The Enmeshed

CURATED BY PENWADEE NOPHAKET MANONT 10 — 31 JANUARY 2019

This e-catalogue has been published

Artists

in conjunction with The Enmeshed,

Ahama Sa-i

a group exhibition curated by

Amru Thaisnit

Penwadee Nophaket Manont;

Anuwat Apimukmongkon

featuring Ahama Sa-i, Amry Thaisnit,

Marnee Maelae

Anuwat Apimukmongkon, Marnee

Samak Kosem

Maelae and Samak Kosem. Held at A+ WORKS of ART, Kuala Lumpur,

Curator

from the 10 to 31 January 2019.

Penwadee Nophaket Manont

th

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Project Management Lienne Loy Nikki Ong Graphic Design Kenta.Works Photography John Hoo

FRONT COVER Anuwat Apimukmongkon Speak Thai 2016 Acrylic, pen and pencil on photo print BACK COVER Marnee Maelae Grace and Time Transformation 2017 Mixed media installation

[R]Ejecting Mantra A RESEARCH & ARCHIVE BASED EXHIBITION PROJECT

BY RAI.D COLLECTIVE, A GROUP OF CURATOR & CULTURAL WORKER

PROJECT DESCRIPTION [R]Ejecting Mantra is a research and archive based exhibition project, with a continuing format of a series of contemporary art exhibitions.

We aim to gather and record historical and socio-political data, as well as to create works of art through collaboration between artists and specialists in various fields, in order to question and criticize the consequences of ‘Nationalism Ideology, Myth and Discourse’ under compulsion in diverse dimensions.

Where such intimidation creates inequality among Thai society at every level, we intend to investigate, explore and present various aspects from within, as well as reflect from international views. Hence, Thais and foreign artists/experts are invited to participate.

In addition to the exhibition style of presenting contemporary artworks, the outcome of the overall project will include different types of archival materials such as, video interviews, photography/documentaries, critiques/reviews, news clippings and other related documentation.

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CURATOR’S STATEMENT Aside from aesthetic values, the important role of a contemporary art exhibition is to serve as a medium to communicate and reflect upon each society’s state at a certain historical period.

Each work of art is therefore a precursor that first sends essential messages to the public, through research, archiving and the creative processes initiated by the artist, curator and all involved. As a result, it can be said that an art exhibition should also act as ‘a diary of social documentation.’ That reaches out to the audiences’ perception over crucial issues of interest, in order to challenge their knowledge of and to question them over various ambiguous matters, from stories about everyday life to sociopolitical issues and historical incidents. The aforementioned issues fraught with ambiguity, in some cases include social culture, norms and the orientation of our values that exist in the society at a certain time, including those that influence people’s fallacies, as well as behaviors and cause impact on a broader or deeper perspective.

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Although these social records may not lead to the solution in a direct way, in the form of creative works, they often reveal talents that then create substantial awareness to the public and encourage viewers to question and explore, through reflection, social riddles or even excavate and analyze for a better understanding of possible causes.

Today, Thai people inevitably face structural inequality caused by a ‘concentration of power’ that remains only at the very top of society, this has resulted in economical and sociopolitical disasters which scatters over individual, organizational, community, local, as well as national and international levels. Undoubtedly, the power holders often utilize one strategy or another to firmly protect and maintain their superiority in succession. Among Thailand’s social and historical context, one of the ingenious maneuvers those superior use to embrace their power is to motivate ‘social inequality’ through creating nationalistic ideology, myth and discourse. This is to deliberately distort or conduct certain social values in diverse ways as mentioned previously, until it has the ability to overwhelm the thought and behavior of society, this is done in order to secure particular benefits and exercise control through social guidance, of which has been taking place continuously from the past to the present.

about their capitulation to those superior to them and their oppression by a few groups of the dominant class. The power holders mentioned here are not only the public sectors, but also capitalist groups holding economic power and leaders at all social levels. Including executives in organizations and directors in institutions who elaborately distort social values as contributors to their own economical and social benefit.

Because we realize the value of contemporary art exhibitions as a form of social documentation, [R]Ejecting Mantra aims to unveil the incitement of nationalistic ideology and its impact in various aspects. Through presenting contemporary art, coupled with research and archival materials, such as interview, critique, news clips, as well as historical still and moving image, the exhibitions will present the source and result of these myths that intensively influence Thai social structure.

It is truly hoped that over time, such alternative narratives presented in this ‘social diary exhibition’ will gradually transform its role and function as one of Thailand’s historical learning archives in the future.

Such nationalistic ideology causes disparity and inequality in Thai society and its assembly has been created by the ruling class and the oppressed, leading to both the benefits and the loss of benefits. Nevertheless, those who are in a state of oppression and at a loss of benefits see, realize, perceive and learn about these myths differently. If people in society cannot realize the cause and effect of such discourses, the direction of their overall living can bring A+ WORKS of ART — The Enmeshed

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PREFACE The evolution of nationalism in Europe emerged and developed diversely and according to historical, political and social conditions, during the 15th–17th century this development was motivated by the influence of feudalism and the monarch’s desire to break free from the power and hold of the Roman Catholic Church.

During the 16th-18th century, mercantilism was used by the government sector with aims to develop international trade, increase economic power of the middle class and the monarch, the a symbol of the country’s unity. The citizens’ loyalty and patriotism for the country itself had not yet been flared. In the 18th century, known as the modern enlightenment, scientific prosperity had expanded. The middle-class had gained knowledge and economic power.

After the American Revolution in 1776 and the French Revolution in 1789, liberal political philosophy by John Locke, a British philosopher, became more influential. More over, Liberalism developed into political movements around the world during the 19th century. Locke had proposed the principle of sovereignty as the people’s rule, and the authority of the state as created and sustained by the consent of its people. This concept antagonized Divine Rights.

Nationalist ideology in this period was therefore about reclaiming the freedom and power by the public. The Second Industrial Revolution in the late 19th century under New Imperialism created a superpower conflict over political, economic and mutually colonizing benefits.

As superpowers struggled to seek partners, international collision expanded into World War One (1914–1918 AD). The nationalist ideology during this period had turned into a new form of power, to build a state through indoctrinating the public. It had also evoked a sense of love, unity and popularity for political, economical, societal and cultural benefits, all merely for A+ WORKS of ART — The Enmeshed

the interest of each nation, in order to jointly build national greatness and prosperity. Viral ways of stimulation had been used via various forms of lecture and publications, such as articles and leaflets. However, some national leaders spurred severe chauvinism over ethnic groups, and propagandized their ideology so that people reacted as to their wants. Adolf Hitler, the leader of the German Nazi Party, is a significant example of one who wished to build a great empire, in order to progress over other counties. But in Germany, there was a large community of Jewish residents who possessed many social and economical benefits.

Such nationalist ideology, thus, resulted in The Nazi Genocide of the Jews and partially ignited World War Two in Europe, until it ended in 1945. Though the war was ending in the defeat of Germany to the United Nations, the brutal nationalist policy over ethnic violence had already murdered 17 million people systematically. As a result, explicit ideological conflicts began between the two superpowers. However, the United States and the Soviet Union avoided direct war, and instead assisted their allies in fighting their opponents and used military force to threaten them, also known as Proxy War. For example, the Great Powers had invaded Korea and created vicious dissidence, leading to the polarization of political power. North Korea was dominated by the communist regime, while South Korea was governed by democracy. After the country had been separated, each side attempted to cultivate ideology of nationalism and patriotism, to glorify their leaders, while being intervened by superpowers that caused the Korean War. It could be said that the negative impacts of a return to the ideology of nationalism in modern times is likely to provoke hatred and division a lot more easily, in comparison to a hundred years ago due to the phenomena of today’s flux of information, 3

a consequence of globalization since the late 20th century and onwards.

Political and cultural nationalist ideology in Thailand was founded during the reign of King Rama IV in the wake of the Bowring Treaty, when the people of the superpower seemed not to yield under the King’s power and Thai law. When foreigners became more involved in making decisions in the society, the Thai elite were forced to take into account the political issues linked to such race matters. Hence, political and cultural nationalistic awareness developed among the elite, which in turn initiated political nationalist ideology ever since.

While Western nations claimed their civilization as superior to others, the Thai elite focused on the civilization of ‘Thainess’. As a result, Thai culture, language, manners, Buddhism, royal ceremonies and arts were urged. Such traditional culture helped to maintain power among Thai elite by serving as the foundation of social stratification and adjusted1 relational power. In the absolute monarchy, ‘Thai Spirit’ was emphasized to make people accept social structures that divided people into hierarchies.

The general public was appointed to use Thai language, study Thai history and respect Thai Buddhism. Thai honorary arts were applied to instill the value system that kept Thai nation secure. There was a focus on loyalty to the King and Buddhism, patriotism, honesty, harmony and self-sacrifice, obedience, behaving as national warriors who can sacrifice lives for the nation, religion and the King. In the reign of King Rama V, there was an increase in power to rule over various ethnic groups, those with different lifestyles and culture. It was, therefore, necessary to define the meaning of the Thai nation and identity, making Thai ethnicity more dominant, that then engulfed other ethnic groups to become Thai. Later, A+ WORKS of ART — The Enmeshed

the influence of new and hazardous ideologies to the absolute monarchy was expanded, including nationalist ideology focused on the people’s nation. The government was demanded to find solutions for poverty and injustice. Some thought the only solution for the people was to change the regime; many desired to change the country rapidly and severely. In the reign of King Rama VI, the meaning of Thai nation and ‘Thainess’ was defined to create a clearer and more powerful meaning, in response to political riddles. It was defined as a nation where people were never equal but have different status based on nationality, and so true equality was impossible. Only the intellectual and the educated had the ability to rule. Nationalistic ideology and culture, founded by the elites during the absolute monarchy regime, has had a great impact on Thailand’s social structure that has divided people into hierarchies. Only the educated and intellectual elite can have access to the truth, goodness, noble beauty, and are able to protect people with fear and idiocy from any problems. These elites could bring about independence, peace, security and prosperity to Thai nation, by focusing on development and achievement like in the West, while maintain ‘Thai Spirit’ forever. (Saichol Sattayanurak, 2008) Latterly, language and discourse communicated over patriotism often played a vital role in encouraging nepotism and caused the power of change. ‘Patriotism’ has, therefore, remained one important concept as a political ideology to stimulate consciousness or motivate citizens to follow. It was also made into a mental reminder for the masses to live in harmony, be ready to sacrifice for the nation, conserve Thai culture, tradition and identity to maintain national heritage. Such nationalist rhetoric has often been used as part of the administration policy 4

by every government. Such nationalism has occurred after the change of regime in 1932, from absolute monarchy to constitutional monarchy. During the period of Field Marshal P. Phibunsongkhram as a Prime Minister (1938–1957), nationalistic ideology was applied as a government policy to create cultural change for Thai people. Among the adoption of ‘Popular State’, the country’s name was changed from ‘Siam’ to ‘Thai’. The national flag and national anthem began to emerge. There were campaigns over Thai apparel, patriotism and persuasion of Thai people to create prosperity for the nation, in various ways. However, such nationalistic concept and discourse served as a tool for exercising the power of the government in each era, to induce the public and subserve their governance. Through creating imagery of the government as a symbol of happiness and stability in life, the ideal that all human beings desire, the government has been placed as a hero to help those in distress and solve problems.

But those who stand opposite, fail to comply with government orders, obstruct peace and prosperity of the state become culprits. At any rate, the civilian could reach the ideal nation only with great love, devotion and sacrifice even their life. (Pimpaporn Boonprasert, 2012)

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Curator Penwadee Nophaket Manont Co-curators Soifa Saenkhamkon, Supphakarn Wongkaew Period 10 – 31 January 2019 Artists Ahama Sa-i, Amru Thaisnit, Anuwat Apimukmongkon, Marnee Maelae, Samak Kosem Venue A+ WORKS of ART, Kuala Lumpur, Malaysia Originally supported and organised by Art Centre Silpakorn Universtiy and Rai.D Collective

In Thailand, the aftermath of social exclusion and alienation can be conveyed through diverse episodes and dimensions of conflict.

One of the most obvious reflections — but often overlooked, is the source of the problem and yet it still unexpectedly erodes and tests the mentality and humanity of Thai people in general — is the insurgency in Pattani, Yala and Narathiwas, the three southernmost provinces of Thailand, that have withstood decades of gun and bomb attacks. The causes have been diagnosed as a result of separatist issues, criminal gangs and illegal activities near the Thai border, shared with Malaysia. Both civilians and security forces have been injured and killed, while many people have lost their property and loved ones in the midst of the violence.

Besides this, the noteworthiness of these incidents seem to have distinctive links to the overall political crisis in Thailand as well.

But under this specific situation, how does this reflection erode and test the mentality and humanity of both the locals, as well as people residing outside the area? Because of the ongoing unrest, Muslim-Thais have been inevitably labeled as “separatists”, causing a growing gap of alienation amongst Thai people as a whole. The Deep South has gradually turned into and labeled as a ‘dangerous and forbidden’ area, where most Thais do not feel safe to visit. Hence, leading to the intriguing question of how the people inhabiting such an unconventional environment cope with and maintain their normal ways of living and thinking, as they face fear and paranoia in everyday life simultaneously. Some are confronted by the anxiety of how others perceive them and their hometown, in terms of “the land of violence”, ​​ and also the feeling of being excluded under inescapable conditions.

People in central Bangkok and other areas across the country, almost never have the opportunity to become acquainted with,

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get access to nor perceive the development of contemporary art in the Deep South, within the specific context of the southernmost provinces nearing the border. The works of art created by those of the Deep South not only serve aesthetic expressions of their beliefs, ways of life and endemic culture, but also act as tools to record their anecdotes, both on individual and social levels.

Thinking about the contemporary is a response to addressing their existence, along with their conscious, subconscious and unconscious mind and how that has been affected by ongoing disturbance, fright and paranoia.

The Enmeshed presents a selection of works that reflect upon a the current states of people in the southernmost region—where you will find that these experiences are usually conveyed through images of violence and unrest. The exhibition invites the audience to connect with their actual lifestyle and which is normally difficult to access or understand through other types of media.

These perspectives are presented through anthropologists, artists, cultural workers, local people and other socio-political activist groups. By sharing records of their story and the realities of their society—that seems to have been, for a long time, deliberately enmeshed with conflict and unease in everyday life. This contemporary record can also serve as a reflection of dispute in other societies around us, which are unavoidably corroding our mentality and humanity at last.

Therefore, this exhibition is not only aimed at providing viewers with the access to and gain better understanding of how people in the Deep South are living, but we also expect the audience to be able to reconsider and realize the conflict and violence happening around us — at local, social and national levels — that we may neglect the genuine source of the issue, dreaded only by fear and hatred. Each dispute is often deliberately created by authorities or rulers, with the aim to cause turbulence, disaffection and discord among us — the commoners. Consequently, it can cause us mental and ideological weakness, as well as loss of social conscience, until we are easily manipulated to follow the direction of their distorted social values, at last.

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The Enmeshed installation view at A+ WORKS of ART

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The Enmeshed installation view at A+ WORKS of ART

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The Enmeshed installation view at A+ WORKS of ART

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The Enmeshed installation view at A+ WORKS of ART

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Ahama Sa-i Solidarity with the Universe 2016 Mixed techniques Dimension variable

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An interview with

Ahama Sa-I

PN: Ahama, please tell us briefly about your work. Does it relate to your concept of life, and how?

Ahama: I’ve created this art work to speak of my mind and directly relate with my lifestyle. The whole concept reflects the belief, faith and experience in my life. By presenting about my religious belief, Islam, with the core idea about great beauty of the universe, I present artwork that helps connect viewer to imaginative beauty of the universe, painted with unique local techniques. Batik printing process has been applied to reflect upon original culture of the southernmost provinces. Such beauty might not be seen by general public often, because the depression from violence is likely more recognized. Because the bias instilled by some group of people with prejudice against Islam, especially in the Deep South, question sometime arises when most outsider view Muslim as violent, leading to negative attitude and obscure the entire Islamic beauty. Therefore, by offering such artistic aesthetic about my religion, I hope this work will create argument between what people perceive from the news and what the truth is.

PN: Is this work different from your previous work, how and why, or what has made it different?

Ahama: No, it’s not much different. I still work on the same idea, but the format may vary according to my experience and circumstance.

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PN: Do you expect this specific work about certain belief to be able to connect with people’s understanding in other areas, and how?

Ahama: I think it can connect with people in other areas, and can actually connect with anyone on this planet. While abstract artworks invite viewer to experience aesthetic beauty on their own, the content is, in my opinion, contemplated by the artist to bridge over between idea and technique for harmonious presentation only. However, what is even more important in creating works of art is that it is essential for each artist to present the truth. There must also be combination of both goodness and beauty, to make a complete artwork. Same as in this work, I’d like to present a great deal of art and religion, to communicate with people of all races and religions to be able to experience the beauty that is not limited to one’s ideal, but all can imagine and feel it by themselves.

PN: I’d like to ask for your personal opinion about the local contemporary art scene in the present, how has it developed and in what aspects?

Ahama: I suppose the local contemporary art in the present has evolved, respectively. Because there’s no constraint on both format and content, the artist here can work without framing or limiting their imagination in creating works of art.

PN: Ahama, suppose you lived in a different area, would you still work on this particular belief, and why? If not, what would you want to talk about?

Ahama: I think I will still work on the same issue. This is because the work I’m interested in doing today is part of the truth I want to present. It’s a story of belief and faith that cannot be changed.

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Amru Thaisnit The Memento (video still) 2017 Single channel video 09:03 minutes

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Amru Thaisnit The Memento (video stills) 2017 Single channel video 09:03 minutes

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An interview with

Amru Thaisnit

PN: Amru, please tell us briefly about your work. Does it relate to your personal concept and life experience, and how?

Amru: This work has been created to express the impact of violence causing the loss among insurgency in the Deep South, which have been prolonged for many years and resulted in numbers of innocent death. One of the dead was my relative and people in the area. We can never know when this incident may happen to us or our family.

PN: Is this work different from your previous work, how and why, or what has made it different?

Amru: With the context of space and environment, this work is different from the previous series, more or less. I used to work this same work in 2015 in Pattani, without realizing how much it would create any impact on viewer. In 2017 I’ve worked on it again in Narathiwat, where I was born. It’s created different emotion.

PN: Why have you chosen to use such concept and process to represent certain images?

Do you expect this work to connect with both people in the area and outside, how and how different?

Amru: To present the loss of people in the three southernmost provinces, I dig three holes in a bullet shape, conveying about death of human-being by human-being. I expect that this work can question over people’s mind, and seek for the answer in order to rationalize their thinking creatively, rather than using violence to solve problems.

PN: I’d like to ask for your personal opinion about the local contemporary art scene in the present, how has it developed and in what aspects?

Amru: The development of our local contemporary art still takes more time to develop. Most people in the area still do not understand the essence of art. For me, we have to start with affection before being able to understand it deeply. Art has received more attention by the local today. I hope our contemporary art will be more accessible in the future, and well accepted by people in Thai society.

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PN: Amru, suppose you lived in a different area, would you still work on representing this particular image, and why? If not, what would you want to talk about?

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Amru: The most important thing is to work in your own way. No matter where we stay, if we’re still attached to same feeling, we must keep up with it. Each of my artworks is based on my own feelings.

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Anuwat Apimukmongkon Speak Thai 2016 Acrylic, pen and pencil on photo print

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Anuwat Apimukmongkon Speak Thai 2016 Acrylic, pen and pencil on photo print

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Anuwat Apimukmongkon Speak Thai 2016 Acrylic, pen and pencil on photo print

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An interview with

Anuwat Apimukmongkon

PN: Anuwat, please tell us briefly about your work. Does it relate to your personal concept and life experience, and how?

Anuwat: I usually use representative image of Banglee, my Muslim friend who is bisexual, as symbol for artistic expression to question over matters around us filled with myth. The series of work is about myth of nationalism in Thai society. I’ve chosen Banglee’s daily life images posted on Facebook, painted and overwritten with content and lyrics expressing nationalism. I believe most people are familiar with these songs we’ve heard and sung since childhood, a repeated propaganda absorbed into our consciousness without realizing it.

Once you recall, you’ve already become patriotic. Some of the works have been overwritten repeatedly, to explore about what the nation is trying to dialog with otherness happening inside and outside the area, as well as question which might be the truth.

PN: Is this work different from your previous work, how and why, or what has made it different?

Anuwat: This series of work is the first work I started to use text.

And it’s one of the first set I’ve touched on national and political institutions, during the changing period of state power. I’m puzzled and have many questions about these matters. This series of work is different from previous ones. I’ve always thought painting should not tell much of a story, but there’s a lot to tell. Hence, I decided to paint some and filled the rest with written text; that should do for a good art piece.

PN: Why have you chosen to use such concept and process to represent certain images?

Do you expect this work to connect with both people in the area and outside, how and how different?

Anuwat: This work actually began with the sense of nationalism in this area, influencing people’s feeling of otherness. I use this framework to look to the outside in a broad sense and look back into the area, reflecting back and forth, in order to analyze the variables that trigger circumstances and create mutual understanding between outsider and insider. However, I do not expect for it to reflect as much as how outsider come to learn and perceive the people in the area by themselves.

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PN: I’d like to ask for your personal opinion about the local contemporary art scene in the present, how has it developed and in what aspects?

Anuwat: Although it’s not extreme, this area is open enough for arts to criticize the state, national, religious or cultural systems within sensitive environment, today. Thus, it is impossible not to mention the emergence of Visual Arts Department, Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus, founded by Assoc.

Prof. Dr. Pichet Piaklin who is my current instructor. The department is a place of incubation and a major source of contemporary art in this area, producing numerous quality artists, led to the occurrence of contemporary art galleries and spaces. Nowadays, the local contemporary art has caught more attention from both people inside and outside the area. As for me, I could have only develop my seem-to-be contemporary artworks due to my instructor’s advice and dedication. For the uniqueness of local contemporary artwork, it could be because of special characteristic of the area that makes most works distinguished from other places.

PN: Anuwat, suppose you lived in a different area, would you still work on representing this particular image, and why?

If not, what would you want to talk about?

Anuwat: I suppose I’d still work on this kind of work. Actually, I’m from another province, but after staying for many years, drunken the water and eaten the food of the people here, met friends and beloved instructors, I’ve started to bond, get some senses of the people and so become part of them. Thus, I’d never neglect to present the story about this place, no matter where I’d be. If there’re still deceptions obscuring the truth, I, as a creator, will keep on voicing.

It’s impossible for audience to view, realize the arts and become enlightened in the next day. I’d just keep on working, presenting my viewpoint as a creator, but how much my work can dialog with the audience is another issue.

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Marnee Maelae Grace and Time Transformation 2017 Mixed media, installation Dimensions variable

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An interview with

Marnee Maelae

PN: Marnee, please tell us briefly about your work. Does it relate to your concept of life, and how?

Marnee: This work is inspired by nature and the familiarity of my environment. Personally, it is directly related to my existing, for people have to live with nature, religion and society. I have touched on the story of nature and life with constant change, just like the environment with factors causing changes, especially the people’s mind that often flow along materialism. The only thing that our minds can hold on to is goodness in religion.

PN: Is this work different from your previous work, how and why, or what has made it different?

Marnee: Yes, it is different. For my past works, if it was about religion, I would say it directly without any symbolic representation.

For example, I once created the work about prayers and used the shape of people praying; when I worked about family, the figures were used to express love and affection. Because of having less experience, I seemed to pick up something familiar and used it for my work.

PN: Why do you use this material to represent about time and certain belief? Do you expect this work to be able to connect with people’s understanding in other areas, and how?

Marnee: I use mosquito-net fabric for it has transparency feature.

The dimension of overlapping material can indicate changes of time.

Such fabric is usually used for protection, same as Islamic virtue that protects our soul. I expect this work to be able to connect with people’s understanding in other areas, because Islamic people are everywhere. Though people of the same religion can understand the content we exhibit, while the ones of different religions may perceive only some part. But we can try explaining both aspects, about our religion and others’ religion, for they can be linked.

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PN: I’d like to ask for your personal opinion about the local contemporary art scene in the present, how has it developed and in what aspects?

Marnee: Personally, I think contemporary art circles have evolved tremendously if compared with the past. In terms of content, form and conceptualizing process, we can apply everything into art. By connecting our concept through any object, it can be created as a work of art.

PN: Marnee, suppose you lived in a different area, would you still work on this particular belief, and why? If not, what would you want to talk about?

Marnee: I think I’d still work on this issue. No matter where we are, facing the change of environment through period of time, but eventually we all must be based on religious belief to purify our own souls.

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Samak Kosem Sheep (video stills) 2017 Single channel video 12:44 minutes

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Samak Kosem Sheep (video stills) 2017 Single channel video 12:44 minutes

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An interview with

Samak Kosem

PN: Samak, as an anthropologist, please tell us briefly about this work. How is it linked to your personal work concepts in the past?

Samak: Sheep is a short documentary film that alternates social narratives in the Deep South through other ‘actors’, who are not just people or human-being in this society. By giving the so-called ‘nonhuman’ who also live and interact within the same community / environment, the reflection of such still-violent society is presented in different perspective. Sheep, as a Muslim pet for the Qurban or the sacrificing slaughter, is related to Islamic and local cultures. For instance, making a votive offering often reflects upon conflict among religious groups in different communities, and also creating myth about ‘stigmatized sheep’ is no different than what the state has attempted to defile people in the Deep South. The study of sheep in this work seeks to provide an insight into Muslim studies that I have studied constantly, by focusing more on the question over phenomena than emphasizing on the ideal Muslim society.

PN: Why did you decide to do the research in the Deep South? And why are you interested in sheep?

Samak: I chose to come here for I’ve planned to do a research on queer in the Deep South for my doctoral work. I’ve selected the topic that helps create adaptation and understanding to Malayan culture, with methodology of my own interests. Because the study of the Deep South is often focused on violence and state power oppressing people, I’d like to seek for new topics no one has ever done. At least, I hope my early works here may open up new aspect for this academic community. I’ve thus chosen the subject closest to the public. As an outsider who’s just started working, being able to spot interesting issues could be an advantage. Sheep is therefore my first case study, taken me to see the other side of society and urged me to try to understand if people and sheep are related, and how.

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PN: Why have you chosen to use such concept and process to represent certain images?

Do you expect this work to connect with both people in the area and outside, how and how different?

Samak: The concept used in the work Sheep is nonhuman, allows us to stop seeing people as center of social and environmental understanding around us. Suppose, I’d like to understand about Talor Kapoe seaside society, studying only on merchant, tourist and people at the beach would not help me see the overall picture. Because when I go to this beach, I also see dirty sheep scavenging food in the dump, checkpoints along the way, sea waves that help people relax, these are part of this beach environment beside human-being, but nonhuman elements. Sheep intends to open up other aspects about the Deep South, beside violent issues trapped by direct experience of people in the area and perception of outsiders.

Changing the topic and focus on sheep is offering people within and outside the area to step away from such issues and look into other growing complexities. Hence, viewing over sheep helps explore how each person can perceive about the Deep South differently.

PN: I’d like to ask for your personal opinion as an anthropologist about today’s contemporary art scene in the Deep South. How does it respond to this specific area, and in what aspects?

Samak: As an anthropologist, I see contemporary art scene in this area as reflection on various phenomena. With efforts to emphasize on violence severely and directly affect the artist’s life and emotion, it often responds to the area very clearly and sometime seems too overwhelm to reveal other aspects. Anthropologist’s study does not normally agree on how people stay in grief, but have different emotions and move on with life. However, there’re very few contemporary artworks in the area exhibited through other perspectives, beside violence. The artworks that can reflect tenderness, love, faith, diversity of identity would therefore be interesting kind of works in the area.

PN: Samak, suppose you were a local person, would you still work on this concept to represent such images, and why? If not, what would you want to talk about?

Samak: For me, being an outsider/insider has never restricted my viewpoints in presenting each work. If I were a local, who seeks for new vision, I’d surely continue to work on presenting certain images in questioning and criticizing manner. However, it’s difficult to create or dismantle worldviews of any individual in the area, with various frameworks that still determine social structure. It’s therefore depending on each individual, where their path can lead to, what their experience might be, and how much they can instruct themselves away from their own limitations and conditions.

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The Patani Forum Ferocity (video stills) 2017 Music video Directed by Narasit Kaesaprasit Produced by Samak Kosem Music by Pichai Promyong 05:50 minutes

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A Chronology of Events in the South Thailand Insurgency

In the 14th century CE, King Ram Khamhaeng the Great of Sukhothai occupied Nakhon Si Thammarat and its vassal states, including Patani. Later, the Thai Ayutthaya Kingdom conquered the isthmus, bringing it into a single unified state, with Ayutthaya as a capital, and many smaller vassal states under its control.

This consisted of a self-governing system in which the vassal states and tributary provinces owed allegiance to the king of Ayutthaya, but otherwise ran their own affairs. During this period, Pattani, Yala and Narathiwat were combined as the Sultanate of Patani Darussalam and paid tributes to the Kingdom until it collapsed and divided into regions.

In 1786, King Rama I took over Patani as part of Siam, but the dissatisfaction over the rule of Siam created 4 rebellions. In 1791 and 1808, during the reign of King Rama II, Patani Kingdom was divided into 7 parts. Later, King Rama III decided to have Kelantan dynasty rule Patani.

Until 1902, King Rama V prepared for provincial intendancy, led to the end of Kelantan dynasty’s governance and considered the end of Patani Kingdom which became part of Siam completely.

Pattani province was founded in 1906. In the colonial era, during the reign of King Rama V, the kingdoms of Kelantan, Thairaburi, Terengganu and Perlis—part of modern Malaysia—were

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given up to the British. The remaining Malay territory, Pattani, Yala and Narathiwat still remained under Siam’s.

The Thai Malay Muslims’ discontentment over Thai government began with the abolition of the Patani sultanate system and turned into provincial intendancy—through administrative divisions and regional administration— under Ministry of Interior, during the reign of King Rama V. However, the beginning of People’s War and the violence caused by separatist movements and insurgents until today began after the Siamese revolution of 1932. The modernization campaign was intensified during the Cultural Revolution and grew nationwide during Field Marshal P. Phibunsongkhram’s era, to shape every culture into Thai. Buddhism was as well suggested to be the national religion. Besides, in the midst of the famine during World War II, Islamic people also felt they were not equally treated as Buddhist.

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KHUANG APHAIWONG (10 November 1947 – 8 April 1948) Year 1947 Thai authorities created a crucial tragedy that became legendary.

Originally, one police was shot and killed. The village was then besieged and villagers were arrested and investigated over secretive scheme.

After this did not work out, 29 residents were burned down, caused severe outrage for Patani people.

• October 1947 - Haji Sulong Abdulkadir Tohmeena—the leader and intellectual of Thai Muslims who’s a notable figure in understanding the Muslim insurgency of southern Thailand—raised a movement to assemble bargaining power with Thai government in order to uphold the right to their basic human rights. There were appointed committee and regulation set-up, with clear strategies and tactics, for the Malay Patani to be able to gain the rights to self-governing and sustainable development over their own political issue, religious belief, language, arts, culture and traditions, under the Thai government.

• Late 1947 - The situation in the Deep South became overheated. One school in Pattani municipality was burned down and there’re about 200 cases of robbery in localities, due to the Malay Patani’s indignation with Thai government policy and ignorance over the 7 claims of Haji Sulong and the Malay Patani elites, presented to the government during the era of Rear Admiral Thawan Thamrongnawasawat—the 8th Prime Minister of Thailand from 1946-1947.

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PLAEK PHIBUNSONGKHRAM (8 April 1948 – 16 September 1957) Year 1948 Intensity between the Thai Malays and state officials caused a lot of losses on both sides. The incident was the beginning of conflict between the Thai Malays and the government, led to racial and religious discrimination in the region of Malay Patani.

• 16 January 1948 - Haji Sulong Abdulkadir, the leader of Thai Muslims during anti-government movement in the Field Marshal P. Phibunsongkhram’s era, was obligated to stand against designation of Qāḍī—a judge appointed to exercises extrajudicial functions in Islamic law. He had requested to separate the religion and formulated a seven-point declaration to the government. Haji Sulong was arrested and charged with rebellion, created dissatisfaction extensively. This caused the Thai Malays to convene until it became huge paranoia, and eventually led to violence.

• 25 – 28 April 1948 - A clash occurred between state officials and Thai Malay Muslims, in Dusun Nyor, Chanae district, Narathiwat province, resulted both sides a large number of deaths. A monumental memorial was erected to commemorate the incident, but the monument is not very well known.

PLAEK PHIBUNSONGKHRAM (8 April 1948 – 16 September 1957) Year 1949 Private School Act forced all private schools to register under the Ministry of Education, where the curriculum was revised to be Thai-centric.

• 25 February 1949 - Haji Sulong Abdulkadir and local leaders were sentenced on treason charges after the Patani People’s Movement. He was 4 years and 8 months imprisoned as accusing the government via distributed documents.

Others were jailed for 3 years.

Year 1953 – 1954 • 4 November 1953 The government announced state of emergency in Hat Yai, Songkhla and Yala.

• Year 1954 After the penalty, Haji Sulong Abdulkadir went back to Pattani. But in the same year, he and his son, Ahmad Tohmeena, became vanished without any trace.

Year 1955 Samat Iamwiroj, the former Thai MP of Narathiwat province, was assassinated during the night in front of Narathiwat Municipality, created resentment for the Patani Malays.

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POTE SARASIN (21 September 1957 – 1 January 1958) THANOM KITTIKACHORN (1 January – 20 October 1958) Year 1957 – 1958 • 25 February 1957 During the general election, Haji Ameen Tohmeena—Haji Sulong’s second son after Ahmad Tohmeena— was elected as an MP twice over the year, awakened Muslim activation in the southern provinces over their rights and freedoms again.

• April 1958 Haji Ameen Tohmeena published the book, “GUGUSAN CHAHAYA KESELAMA TAN” or “The Light of Peace”, written by Haji Sulong Abdulkadir while serving in prison.

Ten-thousand books were released but burned down, while Haji Ameen was later arrested for separatism.

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SARIT THANARAT (9 February 1959 – 8 December 1963) Year 1961 There’s stratagem to adjust Pondok School’s system, under Field Marshal Sarit Thanarat’s development plan.

The Ministry of Education attempted to implant Thai-centric curriculum into Pondok School, resulted the decrease in quality of Islamic education. Many Malay Muslims were then sent to study in the Middle East to study Islam.

• 18 March 1961 - Haji Ameen Tohmeena was arrested along with other leaders and prosecuted in Thai military court on charge of conspiring with the rebels to divide the kingdom, through verbal Ads and books to the public as rebellion.

THANOM KITTIKACHORN (9 December 1963 – 14 October 1973) Year 1965 Haji Ameen Tohmeena was released during court hearings, and went back to Pattani. Even though he toned down his political role dramatically after released, but still permanently listed in the ‘black list’ via the authorities’ aspect.

Year 1968 The government began to limit Pondok Schools’ registration and forced to use Thai language in the teaching.

Religious courses were reduced and replaced with ordinary education, to initiate ‘Thainess’ and ordinary education system, which severely affected the Malay identity.

Year 1971 104 Pondok Schools were closed down to protest against Thai state. This became another formation provoking point for the separatist movement.

PREM TINSULANONDA (3 March 1980 – 4 August 1988) Year 1980 The political movements in the Deep South extremely changed from leaders’ adherence to organizational campaigns, with recondite system and operation. There’re various continuing attempts to pressure the government through agitation, protectionism and harassment.

Year 1981 Prem Tinsulanonda’s government set up two organizations as ‘special agencies’ to resolve conflicts and addressed on special areas.

The Southern Border Provinces Administration Centre (SBPAC) was in charge of development and the Task Force 43 Command was in charge of security affairs.

• 30 July 1981 - Kamthorn Lacharode, the former Thai MP of Pattani province, was assassinated.

Year 1985 There were more than 30,000 people protesting when the Ministry of Education commanded the Buddha statue to be enshrined in school.

Year 1988 There was issuance to forbid wearing hijab in school.

CHATICHAI CHOONHAVAN (4 August 1988 – 23 February 1991) ANAND PANYARACHUN (2 March 1991 – 7 April 1992) Year 1991 • 23 February 1991 - The National Peace Keeping Council (NPKC) staged a coup d’etat in Thailand and declared Martial law throughout the kingdom, caused the Deep South’s insurgency to be under Martial law officially.

SUCHINDA KRAPRAYOON (7 April – 24 May 1992) ANAND PANYARACHUN (10 June – 23 September 1992) CHUAN LEEKPAI (23 September 1992 – 13 July 1995) BANHARN SILPA-ARCHA (13 July 1995 – 25 November 1996) Year 1992 – 1996 There were unrest incidents periodically; • 1992 - The bombing of the railway line at Chana district, Songkhla • 1993 - The burning of 34 schools in Pattani, Yala, Narathiwat • 1993 - The ambush on the Su-ngai Kolok-Bangkok railway line • 1994 - The bombing of bookstore in Hat Yai and Songkhla railway line • 1996 - The arson of Su-ngai KolokSurat Thani railway line in Narathiwat

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CHAVALIT YONGCHAIYUDH (25 November 1996 – 9 November 1997) CHUAN LEEKPAI (9 November 1997 – 9 February 2001) Year 1997 – 2003 After the declaration of 1997 constitution, there’re ongoing ambuscade and clash with police officer in the Deep South, disrupted both public and private property increasingly.

The mutiny came in the forms of arson, vehicle demolition to prevent creation of jobs, local transportation routes as well as public utilities. There’re also varieties of mischief through damaging property, forcing protection racket, distributing flyer against government officials.

Year 2002 • 1 May 2002 - Former Prime Minister Thaksin Shinawatra dissolved the Southern Border Provinces Administration Centre (SBPAC) and the Task Force 43 Command. The role of ‘special agencies’ to resolve Deep South conflicts—believed to correct the situation and limit the problem since its initiation in Prem Tinsulanonda’s government in 1981— was officially ended.

• Number of people objected to the two agencies’ dissolution, due to insecurity under police officer— considered unfriendly with the public—whether they could take control of the unrest in a single unit.

The withdrawal of military troops was seen as allowing the rioter to return to the area. The government intelligence was also cut off from the villagers after the abolition. The unrest became intensified.

Year 2003 The Martial law was enacted on January 5, 2003 and the anti-terrorism Act was performed on August 12, 2003, caused the local extreme anxiety and paranoia over state officials.

THAKSIN SHINAWATRA (9 February 2001 – 11 March 2005) Year 2004 • 4 January 2004 - 20 schools were burned down in Narathiwat. It’s believed to be the deviation of gun robbery from the Narathiwat Rajanagarind (Pileng) Army Camp in Narathiwat. 4 soldiers were killed and 413 guns were missing; only 94 were later regained. The media and scholar have considered this massive robbery the beginning of violence in the area, all over again.

• 12 March 2004 - Somchai Neelapaijit, the Chairman of Thailand’s Muslim Lawyers Association and a prominent Muslim human rights lawyer abducted mysteriously. He used to give interview about police/military officers torturing suspects to confess, by having others urinate on them and using electroshock on body and sexual organ.

• 28 April 2004 - The greatest insurgent operation was taken place at Krue Sae Mosque, Khok Pho, Pattani—with a history of over 200 years. During early morning, number of people attacked 11 venues of police stations and government offices in 3 provinces simultaneously, caused 107 deaths, 6 injured, 17 arrested; 5 officers were killed, 15 wounded. Meanwhile, Krue Sae’s checkpoint was attacked with war weapons; 4 police commandos were wounded. Military and police officers started to blockade, forced rioters to flee into the mosque. The long strife led to 32 deaths.

• 25 October 2004 - A group of Muslims gathered in front of Tak Bai police station, due to disagreement on charging and detaining 6 suspects more than a week, during the investigation over involvement in the missing firearms. When the protestor threw stones and tried to invade the police station, security forces used tear gas and shot back. At least 6 people were killed and 1,300 arrested before transferred to an army base, where many people were beaten and 78 died. The autopsy report stated that the victim died of lacking of food, water and suffocation.

THAKSIN SHINAWATRA (11 March 2005 – 19 September 2006) Year 2005 – 2006 • 20 July 2005 Prime Minister Thaksin Shinawatra declared state of emergency in Pattani, Yala, Narathiwat to deal with unrest situation in the Deep South.

But the insurgency escalated.

• Year 2006 Some report said more than 1,400 people were killed in the Deep South since January 2004.

SURAYUD CHULANONT (1 October 2006 – 29 January 2008) SAMAK SUNDARAVEJ (29 January – 9 September 2008) SOMCHAI WONGSAWAT (18 September – 2 December 2008) Year 2007 – 2008 • Year 2007 Surayud Chulanont’s government enacted the most legal power in the history, by exercising power of Emergency Decree on Public Administration in Emergency Situation, B.E. 2005.

• March 2008 A death toll topped 3,000.

YINGLUCK SHINAWATRA (5 August 2011 – 7 May 2014) Year 2012 – 2014 • 31 July 2012 Yingluck Shinawatra’s government established the Operation Center for Solving Problems in the Southern Provinces, under the care of 3 Deputy Prime Ministers to cover major tasks on security affair, development, administration of justice, human rights and government-civilian relation.

• After 20 May 2014 The National Council for Peace and Order (NCPO) enforced Martial law throughout the country for 10 months and 11 days, and abolished on April 1, 2015.

ABHISIT VEJJAJIVA (17 December 2008 – 5 August 2011) Year 2010 • 28 April 2010 - Abhisit Vejjajiva’s government maintained Martial law in Pattani, Narathiwat, Yala and Sadao district in Songkhla. It’s to be performed in the area for 10 years.

• End of 2010 - The violence extended, in contrast to optimism of Abhisit Vejjajiva’s government.

Year 2011 Department of Special Investigation (DSI) established the Special Operation Division for southern border provinces.

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AHAMA SA-I (b. 1995, Pattani, Thailand) is muslim and was raised in a Muslim community.

He’s studied in Islamic teaching institutions (Pondok School) and graduated with a Bachelor’s degree in Visual Arts, from the Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus. His Thesis project was about the beauty of the universe and ref lected on Islamic knowledge and its links to science. He’s also interested in the art of Islamic architecture and the lifestyle of Muslims in the Deep South. He currently works on stories about the great deal and beauty of Allah, inspired by the universe as a representative intermediary. Besides working in the arts, Ahama also has an interest in photography and drawing places as documentation.

AMRU THAISANIT (b. 1993, Narathiwat, Thailand) was born in Ra-Ngae, Narathiwat, Thailand. He finished high school in Ra-Ngae and pursued a Bachelor’s degree in Visual Arts, from the Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus.

During his senior year, he created numerous works using media such as, painting, sculpture, printmaking, mixed-media, as well as materials from his environment. Using a bullet shape as a symbol to represent his own feelings toward the dire incident that happened with his family members and the his environment. Amru has created works to record the stories of loss within the Deep South, through various presentations and symbolism, drawing from his affected feelings since childhood. Today, Amru still continues with his creative work at De’ Lapae Art Space, Narathiwat, and keeps up with the path he loves.

ANUWAT APIMUKMOGKON (b. 1995, Trang, Thailand) is a senior student of Visual Arts Department, Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus.

He often uses the image of Banglee, his best friend who is bisexual, as a symbol for artistic expression, who appears in almost every piece of his work, to present the myth existing in Thai society. His works are presented through various media include painting, sculpture, mixed-media, video, live performance, etc. All are filled with the symbolic ideas and issues regarding his nation, religion, culture, politics, violence and the society he lives in.

MARNEE MAELAE (b. 1994, Narathiwat, Thailand) was born in Yi-ngo district, Narathiwat, Thailand. She has had an interest in the arts since she was young. After graduating from high school, she decided to pursue a Bachelor’s degree in the Visual Arts, from the Faculty of Fine and Applied Arts at the Prince of Songkla University, Pattani Campus. Grace and Time Transformation, her latest work was her thesis project, representing a story about changes in nature and the way of life. The symbol of ocean waves indicates changes of time and is linked to the religious practice in Islam (prayers), as the anchor of Islamic humanity.

SAMAK KOSEM (b.1984, Bangkok, Thailand) works in the field of anthropology. His recent research in the Deep South focuses on Muslim culture and non-human relation. Kosem uses photography and visual ethnography, as his methodologies to ref lect the partial truth/fact in his field of studies. Kosem also has an interest in queer studies, focusing on homosexuality in Islam, to investigate the limitation of gender aspects, both locally and in the region. Kosem holds a Bachelor’s of Science and Master’s of Arts in cultural anthropology from Chiang Mai University. He lives and works in the Deep South of Thailand. Most of his works have been published in pocket books and academic journals.

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PENWADEE NOPHAKET MANONT (b. 1973, California, USA. Lives and works in Bangkok, Thailand) received an Associate’s Degree in Graphic Design at Mount San Antonio College, California, USA. She graduated with a Bachelor’s Degree in Visual Communication Arts from the Faculty of Communication Arts, at Assumption University (ABAC), and a Master’s Degree in Environmental Management, School of Social and Environmental Development, at National Institute of Development Administration (NIDA). Upon her focus in Art and Culture dialogs, along with an interest in socio-political and environmental issues, Penwadee decided to pursue her higher education in Environmental Management, based on the intention to apply and/or combine the subject-matters of Art and Cultural Management. From 2016 onwards, she started working on [R]Ejecting Mantra, a Research and Archive-based Exhibition Series Project aiming to gather, record historical and socio-political data, and create works of art through collaboration, between artists and specialists in various fields, in order to ref lect over consequences of the compulsion of Nationalism, through its ideology, myth and discourse that currently impacts Thailand in diverse dimensions. Between 2018 and 2019, she has also been involved in a research and exhibition project titled Migration In Asia, that addresses the topic of migration in East and South East Asia, in collaboration with diverse Asian curators, and supported by the Goethe-Institut. Penwadee is currently an Independent Art Curator, Cultural Worker, Founder of Rai.D Collective and Managing Director at Southeast Asia Fiction Film Lab (SEAFIC).

RAI.D COLLECTIVE A group of Thai curators and cultural workers, consisting of three members; Penwadee Nophaket Manont (Curator) Soifa Saenkhamkon (Co-curator) Supphakarn Wongkaew (Co-curator)

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Acknowledgements A+ WORKS of ART and curator, Penwadee Nophaket Manont, would like to thank: Assistant Professor Pandit Chanrochanakit, Ph.D. Deputy Dean, Faculty of Political Science, Chulalongkorn University

Associate Professor Pichet Piaklin, Ph.D. Lecturer, Visual Arts Department, Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus

Jehabdulloh Jehsorhoh and Tidarat Nakbutt Founder of Patani Artspace, Pattani, Thailand Lecturer, Visual Arts Department, Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus

Prach Pimarnman and Keeta Isran Founder of De’ Lapae Art Space, Narathiwat, Thailand Lecturer, Visual Arts Department, Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus

The Art Centre Silpakorn University Yap Sau Bin

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A+ WORKS of ART d6 - G - 8 d6 Trade Centre 801 Jalan Sentul 51000 Kuala Lumpur Malaysia +60 18 333 3399 info@aplusart.asia Opening Hours: 12 pm – 7 pm, Tuesday to Saturday Closed on Sunday, Monday and public holidays

Copyright © A+ WORKS of ART 2019.

All rights reserved.

All articles and illustrations contained in this catalogue are subject to copyright law. Any use beyond the narrow limites defineded by copyright law, and without the express of the publisher, is forbidden and will be prosecuted.

A+ WORKS of ART is a contemporary art gallery based in Kuala Lumpur, with a geographic focus on Malaysia and Southeast Asia. Founded in 2017 by Joshua Lim, the gallery presents a wide range of contemporary practices, from painting to performance, drawing, sculpture, new media art, photography, video and installation.

Its exhibitions have showcased diverse themes and approaches, including material experimentation and global conversations on social issues. Collaboration is key to the ethos of A+ WORKS of ART. Since its opening, the gallery has worked with artists, curators, writers, collectors, galleries and partners from within the region and beyond, and continues to look out for new collaborations. The gallery name is a play on striving for distinction but also on the idea that art is never without context and is always reaching to connect — it is always “plus” something else.

A+ WORKS of ART d6 - G - 8 d6 Trade Centre 801 Jalan Sentul 51000 Kuala Lumpur Malaysia +60 18 333 3399