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Montien Boonma

New Media. Montien Boonma. Enduring Understanding. Students will understand that the use of readymades and other media have created new approaches to art and expanded its definition. Essential Questions. Overarching Questions

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Montien Boonma

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  1. New Media Montien Boonma

  2. Enduring Understanding Students will understand that the use of readymades and other media have created new approaches to art and expanded its definition.

  3. Essential Questions Overarching Questions • What is the extent of the influence of technology in art? • How has new media push the boundaries of art making? • Are there challenges to such approaches to art making? Topical Questions • To what extent does art challenge the senses? • Is art and religion inter-connected?

  4. 5W1H When 1953 - 2000 How Found Objects Natural Materials Where Thailand Montien Boonma Why His background His beliefs His influences Which • Contemporary What • Cultural Identity • Hope & Healing

  5. Who 1953: Born in Thailand. 1978: Attained BFA in Painting with Silpakorn University. 1985-87: Studied at the Ecole Nationale Supérieure des Beaux-Arts and the University of Paris 8-Saint Denis, France. 1988-95: Taught mixed media sculpture in Faculty of Fine Arts, Chiangmai University.

  6. When & Where • 1973: Transition from military to civilian rule- the urban middle class (led by university students) vs. the old ruling class (led by the army). • 1970s: After the reception in the 70s, the economy of Thailand started to develop and grow. • Thailand • The cultural background of Thailand steeped in Buddhist philosophy also meant that it sets the tone for even contemporary artists. • Setting up of Visual Dhamma Art Gallery by Austrian Alfred Pawlin in 1981 paved the way for promising artist like Boonma and some others, adding new dimensions to neo-traditional Thai art and religious art. Thus, shows become more thought-provoking.

  7. What • Subject Matter • Concrete • Steel • Subject Matter- Shapes and symbols • Bells • - The sound of the bells are somewhat tranquil and relaxing. He felt his pain and stress being relieved. Not all his bells produce sound- eg: the bells in the Temple of the Mind are dead quiet. • Stupas or Pagodas • - They are Buddhist structures that accommodate relics of Buddha or saints. • - These structures I Thailand also have a bell-like shape and are used for both his 2-D and 3-D works.

  8. What • Subject Matter- Shapes and symbols • Bowls for Alms • - Ascetics of Thailand do leave the temples to seek for alms from the public. • - It is part of their spiritual practice to seek alms and a meritorious act for members of the public to give alms. • Lotus • - A symbol of purity, even if it grows out from marsh and mud. • - The petals, stems and budding flower represent different spiritual levels. • - The lotus is a common symbol used to embellish the statues of Buddha in Thai temples.

  9. What His Non- Religious Theme The conditions of society in Thailand, eg: capitalistic production and consumption (materialism). The imbalances between capital and labour, agriculture and industry, production and consumption. The “tension and transformation between the rural and urban” (http://nga.gov.au/Boonma/edu.cfm). The issues of modernisation.

  10. What His Religious Theme - The influences of Buddhism- found in his symbolism and the ecological nature of his materials (the sense of recycling what already exists in nature seems to fulfil the Buddhist premise/basis of everything is inherently reusable and mutable). - The ephemeral of daily life and everything changes. - The fragility and insecurity of lives. - He questions suffering in life with his work. - He also explores the concept of hope with traditional medicinal herbs and spices. - His later art making is as a healing process.

  11. Quote from Artist “I use the pigments of primitive medicine and the voice of a prayer with the visual construction, hoping that people can feel calm, comfortable and rested in my environment. I want my installation to give people the feeling they are in a spiritual place, such as a church, temple or mosque….We find answers to our questions when we are calm. - Montien Boonma – January 1995

  12. Buddha, 1982 Mixed media, 14 x 36 x 37 cm Collection of Chongrux Chanthaworrasut, Bangkok.

  13. The materials are assembled to represent two buffaloes. It serves as a reminder that these are the animals used in agriculture, particularly in rice production which Is one of the main exports of Thailand. A Pair of Water Buffaloes, 1988 Unhusked rice, sacks, straws, horn, stools, 14 x 100 x 70 cm Visual Dhamma Gallery, Bangkok

  14. Black Stupa, 1989 Soil, pigment, mashed paper, charcoal, rice flour, rice grains, 110.5 x 78.8 inches SAM, Singapore

  15. What- Black Stupa Thailand is a Buddhist nation with more than 27 000 Buddhist temples. Most of these temples contain large stupas. Originally created to contain the relics of the Buddha and his scriptures, they are now used to house the ashes of distinguished monks, community leaders and philanthropists of the temples. These sacred forms are viewed by the people as symbols for proliferating the faith. Boonma has used it to serve the precept of change and transformation- the stupa becomes a make-up of natural materials such as rice, soil and charcoal, also transformed into an artwork.

  16. Paintings and Candles,1990 Candles on paper, 420 x 210 cm

  17. Concrete Construction: Hands and Stupa, 1990 Cement, steel rebars, clay and plastic sockets 88 x 68.5 x 17 inches. Visual Dhamma Gallery, Thailand

  18. What - Concrete Construction The Thai stupa is modelled after one of the most sacred and aesthetic forms of Southeast Asia’s Mount Meru (a sacred mountain in Hindu and Buddhist cosmology)- the center of the universe. Boonma has used materials of modern architectual such as concrete and steel rebar to create an ancient, sacred and timeless shape. Hands are moulded and used here to represent the numerous construction workers who have sweat and toiled on the skyscrapers that have dominated the skyline of Bangkok. The sculpture is delicately balanced with the two concretes at both ends which indicates a Buddhist principle- the need to maintain balance and equanimity in all things.

  19. Manual Acts in Red Handprints Construction, 1990 Terracotta, rake, digging tools, 75 x 50 x 50 cm

  20. Alm, 1992. Terracotta, steel, golden foil, 68 x 300 x 200 cm Collection of Rama IX Art Museum Foundation, Bangkok

  21. Lotus Sound, 1993 Terracotta, lotus petals, gold foil, 300 x 300 x 350 cm Collection of Petch Osathanugrah, Bangkok.

  22. What - Lotus Sound • The structure is made of terracotta bells. • They are installed in a “curved wall-like formation”. • Gilded lotus petals are hung above the structure. • Boonma was concerned of the diminishing importance of Buddhist practices in the daily lives of the people in Thailand. • Here, he attempted to re-create the inspiring sounds of the bells in the Buddhist sanctuaries. • The use of sound helps to evoke an inner peace among the viewers.

  23. Vessel - Meditation, 1994 Terracotta, bowls, chopsticks, wood, lead, brass, fabric, Size variable

  24. Nature’s Breath: Arokhayasala, 1995 metal, herbs, terracotta, Collection of Reinhart Frais, Bangkok

  25. Temple of the Mind: Sala for the Mind, 1995. Herbs, brass bell, wooden boxes, 320 x 270 cm Collection of National Art Gallery of Australia, Canberra

  26. What - Temple of the Mind It is intended to heal the body, mind and soul in an enclosed but sacred setting. The Thai term “arokhayasala” was used to describe the work- “arokhaya” means free from sickness and “sala” means house. Together, “arokhayasala” means a place without sickness. The boxes are filled with medicinal and aromatic herbs. He drew his experiences with the medicinal herbs when he took his sick wife to the monasteries- the aroma has a calming effect. Boonma articulates the impact of the sacred compounds and monasteries- they gave him a warm feeling. The chanting, medicinal herbs are a form of psychotherapy, “the best kind of healing possible.” Hence, he found sanctuaries, temples and sites of rites are places that provide people with refuge and calm, to gain knowledge and eventually freedom from desire.

  27. Sala of the Mind, 1995-96 Steel, graphite, sound and battery, 270 x 100 x 100 cm Collection of the Artist

  28. House of Hope, 1996-7 Steel, herbal medicine, wood, 400 x 300 x 600 cm Collection of Estate of Montien Boonma, Bangkok.

  29. What- House of Hope House of Hope, 1996-7 Steel, herbal medicine, wood, 400 x 300 x 600 cm Collection of Estate of Montien Boonma, Bangkok.

  30. Why • Background • His education stint in Ecole Nationale Supérieure des Beaux-Arts and the University of Paris 8-Saint Denis in France provided him a platform to experiment with Environment and Conceptual Art. • He acquired his sense of being a Thai artist during his time in France made him rediscover Thai materials- exploring their forms, colours and textures, even smell, internal composition and function in Thai society.

  31. Why • Background • Tragic events started to unfold in his life, and some of his close family members died in the 1990s. • His wife, Chancham died of breast cancer in 1994, which leaves a greater impact on him. • Before she died, both husband and wife were living apart for ten years under the advice of a Buddhist monk. • He later developed brain tumour and died six years after his wife’s death. • Before both their deaths, they spiritual and physical healing to overcome their illnesses. • They visited monasteries, temples, and other sacred sites.

  32. Why • Influence- Buddhism • Originates from the teachings of Siddhartha Gautama, born a prince and became an ascetic. • The precepts revolve around the concept of life and suffering and how one can end suffering via the 4 noble truths. • The noble eightfold path is to show Buddhists how they can attain Nirvana with eight directions- right view, right intention, right speech, right discipline, right livelihood, right effort, right mindfulness and right concentration. • The Buddhist ethics, spiritual practices, especially meditation sprout from this eight directions.

  33. Why • Influence- Buddhism • In Buddhism, enclosed sacred spaces represent cosmic centres of contemplation and concentration. • However, Boonma also used Christian symbolism along with Buddhist symbolism- a result of his visits to Europe.

  34. How • Mixed media painting- eg: The Black Stupa. • Sculpture- eg: Manual Acts in Red Handprints Construction • Installation- eg: House of Hope. • Assemblage- art that is created by assembling different elements together. • - The elements can be scavenged items, bought items or even items that are made by the artists themselves. • - For example- A Pair of Water Buffaloes

  35. How • The use of found objects. • - His objects are often used befitting the artwork and cease to be what they originally were and take on other forms. • - Otherwise, he uses the objects with connections to the origins of the objects. • Pair of Water Buffaloes, 1988. • The use of natural materials- soil, charcoal, rice, etc. Some of the materials he used are also indigenous to Thailand. • Colours in his works are more representative of things and not their substances. • Some works are sensual - making use of scents and inviting audience to enter his works. • They became more meditative and spiritual. Herbs are used in his later works especially after the death of his loved ones.

  36. How • Materials • Aromatic herbs and spices • - Items often used in Buddhist rituals. • - His paints are also made from herbs and spices for his 2D works. • - Some examples are cinnamon, sandalwood, tumeric and pepper. • Earthenware • - It can be ephemeral and will crumble and decay in time. • - Some examples of earthenware objects he used- bowls and pots, and terracotta bells. • Candle Wax- burning of candles is symbolic of Buddhist rituals. • He also uses candle for dripping wax.

  37. References • Poshyananda, A. (2003), Montien Boonma: Temple of the Mind. Asia Link: London • Poshyananda, A. (1992). Modern Art in Thailand, Nineteenth and Twentieth Centuries. Oxford University Press: Oxford New York. • Phillips, H. P. (1992). The Integrative Art of Modern Thailand. The Regents of the University of Claifornia: USA. • Huangfu, B. (Ed) (2003). Next Move, Contemporary Art from Thailand. LaSalle-SIA College of the Arts: Singapore. • http://nga.gov.au/Boonma/edu.cfm • http://www.rama9art.org/montien/

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