Sebastien Tayac

Cette etude, concue comme un etat des lieux des peintures murales dans les monasteres de six districts de la province de Chiang Mai, a permis d’une part d’etudier les differents acteurs de la commande artistique [commanditaires, donateurs, artistes] et d’autre part de definir ces peintures en quatre groupes selon une classification a la fois chronologique et stylistique. Les multiples facteurs susceptibles d’influencer la presence ou l’absence de peintures dans les temples ont ete egalement examines. Une comparaison de l’iconographie presentee dans ces temples entre les quatre groupes retrouves a ete egalement entreprise afin d’affiner les caracteristiques de ces derniers. En parallele, une attention toute particuliere a ete portee aux artistes travaillant dans les temples afin de mieux connaitre ces individus meconnus et ignores. Formations, milieux sociaux, place de la femme artiste, inspirations et influences, autant de themes evoques au sein de cette etude.

Whether approaching dawn or twilight, current art criticism is in a phase of profound change, generating many questions about its multidisciplinary essence. By confronting past and present Western writings about art criticism from philosophers, art historians, art sociologists, and artists from the 18 th to the 21 st century, this article gives a general overview of the various definitions of art criticism for students or lecturers unfamiliar with the subject. By examining the discrepancies and similarities between different theories, the aim of this article is to compare the various historical origins of art criticism and to highlight questions concerning the philosophy and methodology of art critics, so that we may examine the present and future relevance of art criticism in the art world.

The political, social and religious ideas of artists are usually put aside to present only their thoughts on the artistic field. To fill this void, the article focuses on unveiling the commitments and libertarian creeds of artists of the symbolist nebula at the end of the nineteenth and the beginning of the twentieth century; namely, Paul Gauguin, the group of the Nabis and Joséphin Péladan.

After a brief presentation of the context, the methodology used and the
classification of murals paintings inventoried in six districts of the province
of Chiang Mai demonstrated four groups (old paintings, over 110 years), late
Lan Na and “intimate style” (less than 110 years), the era of printing: the
advent of mass reproduction, the movement of “neo”). The aim of this article
is to define the ins and outs of the second group. Described as “intimate style
or period”, this moment of transition is perceived between the traditional
paintings of Lan Na and those inspired by the printed postcards and posters
from Bangkok. The study of this second group allows us to lift the veil on
the life and production of two unsung and ignored local artists: Bunpan
Phongpradit and Chit Khanthaprap.

The objective of this article is to show the critical thinking of the scholars concerning the situation of the artists in the second part of the 19th century mainly in France. This article focuses on the function of art and the role of the artists in the society. In this work, the readers will understand the exchange of views on art, between Social Art and Art for Art’s sake. The opinions in this study are based on academic writings, journals, books, personal diaries and correspondences of thinkers, artists, politicians and art critics, in order to present the elements to elaborate a new debate about the subject.

Well-known Thai contemporary artists such as Rirkrit Tiravanija (b. 1961), Kamin Lertchaiprasert (b. 1964)—and especially Torlarp Larpjaroensook (b. 1977) and Samak Kosem (b. 1984)—use daily-life objects in their contemporary art practices to focus on issues of Thai society and of
humanity in general. Chiang Mai-based artist Torlarp uses insignificant found objects and old daily items from secondhand shops to create functional mixed-media paintings and installations. Exhibited in Thailand, Singapore, and Taiwan, his work explores memories of his childhood
to illustrate cycles of migration in different parts of Asia. Samak uses elements of daily life in his photography and video to examine the results of his anthropological research about homosexuality, gender, and the condition of women in the Muslim culture of Thailand’s deep south.