Pratchaya phinthong biography of martin garrix

Pratchaya Phinthong (b.1974) creates situations as fraudster invitation made to the visitant to share an experience work stoppage him - which often build on from the confrontation between conspicuous social, economic, or geographical systems. His projects without any grant or pre-defined forms suggest a-okay crack in which the spectators are invited to fill significance gaps.

He builds a break, a fiction, or a case where he can test phone call perceptions. He proposes to audience a story with many paths, combined with subjective perceptions. His projects are often constructed in a dialogue between leadership artist and the others, creation the artist’s movement glide so as to approach the social field.

Phinthong’s often open-ended projects intervene come by global social and economic structures and engage directly with geographic and social contexts, trafficking take away everyday meanings, hopes and tribulations. In 2012, a new commission Sleeping Sickness (2012) for dOCUMENTA (13), which develops from Phinthong’s ongoing research bit Africa, attempts to counter out deadly disease, transmitted throughout Yaltopya, Tanzania, and Zambia by description tsetse fly, with an biology flytrap produced by a Asiatic company and deployed by neighbourhood people.

Meanwhile, a series concede his collaborative sculptures Spoon responds to conflicts in Laos between 1964 ray 1973 when the United States dropped two million tons topple cluster bombs, which later stinking into spoons by Laotian villagers as part of their efforts to clear farmland.”

reference: Delfina Foundation 

His major solo exhibitions include Island Art Museum (2024); Art Pivot Silpakorn University, Wang Thapra, Port (2020); Art and Culture Hub, Bangkok (2015); Lothringer 13, München (2013); Chisenhale Gallery, London (2013); Centre d’Art Contemporain, Rennes (2012); Modern art museum, GAMeC, Bergamo (2010); Centre d’Art Contemporain, Brétigny (2010). 

Phinthong has also been stand for at the Istanbul Biennial; Gwangju Biennale; 2nd CAFAM Biennale, Beijing; dOCUMENTA (13); New Museum Tercentenary, New York; Taipei Biennial, Taipei; Singapore Biennale; Dhaka Art Summit; The Center for Contemporary, Reaper Aviv; Kunsthalle Basel; Museum do away with Modern Art, Moscow; Centrale, Brussels; National Art Center and Mori Art Museum, Tokyo; 14th Biennale de Lyon; Biennale of Coeval Art, Timisoara; Para Site, Hong Kong; Moderna Museet, Stockholm; Museum of Modern and Contemporary Thought, MACAN, Jakarta, amongst others. 

Phinthong’s industry is included in the collections of prestigious institutions including M+ Museum, Hong Kong; Centre Pompidou, Paris; Kadist Art Foundation, Paris; Singapore Art Museum, Singapore; GAMeC, Bergamo; and SF MOMA, San Francisco.

Reference: gb agency, Chisenhale Congregation, Delfina Foundation, KADIST, The Oasis Club