University of California, Berkeley, Berkeley, USA
In May 2017, in the midst of preparations for the upcoming funeral of the late honorable majesty King Bhumibol, an artist involved in the sculpting of a Garuda statue for the royal funeral pier posted pictures on social media of the statue which included Apple, Facebook, and Google logos embedded in the wings and belt of the figure. Despite the artist’s assertions that the inclusion of these symbols was meant to index the great leaps made in technology in Thailand during the late king’s reign, backlash ensued. Many saw the incorporation of these logos as an advertisement for these companies, considering them extremely inappropriate for the funeral of the Buddhist leader of the nation, and these logos were eventually removed. In this paper, I examine two main questions: What deems the use of Buddhist aesthetics and architecture as authentic or appropriate? How has the role of spirituality changed over the past twenty years in art and architecture? In doing so, I connect the work of late-twentieth century artists like Navin Rawanchaikul and Chalermchai Kositpipat to the changing aesthetics of Bangkok’s contemporary commercial landscape.
Biography: To come