Jakkai Siributr:
Everybody Wanna Be Happy 賈 凱･斯里布特:人人嚮往快樂
6 Conversation Finding True Happiness: Jakkai Siributr’s Artistic Journey 對談 尋找真正的快樂： 賈凱・斯里布特的藝術之旅
32 Exhibition Documentary 展覽紀錄片
34 Photographs of Works 展覽圖片
86 Curator's Essay Jakkai Siributr: From His Textiles to Yours, and Ours 策展人的解讀 賈凱・斯里布特：從自我至他人， 再至眾生的紡織藝術
106 List of Exhibited Works 作品總覽
114 Staff Credits 團隊名單
Finding True Happiness: Jakkai Siributr’s Artistic Journey 尋 找 真 正 的 快 樂：賈凱・斯里布特的藝術之旅
TM Takahashi Mizuki
JS
高橋瑞木
TM
The exhibition showcases your major artworks
from the last two decades. How do you see the creative journey you went through? It is unusual to see this many works by one artist displayed chronologically on the same floor, even for you – the artist himself.
Jakkai Siributr 賈凱・斯里布特
TM
間 的 主 要 藝 術 作 品，你 如 何 看 待 自 己
的 創 作 之 旅？就 連 藝 術 家 本 人，能 看 到自己這麼多作品在同一樓層按時 序展出，也是個難能可貴的機會。
JS JS
Even though we discussed which works would
come to the show before, this is the first time to see everything all at once. Usually, when a show ends or when my works are sold, I don’t get to see them again. Even if they come back to me, they are often put in storage. It was therefore a nice surprise to see the works created in different times all in one place. When looking at them, I can see my growth as an artist and as an individual. TM
The first work in the show, Untitled (2005;
Fig. 1), looks very different from your recent works
這個展覽展示了你過去20年
我們之前已談過哪些作品會
參 展，但 這 是 我 第 一 次 同 時 看 到 所 有 作 品 陳 列 眼 前。通 常 展 覽 結 束 或 作 品
出 售 後，我 就 不 會 再 看 到 它 們 了，即 使 作 品 回 到 我 那 邊，通 常 也 是 存 放 起 來，所 以 今 次 看 到 不 同 時 期 的 作 品 匯
集 在 同 一 地 方，實 在 是 個 莫 大 驚 喜。 看 着 這 些 作 品，我 能 看 到 自 己 作 為 藝 術家和個人的成長。
TM
展 覽 的 第 一 件 作 品《 無 題 》
（2005年，圖 1） ，無 論 在 風 格、手 法 甚
CONVERSATION
對談
7
1
Untitled 《無題》 2005
in terms of style and method, or even context. The work emphasises different textile textures on the surface. While achieving visual beauty with elaborate craftsmanship, it doesn’t show any narrative. I wanted to begin the show with this piece to represent your starting point as an artist. JS
Untitled has a different meaning to me. The
abstract piece shows how I, as a young artist starting out, developed my style during the early years; however, it also represents my struggle trying to break away from abstraction. Interestingly, when I saw the work in the show, I had a different feeling because I could see a strong connection between this early piece and my recent works in terms of visual form. So, throughout the exhibition, I can see my experimentation with style and ideas. I came back to abstraction in the end, but with different contexts.
至 語 境 上，也 與 你 的 近 作 大 不 相 同。 此 作 強 調 表 面 的 不 同 紡 織 紋 理，雖 以
精 湛 工 藝 呈 現 視 覺 美 感，卻 沒 展 現 任 何 敘 事 性。我 選 這 件 作 品 作 為 展 覽 的
開 端，藉 此 展 示 你 作 為 藝 術 家 的 起 步點。
JS
《 無 題 》對 我 來 說 有 特 殊 意
義，這 件 抽 象 作 品 既 展 示 了 我 在 年
輕 時 期 如 何 發 展 自 己 的 藝 術 風 格， 同時亦代表着我嘗試脫離抽象的
掙 扎 過 程。有 趣 的 是，當 我 在 展 覽 看 到 這 件 作 品，卻 有 另 一 種 感 受，因 為 我看到這件早期之作與我的近期作
品 在 視 覺 形 式 上 有 着 強 烈 的 聯 繫。 因 此，在 整 個 展 覽 中，我 能 看 到 自 己 在 風 格 和 想 法 上 的 各 種 實 驗，最 後 我 又回歸抽象藝術，但語境已經不 同。
40
PHOTOGR APHS OF WORKS
展覽圖片
41
Transient Shelter 2014 Decorated uniforms, self portraits, video Dimensions variable Courtesy of the artist
《臨時居所》 2014 帶有裝飾的制服、 自拍肖像照片及錄像 尺寸可變 藝術家提供
76
There’s No Place 2023 Hand embroidery on hemp/cotton fabric Dimensions variable Courtesy of the artist
PHOTOGR APHS OF WORKS
《沒有地方》 2023 麻/棉布手工刺繡 尺寸可變 藝術家提供
展覽圖片
77
86
Jakkai Siributr: From His Textiles to Yours, and Ours TAKAHASHI, Mizuki
CUR ATOR'S ESSAY
策展人的解讀
87
as the Karen, Hmong and Lisu also maintain rich traditions of weaving and embroidery. Textile techniques have been passed down through families and communities, and most of their textiles are intended for everyday use rather than museum or gallery display.
D
Thai textile art is, therefore, often associated
tranquillity that makes one forget the bustling
pioneering artist who demonstrates how
city outside. Each room of his Tudor-style
textiles can serve as a medium in fine art.
house is painted in a different colour, such
An impetus for this is the textile and fine art
as deep magenta, purple and peppermint
education he received in the US. However,
green. Siributr’s contemporary art collections
upon his return to Thailand, Siributr began to
are hung on the wall, while an assemblage
immerse himself in re-learning his country’s
of vintage ceramics inherited from his
culture, religion and history. In the process
family is tucked away in antique cabinets.
of unlearning, he had to reconsider his
Amid the apparent silence, the discreet
language of fibre art acquired in the West
narratives of the objects and artworks
and reconstruct his style.
espite its central location in
with the production of exquisitely woven
Bangkok, the compound of Siributr’s
fabrics for utilitarian purposes. Against
home and studio is enveloped in a
this backdrop, Siributr has emerged as a
blend into a polyphonic whisper within the manor. The contrast between the serenity
Siributr was born in Bangkok in 1969 as the
of the estate’s grounds and the multitude
second son of Siri Siributr and M.R. Saisingh
of stories resonating throughout the house
Siributr. His maternal grandparents, H.S.H.
naturally evokes Siributr’s textile works, in
Prince Subha Svasti and Mom Smoe, were
which conflicting elements such as personal
descendants of King Rama IV (reigned
voices and national narratives, life and
1851–1868). Due to the family’s close ties
death, egocentrism and altruism, resignation
to the Thai establishment, they were also
and hope are woven and sewn together.
involved in the national political turmoil
The artist’s multi-layered artistic practice is
following World War II. In 1946, Siributr’s
marked by hybridity and complexity. Through
great-uncle, Chit Singhaseni, who was one
the works in the exhibition Everybody Wanna
of the young King Rama VIII’s pages, was
Be Happy at Centre for Heritage, Arts and
accused of involvement in the mysterious
Textile (CHAT) in 2023, this essay examines
death of the king – whether it was suicide or
Siributr’s unique creative journey, tracing how
murder remains unclear to this day. Despite
he broke through boundaries of textile art in
claiming innocence with two other pages,
the Thai context, elevating it from an existing
Singhaseni was eventually executed in
craft or applied art form to a medium for
1955 after lengthy trials. His wife and seven
storytelling, critique, dialogue and solidarity.
daughters then came to live on the Siributr family’s estate, and the young Siributr
While industrialisation led to a decline in
witnessed the tragedy of these abandoned
weaving workshops, traditional Thai silk is
women from an early age.11
still primarily produced in the northeastern regions of Thailand. Ethnic minorities such
At the age of 15, Siributr was sent to a