Paradise is in the Chest, Hell is in the Heart Pisitakun Kuantalaeng

 

The traiphum is where all living creatures dwell, the location of the continuous loop of life, death and rebirth—endless until we become enlightened. According to Thai brahm beliefs, which incorporate elements of Hinduism, Buddhism and folk spirituality, the traiphum is divided into the three following realms.

—Kamaphum is the world in which all life forms experience cycles of reincarnation, where paradise and hell are situated.
—Rupaphum refers to the world of the brahm and exists on a higher plane. While these brahms retain a human shape—with two eyes, a nose and a mouth—they know no worldly desire, experience no pain, no hunger or thirst, and feel no taste or smell.
—Arupaphum is the world of brahms that exist only in spirit, having forsaken their human form. It is a realm of eternal souls.

Similarly, this exhibition is divided into three levels.

The underground floor—Kamalok tells a history of the never-ending cycle of reincarnations in the human world, in paradise and in hell. Video works here depict living creatures and the profound sadness ensuing from the life and death of tastes, smells, colours and Thai democracy. Sounds you hear were recorded during a military crackdown of pro-democracy protests that took place in Thailand in 2010, later remixed with music from the human realm. The inserted images—portraits of Buddha—were sent to the artist by his mother through an instant messaging app everyday since he relocated to Porto.
*No items are for sale on this level.

The first floor—Rupaloka portrays the realm of the brahms, one they have been reborn into following prolonged prayers, meditation and tireless efforts to perform good. The sculpture bears similarities with a map of Thailand and is filled with the architectural shapes and motifs of the brahms. Many of these were downloaded by the artist from the website https://www.thingiverse.com as well as merged with forms created by the artist himself using 3D printing to create a map for this realm.
*You may purchase sculptures for 150 euros each by contacting the artist or the gallery.
There are 112 varying models available.

The second floor—Arupaloka. Open your eyes wide and be confronted with the formless spirits of the virtuous brahms through drawings created by the artist, himself a pure-hearted soul. Furthermore, the artist has invited a mechanical arm (also pure as snow and devoid of worldly impulses) to trace mystic characters that serve to increase the drawings’ powers. Letters A-Z are abstractly sketched to evoke the purity of the brahms having sacrificed themselves.
*You may make a reservation for the artist’s drawings available for 150 euros each by contacting the gallery. There are 112 varying models.

The land sings uproariously
The people burdened cry out day and night—fading away burned out to ashes.
Are there braver people than these? Ready to die side by side always.
If those who stand do not sway
Do not surrender, this will be enough.
This is our truth—we are worn out but do not despair.

How much blood must we spill to wash away a society unfair
Ahead, the future is bright
Although now it is ablaze.
Tomorrow our lives will be a shadow—a single cloud of ash
Your honour is on the battlefield. A nameless fighter does not fade away
Dust on the ground will soon overturn fate.

Your honour is on the battlefield. A nameless fighter does not fade away
Dust on the ground will soon overturn fate.
Your honour is on the battlefield. A nameless fighter does not fade away
Dust on the ground will soon overturn fate.
Your honour is on the battlefield. A nameless fighter does not fade away
Dust on the ground will soon overturn fate.

bio 
Born in 1986, Bangkok, TH
Lives and work in Porto,Portugal
Pisitakun Kuantalaeng started making visual arts in 2009, soon after he became interested with music and began to experiment with how expressions shape under different media environments. He uses a variety of inspirations in his music, such as historical events, synthetic sounds, and musical instruments.
As Thai history currently unfolds under martial law following the military coup d’état on 22 May 2014, Pisitakun’s practice represents a decisive break from many of his Thai peers: he questions fundamental and increasingly universal values without merely decrying the fact of corruption or offering neat palliatives. His works are based on political speculation and the external and internal frustrations artists are subject to. Pisitakun’s works have been shown at the Bangkok Art and Culture Centre (BACC), Kuandu Biennale 2014 in Taipei, and will be participating in Indonesia’s upcoming Jogja Biennale 2019 this October.