Wallingford. She later headed to the University of Pennsylvania for a U.S.-Thailand education discussion.

Her visit came amid the worst political violence in Thailand in more than a decade. Thousands of protesters have camped at the main government office complex to demand electoral changes and an end to corruption in Thai politics.

In violent clashes on Tuesday, 423 protesters and 20 police were injured, Thai medical authorities said. One woman was killed, and a man died in what appeared to be a related incident.

It was the worst political violence since 1992, when the army killed dozens of pro-democracy demonstrators seeking the ouster of a military-backed government.

The princess was asked at a press conference following her talk whether she agreed with protesters who say they are acting on behalf of the monarchy.

"I don't think so," she replied. "They do things for themselves."

Asked why the king has not spoken out, she said, "I don't know because I haven't asked him."

Protest leaders have called for the prosecution of people who insult the monarchy. One leader wants to abandon Thailand's popularly elected Parliament for one in which a majority of members would be appointed.

Some academics have said the plan would enhance the power of the country's military and monarchy at the expense of the poor.

"There are a lot of political problems," the princess said. "I told my friends, colleagues just to do what is their duty."(Hartford Courant:www.courant.com: Associated Press October 9, 2008)

Slavoj Žižek quotes an old Eastern European joke in the introduction to his book Welcome to the Desert of the Real . The joke goes like this: A Czech (or East German or Polish) worker is transferred to Siberia. He know that when he will write letters from Siberia to his friends at home they will be read by the censors and so he tells his friends : "Let's establish a code: if a letter you receive from me is written in normal blue ink, it's true; if it is written in red ink, it's false." After a month, his friends receive a letter written in blue ink: "Everything is great here in Siberia: the shops are full, there is plenty of food, there are great and beautiful apartments, you can see all the latest Western films in the cinema and there are beautiful girls ready to go out with you - the only thing that you cannot get here is red ink."(missing ink(preface): Welcome to the desert of the real, (Slavoj Zizek)

A comparatively small group of soldiers and civil servants, however, felt that the time for a change had come. This led to an almost bloodless "revolution" in the early morning of June 24, 1932 by the so-called People's Party (Khana Ratsadon - คณะราษฎร) who took control of one of the royal palaces in Bangkok and arrested key officials (mainly the princes) while the king was at his summer retreat in Hua Hin. The People's Party demanded that Prajadhipok agree to become a constitutional monarch and grant the Thai people a constitution. The King agreed and the first "permanent" constitution was promulgated on December 10, 1932.

His arrival back in Bangkok on June 26 dispelled for the time being any thoughts the promoters might have had of establishing a republic. One of his first acts was to receive some of the leading promoters in audience: as they entered the room, the King greeted them with the words "I rise in honour of the Khana Ratsadorn."
[1] [2]It was a very significant gesture. According to Siamese tradition, monarchs remain seated while their subjects make obeisance. [3](wikipedia)
[1]Thawatt Mokarapong. (1972) History of the Thai Revolution. Chalermnit.
[2]Pridi Phanomyong (1974) Ma vie mouvementée. Paris.
[3]Stowe, Judith A. (1990) Siam becomes Thailand. Hurst & Company.

“The king descends into despair when the three leave for the forest, and dies soon afterwards. All this while, Bharata and Shatrughna have been away from the kingdom. They are summoned upon their father's death, and when they arrive, are told what has happened. Bharata is aghast at his mother's greed (ostensibly for his good), and promises that he will restore Rama as king. He travels to the forest to convince Rama to return to Ayodhya. Rama refuses on the grounds that he must obey his father's command but allows Bharata to take Rama's sandals back to Ayodhya so that Bharata can symbolically enthrone Rama's sandals and rule as regent for Rama.

The story details with the experiences of the trio in the forest, especially how the royals, used to soft living and multitudes of servants, train themselves to live frugally amongst nature and be self-sufficient. It also covers the interactions between them and the various hermits and sages living in the forest, some of who realize the divinity of Rama. Rama and Lakshmana frequently battle the forest demons that disturb the hermits' meditations.

One of the demons who had been defeated by them decides to take revenge. She describes the beauty of Sita to her brother, Ravana, the demon king of Lanka (modern day Sri Lanka). Ravana decides that he must possess Sita, and has one of his brothers take the form of a deer to attract Sita's attention. Sita sends out Rama to capture the deer for her as a pet. The deer leads Rama far away from their cottage, and when Rama realizes that this is no ordinary deer, he kills it. The dying demon shouts Sita's and Lakshmana's names in Rama's voice, causing Sita to send Lakshmana out to help Rama. When the cottage is thus unguarded, Ravana sweeps in, kidnaps Sita and flies off to Lanka. When Rama sees Lakshmana approaching him, he at once realizes the trick. They both run back to the cottage to find it empty.”

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Arts Network Asia (ANA) is a group of independent artists, cultural workers and arts activists primarily from Southeast Asia that encourages and supports regional artistic collaboration as well as develops managerial and administrative skills within Asia. Arts Network Asia is motivated by the philosophy of meaningful collaboration, distinguished by mutual respect, initiated in Asia and carried out together with Asian artists.

Excursion Modules in Tension Island

Young Star
Excursion Modules in Tension Island
SLEEPWALKING By Yason Banal
Friday, September 26, 2008

Poklong Anading clearly is an experienced communicator of new perspectives. His originality lies in his willingness to engage with audiences. It is interesting to note how he revisits earlier debates on the relation between community networks and the artistic avant-garde. — Jo Holder, director of The Cross Art Projects, Sydney

YASON BANAL: Can you talk about the first image here, what happened?

POKLONG ANADING: I was inspired by the transportation flow during rush hour. I’m usually put in that situation. So one time I brought my friend Enteng along to the MRT station, but it proved difficult to get in because it was too crowded. He had a plastic laundry basket with him, so when the next train came he didn’t have a choice but to place it on his head.

YB: He probably did it because of his circumstance in reality, perhaps (not) art. If there were more space in the train, what would have happened?

PA: Nothing. Maybe he would have just held it. We even laughed about it. He placed it on his head because he couldn’t do anything about it.

YB: You guys had art/work in mind?

PA: It’s a study that could become work. Cameras aren’t allowed in the MRT, but how can you stop this gesture? People discreetly get footage.

ENTENG VIRAY: They can’t do anything about it. It was very crowded and I wanted to hop on the train. I told Poklong that we should just see each other at the next station.

YB: With influential artists like Adrian Piper who explore boundaries of public space, gender, race and socialized rituals, streets and other modes of transportation such as the subway become potent platforms for similar tensions. I wonder how the Filipino mindset and audience react to or localize such concerns.

POKLONG: It’s quite passive here, it’s hard to make an audience participate. It’s either they get mad or just stare blankly, perhaps out of fear that they might get reprimanded for joining in. As a group they could, but on their own and separately, especially if they see a camera, that would be tough.

YASON: The presence of the camera either drives them to engage and/or perform, or look away to avoid getting photographed.

POKLONG: The audience reaction was secondary. The important thing was being able to translate my actual, spontaneous experience — how I got the idea when I had Enteng react without prior plans — to reenact a spontaneous act via photography. I think it’s important. I just see Enteng’s photo and I laugh.

ENTENG: I can imagine people thinking, “What’s that basket doing on his head?” and I’d think, “Well, there’s nothing you can do, it’s tight in here!”

POKLONG: The second image is another guerrilla project — it’s like an unplanned architectural space. Vehicles would pass the intersection of EDSA and Aurora Boulevard and at times there would be a beggar sleeping there from 6 to 8 p.m. That’s the first thing I thought, I was hoping there were squatters living there. If there was a shower curtain, would they still be visible and privy to stares and heckles? Traffic is noisy underneath and people crossing the street obtrusive. So I got interested in this kind of space, it’s like a gallery where people can throw trash in. There are kids who get high there as well.

YASON: That’s really tempting spatially, with or without the aid of narcotics. Everything seems nice. In reality though, this residual error or accidental structure can be quite dangerous. One has privacy and free lodging, but becomes isolated. Solitude as both trip and trap.

POKLONG: Just think of the people who can potentially live in similar spaces. If they built a bridge then there would already be a community living there right now.
Are you still interested in the space?

POKLONG: It’s been a while, a lot has happened. So every time I pass there I develop the urge to throw something in its direction just so that the space will get noticed. People don’t even mind it anymore. There’s no one there, but I didn’t want an easy task so I chose the megaphone. You can hang around with it and no one will probably mind you.

YASON: How did you decide on the gesture? Did the megaphone come first or the space?

POKLONG: I decided on the megaphone because most of the props here in the studio are just scattered. When we were transferring houses I saw the megaphone. It’s noisy, it’s like a musical piece. When I heard it I got really nervous. I remembered the space again all of a sudden — Enteng and I can do a guerrilla scene there using the megaphone. I wanted to make it into a timer, to make it tick like a time bomb.

YASON: Did Poklong explain what you had to do?

ENTENG: At first. There was nothing I could do. I just wanted it to finish.

POKLONG: It was a bit risky, despite the many times I’ve told him about it.

ENTENG: We were caught so many times already.

YASON: Yes. I miss those days.

ENTENG: Sometimes, shit, I don’t trust Poklong anymore. I think he just likes putting me in danger.

YASON: That’s what happens in a collaboration; in a way it gets rehearsed but nevertheless it is still nerve-wrecking.

ENTENG: You face the police, and here we go again.

POKLONG: I just wanted to see what would happen — like if the ambulance would arrive, if passersby would think it’s a bomb. But I wanted to be invisible in all this.

YASON: It’s a better idea — more spectral and suggestive.

POKLONG: That’s why I get it more. At first I was hoping I’d toss it, and the cops would pick me up. It’s funnier if I was the one to admit the fault instead of Enteng getting into trouble again. It’s kind of dramatic. But since consecutive bomb threats have been happening in the city, Enteng got scared. He was already traumatized from our past encounters with the authorities so I thought there was no point in making the same point.

YASON: The idea of something being thrown in that awkward space is already more troubling than bearing witness to the act. The work is more the suggestion (in a photograph) rather than its execution (in reality). It would probably look silly in actual life, but the frozen gesture in a fictive and reproducible document becomes something more open to projection, more prone to rumors, and potentially disturbing. You could be throwing anything. The siren as object, thought and sound triggers fear and hysteric talk.

POKLONG: Speaking of fear and growling, this last image is a study inspired by walks in a neighborhood where dogs are everywhere. In such places one needs a tactic, especially when you’re drunk and not so alert.

YASON: It’s like sexual harassment, but of the canine kind!

POKLONG: It’s just a hassle when you get bitten. Worse, the owners often claim that their dogs don’t bite, as if putting the blame on you. I get annoyed by such incidents, so that got me thinking of dog collars/traps made of metal. Basically you lock the dogs’ heads together while they’re asleep. When they wake up faced to each other, they’d probably end up gnarling and fighting ‘til kingdom come. Eventually they’ll get tired, energy drained. Ready for release.

YASON: So you want to teach the dogs a lesson, to make them feel the way you do (laughter).

POKLONG: I want to know also how far their patience will go. It’s like a war dance. I can’t do anything about the culture because it’s the government who should find a solution. But I want the dogs to know their effect on people when they bark. I want to place the stress on them.

YASON: Do you see a common thread in the works you mentioned?

POKLONG: The connection is that they all comment on experiences that are both tragic and funny. Just like the Bawal Ang Tao Dito image — I want to explain and show that it’s funny, that despite the warning there is still a person there, albeit butt-naked and face covered. These contradictions and small observations are interesting to me.

YASON: It’s a way of coping with the world but not providing a neat solution. Where the stress falls is, after all, part of the joy. Are the studies important, or do you have to execute them?

POKLONG: It depends. The ideas Enteng and I come up with have been there for a while, but they have to be executed with timing. That’s why we turn them into studies. They just happen when the right time comes.

YASON: It’s a good thing you remember. I quickly forget an idea.

POKLONG: The idea’s always been there. That’s why it’s more interesting this way, when it’s a pure study.