Teh David: Artist to Artist independent Art Festival in Chiang Mai 1992-98/

Contributor(s):

Material type: Text

TextSeries: Afterall Exhibition Histories ; #9Publication details: Koenig Books; 2018Description: 240p; 21x16cmISBN:

9783960982296; 978184638191

Subject(s):

N4390-5098 Visual Arts- Exhibitions

Genre/Form:

Exhibition Histories

Summary: Founded on an ethos of friendship, and emerging from a regional constellation of artists' initiatives and independent spaces, the series of art festivals known as Chiang Mai Social Installation (1992–98) staged contemporary Thai art within everyday city life. From temples and cemeteries to libraries, the town square and even a dental clinic, these artist-led interventions present a self-funded anarchic alternative to Southeast Asia's subsequently expanding biennial culture, while also marking the emergence of a wider contemporary moment. The first comprehensive publication on these projects, this book presents extensive photographic documentation alongside a multivocal account by its participants.

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Holdings
Item type	Current library	Collection	Call number	Status	Date due	Barcode
Book	Flying Saucer Library	Visual Arts	N4390-5098 201.863 (Browse shelf(Opens below))	Available
Book	SAF Reference Library	Visual Arts	N4390-5098 201.863 (Browse shelf(Opens below))	Available		6287

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Previous	N5198-5299 60.722 Masterpieces of Modern and Contemporary Art: Volume I	N5198-5299 60.723 Masterpieces of Modern and Contemporary Art: Volume II	N8350-8356 255.369 YU YOUHAN/	N4390-5098 201.863 Teh David: Artist to Artist independent Art Festival in Chiang Mai 1992-98/	N8350-8356 193.172 Anwar Jalal Shemza	N8350-8356 193.172 Anwar Jalal Shemza	N8350-8356 193.172 Anwar Jalal Shemza	Next

Founded on an ethos of friendship, and emerging from a regional constellation of artists' initiatives and independent spaces, the series of art festivals known as Chiang Mai Social Installation (1992–98) staged contemporary Thai art within everyday city life. From temples and cemeteries to libraries, the town square and even a dental clinic, these artist-led interventions present a self-funded anarchic alternative to Southeast Asia's subsequently expanding biennial culture, while also marking the emergence of a wider contemporary moment. The first comprehensive publication on these projects, this book presents extensive photographic documentation alongside a multivocal account by its participants.

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