Exhibition · Adult Material · Bangkok
Shen Wei Emperor (Ball), 2017 45x30 Inches Edition of 3 + 2AP Shen Wei Emperor (Ball), 2017 45x30 Inches Edition of 3 + 2AP VIEW WORKS Across sculpture, photography, installation, and design, the artists in this exhibition move against inherited structures of identity, masculinity, and cultural expectation. Through performative acts of discipline and submission, queer subjectivity emerges as transformative, continuously negotiated through space, memory, matter, and the body. Domestic interiors, bodily adornment, architectural motifs, and inherited symbols become charged sites where intimacy, vulnerability, desire, and power are contested and reimagined. For Dylan Chan, the parquet floor functions as both literal surface and psychological architecture. Associated with comfort, familiarity, and domestic stability, it becomes in Chan’s practice a shifting terrain onto which displacement, longing, and fractured belonging are projected. The domestic fragment operates as a quiet but persistent register through which intimacy is framed, negotiated, and unsettled. In the work of Oat Montien, inherited Americana is reclaimed and reconstructed through a deeply personal queer lens. Drawing from the remnants of his late father’s cowboy-themed bar, Montien transforms patriarchal emblems into symbols of identification and resistance. The cowboy—an archetype of hypermasculinity—becomes a site of queer appropriation, while Rodeo Queen, his penis-embroidered spanking horse, playfully subverts the machismo of rodeo culture through gestures of dominance, submission, and camp theatricality. The practice of Gregor Jahner extends these conversations into the realm of design and bodily performance. His Pierced Stool destabilizes distinctions between function and ornament, seriousness and play. Referencing queer body adornment and fetish aesthetics, the object exists simultaneously as sculpture, provocation, and tactile companion, sustaining a tension between exposure and restraint. In…