Discourse on disasters and ecological collapse has been a theme of art exhibitions and public conferences lately, one of them being the recent Yebisu International Festival for Art and Alternative Visions (Yebizo), subtitled “Garden in Movement.” This series of exhibitions, film screenings, and events in collaboration with institutions surrounding Yebisu Garden Place featured thought-provoking works…
“Another Brick in The Wall” problematises the notion of a classroom to enable an opening for a continuing discourse on intellectual emancipation. Borrowed from Pink Floyd’s 1979 single, this exhibition also provisionally interrupts the authority of a classroom as a space for the transformative development of an individual in a society – by questioning its crucial role in providing rigorous education, especially the imposed acquisition of a dominant ideological narrative such as nationalism and national identity.
The following list categorized into days and divided into weeks are brief accounts of my twenty-one days fieldwork in Bangkok. This is the first half of my brief accounts, it contains both reflection and observation of my short encounters with various people in the city especially the continuous negotiations with people behind the project who initiated this research. Itâ€™s a research that aims to bring people together from different artistic practices and activism in Bangkok, however, some of us are foreigners from different parts of Asia bringing with us our outsider position in the local realm. Thus, this mix of different people, culture, perspectives – as far as the project initiator is concerned – will hopefully come together in a dialogue and work together horizontally, not only amongst ourselves but also with the public for the upcoming exhibition in August.
This convivial form of working together reminded me of the most recent critical practice in curation that refuses to be defined.
To explain the concept of Postmedia in a dictionary form, which Felix Guattari first coined in the 90s, is quite a convenient option. However, there’s a danger that some important details that make up its complexity might impair the significance and meaning behind the concept. From this awareness, I thought of approaching the concept from…
From my understanding, this ambivalent characteristics of a neoliberal worker represented by the Freeter carry with them a certain ambiguity that is difficult for classical Marxists to describe as a proletarian class. Mouri even furthered that Freeters are no more than a petite-bourgeois in advanced capitalist society. That is why he is hesitant to define Freeter as a part of Multitude(s) – a concept that Hardt and Negri introduced in their analysis of post-industrial global society defining ambiguously a new type of workers who produces immaterial labor.
A set of Sashimi/Sushi and a choice of tempura vegetables (deep fried vegetables with tempura crumbs) are the common dishes. Additionally, he serves grilled shellfish, which I usually order. His menu is so very basic that sometimes I wonder if Pepe consciously emulates Neolithic food diet – a pre-agriculture diet of raw fish and grilled edible stuff famous among maritime cultures in Southeast Asia.
That night we were about six people, four of us huddling in the bar counter are between the mid-30s and 40s, while the other two next to the minuscule heater located at the table corner were younger than us.
First Friday of the month of February I reminded Pepe again about my desire to conduct ethnography about him and the space he runs periodically, which he confirmed his approval. While he was preparing the menu for the night I reminded him my intention to articulate their actions and the powerful political aesthetics found in their performativity, which is very important especially nowadays.