I love Prague. It sings in my bohemian heart. I imagine it’s awakened my slavic roots. Or maybe I just love the fact I can navigate the public transport with more ease than San Francisco’s MUNI. This city that feels like home.
I’m roaming the streets and museums, bundled in winter wear, feeling free. The grey sky has no hold on me. I’m alive. Cool rain and snowflakes affirm the inevitable sense of soaring. No matter that I have the lag. It’s physical, not mental. And for that, we can all be grateful.
I’m not even scared of eating at the hotel buffet these days. I don’t imagine the staff eyeballing me, curiously upset at my existence. I have shit to do.
I go each day to see art. To have this dawning realization that people make weird shit because weirdly it feels good. Just the simple act of being willing to create, that action in and of itself is artistic. All that is required is the willingness to create. Not the willingness for it to be the best, or the willingness to do it with a guarantee. Of something. Nope. The only gettouttajailfreecard you get is the fact that it’s done. You’re welcome, you.
Dox Contemporary Art
*3 days later*
I don’t even remember writing that. I forget things so soon it seems. In my defense, it’s been a busy three days, but still. I’m in my 30s, not a convalescent home. Today I got out my voice recorder because I’ve been having these fucking proclamations ringing through my head. They feel hilarious and important. Like I want to share them, but with who?
I ate dinner tonight, roast duck with honey glaze and these peculiar berries. So heavy it felt like my tummy had migrated east, started a new republic. We walked home, the cold air snapping against us. It feels militaristic, this cold. The sharp edge of it keeping time with my steps.
If you go to Chiang Mai please visit the Maiiam Museum on the outskirts of town. Even if you’re visiting Chiang Mai for the ancient temples, the rich cultural history, or to start off on a trek, the Maiiam Contemporary Art Museum is a big deal. Here’s why.
Sometimes I don’t know what I don’t know until I am presented with more information. The Maiiam museum opened my eyes about the incredible talent of contemporary Thai artists and the relative lack of visibility that Thai artists receive on the international art scene. The artwork housed in the Maiiam museum is amazing, plus, the space is architecturally gorgeous and their cafe and bookshop are fabulous. Just grab a Grab (Thailand’s Lyft-like app) and hop over there.
I love contemporary art. I like how I feel when I stand next to big colors and big courage and the ability of different artists to transmute big emotions into something tangible. A light turns on inside me.
When we travel, we seek out art and we visit museums. And while we’re museum-ing, we notice that certain artists are everywhere. In addition to the Warhols adorning almost every major modern art museums, there are other artists who are ubiquitous. For example, in the span of a few years, we’ve seen Anselm Kiefer in Copenhagen, Paris, San Francisco, L.A., and New York. His pieces are massive—scorched landscape murals and torched airplane hull installation art—the muted destruction of post-WWII Germany as experienced by a child. Everyone who is anyone has their hands on his stuff. It’s fascinating, and it’s also everywhere.
My wife and I remark that surely he is the art world’s most recent darling, but I wasn’t grasping the bigger picture of who wasn’t hanging on the walls. Where is space for the rest of the (non-Western) world when the same artists are showing up time and again?
At the Maiiam museum a light went on. (Side note: their past exhibit, Diaspora: Exit, Exile, and Exodus in Southeast Asia was phenomenal. More on that in a minute. First, I always have to use the bathroom.)
Inside the Maiiam’s bathroom was a photographic reproduction of a guerrilla art installation by artist Thitibodee Rungteerawattanon. In 2010, the artist smuggled contemporary Thai artworks into the men’s bathroom of the Tate Modern in London. He covertly installed the works in the bathroom and then photographed the exhibit, titling it ‘Thai Message.’ His commentary was clear—was this the only space for these Southeast Asian artists in the international art world?
Letter outlining the project in English and Thai. Photo: thitibodee.tumblr.com
Sometimes I get so used to looking at what is given to me to see that I forget to question what isn’t being shown. There is underrepresentation by non-Western artists. We are shown a sliver of works by a disproportionately small group of artists. How can this cultural hegemony be shifted? Some of that shift can start with me looking deeper than just accepting what is presented to me. Thanks Maiiam museum, for sparking me.
Speaking of internationally unsung artists, Diaspora: Exit, Exile, and Exodus in Southeast Asia is phenomenal. The exhibition features modern artists depicting the experiences of the many groups of people whose lives and cultures have been shifted and/or harmed by movement. My wife and I were crying.
One particularly moving series of portraits was by Hmong artist Pao Houa Her. Born in Laos, her family escaped the violence of the Laotian ‘Secret War,’ fought in tandem with the Vietnam War. They eventually settled in Minneapolis and she began documenting the idea of identity for Hmong Americans. Her ‘Attention,’ series showcases Hmong Veterans who fought alongside U.S. troops, but didn’t receive military recognition or honors until 2018—over 30 years after the Vietnam war ended. The men are photographed wearing self-sourced medals and uniforms. The photos are beautiful, dignified, and honestly so heartbreaking.
I wish I could tell you about each artist and each collection.
Hmong Veterans, ‘Attention’ series, by Pao Houa HerWho is making your clothes? What is their experience like?
What I’m trying to say is, when you’re visiting Chiang Mai—a visit to Maiiam Museum is a must. Get a ride using the Grab app and don’t go on Tuesday when it’s closed.
