01 June 2021

Cunts

Cunts
Cunts, the Los Angeles punk band who began playing live in 2018, released their self-titled debut album, Cunts, in 2019. The album is available on vinyl and CD. Cunts are by no means the first band to use the c-word in their name: there is also a band called The Cunts, and others include Anal Cunt, Selfish Cunt, Rotten Cunt, Cuntsaw, Märy’s Cünt, Cunt Grinder, Filthy Maggoty Cunt, and Prosthetic Cunt.

21 May 2021

Panorama

Panorama
Yesterday, the BBC published Lord Dyson’s report into its 1995 Panorama interview with Princess Diana, and Panorama broadcast its own account of the controversy. John Dyson, a former Justice of the UK Supreme Court, was commissioned by the BBC to conduct an independent investigation into how journalist Martin Bashir secured his extraordinary interview with Diana.

Bashir has never spoken publicly about Diana; a BBC2 Arena documentary marking the interview’s tenth anniversary included contributions from everyone involved, except Bashir. In 1996, The Mail on Sunday reported that he showed fake bank statements to Diana’s brother, Charles Spencer, in order to gain access to her. The BBC denied the Mail on Sunday report, and the story was forgotten until the interview’s twenty-fifth anniversary last year, when the BBC’s three terrestrial rivals all broadcast their own investigations into Bashir and the bank statements.

Dyson’s report describes Bashir as “unreliable and, in some cases, dishonest”. It also criticises the BBC’s 1996 internal investigation into the matter as “woefully ineffective”, as BBC management did not attempt to corroborate Bashir’s denials and did not make its findings public. The BBC demonstrated greater transparency yesterday, with the Dyson report and the Panorama broadcast, though Bashir had been a senior BBC journalist until his resignation last week, and the Panorama programme’s transmission had been delayed for five days.

Yesterday’s Panorama episode—Princess Diana, Martin Bashir and the BBC—marked the BBC’s first public criticism of Bashir, and it pulled no punches: “Martin Bashir spun a web of elaborate lies... Martin Bashir’s reputation lies in ruins”. (And that was before the opening titles.) Aside from the bank statements, Dyson and Panorama provide another key document: Charles Spencer’s notes from the initial meeting he arranged between Bashir and Diana. These notes (published yesterday by The Daily Telegraph) show how Bashir undermined Diana’s trust in her senior staff by feeding her outlandish conspiracy theories that, according to a public statement by Prince William, “contributed significantly to her fear, paranoia, and isolation”.

11 May 2021

Artn’t


Vitthaya Klangnil

This morning, two Chiang Mai University art students facing criminal charges turned their police summonse into a performance art event. Outside the police station, Vitthaya Klangnil carved “112” into his chest with a razor, in a protest against article 112 of the Thai criminal code (lèse-majesté). Vitthaya and fellow student Yotsunthon Ruttapradit have been charged with contravening the lèse-majesté law and the Flag Act, following their display of a banner depicting the Thai flag without its central blue stripe (which symbolises the monarchy).

The two students are co-founders of the art group Artn’t. They displayed their modified flag in March at the Faculty of Fine Arts, and the Constitution Protection Association (a self-appointed moral watchdog) filed charges against them under the Flag Act, which prohibits “any act in an insulting manner to the flag, the replica of the flag or the colour bands of the flag”. The lèse-majesté charges stem from anti-monarchy graffiti written on the artwork.

The students were both released on bail this afternoon. (Parit Chirawak and Chaiamorn Kaewwiboonpan were also bailed today.) The banner is similar to a piece by Mit Jai Inn shown at last year’s Status in Statu (รัฐพิลึก) exhibition. Mit’s installation, titled Republic of Siam, was a large roll of fabric with a pattern of red and white stripes, thus it also resembled a Thai flag without the symbolic blue stripe.

06 May 2021

Reside

Reside
Following The Unseeable (เปนชู้กับผี) and Senior (รุ่นพี่), Reside (สิงสู่) is director Wisit Sasanatieng’s third ghost film. It also sees Wisit reunited with Ananda Everingham, who previously starred in The Red Eagle (อินทรีแดง). (Reside was released in 2018, and its international title is The Summoning. This month’s planned Wisit retrospective at the Thai Film Archive has been postponed due to the coronavirus pandemic.)

Reside begins with an archetypal horror scenario: a small group stuck in an isolated house. Ananda’s character spells out the inevitable: “The road downhill has been cut by flash floods. We’ll be stranded here for a while.” This Old Dark House cliché is acknowledged self-referentially by another member of the group, who complains that “the lights go out every time it rains. Like in a horror film.”

For most of the running time, the characters are possessed one-by-one by spirits summonsed during a seance (one of whom transforms into a malevolent tree!). This leads to other intentional horror references, including several inevitable nods to The Exorcist, with possession resulting in spider-walking and projectile vomiting. The spirits seem relatively easy to exorcise, though, and they’re not particularly scary. The twist ending isn’t especially surprising, either.

Putin’s People:
How the KGB Took Back Russia and Then Took on the West


Putin's People

Five lawsuits have recently been filed against the author and publisher of Putin’s People. Catherine Belton’s book (subtitled How the KGB Took Back Russia and Then Took on the West) received superlative reviews when it was published a year ago. Belton was the FT’s Moscow correspondent for six years, and Alexei Navalny brandished a copy of her book in his viral video Дворец для Путина: История самой большой взятки (‘Putin’s palace: the world’s biggest bribe’).

Roman Abramovich filed the first libel suit on 22nd March, challenging Belton’s allegation that he purchased Chelsea FC on Vladimir Putin’s instructions. Belton writes that “Putin directed Abramovich to buy the club, claimed a Russian tycoon and a former Abramovich associate.” Aside from these two off-the-record sources, she also interviewed Sergei Pugachev, whom she quotes directly: “Putin personally told me of his plan to acquire the Chelsea Football Club in order to increase his influence”.

Pugachev, a defector from Putin’s inner circle, was described by a UK High Court judge in 2017 as “a person quite willing to lie and put forward false statements deliberately if it would suit his purpose.” Belton acknowledges his reputation as an unreliable witness, though she quotes him extensively nevertheless.

On Tuesday, the FT revealed that four other lawsuits were filed against Belton and her publisher, HarperCollins, last month. In what appears to be a coordinated campaign to silence any criticism of Putin’s regime, the Russian businessmen Mikhail Fridman and Shalva Chigirinsky sued for libel, as did the Kremlin-controlled oil company Rosneft. Peter Aven, Fridman’s business partner, sued for breach of data protection.

03 May 2021

REDEM


REDEM

A protest by REDEM (Restart Democracy) outside Bangkok’s Criminal Court yesterday evening ended with riot police firing rubber bullets at protesters for the third time this year. REDEM protesters gathered at Victory Monument yesterday afternoon, and marched to the Criminal Court on Ratchadaphisek Road. They had intended to march past the military barracks on Viphavadi Rangsit Road, where rubber bullets were used against them on 28th February, though access was blocked and the protest route was diverted.

When the protesters reached the Criminal Court, REDEM handed out tomatoes and eggs, which were thrown at the Court entrance. REDEM announced the end of the short demonstration at 6pm, and most protesters dispersed, though some stragglers remained, throwing firecrackers at the Court building. They later retreated to nearby Ratchadaphisek Soi 32, where they were confronted by riot police armed with water cannon and rubber bullets.

Rubber bullets, tear gas, and water cannon were also used against REDEM protesters at Sanam Luang on 20th March, after they pulled down shipping containers erected to block access to the Grand Palace. Several journalists reporting on the demonstration were also hit by rubber bullets, and clashes with riot police continued late into the night.

30 April 2021

The Film Book

The Film Book
The second edition of Ronald Bergan’s The Film Book was published last month, ten years after the first edition, with a slightly tweaked subtitle (A Complete Guide to the World of Movies). The earlier edition included a list of 100 essential films (which first appeared in Bergan’s book Film), and the new edition adds an additional eight recent films to the list.

The extra titles in the “Must-See Movies” list are There Will Be Blood, White Material, Inception, Twelve Years a Slave, Boyhood, The Grand Budapest Hotel, Black Panther, and Parasite (기생충). Bergan also wrote Understanding Cinema and co-wrote 501 Must-See Movies (which has been updated in second, third, fourth, and fifth editions).

Wisit Sasanatieng

Tears of the Black Tiger
Citizen Dog
The Red Eagle
Senior
The Unseeable
Reside
Nang Nak
Slice
Next month, the Thai Film Archive at Salaya has programmed a complete retrospective of films directed by Wisit Sasanatieng. (The Archive held a mini Wisit retrospective in 2010.) The season begins in style with 35mm screenings of Wisit’s classic Tears of the Black Tiger (ฟ้าทะลายโจร), tentatively scheduled for 4th and 16th May. The other planned screenings in May are as follows: Citizen Dog (หมานคร) on 16th and 25th, The Red Eagle (อินทรีแดง) on 11th and 19th, Senior (รุ่นพี่) on 21st and 30th, The Unseeable (เปนชู้กับผี) on 20th and 26th, and Reside (สิงสู่) on 22nd and 27th.

Two films written by Wisit will also be shown in the month-long season: Nang Nak (นางนาก) on 11th and 22nd, and Slice (เฉือน) on 14th and 30th. Wisit also wrote the screenplay for Dang Bireley’s and Young Gangsters [sic] (2499 อันธพาลครองเมือง), though it’s not included in the retrospective as it was screened at the Archive only a few months ago. All screenings are free, though the schedule will be delayed, as cinemas and other entertainment venues are currently closed due to the coronavirus pandemic.

Thai Film Archive

Rashomon
Uncle Boonmee Who Can Recall His Past Lives
The June screening schedule at the Thai Film Archive in Salaya includes two masterpieces, released sixty years apart. Akira Kurosawa’s Rashomon (羅生門) was originally scheduled to be shown in 16mm on 13th and 30th June. Screenings of Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ) were planned for 12th and 24th June. All screenings are free, though the dates will be delayed as all entertainment venues are currently closed due to the coronavirus pandemic.

29 April 2021

Pink Man Story

Pink Man Story
Pink Man Story (พิ้งค์แมนสตอรี่), an exhibition of selected photographs from Manit Sriwanichpoom’s long-running Pink Man (พิ้งค์แมน) series, was due to open today at BACC and run until 16th May. The opening has now been delayed, following the government’s announcement of a shutdown of entertainment venues on 26th April.

Each Pink Man photo features the incongruous figure of Sompong Tawee wearing a bright pink suit, a symbol of consumerism and superficiality. For the Horror in Pink (ปีศาจสีชมพู) series, Manit digitally inserted Sompong into news photographs of three massacres from recent Thai history. Horror in Pink was first shown at the History and Memory (ประวัติศาสตร์ และ ความทรงจำ) exhibition, and later at From Message to Media (มองสารผ่านสื่อ) and Phenomena and Prophecies (ท้าและทาย).

The forthcoming exhibition was largely designed to promote a book of the same name: the Pink Man Story catalogue includes a complete collection of every Pink Man image, a (heavily edited) reprint of Ing K’s essay Poses from Dreamland (ท่าโพส จากแดน ช่างฝัน), and an analysis of Horror in Pink by Iola Lenzi. The book was published earlier this week, and the exhibition will open after the lockdown ends.

27 April 2021

Kintsugi:
The Poetic Mend


Kintsugi Seppo

Tomotsugi, the Japanese technique whereby urushi (lacquer) is used as a bonding agent to repair broken ceramics, has been practised for as long as 3,000 years. Archaeological excavations reveal that, rather than attempting seamless repairs, the tomotsugi craftsmen decorated the seams with grit.

Gold dust was later used to further accentuate the urushi seams, a technique known as kintsugi. When silver is sustituted for gold, the process is called gintsugi. Replacing missing pieces with fragments from other vessels is known as yobitsugi, and was first practised by Furuta Oribe. Repaired ceramics decorated with figurative maki-e art, produced for export, were known as makienaoshi.

Although kintsugi has a 400-year history in Japan, it has only gained recognition in the West in the last ten years or so. Most books on the subject reappropriate kintsugi as a philosophy rather than a craft, using it as a (somewhat tenuous) metaphor to represent triumph over adversity: just as kintsugi beautifies a vessel’s imperfections, so we should wear our scars with pride.

Kintsugi: The Poetic Mend, by Bonnie Kemske, is the first comprehensive book on the art and history of kintsugi. Kemske traces its origins to a sixteenth century teabowl—Seppō (‘snowy peak’), by master craftsman Hon’ami Kōetsu—which she describes as “the birth of kintsugi.” She also shows how contemporary Western artists utilise kintsugi techniques. The book is beautifully illustrated, and includes an extensive bibliography.

26 April 2021

Belt and Road Initiative for Win-Winism


Belt and Road Initiative for Win-Winism

Malaysia’s High Court today upheld a ban on Belt and Road Initiative for Win-Winism, a comic book written by Hew Kuan Yau. More than 2,000 copies of the book were seized by Ministry of Home Affairs officials in 2019. It has been published in English, Malay (Inisiatif Jalur dan Jalan Meraih Manfaat Bersama) and Chinese-language (互利共赢的一带一路) editions. The book, illustrated by cartoonist Chong Po Ling (under the pen name Tomato), is a pro-China account of Chinese President’s Xi Jinping’s ‘belt and road’ global infrastructure project.

Various books have been banned in Malaysia in recent years, including Sapuman and other titles by Zunar. The novel Perempuan Nan Bercinta (‘a woman in love’) was banned in 2014, and dozens of books were banned in 2017.

The Patani Art of Struggle


The Patani Art of Struggle

Jehabdulloh Jehsorhoh has led a burgeoning of contemporary art in Pattani and the other provinces near Thailand’s southern border, and The Patani Art of Struggle (ศิลปะปาตานี วิถีแห่งการดิ้นรน), a monograph on Jehabdulloh’s work, was published last year. (‘Patani’ refers to a formerly independent Malay Muslim sultanate that is now part of Thailand. Today, therefore, ‘Patani’ is a political term with separatist connotations.)

Jehabdulloh first came to prominence with Violence in Tak-Bai (ความรุนแรงที่ตากใบ): wooden grave markers arranged in a circle, commemorating the protesters who died in the 2004 Tak Bai massacre. The book reproduces a watercolour painting of the concept, and three versions of the installation in situ. It was first installed, just a few days after the massacre, at the Prince of Songkla University campus in Pattani, and the grave markers were accompanied by rifles wrapped in white cloth. In 2017, it was recreated at Patani Art Space and exhibited on a plinth containing Pattani soil at the Patani Semasa (ปาตานี ร่วมสมัย) exhibition. (The exhibition catalogue gives it a milder alternative title, Remember at Tak-Bai.)

Since 2013, Jehabdulloh has incorporated images of weapons such as guns and hand grenades into his paintings, a reminder of the continuing conflict between the Thai military and separatist insurgents. The book highlights the financial and human cost of the military operation: “The Thai government has spent ฿206,094 million to solve and alleviate the conflicts in Southern Thailand over the past ten years... Is fighting violence with violence an effective solution?” Yuthlert Sippapak’s film Fatherland (ปิตุภูมิ) poses the same question, as he explained in an interview for Thai Cinema Uncensored: “‘เหตุการณ์สงบงบไม่มา’—‘if no war, no money’. Money is power. And the person who created the war is the military.”

The Patani Art of Struggle, housed in a die-cut slipcase, was edited by Apichaya O-in and Ekkarin Tuansiri. Its Malay title is سني ڤتاني چاراو او سها.

23 April 2021

The Making of Raging Bull

The Making of Raging Bull
The Making of Raging Bull
The UK went into almost total lockdown in March last year, due to the coronavirus pandemic. In the year that followed, Jay Glennie researched, wrote, and published his impressive new book on the making of Raging Bull.

Glennie has interviewed all of the film’s key cast and crew, including director Martin Scorsese and star Robert De Niro (both of whom also gave him access to their archives). Even co-star Joe Pesci, now somewhat reclusive, agreed to an interview. As Glennie says in his introduction: “This is the story of the making of Raging Bull, by those who conceived it.”

Glennie’s comprehensive record of the film’s production is supplemented with handwritten notes, script drafts, and (mostly black-and-white) photographs, all magnificently reproduced. Richard Schickel wrote an excellent feature on the making of Raging Bull for Vanity Fair’s March 2010 issue, though Glennie’s book is the definitive account.

Perhaps we should expect nothing less, as the book costs £100 (albeit limited to 1,980 signed and numbered copies, mine being no. 125). Although The Making of Raging Bull (or Raging Bull: The Making of?) is a lavish publication, its layout is rather unconventional, with no contents page or individual chapters.

20 April 2021

Lets Kill

Thai experimental noise band Gamnad737’s album Lets Kill [sic] includes several tracks with anti-government titles: Kill the Government, Kill the Dicktatorship, and Kill the Section 44. Section 44 is a reference to article 44 of the interim constitution, which granted absolute power to the 2014 military junta. Similarly, P9d’s rap album RAW Jazz Effect includes the track Section 44, which begins with the unambiguous line “Fuck the section 44”.

Lets Kill is available on cassette and CD, and in a unique CD edition splattered with founding member Arkat Vinyapiroath’s blood. (The blood-splattered edition also comes complete with two vials of Arkat’s blood, and it remains unsold almost three years after its release.) Gamnad737’s latest release is the Drilling Technique cassette EP (which includes a grisly photo of a Jeffrey Dahmer victim). Arkat is also the bassist for thrash metal band Killing Fields, whose most recent EP is Death to Dictator.

การเมืองโมเบียส

Wad Rawee
Wad Rawee’s book การเมืองโมเบียส: การเมืองและเรื่องเล่าว่าด้วย ศีลธรรมที่ไม่มีด้านตรงข้าม (‘Möbius politics: politics and narratives, morality without opposition’) examines Thai politics and the monarchy since the Thaksin Shinawatra administration. It also quotes extensively, in English, from the diplomatic cables released by Wikileaks in 2010, Thai translations of which were published in the journal Same Sky (ฟ้าเดียวกัน; volume 9, number 1) in 2011.

The cover illustration shows Bangkok’s Democracy Monument as a military complex in a dystopian future. Jakkapan Kangwan’s new novel Altai Villa (อัลไตวิลล่า) also features the Monument on its cover. On the cover of the second edition of Sulak Sivaraksa’s book หกทศวรรษประชาธิปไตย (‘six decades of democracy’), the Monument is represented as a jigsaw with one piece—containing the constitution—missing.

Death to Dictator

Death to Dictator
Death to Dictator, the latest EP by Thai thrash metal band Killing Fields, was released last year on cassette. The cover illustration, by Slaughterhouse21, depicts the skeleton of the army chief with a bullet hole through his head, and a cobwebbed Democracy Monument. The Monument has appeared on several previous album covers, such as the สามัญชน (‘commoner’) EP by The Commoner, ดอกไม้พฤษภา (‘May flower’) by Zuzu, and the compilation ตุลาธาร ๑๔ คน ๑๔ เพลง ต้องห้าม (‘14th October: 14 artists, 14 forbidden songs’).

The Death to Dictator EP includes a live version of 6th October, a track from the band’s previous album, Gigantrix Extinction. The cassette features the Dolby logo, though this is presumably an error, as Dolby noise reduction is no longer licensed to cassette releases. Bassist Arkat Vinyapiroath is also the founding member of experimental noise band Gamnad737.

19 April 2021

Altai Villa

Altai Villa
Altai Villa (อัลไตวิลล่า: เรื่องราวขำขื่นในนครขื่นขม), the new novel by Jakkapan Kangwan, was published last week. Like Uthis Haemamool’s Silhouette of Desire (ร่างของปรารถนา) and Duanwad Pimwana’s ในฝันอันเหลือจะกล่าว (‘indescribable fiction’), it makes direct reference to recent Thai politics.

Altai Villa is a new community of self-described ‘good people’ (a loaded phrase in Thailand, as it refers to establishment figures who are portrayed as paragons of virtue), established following a coup, and the rights of its citizens are imperceptibly eroded. Just in case any readers failed to grasp the satirical metaphor, the subtext is clarified in chapter twenty-six when one of the ‘good people’ pledges to return happiness to the population, a reference to the 2014 junta’s propaganda song Returning Happiness to the Thai Kingdom (คืนความสุขให้ประเทศไทย).

The novel features Bangkok’s Democracy Monument on its cover, with a tank in the foreground. (Throughout the book, illustrations show the Monument in various stages of completion.) Similarly, the cover of Wad Rawee’s book การเมืองโมเบียส (‘Möbius politics’) shows Democracy Monument as a military complex. On the cover of the second edition of Sulak Sivaraksa’s book หกทศวรรษประชาธิปไตย (‘six decades of democracy’), Democracy Monument is represented as a jigsaw with one piece—containing the constitution—missing.

18 April 2021

ไข่แมวX

Khai Maew
Happy Boy
Khai Maew
ไข่แมวX, by the anonymous Facebook cartoonist Khai Maew, was released this month. The book features the best of Khai Maew’s satirical cartoons from the past four years, including several parodies of the 2019 election campaign. Minimal context is provided alongside each cartoon (as Khai Maew’s work is usually presented without captions, to allow for multiple interpretations), including a reprint of the manifesto for monarchy reform also published in ปรากฏการณ์สะท้านฟ้า 10 สิงหา (‘an earth-shattering event on 10th August’).

At the back of the book are a handful of new cartoons that are too sensitive to publish on the artist’s Facebook page (though even the cover illustration is also potentially taboo-breaking, albeit indirectly). The book’s final image borrows a motif from The Last Monument by another anonymous satirist, Headache Stencil. These cartoons are even more provocative than those in Khai Maew’s first book, ไข่แมว, published in 2018. (That book also included an interview with the artist.)

Like Chalermpol Junrayab’s Amazing Thai-land series, Khai Maew combines superhero characters and political figures in his satirical cartoons. Both artists’ works are distributed primarily on Facebook, and they have both branched out with exhibitions, calendars, and books. Khai Maew’s first exhibition, Kalaland, was held in 2018, and Chalermpol’s took place a year later.

Khai Maew has also produced satirical merchandise, including soft toys and other items based on his recurring Thaksin Shinawatra and Prayut Chan-o-cha characters. In 2016, he created Happy Boy, a miniature plastic model of the smiling child seen in Neal Ulevich’s photograph of the 6th October 1976 massacre.

09 April 2021

Two Little Soldiers


Two Little Soldiers
Two Little Soldiers

Pen-ek Ratanaruang’s short film Two Little Soldiers (สาวสะเมิน), accompanied by a dozen black-and-white drawings, will be shown at Gallery Seescape in Chiang Mai from tomorrow until 8th June. The film and drawings were previously shown at last year’s Bangkok Art Biennale (บางกอก อาร์ต เบียนนาเล่). The drawings were created for Pen-ek’s two-volume graphic novel, Trouble in Paradise, which was published earlier this year. The book’s narrative is an expanded version of Two Little Soldiers, and it ends with an optimistic fantasy that sees the military junta convicted of treason. (The twelve drawings in the exhibition are less overtly political, however.)

07 April 2021

Come and See


The 400 Blows

After Nottapon Boonprakob submitted his documentary Come and See (เอหิปัสสิโก) to the Thai censorship board, they telephoned him and explained that some board members had reservations about it. Would he mind if they rejected the film, they asked. Naturally, he did mind, so they invited him to a meeting. After the phone call, the Thai Film Director Association publicised the case online, and the stage was set for another Thai film censorship controversy. However, when Nottapon met the censors on 10th March, they told him that there was no problem, and the film was passed uncut with a universal ‘G’ rating.

It’s likely that the censors capitulated as a result of the publicity generated by their rather naïve phone call. The earlier case of Nontawat Numbenchapol’s Boundary (ฟ้าต่ำแผ่นดินสูง) was very similar: that film’s ban was swiftly reversed following online publicity about it. (Nontawat’s film was subject to a token cut, imposed to save the face of the censorship board who had originally banned it.)

Come and See and Boundary are both documentaries about controversial temples. In Boundary’s case, the controversy was territorial, with Thailand and Cambodia both claiming ownership of the disputed Preah Vihear on the border between the two countries. Come and See, on the other hand, examines the practices of the Wat Phra Dhammakaya temple complex (in Pathum Thani province, near Bangkok) and its former abbot, Dhammajayo, who has long been suspected of money laundering.

Dhammakaya is a Buddhist sect recognised by the Sangha Supreme Council, though it closely resembles a cult. Dhammakaya supporters are encouraged to make large financial donations in return for promises of salvation, and thousands of followers have given their savings to the temple. (Come and See interviews both current devotees and disaffected former members.) After Dhammajayo was accused of corruption, a declaration of his innocence was added to the temple’s morning prayers. (The film shows temple visitors reciting this like a mantra.)

The Dhammakaya complex itself is only twenty years old, and its design is inherently cinematic. The enormous Cetiya temple resembles a golden UFO, and temple ceremonies are conducted on an epic scale, with tens of thousands of monks and worshippers arranged with geometric precision. The temple cooperated with Nottapon, though his access was limited. Come and See doesn’t investigate the allegations against Dhammajayo, though it does provide extensive coverage of the 2016 DSI raid on the temple and Dhammajayo’s subsequent disappearance.

One of the film’s interviewees, a Buddhist scholar, hits the nail on the head when he argues that the long-running Dhammakaya scandal is not an anomaly; rather, Dhammakaya is simply a more extreme version of contemporary Thai Buddhism, which has become increasingly capitalist. Come and See also hints at the institutional corruption and hidden networks of influence that characterise the modern Thai state.

04 April 2021

จวบจันทร์แจ่มฟ้านภาผ่อง

Thanavi Chotpradit
Thanavi Chotpradit’s จวบจันทร์แจ่มฟ้านภาผ่อง: ศิลปะและศิลปินแห่งรัชสมัยรัชกาลที่ 9 (‘when the moon is high, the sky turns bright and blue: art and artists in the reign of King Rama IX’) was published last year by Same Sky Books. The book is from the same series as Nattapoll Chaiching’s ขอฝันใฝ่ในฝันอันเหลือเชื่อ (‘I dream an incredible dream’). Thanavi has also written Prism of Photography (ปริซึมของภาพถ่าย), a visual record of the 6th October 1976 massacre.

จวบจันทร์แจ่มฟ้านภาผ่อง includes chapters on specific exhibitions, such as Rupture (whose Thai title, หมายเหตุ ๕/๒๕๕๓, was changed to minimise any reference to the May 2010 military crackdown), Prapat Jiwarangsan’s I’ll Never Smile Again (a song title, though also a pun on The King Never Smiles), and Rirkrit Tiravanija’s Who’s Afraid of Red, Yellow, and Green (a reference to Barnett Newman’s Who’s Afraid of Red, Yellow, and Blue series of abstract paintings). It also examines art made in response to the lèse-majesté law.

01 April 2021

“Thailand’s complainer-in-chief...”


Chiang Mai University

Chiang Mai University’s Faculty of Fine Arts has been criticised for censoring political artworks created by a pair of students. The row is centred on a banner representing the Thai flag, with the central blue stripe replaced by transparent material. The flag’s blue stripe symbolises the monarchy, thus the banner could be interpreted as a republican statement. It was removed by the dean of the Faculty on 22nd March.

Two days later, the University issued a statement in support of the dean, noting that the banner was a potentially illegal alteration of the flag. On 26th March, Srisuwan Janya, head of the Constitution Protection Association pressure group, filed a complaint with Chiang Mai police accusing the artists of violating the Flag Act of 1979. Lèse-majesté charges are also likely. The Flag Act prohibits “any act in an insulting manner to the flag, the replica of the flag or the colour bands of the flag”. Srisuwan, a self-appointed moral guardian, was dubbed “Thailand’s complainer-in-chief” by the Bangkok Post in a headline on 18th March 2019.

The banner is similar to an artwork by Mit Jai Inn shown at last year’s Status in Statu (รัฐพิลึก) exhibition. Mit’s installation, titled Republic of Siam, was a large roll of fabric with a pattern of red and white stripes: like the student’s banner, it resembled a Thai flag without the blue stripe.

27 March 2021

ในฝันอันเหลือจะกล่าว

Duanwad Pimwana
Duanwad Pimwana’s latest novel, ในฝันอันเหลือจะกล่าว: นิยมนิยายอันเหลือจะบรรยาย (‘indescribable fiction: unspoken dreams’), was published last year. Duanwad, a pen name for Pimjai Juklin, is one of Thailand’s leading contemporary writers, and ในฝันอันเหลือจะกล่าว was inspired by Don Quixote, the first novel in the Western canon.

Duandwad has spoken out in opposition to the current military government, and the novel takes place in the chaotic atmosphere of the 2013 PDRC protests leading up to the 2014 coup. Her political stance is clear from chapter seven: its title, แผนฆ่าประชาธิปไตยในห้องปิดตาย, refers to the death of democracy.

Uthis Haemamool’s recent novel Silhouette of Desire (ร่างของปรารถนา) also comments on the 2014 coup. Duanwad wrote a chapter in the anthology Remembrances of Red Trauma (1 ทศวรรษ พฤษภาฯ เลือดปี ’53), reflecting on the impact of the 2010 massacre on Thai literature.

“Fox recklessly disregarded the truth...”

Dominion Voting Systems yesterday filed defamation charges against Fox News, seeking $1.6 billion in damages. Their lawsuit accuses the network of broadcasting “a series of verifiably false yet devastating lies” and “outlandish, defamatory, and far-fetched fictions” in the aftermath of last year’s US presidential election.

Fox News hosts Lou Dobbs, Maria Bartiromo, Sean Hannity, and Jeanine Pirro spread outlandish conspiracy theories in the weeks after the election, seeking to cast doubt on Joe Biden’s victory by falsely alleging that Dominion rigged the election. Dominion’s lawsuit states: “Fox recklessly disregarded the truth. Indeed, Fox knew these statements about Dominion were lies.”

The allegations of election fraud were also repeated on a daily basis by Donald Trump himself, who refused to concede the election. The ultimate impact of such dangerous misinformation, and the culmination of Trump’s efforts to undermine confidence in American institutions, came on 6th January when he incited a riot at the US Capitol.

Fox News defended another of its hosts, Tucker Carlson, against defamation charges last year, arguing that his show should be viewed with “an appropriate amount of skepticism”, and last month Fox Business cancelled Lou Dobbs Tonight, its highest-rated show. Smartmatic, another voting technology company, is currently suing Fox for $2.7 billion.

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22 March 2021

Derivatives and Integrals

Derivatives and Integrals
Derivatives and Integrals
Derivatives and Integrals
Derivatives and Integrals (อนุพันธ์ และปริพันธ์) opened at Cartel Artspace in Bangkok on 5th March, and runs until 10th April (extended from 28th March). The exhibition includes a copy of the banned book The King Never Smiles on a small Buddhist altar, though the cover photograph has been replaced by a photo of Stephen King. All ‘sensitive’ text on the book jacket has been covered by the logo of the anonymous artist กูKult, whose exhibition this is. (The artist is due in court today, charged under the Computer Crime Act and the lèse-majesté law.)

On closer inspection, the book on the altar is not actually The King Never Smiles: inside the dust jacket is another hardback of the same size, the first volume of Continuous Multivariate Distributions. (Revealing this feels a bit like pulling back the curtains on the Wizard of Oz, though of course that’s also what the exhibition is doing.)

Propping up the altar is another book, a Thai self-help guide, though a simple equation has been written on its cover (one interpretation of which could involve regnal numbers and a gun calibre). The exhibition’s full title is a more complex algebraic expression, \frac{df\left({x}\right)}{dx}\Bigg\vert_{x=c}\wedge\int_{a}^{b}f\left({x}\right)dx.

20 March 2021

สถาบันพระมหากษัตริย์กับสังคมไทย

Democracy Restoration Group
Royal Thai Police
Democracy Restoration Group
This afternoon, police searched the offices of Same Sky Books and confiscated 10,000 copies of a booklet by pro-democracy protest leader Arnon Nampa. The booklet, สถาบันพระมหากษัตริย์กับสังคมไทย (‘the monarchy and Thai society’), contains the text of a speech delivered by Arnon at Democracy Monument on 3rd August 2020.

The booklet’s publishers, the Democracy Restoration Group (DRG) campaign, announced yesterday that it would be given away at a REDEM protest rally at Sanam Luang this evening, and many copies were distributed there despite the police seizure. (Arnon had previously distributed small quantities of the booklet last year.) Riot police used water cannon, tear gas, and rubber bullets to disperse the protesters, as they had on 28th February.

Today’s police raid has echoes of an almost identical case last year, when an announcement that a similar booklet would be given away at a protest drew the attention of the authorities. That booklet—ปรากฏการณ์สะท้านฟ้า 10 สิงหา (‘an earth-shattering event on 10th August’)—was also seized by police before the rally, though some copies were eventually distributed.

This year, the DRG also distributed a larger booklet, ปฏิรูปสถาบันกษัตริย์ ยืนหยัดในประชาธิปไตย (‘reform the monarchy, persevere for democracy’), which summarises the campaign’s objectives. The booklet explains the DRG’s grievances related to the government’s mishandling of the coronavirus pandemic, though controversially it also reproduces a report by the UK news website The Independent about King Rama X’s lifestyle in Germany.

15 March 2021

Micro Politics

Micro Politics
Micro Politics, published in 2018, is a collection of four contemporary Thai plays and theatre performances: The Disappearance of the Boy on a Sunday Afternoon (การหายตัวไปของเด็กชายในบ่ายวันอาทิตย์) by Thanaphon Accawatanyu, A Nowhere Place (ที่ ไม่มีที่) by Pradit Prasartthong, Bang La Merd (บางละเมิด) by Ornanong Thaisriwong, and Hipster the King by Thanaphol Virulhakul. The scripts are printed in both Thai and English, and the book also includes interviews with each playwright.

The four works were all performed in the aftermath of the 2014 coup, at a time of increased political repression. Military officers attended and videotaped almost all performances of Bang La Merd, in an act of intimidation through state surveillance. As the publishers explain in their introduction, the collection is “a chronicle of social changes during those trying times, reflecting on the effects of the regime on individuals, questioning the events, and offering insights towards political problems in Thailand.”

12 March 2021

Coup, King, Crisis:
A Critical Interregnum in Thailand


Coup, King, Crisis

After “Good Coup” Gone Bad, Pavin Chachavalpongpun has turned his attention to the 2006 coup’s more repressive sequel: the 2014 coup (from Bad to worse, as it were). Coup, King, Crisis: A Critical Interregnum in Thailand, edited by Pavin, focuses on Thai politics under the junta and the succession from Rama IX to Rama X. (After the Coup is an earlier anthology of essays on the 2014 coup.)

Pavin’s introduction summarises the 2019 election anomalies and the “political earthquake” of Thai Raksa Chart and Princess Ubolratana, though these really require their own chapters. Sarah Bishop writes about the Thai Raksa Chart dissolution, refuting the notion of ‘judicial coups’, though her argument is unconvincing as she ignores the Constitutional Court’s disqualifications of Samak Sundaravej, Somchai Wongsawat, Yingluck Shinawatra, and Thanathorn Juangroongruangkit. (For a more persuasive analysis of the politicised judiciary, see Eugénie Mérieau’s chapter in Military, Monarchy and Repression.)

The most interesting contributions are Kevin Hewison’s chapter on the royal succession, Paul M. Handley’s updating of The King Never Smiles, Tyrell Haberkorn’s discussion of Mor Yong, a primer on military factions by Paul Chambers (co-editor of Khaki Capital), and an account of self-censorship by David Streckfuss (author of Truth on Trial in Thailand). Streckfuss discusses the use of metaphor by writers and artists as a strategy to evade censorship, noting the “tension between letting readers in on the joke and somehow concealing it from the authorities”, citing the short story Hakom (ห่าก้อม) and the film Cemetery of Splendour (รักที่ขอนแก่น) as examples.

10 March 2021

“I have realized the wickedness of a
person who calls himself a scholar...”

Nattapoll Chaiching
Nattapoll Chaiching
Historian Nattapoll Chaiching’s book ขุนศึก ศักดินา และพญาอินทรี การเมืองไทยภายใต้ระเบียบโลกของสหรัฐอเมริกา 2491-2500 (‘feudal warlords and the eagle: Thai politics and the United States 1948-1957’), about Thailand’s relationship with the US during the Cold War, was a runaway bestseller among liberals and political enthusiasts when it was published last year. His earlier work, ขอฝันใฝ่ในฝันอันเหลือเชื่อ ความเคลื่อนไหวของขบวนการปฏิปักษ์ปฏิวัติสยาม (พ.ศ. 2475-2500) (‘I dream an incredible dream: the anti-Siamese revolutionary movement 1932-1957’), published in 2013, also saw a revival in sales after it was among five titles seized by police from the offices of the publisher, Same Sky Books.

Nattapoll has been heavily criticised by conservatives, culminating in a lawsuit issued on 5th March. In December last year, Chaiyand Chaiyaporn, a professor at Chulalongkorn University, accused him of falsifying references in the Ph.D. thesis on which his Cold War book was based. A week later, an ultra-royalist former monk, Suwit Thongprasert, accused him of lèse-majesté: “I have realized the wickedness of a person who calls himself a scholar and has got a Ph.D. who dared to develop a thesis with false information... harmful towards the royal institution.” (Suwit’s statement was issued under his monastic title Buddha Issara, though he was defrocked in 2018 as a result of his role in the 2014 PDRC protests.)

Last week, aristocrat Priyanandana Rangsit sued Nattapoll and Same Sky Books for defamation, seeking ฿50 million in damages. According to the lawsuit, Nattapoll’s books incorrectly assert that her grandfather, Prince Rangsit Prayurasakdi, sought an improper political influence over Phibun Songkhram’s government in the 1940s. She argues that this misrepresentation of her ancestor—who died seventy years ago—tarnishes her family name, and is thus defamatory to her personally.

05 March 2021

Thai Cinema Uncensored


Thai Cinema Uncensored

Thai Cinema Uncensored is reviewed in the March issue of Art Review magazine (vol. 73, no. 1), on p. 111. Reviewer Max Crosbie-Jones writes: “Thais and Thailand watchers will recognise the bigger story, an all-too-common narrative arc streaked with moments of fear, absurdity and humour, in Hunt’s lingering closeups on the mangled, hidden wreckage of film censorship.”

02 March 2021

Stanley Kubrick Produces


Stanley Kubrick Produces

James Fenwick’s Stanley Kubrick Produces focuses not on Kubrick’s artistic achievements as a director, but on his role as a producer and his place in the studio system. The book makes a revisionist assessment of Kubrick’s work, as Fenwick argues that the last decades of his career represented a debilitating decline in his ability to operate as a producer: “What emerges is almost a tragic narrative, Kubrick’s rise and fall as it were.”

The book covers Kubrick’s producing career chronologically, beginning with the independent films he both produced and directed. Fenwick even tracks down a copy of World Assembly of Youth, a short documentary that Kubrick once claimed to have worked on. (“Despite long-standing speculation about Kubrick’s involvement in the project, there is little evidence to support this.”) Fenwick makes an additional discovery: that Kubrick was involved in the sound editing of a film with the working title Shark Safari in 1953. Supported by extensive archive research, the book also provides detailed accounts of Kubrick’s producing partnership with James B. Harris, his collaborations with Kirk Douglas, and his various studio contracts.

The central thesis is that absolute control is a double-edged sword. Kubrick secured total control over every aspect of his films, though this was ultimately a Pyrrhic victory, as his micromanagement increasingly delayed the development of new projects: “Kubrick had become an impotent producer, overwhelmed by his own centralized management style and the information and research that he sought.” (The Channel 4 documentary The Last Movie made a similar point, comparing late-career Kubrick to a computer overloaded with data.)