From Maiiam.com:
MAIIAM is a new private museum of contemporary art in Thailand initiated by Jean Michel Beurdeley and his late wife Patsri Bunnag, together with their son Eric Bunnag Booth. The family wishes to share their private collection, built together over the last thirty years, to everyone so that people could see and experience for themselves how art can enrich their lives. The museum was built in memory of Eric Bunnag Booth’s great great aunt Chao Chom lam, a royal consort to King Rama V. Bolstering Chiang Mai’s already vibrant art and cultural scene, MAIIAM aims to make the co-founders’ important collections of Thai and regional contemporary art, permanently accessible to the public. The museum mounts long-term and temporary exhibitions of visual art, design, and fashion, alongside performances, films screenings, special education programs, lectures and workshops to engage a wide spectrum of audiences.
Located in the district of Sankamphaeng, twenty minutes from the center of Chaing Mai, the former industrial site was transformed by the internationally active Bangkok-based architectural team all(zone).
Exhibition:
MAIIAM contemporary Art Museum presents Dreamworld #dreammantra, a solo exhibition by Mit Jai Inn (b.1960, Chiang Mai). A leading figure of contemporary art in Thailand, Mit is renowned for his colourful artworks that merges painting and sculpture techniques. The exhibition brings together recent work from the artist’s solo exhibitions Dreamworld, at Ikon Gallery (Birmingham, UK, 2021) and a new participatory project, #dreammantra and Pond (2023).
Dreamworld #dreammantra is a continuation of Dreamworld, the artist’s first solo exhibition in Europe, which toured to Jim Thompson Art Center (Bangkok, Thailand, 2022) under the title Dreamday. The exhibition embodies the artist’s vision of art “as a utopian dream within everyday life” and collective hopes for a brighter future. In recent times, the challenges of a global pandemic, climate change and global geopolitics have led to widespread disillusionment, with many people choosing to withdraw from “in real life” experience. These challenges have also forced us to imagine alternative ways of being that refuse exploitative modes of production and instead promote the value of presence, mutual dialogue and gift economies.
Circulating positive energy between humans and the natural world is at the heart of Mit’s artistic practice. He sees painting as a way of transferring fields of energy from the earth (the source of his materials) into his works, their surroundings and viewers. Often working at night, he uses his hands, fingers and palette knives to dab, slap and pull colours across rolls of unstretched canvas, blending them intuitively. The thick consistency of his paint is derived from a mixture of oils, gypsum powder, colour pigments and acrylic, often loosened with linseed oil. In time, circular patches and specks of colour are built up, creating a natural rhythm, pattern and language.
A devout Buddhist, Mit sees art as a form of “social architecture” capable of counting the controlled dynamics of consumer economies. For many years, he worked anonymously with artists and communities as part of Chiang Mai Social Installation (CMSI), giving his works away for members of the public to keep, and for artists to incorporate into their own projects. These gestures highlight Mit’s belief in his artworks as gifts, whose meaning lies in the hands of their owners, hosts and viewers.
Dreamworld #dreammantra explores the healing and social power of art through vibrant works that can be touched, walked through, stepped on and taken away. Highlighting Mit’s belief in the “living” nature of paintings, the exhibition challenges hierarchies between art and viewers, transforming MAIIAM’s galleries into spaces for dwelling, interacting and creating. Stepping into the museum, visitors will first be greeted with Pond (2023), a large pool of water dotted with hundreds of floating objects specially made for this exhibition. In the main hall, Dream Tunnel (2021) creates a room within a room, surrounding viewers who walk through it with ribbons of colour, designed to “cleanse stagnant or wounded energies”. Midlands Dwelling (2021) references the prehistoric caves in which early humans expressed their dreams as drawings, as well as the city of Birmingham, where the welded metal sculptures inside the installation were made. Dream Works (1999-) and Loops (2019-) are two ongoing series of double-sided canvases, with cuts and slits that allow them to be curved, looped, hung or placed on the ground.
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Image from Maiiam.com