No Patents, All Ideas: Unpacking Power in Pratchaya Phinthong’s Work
Parachute Cloth and Shrapnel, Rayon and metal, Pratchaya Phinthong, c. 1942 - 1945, exhibited at No Patents on Ideas at Singapore Art Museum
An Art Review of Singapore Art Museum's Exhibition: No Patents on Ideas
From the brightly lit entrance of the Singapore Art Museum (SAM), wrapped in an atmospheric hum of indistinct sounds, I step into No Patents on Ideas, Pratchaya Phinthong’s first solo exhibition in Singapore, curated by Selene Yap. As I move into Gallery One, the contrast is distinct as the ambient noise fades and the darkened space is illuminated only by a projection at the far end of the room. Known for his confrontational conceptual art, Phinthong unravels the unknown and unseen, using everyday materials, economic systems, and historical narratives to reveal hidden structures of power, labour, and value (Singapore Art Museum n.d.). With seven artworks on and off-site that span Phinthong’s two decade long career, No Patents on Ideas invites visitors into a contemplative space encouraging us to confront the mechanisms that quietly shape our daily lives. But how does No Patents on Ideas succeed in making these hidden forces feel tangible, drawing us into deeper reflection on the systems that shape their world?
The projection at the far end of the gallery serves as the primary light source, casting a glow over the darkened space. The layout conceals three of the five artworks behind a wall, revealing them gradually. A small, dimly lit window in the wall showcases a threadbare bright yellow sheer cloth alongside a rusted piece of shrapnel. The projection's overpowering light fills the room. Positioned parallel to the floor, the projection appears slightly distorted from afar but sharpens upon approach. A gentle incline of the gallery floor guides us toward the large screen, where the imagery comes into focus.
Set against a black background, Undrift, commissioned by the museum, presents a slow cascade of banknotes of various world currencies. Each note drifts downward with a slight rotation, shifting unpredictably and never in a straight line. The notes’ vibrant colors fill the screen, with some appearing to float closer before fading away, revealing markings on their surface. At intervals, Undrift abruptly shifts to Untitled (Singapore), replacing the dark backdrop with a vast blue sky. Large clouds stretch across the screen, beneath one a small jet appears, its scale diminished against the expansive background. We are immersed in a rich historical narrative in No Patents on Ideas. The first artwork features Parachute cloth and shrapnel made of rayon and metal, revealing the personal story of a Prisoner of War who kept these remnants close. This piece not only uncovers intimate facts but also connects to the broader narrative of material evolution, illustrating how ripstop nylon has replaced rayon as parachute material. The rayon offers insights into the era when these pieces were made, emphasising the significance of materials in both personal and collective histories.
The floor, carpeted with nylon, resembles a picnic mat, inviting us to sit or lie down to look at the overhead projection screen, made of ripstop nylon. Undrift recreates a stock screensaver unsolicitedly downloaded onto Phinthong's personal computer by a Bangkok-based computer repair shop, featuring animated banknotes from various foreign currencies in his personal collection that soar and fall across the screen. A cascading graphic of money enlarging toward us, initially evoking tense anticipation. This repetitive, enveloping imagery gradually becomes hypnotic, drawing me in and making it difficult to look away. The movement of the banknotes is tied to real-time wind speed readings from meteorological stations in Singapore, subtly connecting the artwork to external forces.
The varying speeds at which the money falls signals weather conditions and wind speeds outside the gallery. As the wind speeds shift, so does the projection’s rhythm, from a slow, hypnotic descent, to a chaotic scramble of banknotes flying unpredictably across the screen. This contrast evokes both curiosity and a sense of frustration, as I struggle to catch a clear glimpse of the banknotes but remain powerless to slow them down.
The connection between the artwork and the environment transforms the gallery into a liminal space, merging the outside world with this contemplative setting. By recreating a familiar screensaver filled with his personal collection of banknotes, the artist invites speculation about his own lifestyle: where he might have travelled, lived or perhaps accumulated wealth.
The projection abruptly shifts to Untitled (Singapore), showcasing the skies of Udon Thani in northeastern Thailand, where an F-16 jet fighter crosses the horizon as part of a military training exercise linked to a 15-year agreement between the Singapore and Thai governments regarding access to Thailand’s air force training facilities. This imagery also serves as the wallpaper for monitors at the reception of the SAM. When visitors arrive to purchase tickets, the receptionist activates the computer, illuminating the monitor to display the Udon Thani skies with the F-16, simultaneously transforming the scenery within the gallery walls. Just as locals in Udon Thani look up to see an F-16 jet overhead, we find ourselves gazing up at the projected aircraft. As my eyes adjust to the change in brightness, curiosity gives way to unease. The casual, passive position on the floor contrasts sharply with the military presence above, evoking vulnerability which reminds me of larger power structures at play.
The gallery space was strategically designed to enhance the exhibition’s themes. Dim lighting, punctuated by the projection’s glow which is a pervasive influence in the gallery. A subtly inclined floor creates a sense of unease, signaling that something is amiss yet not immediately apparent. Additionally, the display of ripstop nylon and its predecessor rayon, in the same space highlights material evolution, reinforcing the exhibition’s narrative.
Pratchaya’s works speak volumes, and the exhibition builds upon this to connect us with the artwork through his usage of everyday materials, but altering them to include a tinge of unfamiliarity, evoking thought in the process. Both Untitled (Singapore) and Undrift are presented on ripstop nylon used for stunt kites. Stunt kites give their handlers control over their movement in the sky, but here, visitors have no agency over what unfolds on the screen. This lack of control mirrors the powerlessness of locals in Udon Thani, who have no say in what appears in their own sky. The sight and sound of an F-16 fighter jet soaring through the sky is a familiar experience for me, as a Singaporean, whether at the National Day Parade or on Total Defence Day, where these jets dominate the skies in a display of national strength (quoted in Rounds 2019). However, in No Patents on Ideas, this familiar image takes on a more unsettling tone. The sudden and unannounced appearance of Untitled (Singapore) disrupts the hypnotic flow of floating banknotes, reflecting intrusion on multiple scales: within the gallery - as the jet interrupts Undrift, within the museum - as a visitor enters, and in the Udon Thani - as the jet invades their skies.
The daily incursions of Singaporean fighter jets into Udon Thani’s airspace mirrors a historical precedent: Pratchaya Phinthong’s birthplace, Ubon Ratchathani, was once home to a United States military base during the Vietnam War, leaving lasting cultural and social impact on the local community (Pronpatoom and Wang 2022, 223). This cyclical nature of military presence and foreign intervention highlights a recurring theme: decisions made on a government level, while strategic in nature, deeply affects civilians on the ground. By drawing parallels between past and present, Undrift exposes the enduring consequences of these geopolitical forces.
Born into a Buddhist family who ran a printing business greatly influenced his later works, an example being Undrift (Duong 2025) . Buddhist philosophy places a great importance on anicca, the concept of impermanence (Wijesekera 1960, 4). Pratchaya’s cascading banknotes echoes the transient nature of wealth. Additionally, the way the banknotes move according to the wind, reflects external forces beyond human control, reinforcing the Buddhist principle that all things are subject to change and interconnectedness (Wijesekera 1960, 5). His childhood upbringing in a printing business also manifests itself within this work’s conceptual approach. Printing is the process of multiplication, creating iterations of the original. Similarly, Undrift is a reproduction of an existing screensaver, personalising it and creating an immersive, dynamic artwork displaying the hypnotic effect of money, unattainable to us, the viewers, and originating from the top, symbolising the pyramid of capitalist system. Along with the themes of military impact in Untitled (Singapore), the interaction between both artworks creates a powerful commentary between capitalism and militarism.
In No Patents on Ideas, the link between capitalism and militarism is clear, especially in the aviation industry. Private defense companies work together with governments to produce fighter jets, shaping policies that justify higher military spending in the name of security (Gansler and Lucyshyn 2015, 1-6). Both artworks show how military power is not just about defense; it is also driven by economic and political interests. Aviation, seen as a sign of progress, is revealed as a tool of control, where profit takes priority over civilian impact, fueling ongoing cycles of militarisation.
Through meticulous exhibition layout and design, No Patents on Ideas conveys the messages and themes from Pratchaya’s work. Best exemplified by the innovative arrangement and display of Untitled (Singapore) and Undrift. Every artwork in the exhibition interacts with each other and builds upon their meaning which creates a layered narrative. Selene Yap’s repertoire of curatorial projects that explore the usage of space and material along with her study on how museums can foster engagement are apparent throughout this exhibition (curatingLAB: 2014; NTU CCA 2016). No Patents on Ideas is an experience, a form of conceptual art in itself as it upholds and communicates Pratchaya’s multifaceted work.
I had a holistic experience that tapped on all of my senses, bringing me closer to the concepts of the artworks through emotion and feeling, which also developed my thought process along the way. The combination of the exhibition’s curation and design complements and enhances the themes conveyed.
While the exhibition’s minimalism added to a contemplative atmosphere, the absence of wall descriptions initially left me feeling lost, and the dim lighting made it difficult to read the exhibition pamphlet. However, this restraint ultimately enhanced my experience. Instead of immediately receiving explanations, the space encouraged deeper engagement, giving me time to form my own interpretations and connect the artworks to my personal experiences. That said, context is crucial in conceptual art, and to address this, frequent docent tours provide visitors with a well-rounded understanding of the works on display. Ultimately, No Patents on Ideas proves that while ideas cannot be patented, they can certainly be powerful, when given the right space to challenge, provoke, and inspire.
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All citations are in Chicago Author-date 17th edition
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