After early experiments with intaglio printmaking and sculptural installation, Araya Rasdjarmrearnsook began, in the late 1990s, to concentrate on film and video. In The Class (2005), Rasdjarmrearnsook is shown instructing a classroom of six corpses, satirizing academic convention—the living professor teaching death to an audience already well versed in the subject. Acquired for the Guggenheim’s collection, The Treachery of the Moon (2012) again juxtaposes two different worlds, the fictional realm of television drama and the reality of political clashes in 21st-century Thailand. Rasdjarmrearnsook’s work has been installed in solo presentations and group exhibitions internationally, at venues including the National Gallery, Bangkok (1992, 1994, 1995, and 2002); and Walters Art Museum, Baltimore (2012) in addition to biennials and other international exhibitions. Rasdjarmrearnsook lives and works in Chiang Mai, Thailand.
Solo Show for Araya Rasdjarmrearsook The New York Times, February 16, 2012 Araya Rasdjarmrearnsook, who lives and works in Thailand, made her New York City debut in the big group show “Contemporary Art in Asia: Traditions/Tensions,” organized by the Asia Society in 1996, but has had to wait until now to have a solo here. More
Araya Rasdjarmrearnsook Art in America, May 10, 2012 The Thai artist is perhaps best known for her video documentation of performances in which she chants, sings and reads to cadavers in a hospital morgue. Since 2008, she has been engaged with an entirely different subject: the intercultural translatability of artworks and the demystification of Western art. More
Interview with Araya Rasdjarmrearnsook Diaaalogue (Asia Art Archive), October 2009 AAA's Enoch Cheng speaks to Thai artist Araya Rasdjarmrearnsook about her latest series, her views on female artist, artistic background and the use of the corpse in her work. More
Araya Rasdjarmrearnsook: 100 Tonson Gallery Frieze, October 2006 Araya Rasdjarmrearnsook’s six video projections were billed as being concerned with storytelling. A more specific characterization would point out the fact that the stories on view were told by six women, including the artist, and that each story was ostensibly about the teller’s individual experience as a woman. More
The Class, Death Seminar Asymptote In The Class, Death Seminar, lifeless bodies obtained from a morgue are the students. The teacher is artist Araya Rasdjarmrearnsook who stands in front of a blackboard, at times lecturing on the topic of death, and at times engaging a conversation with these students. More