Sathorn Sunset (2018) is a project examines the nature of property development; its relationship to the city through photography and video that focuses on Bangkok’s Sathorn district – a major commercial area that includes multiple skyscrapers, high-rise condominiums and office buildings.
The work features sunset scenes taken in and around Sathorn Unique Tower from January 2018. The luxury condominium began being built in 1990 but remains unfinished after the Asian financial crisis in 1997 put a halt on funding and construction.
The tower was designed by architect turned real estate developer Rangsan Torsuwan. The 185m high tower makes use of exuberant Classical architectural elements, particularly Classical Order columns usually found in Greek and Roman architecture, which was in vogue during the economic wave of the early 90s. Rangsan Torsuwan is generally credited as an architect who popularised this particular architectural style of Classical Order columns in Thailand during the 1990s.
Sathorn Sunset is an extension of DREAM PROPERTY (2014-ongoing) and part of the Sunset series that began in 2018. The Sunset series explores economic, political and social tensions in Thailand through an examination of Ghost Tower in Sathorn Sunset (2018), 7/11 Convenience stores in A Convenient Sunset | A Convenient Holdup (2019) and Anonymous paths in Room no.2 and Sunset on Unnamed Lanes (2020).
Miti Ruangkritya (1981) is based in Thailand. His work focuses on an issue or a topic surrounding his life. In particular, the city often surfaces as a dominant subject – from its environments and people and to its transformation and growth.
In 2016 he was selected as one of the finalists of the Sovereign Asian Art Prize and was again nominated in 2020.
Exhibition in 2019 includes a solo exhibition, A Convenient Sunset | A Convenient Holdup (Bangkok CityCity, Thailand). Group exhibitions include Temporal Topography: MAIIAM’s New Acquisitions; from 2010 to Present (Maiiam Museum, Chiangmai, Thailand), Long March Project: The Deficit Faction (Long March Space, Beijing, China), GAP: A distinct to reality, (DECK, Singapore) and Electrical Moods, (Stadtgalerie Saarbrücken, Germany).
He has produced 20 publications since 2011 including 4 books in 2019 through self publishing or co-producing with gallery and publisher such as Bangkok CityCity (Thailand) and Onestar press (France).
His work and publication are collected by Singapore Art Museum, Maiiam Contemporary Art Museum (Thailand), The Backers Foundation (Japan) and Library at Tate (UK), Tai Kwun (Hong Kong), Metropolitan Museum of Art (US) and Centre for Artists’ Publications at Museum fur Moderne Kunst (Germany)
11C and Bangkok CityCity Gallery
19cm x 29cm x 0.5cm
Edition of 300