TWIST OF THE FAN

Most Thai people are familiar with the meaning of the expression ‘Glub Talapat’ (flip the fan) as much as they are able to identify the object known as a ‘Talapat.’ But if we were to further explore what the object really is from its functionality and role in Buddhist ceremonies to the tradition and norm behind the evolution of its design, the answer may not be as clear as one had hoped. The general knowledge of Talapat or talipot fan is that it is a fan-like tool Buddhist monks put in front of their faces when they pray that has embroidered details that are highly traditional, ranging from the symbols of the Royal Family’s members to logos of temples. Some contain stories related to Buddhist philosophy and teachings such as the words ‘Born, Grow Old, Get Sick and Die’ or ‘Forever Departed, Infinite Rest, No Return, Inescapable.’

Those who are keen followers of art history might be familiar with the vivid graphics of Prince Chitcharoen, the Prince Narisara Nuvattivongse’s design while the Talapat with the famous character Mr. Hell Yeah! specifically designed by Slowmotion Studio for the funeral of the late Pharuephon Mukdasanit (Mamafaka) is still in the memory of the street art enthusiasts. Such obscured diversity is why we are particularly interested in the group exhibition, ‘Flip the Fan,’ that has Hongtae or Konthorn Taecholarn as its curator with 10 artists/designers invited to express their artistic interpretations utilizing ‘Talapat’ as the medium.

Within the gallery space of YELO House is where we begin to readjust our understanding about the object through an introductory video of the exhibition where artists talk about Talapat from their own points of view. The curator then reveals that the root of the word ‘Talapat’ can be simply translated to a ‘palm leaf fan’—nothing more. But with the role of the fan in religious ceremonies, Thai society has gradually formulated and paired unquestioned spiritual meanings with Talapat. But once the embellished perceptions are eliminated, new artistic possibilities emerge and call upon the use of the fabric of Talapat as a new canvas.

As a result, the works showcased in the exhibition are incredibly diverse. Some of the artists created more than one piece proposing new possibilities for the object known as Talapat with different degrees of creativity and functionality that are free from all institutional constraints. The focus is put on the object’s straightforward functionalities, from the installation of a built-in microphone that offers functional convenience for the monks to the more contemporary presentation of teachings and words of wisdom. While some of the works still follow Buddhist conventions, there are a number of works that incorporate elements from different religions and cultures, or even the use of projection mapping to show the connection between the two sides of Buddhist teachings. The presence of a QR code on each of the works reaffirms the exhibition’s attempt to eliminate the preconceived notions and somewhat untouchable status of Talapat. Each code links to a video clip with the artist who created the fan explaining the concept behind each work.

Having seen all the exhibited works, what stood out the most seems to be the simple, unembellished Talapat—the palm leaf fan that is the origin of it all. The entire process of the exhibition achieves what it intended to do, for it gets viewers to question irrational beliefs and look for new possibilities of artistic expression, which is something that can be applied to many other issues in our society.