At the exhibition’s core lies the notion of presentiment, an intuitive awareness that extends beyond rational understanding. Defined by philosopher Byung-Chul Han, presentiment does not concern only what is to come; it traverses the full expanse of temporality, revealing what already exists yet escapes articulation. Within this awareness, process and trace become vital, transforming abstract time into something both visible and felt. Through gestures of kneading, weaving, casting, folding, cutting, stitching, or even copying and pasting, the artists in Rituals of Perception embody presentiment by dwelling within the temporal cyclicality of making. Their works invite viewers to pause, to linger, to inhabit a duration rather than move through it.
In these works, material carries memory. Clay, cement, paper, and fiber—manmade or natural—are not inert substances but vessels of ancestral and societal histories. This awareness of material history invites a reimagining of perception. It asks us to consider how the body reads textures, weights, and atmospheres beyond cerebral functions, and how it recognizes in plants or plastics something that precedes thought. Such recognitions become rituals that withstand the contemporary compulsion to perform and produce. In a world driven by speed, reflective perception is an act of reclamation.
Continuing TAF’s ongoing mission to engender public engagement and education in contemporary art, the foundation will host free weekly public programs in conjunction with the exhibition, including performances by artist Sriwhana Spong, panel discussions, and docent-led tours.
