展覽時(shí)間：2008年11月25日-12月21日
開幕酒會(huì)：11月25日下午16：00
展覽地點(diǎn)：索卡藝術(shù)中心 北京 北京市東城區(qū)東四北大街107號(hào)天海商務(wù)大廈B座101室
Soka Art Center, Beijing
November 25 - December 21 2008
Reception: November 25, 16:00
Natee Utarit will attend the reception.
北京索卡藝術(shù)中心即將展出泰國(guó)藝術(shù)家納堤.尤塔瑞個(gè)展: 透明幸福(Transparency Happiness) 。雖然這是第一位曼谷藝術(shù)家在中國(guó)的個(gè)展。索卡藝術(shù)中心將展出納堤10張剛從畫架上完成的新作。畫布皆是大尺寸，持續(xù)藝術(shù)家自2007年以來 "夢(mèng)想希望與完美的興味"的表現(xiàn)形式，探討泰式獨(dú)特的文化與社會(huì)政治主題。
根據(jù)藝術(shù)家的自述，他一直在努力嘗試希望能通過不同的對(duì)象來找出屬于自己的繪畫語言，在本次展覽中無意用畫面來解釋任何理想主義的現(xiàn)象。因?yàn)橐脒_(dá)到這個(gè)宏偉的目標(biāo)光憑眼前這些作品是不夠的。簡(jiǎn)單地說，所有這些作品只能以藝術(shù)的語言和方式從一些側(cè)面對(duì)上述描述過的思想進(jìn)行部分描述。他更希望觀眾那按自己的心意去自由理解畫面外的含義，因?yàn)槟遣攀撬胗懻摰膯栴}。
藝術(shù)家對(duì)過去和回憶和感覺讓他對(duì)亞洲背景下虛幻出來的西方文化比較感興趣，過去特別是兒時(shí)的感覺，這主要參與一些舊的印刷品和老玩具；泰文化中的神話傳說；西方對(duì)泰國(guó)（和世界）歷史的影響在他的作品中十分常見。
納堤.尤塔瑞的作品越來越受歡迎，其中精湛的技巧，就像21世紀(jì)中，在亞洲許多名牌林立的購(gòu)物中心里誘惑著藝術(shù)愛好者擁有。在納堤毋庸置疑的熟練技法背后，是嚴(yán)謹(jǐn)?shù)乃伎寂c完全單線方法表述，這讓他成為最重要-如果無誤的話-為納堤世代中最重要的藝術(shù)家。鑒于過去對(duì)感知的提問，追尋表達(dá)問題意識(shí)的方式，已成為納堤的研究中心。過去兩年的畫作，展現(xiàn)藝術(shù)家的繪畫語言外，也表達(dá)對(duì)泰國(guó)廣面的社會(huì)關(guān)懷。有些在索卡展出的作品（月光星期一，黃旗與橄欖天）與東南亞王國(guó)內(nèi)在情緒相關(guān)，可解讀為對(duì)泰國(guó)當(dāng)代藝術(shù)歷史來源的大范圍文本批判檢驗(yàn)的首要議題。其它的作品，(削筆刀，青澀)反映消費(fèi)主義，順從，貪婪，戰(zhàn)爭(zhēng)與文化的意義，提供全球觀點(diǎn)。即使有了畫布的外表，納堤是否拋棄以繪畫作為實(shí)驗(yàn)？并非全然。取而代之的是，藝術(shù)家在實(shí)質(zhì)的主旋律更添上一層到他早已令人驚嘆且具有概念的作品。
Beijing's Soka Contemporary Space is featuring recent work by Thai artist Natee Utarit in a show called 'Transparency Happiness'. Though this is the Bangkok painter's first solo in China, he will be familiar to those in the Chinese capital who remember several of his pictures from Thai contemporary group exhibition of 2007 'Charm and Chasm'. At Soka Natee presents 10 oils, fresh off the easel. The canvases, all large-scale, continue the exploration of the Thai-specific cultural and socio-political themes first tackled by the artist in his 2007 Bangkok manifestation 'The Amusement of Dreams, Hope and Perfection'.
According to the artist's statement, it isn't his intention to explain any kind of idealistic phenomena through the paintings in this exhibit here. That would be asking more of painting than it is capable of achieving. Simply put, all of these paintings were inspired in part by the thoughts he's elaborated above, using the language and function of art. Anything beyond this he would like to attribute to concepts derived from experience outside the paintings which can explain and answer questions to issues through a process of its own.
Natee's sense of memory and the past led him to the mystification of western civilization in the Asian context: First, a sense of the past, and childhood, in his reference to antique prints and toys; secondly, myths in Thai culture; and finally, Western influence in Thai (and world) history.
The works of Natee Utarit are increasingly sought after, their technical virtuosity seducing a younger generation of art-buyers brought up in the slick and brand-hawking shopping malls of 21st century Asia. But behind Natee's indubitable mastery of paint lies an intellectually rigorous and wholly singular approach to representation that makes him one of the most significant, if misunderstood, artists of his generation. Whereas in the past the questioning of perception, and the modes used to express that questioning, have been at the heart of Natee's search, paintings of the last two years, in addition to their play on artistic language, address Thailand's wider societal concerns. Some of these at Soka (Moonlight Monday, Yellow flag with olive sky) relate to affairs wholly indigenous to the Southeast Asian kingdom and can thus be read in the context of a larger body of Thai contemporary art that puts the critical examination of sources of history at the top of the agenda. Others, (The Shapener; The Green), reflections on consumerism, conformity, greed, war and the meaning of culture, offer universal insights. With these outward-looking canvases has Natee Utarit abandoned painting-as-experirment? Not likely. Instead the artist is adding a layer of thematic substance to his already compelling conceptual repertoire.
【編輯：霍春?！?/p>
