Memorandum: Within or Without
From my observer perspective and from intensive research about the interrelation between photography and art in Thailand during the past 25 years, or even beyond that timeline, it is common to realize that photography as art medium has been barely recognized. The major art prize for Thai artist such as the National Artist Award was only once awarded for a photographer. To conclude, photography is quite inferior to other art mediums. Hence, with the growth of art events especially the biennial and triennial festivals, in 1997, it was the beginning of the revolutionary tale for Thai photographer, when Manit Sriwanichpoom joined the 1st Fukuoka Triennial. This could be considered as a kickoff for the medium to be accepted from the outsider to the insider. The series shown there was The Bloodless War (1996). It was a B&W performative photograph series that opened the issues for discourse over consumerism. As a result, Thai photography was acknowledged in the contemporary art practices and markets, and also faded away the omnipresent images of Photo Journalism, Fine Arts Photography and Documentary Photography. This was the situational tale at that time. This kind of historical experience; I would call it as the curse on photography, is either similar or different from countries to countries. By somehow, I credited Manit’s practices to turn that dramatic shift.
In parallel with The Bloodless War series, Manit created another series, which became the story of the exhibition presented at Jimei x Arles 2022. Manit, meanwhile, initially saw the medium’s potential to express his individual expressions, his well-round practices as journalism, and his relationships with performance artists and art groups. These relationships were designated as the subject of his practices. In 1996, his languages, his medium and sociocultural attitudes functioned in the production of Pink Man Begins (1996) for its first time.
His earliest effort, is a typical disjunction of archival and performance with a well-known performance artist, Sompong Thawee. Manit’s archival photos work in collaboration with Sompong for its first time. The intervention in the public was lively and fresh. The man in fluorescent pink suit (or generally called shocking pink), either challenged or shocked the audience. His statements were loudly read while the bubbles had been piercing one by one, atop of the performance. It was the reproduction of the protest in 1946 by Narin Klueng (1874-1949), a writer and political activist. The artist could not resist to put pink suit on to appropriate the original Narin walking naked in the public and holding lamp, screaming, begging for political transparency. Moreover, the artist aimed to celebrate the 50th anniversary of Narin’s protest in accordance with Pink Man starting his journey.
Together with Sompong Thawee, the writer, the performance artist and the artist’s close friend, Manit has produced remarkable series of an icon; the man in fluorescent pink suit who goes everywhere with the pink supermarket trolley.
In my text for Manit’s retrospective exhibition, as part of Singapore International Photography Festival (SIPF) at Singapore Art Museum, I wrote that Manit did not take the role of a still life photographer, but rather take the role of film director. The performance was carried out as a motion picture but captured as a still life shot. Each series had its own content and interpretation. The narratives refer the knowledge, experience, and daily life of Manit as photojournalist, writer, critic, as well as social activist.
Also, the consequences of archiving that live performance led Manit to develop the next series Pink Man on Tour (1997), in parallel with the new policy launched by the Thai government to promote tourism in the country under the slogan “Amazing Thailand”. Pink Man had traveled in different touristic places, with the uncertain emotional expressions of pleasure and displeasure.
Since, Pink Man on Tour series, Manit produced an imagery of Sompong to perform as the presenter of questions on related issues occurred at that time by expressing different feelings and emotions, ignoring, confusing and sneering, depending on the circumstances.
The selected bodies in this exhibition “Memorandum: Within or Without” has brought Pink Man’s series from Pink Man Begins to Samsara. It is the tale based on true Thai cultural and socio-political history, through the eyes of Pink Man and through the lens of Manit.
