Today will take care of tomorrow
2022 - Film & Video (Film & Video)
40:00 minutes
Pratchaya Phinthong
Pratchaya Phinthong’s work has explored the mineral and karmic economies of Laos, a country that shares language, beliefs, and a long border with his own native region of Isaan (Northeast Thailand). The most bombed nation on earth, Laos still bears the physical and mental scars of the U. S. military’s epic aerial offensive, launched largely from bases in Isaan, during the Second Indochina War. Between 1964 and 1973 the US dropped an estimated 250 million cluster bombs on Laos. As much as 30% of them remain there in the ground, waiting to explode, despite sustained transnational efforts to clear them. The video work, Today will take care of tomorrow , borrows its title from a poem by Paul Malimba about the country’s beautiful but dangerous landscape. The subtly defamiliarizing gaze of an infra-red camera seeks out trees that have absorbed shrapnel from this indiscriminate violence, around the ruins of an old Buddhist temple half-destroyed by the bombing. Not only have the trees assimilated the foreign matter and thrived despite their wounds, but years later the embedded metals act like accidental amulets, destroying the blades of illegal loggers who must then leave these areas alone. As if protected by an invisible force, the forest has absorbed one violence, which shields it against another. That one time should take care of another may seem like wishful thinking, but this is no personification. The aphorism points to circulations that are both more substantial and more than human. Pratchaya exercises his trademark poetics of conversion and substitution in an ongoing collaboration with inhabitants of Napia Village, near the prehistoric Plain of Jars in Laos’s central Xiangkhoang Plateau. Here, the mineral surplus of global conflict is melted down in small family-run foundries and reborn as decorative or functional domestic objects.
Pratchaya Phintong’s works often arise from the confrontation between different social, economic, or geographical systems. They are the result of a dialogue, and bring all their poetic forces from an almost invisible artistic gesture. From his travels, the artists collects objects, materials, and stories that he assembles in his work. He often looks at gathering forms and matters that are opposite but that complete and correspond to one another.
Colors:
Related works sharing similar palette
© » KQED
SF IndieFest Is a Valentine to Movies and Movie Lovers | KQED Skip to Nav Skip to Main Skip to Footer upper waypoint The Do List SF IndieFest Is a Valentine to Movies and Movie Lovers Michael Fox Feb 8 Save Article Save Article Failed to save article Please try again Email Steve Zahn in the SF IndieFest opening night film, 'LaRoy,' playing Feb...
© » KADIST
Prabhakar Pachpute
2020Calling attention to campaigns for land rights, survival, and sovereignty, Prabhakar Pachpute’s recent works consider how farmers in India use their bodies in performative ways during acts of protest...
© » TWOCOATSOFPAINT
Colin Brant’s communion with the inconstant – Two Coats of Paint Colin Brant, Lake Louise / Poppies, oil on canvas, 50 x 60 inches Contributed by Natasha Sweeten / You might consider the title of Colin Brant’s quietly inspiring exhibition “Mountains Like Rivers,” currently on view at Platform Project Space, an invitation to a world flipped on its end: what’s inherently solid becomes liquid, what’s up is now down...
© » KADIST
Larry Bell
1979Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...
© » KADIST
Leticia Ramos
2021Leticia Ramos’s film DROPSPIKE is the second of a five-part film project entitled STORIES OF THE END OF THE WORLD ...
© » KADIST
Jakob Kudsk Steensen
2018The virtual reality work Aquaphobia by Jakob Kudsk Steensen examines it’s title subject matter – the fear of water...
© » FLASH ART
Twilight Oddities, Real Nightmares, Queer Errands, and Other Daydreams: The Gothenburg Biennial | | Flash Art Flash Art uses cookies strictly necessary for the proper functioning of the website, for its legitimate interest to enhance your online experience and to enable or facilitate communication by electronic means...
© » ART & OBJECT
Marco Almaviva's Explorations Beyond the Canvas | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
© » LITHUB
On the Serious Business of 19th-Century Fairy Paintings ‹ Literary Hub Craft and Criticism Fiction and Poetry News and Culture Lit Hub Radio Reading Lists Book Marks CrimeReads About Log In Literary Hub Craft and Criticism Literary Criticism Craft and Advice In Conversation On Translation Fiction and Poetry Short Story From the Novel Poem News and Culture History Science Politics Biography Memoir Food Technology Bookstores and Libraries Film and TV Travel Music Art and Photography The Hub Style Design Sports Freeman’s The Virtual Book Channel Lit Hub Radio Behind the Mic Beyond the Page The Cosmic Library The Critic and Her Publics Emergence Magazine Fiction/Non/Fiction First Draft: A Dialogue on Writing Future Fables The History of Literature I’m a Writer But Just the Right Book Keen On The Literary Life with Mitchell Kaplan New Books Network Read Smart Talk Easy Tor Presents: Voyage Into Genre Windham-Campbell Prizes Podcast Write-minded Reading Lists The Best of the Decade Book Marks Best Reviewed Books BookMarks Daily Giveaway CrimeReads True Crime The Daily Thrill CrimeReads Daily Giveaway Log In Via Pegasus Books On the Serious Business of 19th-Century Fairy Paintings Jennifer Higgie Considers the Significance of a Mystical Artistic Tradition By Jennifer Higgie January 5, 2024 Featured Image: Oberon, Titania and Puck with Fairies Dancing, by William Blake Much like the present moment, the nineteenth century was a time of rapid social and technological change and political turmoil...
© » ARTS EQUATOR
Migrant Ecologies Project: A Grain of Wheat Inside a Salt Water Crocodile | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Grain of Wheat July 8, 2019 After what seemed like a long walk in silence and darkness into the mountain we came to an almost mythological-looking door with the words ‘Fröhall’ – seed room – written upon it...
© » KADIST
Sandra Monterroso
2023Presented as part of a recent group of works titled The Paradox of Healing, Rhombus for Healing No...
© » KADIST
Shooshie Sulaiman
2005Shooshie Sulaiman’s pictures of unidentified figures initially appear alien and even monstrous: rendered hairless in unusual and even sickly colors, they stand in stark contrast to the aesthetic ideals of conventional portraiture...
© » SLASH PARIS
Peter Doig — Reflets du siècle — Musée d’Orsay — Exhibition — Slash Paris Login Newsletter Twitter Facebook Peter Doig — Reflets du siècle — Musée d’Orsay — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Peter Doig — Reflets du siècle Exhibition Painting Peter Doig,Two Trees, 2017 (Détail) The Metropolitan Museum of Art, New York © Peter Doig...