Sunday, June 4, 2023
(EVA 20) Experimental Video Art 20 Exhibition, Thai-European Friendship 2023-2024
Artist’s list 2023-2024.
1. Christian Sievers (Germany) “Optimum Routine Skaliert for IdyII” Pal, Color, Sound, 10.46 min., 2022.
2. Johan Severin (Norway) “Breathing Drum” Pal, Color, Sound, 3.37 min., 2019.
3. Komson Nookiew (collaborated with Denise Winter) (Thailand) “Two twin images on parallel video machines 3” Pal, Color, Sound, 1 min., 2023.
4. Johan Severin (Norway) “Dancing waves (having a blast)” Pal, Color, Sound, 3.38 min., 2019.
5. Lone Eivindsdottir (Norway) “Råneballetten” Pal, Color, Sound, 15.26 min., 2022.
6. Johan Severin (Norway) “Ode to changing tides or waiting for flood” Pal, Color, Sound, 1.52 min., min., 2020.
7. Ida Blomdahl (Sweden) “The Art of Speaking Art” Pal, Color, Sound, 4.55 min., 2023.
8. Frederico Evaristo (Brasil) “Brasil” Pal, Color, Sound, 3 min., 2023.
9. Kanakorn Kachacheewa (Thailand) “Inner Silence” Pal, Color, Sound, 4.06 min., 2023.
10. Karisma O.Ekeh (Germany) “Tale of Culture” Pal, Color, Sound, 5.54 min., 2022.
11. Harald Hund (Austria) “Sanatorium Druzhba” Pal, Color, Sound, 43.46 min., 2023.
12. Jessica Tille (Germany “Dust from hole II” Pal, Color, Sound, 14.59 min., 2022.
13. Benjamin Ekhougen Larsen (Norway) “The making of a rain listening device” Pal, Color, Sound, 2.49 min., 2022.
14. Ísabella Katarína Márusdóttir (Iceland) "FESTER" Pal, Color, Sound, 8.15 min., 2019.
15. Ingeborg Tysse (Norway) "Elegy To Circe As An Island" Pal, Color, Sound, 11.49 Min., 2022.
16. Michaela Grill (Austria) “Antarctic Traces” Pal, Color, Sound, 29.45 min., 2019.
17. Madeleine Olsén Ingefeldt (Sweden) “Twoness” Pal, Color, Sound, 30.06 min., 2023.
18. Mina Paasche (Norway) “A Bundle of Echoes” Pal, Color, Sound, 19.12 min., 2023.
19. Michael Laundry (Norway) “MAIA, JOHNNY, DEVON & DAD" Pal, Color, Sound, 2.02 min., 2020.
20. Nilda Miltell (Norway) “MEA CULPA" Pal, Color, Sound, 6.04 min., 2023.
21. Jessica Tille (Germany) “Anthology of Circulation” Pal, Color, Sound, 13.04 min., 2022.
22. Liora Epstein and Hagen Keller (Germany) “Blessed are those who hunger and thirst” Pal, Color, Sound, 4.29 min., 2018.
23. Liuxizi Yang (China) “Action and Auction” Pal, Color, Sound, 7 min., 2021.
24. Liu Ruxin (China) “Rabbitcat” Pal, Color, Sound, 8.08 min., 2021-2022.
25. Manasak Khlongchainan (Thailand) “Annatta” Pal, Color, Sound, 4.15 min., 2014.
26. Matthias Neuenhofer (Germany) “Mushroom_mn” Pal, Color, Sound, 39.35 min., 2020.
27. Manasak Khlongchainan (Thailand) “VR” Pal, Color, Sound, 19.40 min., 2023.
28. Menno Aden (Germany) “DEVICES” Pal, Color, Sound, 2.24 min., 2023.
29. Nadine Karl (Germany) “I will not be forced to do what I have to do” Pal, Color, Sound, 6.18 min., 2020.
30. Natnaran Bualoy (Thailand) “Eye, Ear, Parade of Humanity” Pal, Color, Sound, 8.10 min., 2023.
31. Nadine Karl (Germany) “Redemption-Solution/Solution-Redemption” Pal, Color, Sound, 3 min., 2022.
32. Nipan Oranniwesna (Thailand) “Lucia Dream” Pal, Color, Sound, 15.01 min., 2023.
33. Nithiphat Hoisangthong (Thailand) “Every One Bites The Dust” Pal, Color, Sound, 2.08 min., 2023.
34. Pouria Kazemi (Iran) "The Yellow Argument" Pal, Color, Sound, 9:32 min., 2019.
35. Pannaphat Meesitdee (Thailand) “New Memories” Pal, Color, Sound, 11.55 min., 2022.
36. Son:Da (Slovenia) “What is Balkan” Pal, Color, Sound, 3.20 min., 2003-2023.
37. Supakit Seksuwan (Thailand) “Prognosis” Pal, Color, Sound, 7.44 min., 2009.
38. Susanna Schoenberg (Italy) “Abysse” Pal, Color, Sound, 13.14 min., 2021.
39. Supapong Laodheerasiri (Thailand) “How are you today?” Pal, Color, Sound, 5.00 min., 2023.
40. Srirat Sangkharit (Thailand) “Pressure Area” Pal, Color, Sound, 02.11 mins., 2022.
41. Tanasan Pattanasuttichonlakun (Thailand) “Cosmopolite” Pal, Color, Sound, 3.32 min., 2023.
42. Tuksina Pipitkul (Thailand) “Friendly Ayutthaya” Pal, Color, Sound, 1 min., 2023.
43. Thanormnuan Dechakaneewong (Thailand) “Covid 2021” Pal, Color, Sound, 10 Second., 2021.
44. Kamonnat Wilairattanakul (Thailand) "It's the dead of winter” Pal, Color, Sound, 2.47 min., 2022.
45. Natchanon Jullamon (Thailand) “The Borderline” Photography / Pal, Color, Sound, 6.17 min., 2022.
46. Weerapong Wimuktalop (Thailand) “Plastic bag” Pal, Color, Sound, 26 min., 2006.
47. Treerat Leena (Thailand) "Misinterpretation" Pal, Point cloud visualizer, Color, Sound, 5.49 min., 2023.
48. Theerachat Suksringam (Thailand) "DEATH PEACE" Pal, Color, Sound, 4.00 min., 2023.
49. Thammawat Sampetcharoen (Thailand) "Imprecise area" Pal, Color, Sound, 11.30 min., 2023.
50. Mario de la Ossa (Norway) "I know what you're thinking" NTSC, Color, Sound, 3.24 min., 2022.
Concept:
AI generated video from text, prompted on the idea of rioting against the development of digital technology, or rather the lack of protest and awareness around our relation as individuals and society to digital technology. Originally part of a seven screen installation, the AI generated video was juxtapositioned against six monologues of people sharing their interpretations of power structures. The work is accompanied by a sound design by Thomas Jacobsen (Denmark).
51. Nutnaree Preechanan (Thailand) "Trammel - ใส่เวลาพ่วงความตาย" Pal, Color, Sound, 3 mins., 2023.
52. Panu Saeng-Xuto (Thailand) “INT-memories. Countdown” Pal, Color, Sound, 4.08 min., 2023.
53. Vasinee Kongderm (Thailand) "wasin (in age I understand)" Pal, Color, Sound, 5.16 min., 2023.
Concept:
I’ve been trying to contact you, my entire life. Even just a strand of your hair, I’ve never got a chance to touch it. I don’t know, that if you are with me. What will my world be. I have never knew and will never be. Here without you, There is no me.
54. Poom Jiratada (Thailand) “Maybe it's finally the time” Pal, Color, Sound, 6.10 mins.,2023.
55. Phanthawat Wonghiriwat (Thailand) “Formless matter” Pal, Color, Sound, 2.28 min., 2023.
56. Natpisit Sukontapatipak (Thailand) “RIP My LITTLE ANGEL” Pal, Color, Sound, 6.09 min., 2023.
66. Rachata Yooyim (Thailand) “UFO” Pal , color, sound, 1.30 min., 2023.
67. Nipatsara Bureepia (Thailand) “Impermanent_life” Pal, color, sound 2.19 min., 2023.
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Installation Video
1. Artist : Pitiwat Somthai and Vanida Pornsombatpaiboon (Thailand)
Title : What makes us human : whoever wants to believe just believe, whoever doesn't want to believe doesn't have to believe.
Technique: Fake cockroaches, Color, Sound, Video.
Size : Dimension variable
Year : 2023
2. Artist : Komson Nookiew (collaborated with Denise Winter) (Thailand)
Title : “Two twin images on parallel video machines 3 (Attempt 1)”
Technique: Video Installation, Color, Sound, Video loop.
Size : Dimension variable
Year : 2023
3. Artist : Suparirk Kanitwaranun) (Thailand)
Title : Words without Thoughts never make it to Heaven
Technique : Video installation, Color, Sound, 14 mins.
Size : Dimension variable
Year : 2023
Tuesday, August 16, 2022
(EVA 19) Experimental Video Art 19 Exhibition, Thai-European Friendship 2022
Artist’s list EVA.2021
1. Anna Rimmel (England) “beyond a river is an ocean” Pal, Color, Sound, 8.00 mins., 2022.
Concept:
When everywhere I look and everywhere I turn seems to lead in only one direction where is left for me to go? Severed voices stumble through a psycho-landscape of media detritus searching for meaning and a
transformation. Exploring the materiality of images and language, desire,
imagination, the movements of queer migration, the film traces how a
nothing can become a something. In this heightened moment of informational semio-capitalism, its modes of control have taken on a particularly internalised and psychological quality. Language and images have subsequently become increasingly abstracted and performative in their meaning and intention. Drawing on the concept of productive desiring machines, Rimmel is interested in the forms of the contemporary media landscape and the meaning we create from
them in an age of informational and sensorial overload. Incorporating a
poetic breakdown of language with extracts of an interview from the
Archive of Embodied Memory, an ongoing project of Rimmel archiving the experiences of transgender people, the film explores the construction of desire and imagination, and how from these processes, these movements, an embodied and material reality can be created.
2. Arnont Nongyao (Thailand) “a Weirdo Never Fever Overry” Pal, Color, Sound, 14.08 mins, 2022.
Concept:
As a foolish man, I’m carrying such a confusedness of strange things in myhead. “A Weirdo Never Fever Overry” is a kind of weird Mekong travelogue aboutmy personal history and stories. Through the essay film, I would like to bring parts of my journey that contain: Anonymous Thai’s super 8mm home movie 1967-1979 that I accidentally found, northern-southern Vietnam train carriages wonderful experience with my partner, non-language communications with an inventor happened in Cambodia combined with strange sounds I recorded and composed along the way to represent myself as a Thai's people who lost unconscious colonization.
3. Billy Roisz & Dieter Kovačič (Austria) “Do they speak color” Pal, Color, Sound, 22.25 mins., 2022.
Concept:
Our human protagonist - let's call her Tilda - is looking out for possible ways to communicate across time and space with no other human beings at sight. Her world is strangely twisted, but we don't know exactly how. Usually we seek meaning in words. But there are no decipherable words in this movie. And yet there is plenty of meaningful communication going on. optical (light, colors), chemical (pheromons), physical (motion), accoustical (sound) ways of communication – from atomic semiotics to zebra finch - all the topics of communications are there and they are signifier and signified. You just have to let your receptors connect directly. Let it go - It will only make sense, if you don't seek for meaning.
4. Dhira Dhiraprachya (Thailand) "Somewhere Someone Sometime" Pal, 10:52 min, Color, Sound, 2021.
Concept:
Sometimes, someone who's in somewhere spends time on something.
5. Werner Jauk / Monika Wogrolly (Austria) “Lust – Trauer“ / „Lust - Grief“ Pal, Colour, Sound, 7.58 mins., 1989.
Concept:
The video „Lust - Trauer / Lust - Grief“ originates from a holistic, rather impetuous emotional approach: the terms "Lust” and “Grief”, which are central to the content and structure of the sound work, are spoken (as sonic expressions of the designated emotions) by human voices, partly clear, partly electronically shredded, "underpinned by naked, singing voices, whereby suddenness may come to the fore". The terms "haste" and "greed" iconically determine the dynamic course of the piece. The sound work was realised with a female voice and the techniques of analogue and digital sound processing.
6. Kawita Vatanajyankur (Thailand) “Shuttle” Pal, Color, Sound, 3.27 mins, 2017.
Concept:
Shuttle is a part of Vatanajyankur's Performing Textiles series where her body is caught in this moment of stasis—time-consuming and physically exhausting. The tonality of happy day-glow colours juxtaposed against dark humour and undercurrents of violence brings violent gravity to her work—drawing attention to mechanisation, and highlighting the historical trajectory of feminist art.
8. Werner Jauk / Marion Wicher (Austria) “linear transition“ Pal, Colour, Sound, 1.41 min., 2008.
Concept:
Venice's isolated location, its traffic structure of fewer canals and the multitude of narrow alleys primarily enables the unmediated footpath as the dominant form of movement. This special location leads to specific acoustics: Free from the soundscape of other cities, which is characterised by the lo-fi noise of technically mediatised movement, the reflectionless vastness of the sea is contrasted by the narrowness of the alleys with their short-term reflection, the shutter sound of footsteps - urban social life as human movement becomes audible through the reflection and resonance of architecture.
Based on this, the work is a simulation experiment to transfer the sound of the footpath from A to B through the maze of alleys to the direct linear propagation of sound, taking into account the intervening walls as resonating walls as well as squares as sound energy emitting openness, to implement linear transition sonically and parallel visually. While the visually controlled walk from A to B leads the body through the alleys surrounded by the walls of the houses, the sound passes through these walls in a sound-modulating way. In the digital simulation, the seeing gaze makes its way through the city unhindered by walls along the path of sound - as a linear transition.
9. Doris Jauk-Hinz (Austria) “Bilder” / “Images” Pal, Colour, Sound, 4.16 min., 1991.
Concept:
The video “Bilder / Images” is a non-narrative one and merges techniques of painting and graphics with the possibilities of analogue and digital electronic picture-generating and -processing. The fixed painting is set against the processing growth of a video. As it was a composing work, the video is - with regard to the formal aspect - a “parallel motion”, a “development” of and a “counterpoint” to the music and like this a formation of time. Self-performance and the confrontation with being a woman are the contents.
10. Komson Nookiew (Thailand) “Komson&Hanna” Pal, Color, Sound, 3 mins, 2022.
11. Doris Jauk-Hinz (Austria) “TRANS-LOCATION, 8 minutes to walk - 808 steps” Pal, Colour, Sound, 3.39 min., 2013.
Concept:
8 minutes of walking - 808 steps are represented by 808 red squares, which in their order form a line on the glass surfaces. This red line represents the distance between the former location and the new one of “esc media art labor” in Graz (AT). As part of the opening event, participants and passers-by were invited to shorten this line consisting of 808 red squares "step by step" by removing one square to reinstall it within a marked area by will. The dissolution of this line and the collective reorganization by participants are initiated as a performative occupation of the new space.
12. Natnaran Bualoy (Thailand) “Untitled” Pal, Color, Sound, 3 mins, 2022.
13. Gunther Skreiner (Austria) “Tonbild (Sounding image)” Pal, Color, Sound, 28.44 mins., 2021.
14. Hana Zeqa (Austria) “See me, Feel me, Touch me.. Hear me & Heal me..” Pal, Color, Sound, 2.57 mins., 2022.
15. Nithiphat Hoisangthong (Thailand) “Untitled” Pal, Color, Sound, 1 hour 53 mins, 2022.
16. Doris Jauk-Hinz (Austria) “Moving images” Pal, Colour, Sound, 1.00 mins., 1991.
17. Nipan Oranniwesna (Thailand) “Breath” Pal, Color, Sound, 24 mins, 2003.
18. Doris Schmid (Switzerland) “Natura morta” Pal, Color, Sound, 12 mins., 2021.
Concept:
The tradition of the genre "natura morta»,(still life) a representation or arrangement of motionless objects, goes back to antiquity. The objects are representative of philosophical interpretations of the visible world with reference to its transience. In this work, the media of image and sound are brought together within this concept. It is based on the exploration of a selected space under specific conditions. Space is understood here as a multi-layered link between a geographical location and a defined mental state. The visual starting point is a photograph of a landscape. Gradually, parts of the landscape begin to move. On the lake, glisten in slow-motion, while the leaves of the trees move in time laps in the wind. The movements of the individual parts of the picture take place in independent rhythms. The perception of a uniformly running time is suspended, several «local times» model the image. In music, we work with a limited contingent of sounds. Through transformations, their relations are constantly shifted. Size ratios, also foreground and background change, speeds are accelerated or slowed to a standstill. The human being remains visually and acoustically omitted. The absence of people is not only a characteristic of every still life, it also refers to the situation of our current lockdowns due to a pandemic.We become witnesses to a metamorphosis that oscillates between "real" and "fake».
19. Thammawat Sampetcharoen, Prachak Maneeboot, Rachel McPhillime, Supitta Jangpet (Thailand) “Soi On Nut 86” Visual Video, Performance, Photograph, Animation, Colour, Sound, 11.25 mins., 2022.
Concept:
Soi On Nut 86, a place used for waste and sewage management It is a place used to support things that people don't value and don't want anymore. It is also the residence and gathering place of those who work on waste disposal including those who live around the site. They will be affected by the disposal of these wastes that comes in the form of pollution in various forms a problem that cannot be solved. Because it is necessary to have a place to dispose of waste. As a result, people who work on waste disposal and the people around them have to bear those negative effects without being able to do anything. Not counting the attitudes and views of outsiders towards place and person related to waste disposal which hinders the development of waste disposal as it should even though those wastes come from outsiders. Even now, the impact of waste disposal has not been broadened to affect outsiders. But when there is no time to control the disposal of waste that be the case that the outsiders who are more severely affected than the insiders will get work up and understand how worse the situation is. People are unaware of the problems until those problems begin to affect themselves. Even though I feel that I should start solving those problems.
20. Eva Weingaertner (Austria) “Venus sounds” Pal, Color, Sound, 2.22 mins., 2017.
21. Pannaphat Meesitdee (Thailand) “Phantasm” Pal, Sound, 24 mins.,2022.
Concept:
Human life is always connected with time. In a sense, our lives are tied together and always stand alongside waiting. With time being the key variable that causes change in all things. presented through the way of life of the hometown of the province "Surat Thani", which is the main core area of the story. Demonstrates a different perspective on life in each area between the “city” and “province” areas. Early disparities in quality of life lead to questions about the impact on people's well-being and the standard of living values. figuratively going through different ages with overlapping territory, intensity, and existence.
22. Eva-Maria Gugg (Austria) “grazer-linien” Pal, Color, Sound, 33 second, 2020.
23. Papavee Kulkam (Thailand) “Overlay” Pal, Sound, 4.44 mins., 2022.
Concept:
I am attracted by the noises of the forest, particularly the animal sounds, which have drawn me to nature.
The sound of running water in my video work can transport the listener to a happy, carefree state, while the sound of the forest can make you fantasize about it.
24. Eva Ursprung (Austria) “Ghost main” Pal, Color, Sound, 5.18 mins, 2020.
25. Pasutt Kanrattanasutra (Thailand) “Mae Rim - Nawamin” Pal, Color, Sound, 4.54 mins., 2022.
Concept:
Mae Rim - Nawamin is the time to live, to know, to see, to feel, to be with the surroundings. Regardless of nature, little animals, and people, are always related to each other.
26. Georg Eckmayr (Austria) “Open water” Pal, Color, Sound, 11.18 mins., 2022.
27. Patsatorn Sinchu (Thailand) "The Alternate History: Thailand 1941" Interactive Video, Video Installation.
Concept:
What if Thailand overcame Japan in 1944? It started with questions about how it could be if we decided to choose another way at that time. Will it change history? In 1941 when the war in the pacific began. Thailand is a small nation but has a major role in the conflict than most people think. It may affect nowadays or even the future, If pick the wrong path.
28. Gerald Zahn (Austria) “How to learn to play drums” Pal, Color, Sound, 3.33 mins., 2022.
29. Phatcharacom Nopacoh (Thailand) “Random Dude Doing Graffiti” Pal, Color, Sound, 5.54 mins., 2022.
Concept:
Random Dude Doing Graffiti is a capture of a random dude doing theirs graffiti in random spot of BKK, Thailand. What does ACAB mean ?
30. Gertrude Moser-wagner (Austria) “Balance East” Pal, Color, Sound, 7.55 mins., 2022.
31. Pimnapas Anantasiri (Thailand) “Untitled” Pal, Color, Sound, 15.37 mins., 2022.
Concept:
This video art is said about Relationship between Human and Environment. Nowadays we all lean on technology and chemically much further, resources are run out faster. On the other hand, if we use human labor it will be so much more slow and difficult to work but this method will let nature restore itself.
32. Harald Hund (Austria) “Apnoe-UT” Pal, Color, Sound, 10.11 mins., 2011.
33. Rachata Yooyim (Thailand) “Ball” Pal, Color, Sound, 1.47 mins., 2022.
34. Heidrun Holzfeind (Austria) “The time is now” Pal, Color, Sound, first screen 19.52 mins and second screen 28 mins., 2022.
Concept:
"the time is now." is one of two films by Holzfeind about the Japanese shamanic improvisation duo IRO (Shizuko and Toshio Orimo). The couple have worked together since 1981. Their music, their activism in the peace and anti-nuclear movement, and their free-spirited way of life reflect an animist and pantheistic worldview that rejects commercialism in all its forms.
The film shows performances of the duo in various locations in the Inter-University Seminar House in Hachioji, Tokyo. The unique modernist complex—whose main building has the shape of a pyramid turned upside down—was designed in 1964 by the Japanese architect and thinker Takamasa Yosizaka (1917–1980). Yosizaka’s ideas about the relationship between humans, nature and architecture, individuality and community, sustainability and peace, as well as his critique of Western civilization in many respects concur with the musicians’ worldview. Holzfeind stages Yosizaka’s extraordinary architecture as a set for IRO’s performances, which combine improvisation on Noh and stone flutes, fan drum, and kagura bells with their unique punk kagura version of ancient Shinto rituals, indigenous ceremonies, and Korean mask theater.
In steady takes and rhythmic cuts, Holzfeind’s film plays with the contrasts and interactions between the brutalist architecture, the surrounding nature, and the musicians’ performance and instruments. IRO’s invocation of traditions that interpret artistic performance as a kind of magic is mirrored by Holzfeind’s use of color filters and subtle color shifts that suggest a crossover into other realities. Like the recurring motif of the eye, the tinted shots refer to the film "Phantom" by Japanese experimental filmmaker Toshio Matsumoto (1932–2017). The soundtrack interweaves the instrumental sounds with Shizuko’s chants and the sounds of nature and civilization. At times, it feels like the cicadas and crickets are in dialogue with IRO’s instruments.
The film’s second part takes the viewer inside the Central Seminar Hall, where Shizuko and Toshio perform an improvisation for piano and contrabass with free-form vocals based on their “anima animus” and “Maburi Henoko” motifs. “Maburi Henoko” is a “kotodama” or “word-spirit” coined by the Orimos that plays on the animist concept of “maburi” (meaning “soul” or “spirit”) and emblematizes their call for an end to the destruction of human and natural habitats caused by the construction of a US air base in Henoko Bay, Okinawa. Holzfeind juxtaposes the concert with found footage of the “Izaiho” women’s ritual in Okinawa, protest movements in Tokyo and Okinawa between the 1970s and the present, and a video recording of a concert by IRO in 1987. It was their last performance as the punk-rock duo IRO and marks a radical change in their musical practice: shaken by the Chernobyl disaster, they decided to exclude electronic sounds from their performances altogether, using only acoustic instruments and focusing on indigenous traditions and Shinto rites to make what has been described as “energy-free music.” The visual juxtapositions and acoustic superimpositions of the concert recordings from the 1980s and the fall of 2018 yield a synthetic impression of their artistic collaboration and experimentation, which spans more than four decades.
35. Nipatsara Bureepia (Thailand) “Impermanence of life” Pal, color, sound, 2.21 mins, 2022.
Concept:
Impermanence of life, everything changes over time and nothing lasts forever. The oil painted stop animation displays the mystery of the reality of nature and the nature of reality. The loop animation signifies the cycle of life, love, greed, anger, and delusion and the only three steps of things. Everything arises, exists, and ceases, nothing in the world is permanent. The expectation of things to last forever would be our fool but yet we should take delight when it lasts.
36. Jan Machacek (Austria) “Piece of a puzzle” Pal, Color, Sound, 4.14 mins., 2008.
37. Sakonpat Chotipatthamanon (Thailand) “MEDIGITAL” Pal, color, sound, 11.49 mins, 2022.
Concept:
This concept is related to the idea of posthumanism. In the present humankind merge and combine with the new technology whether smartphones, smartwatches, GMO food, or tracking items for your health. All these things will enhance the ability of humans to be more powerful and effective. So, My work will present some area of my body in this century and I am a posthuman.
38. Susi Jirkuff (Austria) “A concrete vision” Pal, Color, Sound, 1.50 mins., 2021.
Concept:
A Concrete Vision is part of a larger project that deals with the narrative of Franz Kafka’s ‚Das Schloss’ from 1922. ‚Das Schloss’ is translated into a series of architectural studies that try to picture the inpregnable castle in the form of surreal concrete buildings. In the video they are collected and presented as a gated resort and appear in a promotion film that mirrors not only the common real estate advertisements but also the twisted ambivalence of neoliberal virtues.
39. Sathaporn Fuengkhajorn (Thailand) “Darkness and imagination” Pal, Color, Sound, 6.54 mins., 2021.
40. Karin Fisslthaler (Austria) “women(Valie)” Pal, Color, Sound, 7.24 mins, 2022.
41. Surapat Sukchote (Thailand) “Hidden” Pal, Black-white, Sound, 10.43 mins., 2022.
Concept:
Due to the interest in the existence of ghosts in Thai modern society, people in modern society have been perceiving ghosts as the representation of supernatural beliefs that was left behind in the past which is based on the impossibility to explain some natural phenomenon during the ancient times and the concept of sacred things was created later on to explain those phenomena. The mysteries of ghosts that are being considered as something untouchable during ancient times are now being challenged in the present context of the contemporary world. Despite the fact that the portrayals of ghosts are repetitive, they never fail to satisfy the audiences’ curiosities. Ouija, Pop, Krasue, Murder victims ghosts calling for their own justice, Ghost trees, Guarding spirits, Wandering ghosts and ghosts with their own characteristics. For example, Mae Nak. These ghosts have been passed down through generations and somehow changed through times. The past appears in the incomplete present. People tend to use ghosts as a way to entertain themselves but ignore the real truth behind those ghosts who have been living through the unpredictability and the mess in the corner of civilized society nowadays. In summary, ghosts may not be just a form of entertainment but a living proof of the unorganised mess in our society.
The appearance of ghosts will continue to remain the same until the light find its own way to take the darkness’s place and light it up. Perhaps, Ghosts may lose their own identities and remain as stationary past.
42. Katrina Daschner (Austria) “Pomp” Pal, Color, Sound, 7.43 mins., 2020.
43. Naphat Kuantrakul (Thailand) “Eyes” Pal, Color, Sound, 3.50 mins.,2021.
Concept:
This work explores the state of mind after a traumatic experience by interviewing ten individuals who suffered significant loss in their lives resulting the conceptualizing of visual and sound representing deep connection between each individual.
A reoccurring theme from the focus group data analysis, demonstrates imaginations involving their thought loops and nightmares. These deep and vivid thoughts are interpreted into an illustrated video that represents the struggle of individuals having a hard time trying to rediscover their cosmic connection between society, nature, and themselves.
Sounds used in this artwork is developed by interpreting the rhythms of nature. Each element in the track represents the flow and the displacement of life.
44. Leopold Kessler (Austria) “Antagometer” Pal, Color, Sound, 3.50 mins., 2022.
45. Usawadee Srithong (Thailand) “Communication through food” Pal, Color, Sound, 4.29 mins.,2020.
Concept:
Three years back I studied Fine Arts at Santiniketan , a small town in the state of West Bengal of the Indian subcontinent. Back then when I first arrived a newcomer in the town I struggled while communicating with people both in English and Bengali. But my friends there were quite kind to me and didn't make me feel excluded. They often invited me to there hostel or houses to have food with them. These encounters were wonderful opportunities for me to learn the variety of food and the cuisines that was indegenous to the Bengali people. It also helped me build up a congenial relationship amongst the people whome I dined with.Food is an important element in culture that people identify themselves with. I believe food isn't just something we eat to satisfy hunger , it's also a mode to connect me with the other friends who now share different cultural palettes. In congruence with my experiences the Art Project is an opportunity that I want to create to begin a conversation between the audience and me . This conversation may differ from people based on their cultures i.e between the Thai people and Foreigner in Bangkok, Thailand . Although to me it is a dialogue between puri, ghughni of Bengal and Food is symbolic to a language as it's mode of communication is quite enriching and instrumental in building a relationship as it has been with friends and me. I wish to convey and utilize this concept in Ban Chao Phraya Thammasakmontri at Bangkok, Thailand once again.
46. Lydia Nsiah (Austria) “To forget” Pal, Color, Sound, 17.00 mins., 2019.
47. Ramses Jesus Ysea Casanova (Venezuela) “The new normal” Pal, Color, Sound, 2.3 mins., 2022.
Concept:
The story follows our character Brian, who is struggling with handling life inside his apartments and outside his apartment. At home he feels safe but he also feels trapped and lonely, outside he feels free yet he is scared of catching the virus. This constant shift in mood inside Brian’s head is leading him down a path of insanity where he cant distinguish what is real and what isn't.
48. Miriam Bajtala (Austria) “Work by the piece” Pal, Color, Sound, 10 mins., 2019.
Concept:
The video WORK BY THE PIECE shows my mother's hand movements at work. She made 15 years of piecework, in a work station at an eyeglasses factory. The work processes of her hands and feet during work can be seen in an abstract form, without objects and machines.
It's hard to figure out what she's doing right now. The movement of her hands is reminiscent of magical hand movements.
49. Channrithy Sen (Cambodia) “Home quarantine” Pal, Color, Sound, 2.15 mins., 2022.
Concept:
I want to share my daily life during the pandemic.
50. Lydia Nsiah (Austria) “VS” Pal, Color, Sound, 7.35 mins., 2021.
51. Tuksina Pipitkul (Thailand) “Recentraland” Pal, Color, Sound, 2.30 mins., 2022.
Concept:
The search for perfection in human life has led to the concept of centralized destruction which is reflected in the form of the financial economy, novel societies, and cultures. One of the exits from decentralization is reflected in the use of blockchain technology, crypto-currency finance, and social media lifestyles that allows the new generation to live in a virtual space with consumer finance, token coins and digital assets.
In addition, technology media has enabled people to create virtual worlds on the metaverse, where buildings, streets, shops, pubs, attractions are built with desired avatar transformation.
The physical integrity that is projected in the Decentraland platform metaverse is a different example of the real world society.
In the present day, humans still have to deal with various problems, whether it is a garbage, environment traffic, or labor problems, especially in the third world countries. These countries are where people are still dealing with multiculturalism, social problems, and environmental problems. The projection of the real world interspersed with the world in Decentraland is thus a representation of the human yearning for perfection and may not have a fixed answer for everyone.
52. Lydia Nsiah (Austria) “Distortion” Pal, Color, Sound, 4.40 mins., 2021.
53. Ekathep Michaels (Thailand) “Untitled Narcissus” Pal, Color, Sound, 55 Second., 2022.
Concept:
We live in a selfie culture, where the portrayal of one’s self image is posted on the digital platform and is seen by millions in a matter of seconds. The experimental video focuses on the feelings of self-infatuation, self-absorbedness of perfection and beauty with the sartorial usage of positive affirmations, through contemporary and abstract visualization of the tale of Narcissus through modern day perspectives.
54. Pia Strau (Austria) “merging” Pal, Color, Sound, 2.13 min., 2022.
Concept:
In Pia Straus experimental piece, fusion becomes a tool of disruption. The viewers twosensual relationship to film is dissected and layed out. As one becomes witness of the blurred lines of distinction, not only film but perceptible reality undergoes an empirical crisis. We become voyeurs of a reconstruction to wholeness, while simultaneously experiencing the deconstruction of the smooth flow of life. There is not a moment in time that we can’t split in hundred-thousands more.
55. Naphat Kuantrakul (Thailand) “Eyes” Pal, Color, Sound, 3.50 mins., 2022.
Concept:
This work explores the state of mind after a traumatic experience by interviewing ten individuals who suffered significant loss in their lives resulting the conceptualizing of visual and sound representing deep connection between each individual.
A reoccurring theme from the focus group data analysis, demonstrates imaginations involving their thought loops and nightmares. These deep and vivid thoughts are interpreted into an illustrated video that represents the struggle of individuals having a hard time trying to rediscover their cosmic connection between society, nature, and themselves.
Sounds used in this artwork is developed by interpreting the rhythms of nature. Each element in the track represents the flow and the displacement of life.
56. Sol (Austria) “1.Illumination, 2. Earth, 3a Imago, 3b imago, 4. breath”
Pal, Color, Sound, Loop, 2022.
57. Damian Fox (USA) “Pageboy” Pal, Color, Sound, 3 mins., 2022.
Concept:
When we travel abroad where we are the minority, we become diplomatic representatives of our home culture, whether we like it or not. The small choices we make are actions that have a larger impact and shape the perceptions of others.
Pageboy is an interactive narrative which explores the concept of mutable identity and the relationship between choice and consequence. The viewer embarks on a journey with the concept of “self” as a blank canvas. Throughout the adventure, the viewer is challenged by ethical choices that gradually shape their psychology and belief system. The major theme of the narrative is race relations, and the conclusion of the experience is determined by the choices made by the viewer.
58. Supakit Seksuwan (Thailand) “During the Ramadan” Pal, Color, Sound, 10.23 min., 2011.
59. Oradol Kaewprasert (Thailand) “Vamos Tailandia!” Pal, Color, Sound, 1.16 min., 2018-2019.
60. Manasak Khlongchainan (Thailand) “White Light” Pal, Color, Sound, 10 min., 2021.
61. Ivy Universe Baldoza (Philippines) “Strange horses and their stripes (Short)” Pal, Color, Sound, 11.32 min., 2016.
62. Panu Saeng-Xuto (Thailand) “INT. Memories – O N L I N E” ภายใน. ความทรงจำ – ออนไลน์ (Editor: Kitipoom Suwanteep)”, Pal, Color, Sound, 3 min, 2022.
Concept:
In a way, every day is online.
63. Manasak Khlongchainan (Thailand) "Anatta" Pal, Color, Sound, 4.15 min., 2014.
64. Weerapong Wimuktalop (Thailand) "Swing" Pal, Color, Sound, 30 min., 2011.
65. Jirapon Tewaruk (Thailand) "Draw a Dream" (Advisor: Tuenrudee Rugmai), Pal, Color, Sound, 11 min., 2022.
Concept:
Although the Covid-19 pandemic has tremendously affected students experience in education, they still have bright dreams at the end of the tunnel. This documentary presents their dreams for the future in a post pandemic world interpreted through the lens of motion graphics and live action.
66. Budsaba Preeda-ananthasook (Thailand) "Parts Apart" (Advisor: Tuenrudee Rugmai), Pal, Color, Sound, 5 min., 2021.
Concept:
Memory plays a fundamental role in a person’s day to day life, offering us references from past experiences which are then used to predict future possibilities. It also serves as an important factor in judgement, and can occasionally even function as evidence supporting claims. Despite its significance in the establishment of human society, memories are proved to become less accurate through time. Being constructed from personal point of views and biased feelings, each recollection tends to defer from its factual occurrences. This project was created in hopes to capture and express the flaws and fragility in memories through each participants’ recollections, piecing them together to form a bigger picture as a whole.
67. Sirawich Pukuka (Thailand) “Lucid : Dream” Pal, Color, Sound, 3.01 min., 2021.
Concept:
In dreams we often dissociated from logic. Searching for unknowns in almost every time we are speculating, this video with its three-dimensional transparent structures trying to mimic the spectacular kinship of typical stained glass. This video shows the fluidity of images around us as when lights staged a play on stained glasses.
68. Rinsatta Karnjanawati and Oradol Kaewprasert (Thailand) “Tears, Dreams, Meaning and Rain” Pal, Color, Sound, 1.33 min., 2022.
Concept:
Tears, Dreams Meaning and Rain is an Experimental Animation with a Poem by a Blind Pet Rinsatta Karnjanawatee. The poem is inspired by a song by Chit Phumisak , A droplet upon the sand.
69. Natthaphon Chaiworawat (Thailand) "Irresistible" Pal, Color, Sound, 6.59 mins., 2021. Concept: In "Irresistible", Chaiworawat created a metaphor of the state of irresistible through Durational Performance. He floated in a swimming pool and let body to encounter the current in the pool. Revealing the moment of the body's instinctive reaction to maintain its constant buoyancy in the water. Nevertheless, when the body floated away, the process of retention could no longer be seen by the physical eyes.
Tuesday, November 23, 2021
(EVA18) Experimental Video Art 18, Exhibition Thai-European Friendship 2021
Artist’s list EVA.2021
1. Gunther Skreiner (Austria) “TonBild” / “Sounding image” Pal, Colour, Sound, 28.47 min., 1987.
Concept:
The video „TonBild / Sounding image“ focuses on the arbitrariness of codes. Codes are abstract representations which are made bodily to be experienced by their connection to specific qualities in a specific sensory field: The sound video is the sequential scanning of an image made by codes. Instead of the five visual codes, there are sound qualities that can be clearly differentiated from each other, whose duration is constant, whose respective pitch is randomly controlled. In addition to the simultaneous visual and acoustic “presence” of the codes, the video work also offers the numerical code behind it.
2. Komson Nookiew (Thailand) “English speaker 2” Pal, Color, Sound, 2021.
Concept:
I invited many people to participate in my project but only 7 friends who interested in it, they are doing well with their speaking and interest. And I hope that the people who are not using English as their mother tongue could communicate to each other and all of us would understand what they are trying to say.
3. Helmut Eisendle / Werner Jauk (Austria) “Spiel“ / „gam(bl)e“ Pal, Colour, Sound, 9.17 min., 1989.
Concept:
The video „Spiel / gam(bl)e“ approaches the subject with intellectual distance: the collection of all sentences from Eisendle's works in which the term "Spiel" occurs is recited. In a gradual conditioning process, the word "Spiel" is replaced by a sound. The work thus makes it possible to experience a process of transferring a meaning from the medium of language to the originally meaningless medium of sound; it lets the listener experience the process of assigning meaning. Language - sound - meaning are the central terms of this work.
4. Mathasit Addok (Thailand) “goldfish brain” Pal, Color, Sound, 1.28 min., 2021.
5. Werner Jauk / Monika Wogrolly (Austria) “Lust – Trauer“ / „Lust - Grief“ Pal, Colour, Sound,
7.58 min., 1989.
Concept:
The video „Lust - Trauer / Lust - Grief“ originates from a holistic, rather impetuous emotional approach: the terms "Lust” and “Grief”, which are central to the content and structure of the sound work, are spoken (as sonic expressions of the designated emotions) by human voices, partly clear, partly electronically shredded, "underpinned by naked, singing voices, whereby suddenness may come to the fore". The terms "haste" and "greed" iconically determine the dynamic course of the piece. The sound work was realised with a female voice and the techniques of analogue and digital sound processing.
6. Nithiphat Hoisangthong (Thailand) “Don’t die before you’re” Pal, Color, Sound, 2021.
7. Werner Jauk / Heimo Ranzenbacher (Austria) “Klangfigur“ / „human sound-sculpture“ Pal, Colour, Sound, 6.47 min., 1991.
Concept:
The video „Klangfigur / human sound-sculpture“ is a conceptual one that uses - apart from instrumental play actions - the generation of sounds through physical activity out from “activation”. The physical reaction of a knowing actor, a choreographer who knows how to interpret the actions of a dancer, to the dancer's movement generates and controls sounds that are initially provided to the dancer virtually. Only his movements make them sound or modulate them further. These movements are now further visual templates that lead to the choreographer's bodily reactions, which in turn generate and control sounds and provide the dancer with them...... a feedback process of creating meanings out of physical activation and vice versa begins.
8. Pasutt kanrattanasutra (Thailand) “Termite child” Pal, Color, Sound, 2021.
9. Werner Jauk / Christian Pölzl (Austria) “Rituality“ Pal, Colour, Sound, 3.58 min., 1991.
Concept:
In the video "Rituality", visual materials taken from an interaction situation of actor and “audience”, the theatre situation, and movements of a human body related to itself, serving a ritual, are juxtaposed in a confronting manner. Through its creation, the medium of sound oscillates between this communication-oriented and narcissistic posturing. As a form of transfer adequate to the impetuous sensual character of the work, the sonic gesture is located close to punk rock, the visual design leans quote-like on a more hardcore video clip using stereotypical cliches.
10. Phimmawat Yonlaphat (Thailand) “Reality” Pal, Color, Sound, 2021
Concept:
Sometimes in the world of sleep and the world of awakening We cannot distinguish which world is the real world. Where is the world where we live? Maybe we are living in the imaginary world that we have created.
11. Werner Jauk / Marion Wicher (Austria) “Spatial States and Transitions” Pal, Colour, Sound, 4.52 min., 1994.
Concept:
The video "Spatial States and Transitions" enables awareness of the importance of provoking perceptual content without a corresponding physical external stimulus. By creating a specific sonical and visual context, timbres are interpreted as sound coming from above, from below, from behind from the front. The progression of lines in the sound space leads to parallel, virtual movements in space. This leads to spatial experiences in the manner of an illusion. Cues of a visual and sonic nature excite cognitive implants, embodied cognitions; they lead to percepts without a corresponding sensory icon.
12. Pimnapas Anantasiri (Thailand) “Untitled” Pal, Color, Sound, 2021.
Concept:
This video art is said about Relationship between Human and Environment. Nowaday we all lean on technology and chemicalogy ,much further, resources are run out faster. On the other hand, if we use human labor it will be so much more slow and difficult to work but this method will let nature restore itself.
13. Werner Jauk / Marion Wicher (Austria) “linear transition“ Pal, Colour, Sound, 1.41 min., 2008.
Concept:
Venice's isolated location, its traffic structure of fewer canals and the multitude of narrow alleys primarily enables the unmediated footpath as the dominant form of movement. This special location leads to specific acoustics: Free from the soundscape of other cities, which is characterised by the lo-fi noise of technically mediatised movement, the reflectionless vastness of the sea is contrasted by the narrowness of the alleys with their short-term reflection, the shutter sound of footsteps - urban social life as human movement becomes audible through the reflection and resonance of architecture.
Based on this, the work is a simulation experiment to transfer the sound of the footpath from A to B through the maze of alleys to the direct linear propagation of sound, taking into account the intervening walls as resonating walls as well as squares as sound energy emitting openness, to implement linear transition sonically and parallel visually. While the visually controlled walk from A to B leads the body through the alleys surrounded by the walls of the houses, the sound passes through these walls in a sound-modulating way. In the digital simulation, the seeing gaze makes its way through the city unhindered by walls along the path of sound - as a linear transition.
14. Pornwipa Suriyakarn (Thailand) “Life” Pal, Color, Sound, 2021.
15. Doris Jauk-Hinz (Austria) “Utopien, Träume = Energie“ / „Utopias, dreams = energy” Pal, Colour, Sound, 6.38 min., 1988.
Concept:
The loss of employment means the loss of life energy. To think utopias, to dream dreams, is perhaps considered a strategy to keep the lost power to develop new life, to overcome the powerlessness and transform it into power - to live one's own life. The project was realised with six young unemployed craftsmen by working through their difficult situation and modelling their dreams and utopias by externalising these desires in sculptures. The tools of their lost jobs were melted down into an iron cube. The sacred ceremony of a funeral becomes a rebirth.
16. Pramet Krangmuntvai (Thailand) “Skin cold fire blanket” Pal, Color, Sound, 1.33 min., 2021.
17. Doris Jauk-Hinz (Austria) “Bilder” / “Images” Pal, Colour, Sound, 4.16 min., 1991.
Concept:
The video “Bilder / Images” is a non-narrative one and merges techniques of painting and graphics with the possibilities of analogue and digital electronic picture-generating and -processing. The fixed painting is set against the processing growth of a video. As it was a composing work, the video is - with regard to the formal aspect - a “parallel motion”, a “development” of and a “counterpoint” to the music and like this a formation of time. Self-performance and the confrontation with being a woman are the contents.
18. Raksucha Chompubuns (Thailand) “Is beginning to an end” Pal, Color, Sound, 1.32 min., 2021.
19. Doris Jauk Hinz (Austria) “Bewegte Bilder“ / “Moving images” Pal, Colour, Sound, 4.24 min., 1991
Concept:
The animation of images, detached from their respective context, tell a story in the video "Bewegte Bilder / Moving images" through the subjectively determined linear arrangement, which, depending on the selection and arrangement, could also create other content links. The associated impressions are also a narrative about the person creating them, at the same time they also write associative stories for the viewers, because "It is precisely the initially unexpected, the frighteningly chaotic that reveals deep meaning." (C.G. Jung) »Gerade das zunächst Unerwartete, das beängstigend Chaotische enthüllt tiefen Sinn.« (C.G. Jung)
20. Ruttiporn Leepanuwong (Thailand) “The living of life” Pal, Color, Sound, 1.13 min., 2021.
21. Doris Jauk-Hinz (Austria) “TRANS-LOCATION, 8 minutes to walk - 808 steps”, Pal, Colour, Sound, 3.39 min., 2013.
Concept:
8 minutes of walking - 808 steps are represented by 808 red squares, which in their order form a line on the glass surfaces. This red line represents the distance between the former location and the new one of “esc media art labor” in Graz (AT). As part of the opening event, participants and passers-by were invited to shorten this line consisting of 808 red squares "step by step" by removing one square to reinstall it within a marked area by will. The dissolution of this line and the collective reorganization by participants are initiated as a performative occupation of the new space.
22. Sakonpat Chotipatthamanon (Thailand) “Self-Lock” Pal, Color, Sound, 10.55 min., 2021.
Concept:
During the COVID-19 situation, the government use the emergency law to force us to stay at home. It was locked down. I spent a lot of time staying in my room cause cannot go out. It drives me crazy and gets depressed. This artwork presents the idea of less freedom like you are in jail. Moreover, it will show you the power of nature and the state to control what you need to do. They always watching you.
23. Doris Jauk-Hinz (Austria) “Miniature” Pal, Colour, Sound, 2.04 min., 2021.
Concept:
"Miniature" - an artistic form that tries to let us experience the big whole in a tiny form. The view into the dynamically indeterminate and the immersion in a branching net structure stimulate a view into what is seen and the process of seeing, into organic but also neuronal networks. Losing oneself and finding oneself allows for supposed standstill and the feeling of floating lightness as well as the symbolic reflection of the real and the fictitious.
24. Sathaporn Fuengk (Thailand) “Darkness and imagination” Pal, Color, Sound, 2021.
25. Doris Jauk-Hinz (Austria) “DIE GULDINNEN”, Pal, Colour, Sound, 2.11 min., 2021.
Concept:
The female currency that compensates for gender inequality. DIE GULDINNEN focuses the discrimination of women within the employment-market. To visualize this economic inequality, a female coin originating from a historical (male connoted) coin "DER GULDEN" was established. To compensate less economic value of women the coin was enlarged: DIE GULDIN (fem.) is 20 % larger than DER GULDEN* (m). DIE GULDINNEN were introduced in 2011 as regional money within the existing Judenburg / Austria voucher system. Since 2017, they have also been accepted as a means
of payment in some shops in Graz / Austria.
26. Somlux Wanta (Thailand) “The matter & balance” Pal, Color, Sound, 1.21 min., 2021.
27. Eva-Maria Gugg (Austria) “Grazer-linien” Pal, Color, Sound, 33 second, 2021.
28. Thanakrit Chaniem (Thailand) “Living together but apart” Pal, Color, Sound, 2021.
Concept:
Today we cannot deny the Internet, mobile phones, or computers. As if it were in our daily lives and it was followed by the obvious detrimental effect of everyone, being interested in the surroundings and those around us, or even important people in our family, by reducing the relationship. Relationship in the family, whether it is talking while living together, eating meals, or doing various activities. The work itself is a situation where the family is doing activities together without talking, but instead of typing and chatting. This reflects the impact of the internet making a crack in it and destroying family relationships.
29. Eva-Ursprung (Austria) “Ghosts” Pal, Color, Sound, 5 min., 2020.
30. Usawadee Srithong (Thailand) “Communication” Pal, Color, Sound, 2021.
Concept:
Three years back I studied Fine Arts at Santiniketan , a small town in the state of West Bengal of the Indian subcontinent. Back then when I first arrived a newcomer in the town I struggled while communicating with people both in English and Bengali. But my fri ends there were quite kind to me and didn't make me feel excluded. They often invited me to there hostel or houses to have food with them. These encounters were wonderful opportunities for me to learn the variety of food and the cuisines that was indegenous to the Bengali people. It also helped me build up a congenial relationship amongst the people whome I dined with.Food is an important element in culture that people identify themselves with. I believe food isn't just something we eat to satisfy hunger , it's also a mode to connect me with the other friends who now share different cultural palettes.
In congruence with my experiences the Art Project is an opportunity that I want to create to begin a conversation between the audience and me . This conversation may differ from people based on their cultures i.e between the Thai people and Foreigner in Bangkok, Thailand . Although to me it is a dialogue between puri, ghughni of Bengal and Food is symbolic to a language as it's mode of communication is quite enriching and instrumental in building a relationship as it has been with friends and me. I wish to convey and utilize this concept in Ban Chao Phraya Thammasakmontri at Bangkok, Thailand once again.
31. Evamaria Schaller (Austria) “Breathe” Pal, Color, Sound, 4.34 min., 2021.
32. Rachata Yooyim (Thailand) “Ball” Pal, Color, Sound, 1.47 min., 2021.
33. Viviann Danilowski (Germany) “Unseen + Abstain 2” Pal, Color, Sound, 2021.
34. Atip Limsiriwong (Thailand) “My time” Pal, Color, Sound, 1.56 min., 2021.
35. Napat Juanarj (Thailand) “Life” Pal, Color, Sound, 1.00 min., 2021.
36. Phakapop Trisin (Thailand) “Player of the class” Pal, Color, Sound, 0.32 min., 2021.
37. Nipatsara Bureepia (Thailand) “The dimension of line” Pal, Color, Sound, 1 min., 2021.
38. Miriam Bajtala (Austria) “First Scenery #Mirka,” experimental film, Pal, Color, Sound, 19:12 min., english with german and english subtitle, 2020.
39. Tharadol Lengsudjai (Thailand) “I am Cobra” Pal, Color, Sound, 1.07 min., 2021.
Concept:
As a child, I had a dream to become an anime character that I admired. When I grew up, I had a chance to make my childhood dreams to come true. I started making a prop of Psycho-Gun, a specific type of gun in a Cobra animation. Then, I performed and took a video of myself. With editing process through video art techniques, I merged those moving images together and transformed myself into a Cobra, the main character of Cobra animation who I had long imagined to be.
40. Jettanut Mahaguna (Thailand) “BUG” Pal, Color, Sound, 47.01 min., 2021.
Concept:
I want to present a contrast of shapes, sizes and colors of a bug and a group of people. By creating a story line of a huge bug waking up because of those tiny people partying loudly. The bug then attacked them.
41. Tatcha Kawashima (Thailand) “Mock” Pal, Color, Sound, 00.20 min., 2021.
Concept:
I selected to use two main characters based on a contrast of colors and shapes. The characters depicted a typical mocking scene with a sense of dark humors and scoffing of the 90’s from a popular cartoon like Tom & Jerry. Finally, both were down into the same path of destiny.
42. Kariata Chumchuenwong (Thailand) “TOMAZACHEESE” Pal, Color, Sound, 00.19 min., 2021.
Concept:
My work was an experimentation on stop motion technique with a subject that I fell in love with - a pizza making process. From basic shapes like cubes, spheres and wedges, I went through the modeling process of all different pizza ingredients. Additionally, colors are one of the things that make real pizza so tempting. So, I painted pizza sculpture with vibrant colors.
43. Jakkrin Saritchanon (Thailand) “Untitled” Pal, Color, Sound, 00.48 min., 2021.
Concept:
I was interested in making stop motion animation by using toys and readymade objects. This technique gave new purpose to my old toys by bringing them to life. Moreover, I was always fascinated by monsters and various abilities they have in movies which I tried to imitate in my animation.
44. Natthaphon Chaiworawat (Thailand) “Irresistible” Pal, Color, Sound, 7 min., 2021.
Concept:
Natthaphon created a metaphor of the state of irresistible through Durational Performance. He floated in a swimming pool and let his body to encounter the current in the pool, Revealing the moment of the body's instinctive reaction to maintain its constant buoyancy in the water. Nevertheless, when the body floated away, the process of retention could no longer be seen by the physical eyes.
45. Panu Saeng-Xuto (Thailand) “Repast (My childhood memory) Synopsis: INT. Memory - Me and My parents’ Meal (Repast)" Pal, Color, Sound, 13.00 min, 2019.
Concept:
The Art Film called “Repast [My Childhood Memory]” was created and inspired by studying and breaking down different samples of work. It was researched through a case study which was co-researched through analyzing concepts and contents to produce the films production framework.
The movie represents the memories of my childhood through the meals. My family raised me to be strong and healthy. My mother and father’s important lessons were passed down to me through meals we had together that were full of love and building connections. These times with the three of us always brought me happiness.
46. Natnaran Bualoy (Thailand) “Birds Noise” Pal, Color, Sound, 2021.
Concept:
In the evening, the bird’s mom summons her baby birds to return home by making noise and I always notice it in my bedroom.
47. Supakit Seksuwan (Thailand) “Did I do something wrong?” Pal, Color, Sound, 16.35 min., 2020.
Concept:
The Invisible Light that threaten our Circle of Life Synopsis: The story of the bonds of a small family in a one rainy night through the mysterious light that appeared as a determinant of how to be nurtured, cultivation from parents or family members by using various media.
48. Supakit Seksuwan (Thailand) “During the Ramadan” Pal, Color, Sound, 10.23 min., 2020.
49. Supakit Seksuwan (Thailand) “Invisible light that threaten our Circle” Pal, Color, Sound, 110.34 min., 2020.
50. Oradol Kaewprasert (Thailand) “Vamos Tailandia!” Pal, Color, Sound, 1.16 min., 2018-2019.
51. Oradol Kaewprasert (Thailand) “Saisunee Jana, the gold medalist, wheelchair fencing, the Paralympics, London” Pal, Color, Sound, 1.16 min., 2018-2019.
52. Manasak Khlongchainan (Thailand) “White Light Final Draft” Pal, Color, Sound, 10 min., 2021.
53. Ivy Universe Baldoza (Philippines) “Strange horses and their stripes (Short)” Pal, Color, Sound, 11.32 min., 2016.
54. Watcharin Deddoung (Thailand) “Nong Chok on the move” Pal, Color, Sound, 5.23 min., 2021.
Concept:
We were born into a society that is mixed with different races or ideas. We human beings create ourselves through learning from the environment. And travel way These things are made for ourselves. Whether it is like or what's not to like Then all of these things have created a multicultural society. Until sometimes we cannot divide the history of the culture. I would like to find answers to the cultural traditions of the people that flow into the environment. Then become a new culture that is specific to that area and let's call this "Trans-Culture"
55. Dhira Dhiraprachya (Thailand) "Somewhere Someone Sometime" Pal, 10:52 min, Color, Sound, 2021.
Concept:
Sometimes, someone who's in somewhere spends time on something.
56. Tutsiri Jantacharee (Thailand) "The rhythm of pursuing happiness and passion" Pal, Color, Sound, 1.29min., 2017.
Concept:
When have rhythm ready!... Fans everyone can run to find get happiness and passion always.
Thursday, April 29, 2021
(EVA17) Experimental Video Art 17, Exhibition Thai-European Friendship 2020
Artist's list
1. Alicja Rogalska (Poland) “Tear Dealer” Pal, Color, Sound, 11.58 min., 2014.
Concept:
Concept:
Tear Dealer opened for a few days in July 2014 on a high street lined with pawnshops, second-hand shops and loan sharks in Lublin, south-eastern Poland, in an area of high unemployment and socio-economic exclusion. In the specially arranged premises reminiscent of a bank, a beauty salon or a dressing room people could produce and sell their tears for approximately €25 for 3ml (just over half a teaspoon). The project constituted a perverse reversal of the logic of affective labour, allowing people to collectively express and capitalise on their feelings of despair, anger, sadness, and frustration in a supportive, yet suitably exploitative environment. Nearly 200 people participated in the project, which had to close early because funds were exhausted sooner than envisaged. Tear Dealer attracted huge media attention and coverage worldwide sparking a discussion on the commercialisation of emotions. Collaboration with Łukasz Surowiec.
Commissioned by Rewiry - Socially Engaged Art Workshop in Lublin and curated by Szymon Pietrasiewicz.
2. Alicja Rogalska (Poland) “Untitled (Broniow Song)” Pal, Color, Sound, 11.58 min., 2011.
Concept:
Commissioned by Rewiry - Socially Engaged Art Workshop in Lublin and curated by Szymon Pietrasiewicz.
2. Alicja Rogalska (Poland) “Untitled (Broniow Song)” Pal, Color, Sound, 11.58 min., 2011.
Concept:
A contemporary folk-song on the socio-economic situation of the rural area of Southern Masovia, Poland, known for its rich folk music traditions and the highest unemployment in the country at the time. The song, written in collaboration with villagers and the folk singing group Broniowianki, was presented locally in a series of performances and documented on video, contrasting ethnographic representation (the image) with the peopleʼs own view of their situation (the lyrics). The tune was appropriated from a local love song.
Commissioned by Museum of Modern Art in Warsaw for Cięcie (Cut) project and curated by Magda Lipska.
Commissioned by Museum of Modern Art in Warsaw for Cięcie (Cut) project and curated by Magda Lipska.
3. Alexandra Gschiel (Germany) “Powerwalk” Pal, Color, Sound, 22 min., 2019.
4. Alicja Rogalska (Poland) “Untitled (Dreamed Revolution)” Pal, Color, Sound, 13.18 min., 2014-2015.
Concept:
A video based on documentation of a performance conceived and directed by the artist, in which local activists were invited to take part in an experimental workshop and, hypnotised by a professional stage hypnotist (Jurij Mokriszczew), collectively articulate possible scenarios for future society. Hypnosis was not only used as a meditative tool to increase focus and facilitate creativity but also to remove learned thinking barriers. For the people not susceptible to hypnosis it was also a chance to share their wild visions of the future in a safe space open to thought experimentations and contradictions. The project was an attempt to move beyond the forms of subjectivity created by the ideological hegemony of global neoliberal capitalism which inform rational thinking and affectivity and limit the horizons of imagination.
Commissioned by Teatr Nowy and Muzeum Sztuki in Łódź for Avantgarde and Social Realism project and curated by Aleksandra Jach.
Commissioned by Teatr Nowy and Muzeum Sztuki in Łódź for Avantgarde and Social Realism project and curated by Aleksandra Jach.
5. Billy Roisz & Dieter Kovacic (Austria) “Aquamarine” Pal, Color, Sound, 5.33 min,. 2019.
Concept:
"Aquamarine" means not only the well-known light blue hue, but also, what the color is based on, the mineral beryl. Translated literally: the color of the sea. The film AQUAMARINE takes a constellation of (blue-green) color, maritime, liquid, and of course, mineral, as a starting point for setting the cited components in a jolting, undulating balance based on the track of the same name by the group MOPCUT. The visual starting material comprises views of the ocean around the island of Gomera, filmed from above, in close-up, or from a ship. Pastel blue shimmering white crests, but also nocturnal shots of the horizon are set into convulsions and (time-)bends to the music—for this, Billy Roisz and Dieter Kovačič employed a specially written program for defamiliarization of the frame rate. The "liquefaction of the liquid" is taken to such extremes that—as soon as the guttural singing begins—a spectral fluttering and untenable fluctuation overcome the image space. For a while, the ruffle of waves, permeated by all manner of chimera, heaves in an ominous black and white. Set to the increasingly more tightly timed sound texture are flash like illuminations and shadings that continually steer the gaze to the abysmal light blue. Slowly, a bottom is peeled from the (water) layers, which at the same time, signifies spectral infiltration and medial growth in structure. In continuously new, additional color shades, a type of mineral framework gradually becomes visible behind the shimmering surface. The digital "crystallizes" here layer by layer and at the same time, keeps on flowing. A symbol referring to the subtle stabilization of our seeing, which has meanwhile become accustomed to fluid images. (Christian Höller)
Translation: Lisa Rosenblatt
Translation: Lisa Rosenblatt
6. Chayanis Wongthongde (Thailand) “Nihilism” Dot, 1.50 min., Video Loop, Black & White, 2020
Concept:
The mental state of human ailments, Recognizing the Wastage of Strength Causing humans to face the state of nothingness Without meaning, worthless, hopeless nothing is true, everything is permitted. One of my experiences has influenced our perception and understanding of the nature of life. Occurrence - decay Clarity – Fuzziness.
7. Billy Roisz & Dieter Kovacic (Austria) “Surge” Pal, Color, Sound, 5 min,. 2019.
Concept:
A green shape hops on a red background mildly offbeat to a waltzing rhythm rendered by the alternating sounds of an increasingly slurred high- key ping and deeply resonant bass tone as the green color gradually turns turquoise and spreads out in space. Something awakes and stretches itself, the gravitational center of the image shifts from horizontal to vertical. In the next section a mysterious object – not a UFO – enters from the left and pushes across the image at a Star Wars angle. It is a finely chiseled ghost ship that shape shifts into a gorge and back again to the powerful beat of the music. The voyage of the gorge ship is superimposed with vertical stripes. These glitches serve as an allusion to disturbed analog signals and interfere with a circumspect deciphering of what is seen, thereby triggering the imagination. The next sequence returns us to abstraction, circumscribing an inner world conjured by bass notes – the insistent beating of a heart cradled within the ghost ship. It resolves into the slow- motion dance of a phosphorescent fade-out.
The nautical horror Billy Roisz and Dieter Kovacic associate with Surge by schtum (Manu Mayr & Robert Pockfuß) recalls their dark opus THE (2015). Something sinister is happening, something difficult to put into words. It unfolds aesthetically on a sound and image level through an ephemeral sense of dread, a staggering beauty and the extreme over- modulated deployment of contrasting pairs – high/ low, shuttered/ torn open, organic/ two-dimensional. Recommendation: Play it full blast in the darkest room! (Melanie Letschnig)
Translation: Eve Heller
The nautical horror Billy Roisz and Dieter Kovacic associate with Surge by schtum (Manu Mayr & Robert Pockfuß) recalls their dark opus THE (2015). Something sinister is happening, something difficult to put into words. It unfolds aesthetically on a sound and image level through an ephemeral sense of dread, a staggering beauty and the extreme over- modulated deployment of contrasting pairs – high/ low, shuttered/ torn open, organic/ two-dimensional. Recommendation: Play it full blast in the darkest room! (Melanie Letschnig)
Translation: Eve Heller
8. Chayamon Steereasinlapin (Thailand) “Untitled” Pal, Color, Sound, 1.26 min., 2018.
9. Chakrhit Buranarom (Thailand) “Untitled” Pal, Color, Sound, 4.00 min., 2020.
10. Chakrhit Buranarom (Thailand) “No Where” Pal, B&W, Sound, 4 mins., 2020.
11. Eva-Ursprung (Austria) “Der Berg (The Mountain)” Pal, Color, Sound, 4.32 min., 2017.
12. Eva-Ursprung (Austria) “The End” Pal, Color, Sound, 3.11 min., 2017.
13. Gerald Zahn (Austria) “PIANO” Pal, Color, Sound, 1.35 min., 2019.
Concept:
Just like a pianist playing on an endless keyboard and filling the empty staves with notes, train tracks and electrical overhead lines run through the image. A visual score for a dazzling, swift piano composition by Chilly Gonzales.
14. Eva-Ursprung (Austria) “Die Schleuse (The Battage)” Pal, Color, Sound, 6.44 min., 2017.
15. Gertrude Moser-Wagner and Ulrich Kaufmann (Austria) “bridge NOTHING” Pal, Color, Sound, 5.30 min., 2020.
Concept:
It's about visibility and blindness to the obvious. Multilinear art video that combines visual poetry based on projection with live performance and particles of language. Bright and dark parts are compositionally in it and create a surprising picture. NOTHING is generated, collected, moved, sunk. Something, an action, actually was and should follow.
16. Hyeseon Jeong (South Korea) “No one can stop” Documentary film, Pal, Color, Sound, 7.18 min., 2018.
17. Komson Nookiew (Thailand) “English Speaker” Pal, Color, Sound, 2 min., 2020.
18. Hyeseon Jeong (South Korea) “No one can stop” Documentary film, Pal, Color, Sound, 7.18 min., 2018.
19. Hyeseon Jeong (South Korea) “There is a dense forest” Documentary film, Pal, Color, Sound, 7.31 min., 2017.
20. Igor F. Petkovic (Austria) “SPINPRAY session 1-3” Pal, Color, Sound, 3.33 min., 2012
Concept:
Igor F. Petkovic´ has been developing an artistic research project at the interface between theology and (natural) science, between spirituality and rationality for a long time. The basis is the questioning of spiritual and spiritual contents through scientific, imaging processes with the means of art, in which human (physical) attitudes of faith, prayer and meditation are examined and depicted. Questions like: Can you “scan” God? Do you “see” faith? What do folded, praying hands hide? The project is a cooperation project with MedUNI Graz and the Institute for Philosophy at KFU Graz. The body as a pure expression of the deeply spiritual relativizes interdenominational demarcations. Working on the extensive raw material became repetitive meditation. The contemplative experiences of the mr tests led to a spiritual journey in body and mind. Canonized attitudes of spiritual alienation frozen in minutes of persistence. Twenty minute penance prayers, scanned at 1.5 tesla. The cross-sections of the body parts reveal new insights beyond medical findings. The work raises some questions but also open one thing: human existence as a physical and spiritual being.
21. Laura Engelhardt (Germany) “突击建房 – Bauangriff (Construction Assault)” Pal, Color, Sound, 7.22 min., 2019.
Concept:
突击建房 – Bauangriff is an essay documentary that examines the building and demolition cycles in Beijing’s periphery. It draws upon the phenomena of ‘tuji jianfang’ (construction assault), a local building practice in which houses get built just to be demolished. The narrator travels with Beijing’s subway between the modern city centre and the wastelands and demolition sites of the outskirts. She is confronted with the clash of China’s high-tech world on the one hand and the repetitive, manual labour of rural migrants on the other hand. They work in the demolition and construction businesses, as backbone of China’s huge building boom and urban expansion. The journey shifts between these vast and continuously changing peripheral landscapes and the massive advertising screens that occupy the city and promote progress and a better life. Images of recycled building materials are juxtaposed with advertisement loops of Beijing’s subway, trying to grasp the speed and absurdity of China’s changing urban environment.
22. Laura Engelhardt (Germany) “Notes from the Neighbourhood observes” Pal, Color, Sound, 7.22 min., 2019.
Concept:
Notes from the Neighbourhood observes, over the course of two years, an inner courtyard in Berlin, in which investors erect a new residential building for resale. As the construction progresses, a woman narrates the ups and downs of her contrary life, and the stagnation of her body. From autumn 2015 to autumn 2017, I film from the window of my flat in Berlin Alt-Treptow the view of our courtyard, and document the construction process of a new residential building.
Alt-Treptow belonged to the former GDR until 1989. Since 5 years ago, it has been undergoing a rapid urban change due to in-migration and recent property developments. My neighbour, Heike Rienow, was born in the house from which I film in 1964. Because of a bone disease, she has been unemployable for 25 years. She witnessed the fall of the Berlin Wall just 200 meters away and took care of her mother, who suffered from Alzheimer disease, in her 45sqm flat. Inspired by my neighbour a fictional character came into being as a woman at the window. While the view captures daily scenes amidst speculation and displacement, her thoughts revolve around the past and her own bodily fragility and potential stagnation. A filmic narration of urban and bodily conditions.
Alt-Treptow belonged to the former GDR until 1989. Since 5 years ago, it has been undergoing a rapid urban change due to in-migration and recent property developments. My neighbour, Heike Rienow, was born in the house from which I film in 1964. Because of a bone disease, she has been unemployable for 25 years. She witnessed the fall of the Berlin Wall just 200 meters away and took care of her mother, who suffered from Alzheimer disease, in her 45sqm flat. Inspired by my neighbour a fictional character came into being as a woman at the window. While the view captures daily scenes amidst speculation and displacement, her thoughts revolve around the past and her own bodily fragility and potential stagnation. A filmic narration of urban and bodily conditions.
23. Miriam J. Carranza (England) “Cosmic Dissociations (Express)” Pal, Color, Sound, 8.00 min., 2019.
24. Murat Adash (Turkey) “One in the Other” Pal, Color, Sound, 12.28 min., 2018.
25. Menno Aden (Germany) “Couriouser and Couriouser “ Pal, Color, Sound, 4.41 min., 2020.
Concept:
A videographic examination of the hotel as a temporary place, as a "Non-Place" (Marc Augé), between foreign and home. Narrated as a first-person game in a "God Mode", in which walls and doors become permeable portals that create the greatest possible transparency of architecture and yet offer no way out of a kafkaesque world. Underlaid with quotations from Lewis Carrol's "Alice in Wonderland" (1865), about losing oneself and finding oneself again, about coming and going and about the sense and nonsense of our existence. It is no coincidence that the camera reminds us of films like "The Shining", "Fear and Loathing in Las Vegas" or "2001: A Space Odyssey", in which time and space do not always form a continuum.
26. Markus Wilfling (Germany)”WINDELPRACHT” Pal, Color, Sound, 6.00 min., 2018.
27. Nithiphat Hoisangthong (Thailand) “Parallel” Pal, Color,Sound, 1.00 min., 2020.
Concept:
How we look at the various phenomena. There is always the truth that is visible and invisible.
28. Nikolai Meierjohann (Germany) “You Help Me To Grow” Pal, Color, Sound, 6.25 min., 2019.
29. Nika Ham (Austria) “Dance with Bentham / OG2 “ Pal, Color, Sound, 3.38 min., 2019.
Concept:
Project Dance with Bentham is a long-term project I am working on since 2015. I use the surveillance system of museums and other public spaces to document my short performances. In his book Crime and Punishment, Foucault wrote about Bentham, whom established the panoptic principle - everything must be visible. I know I am being observed and I want the observer to know that. The project deals with the relationship between the artist vs. institution, body vs. space, observing vs. being observed, private vs. public in a humorous and witty way – the end result being a video or a stop motion animation made from surveillance footage. In the performances I focus on movement, rhythm and exploration of my own body in a public space. OG2 is happening at Salzburg museum. It is a video consisting of short repetitive dance moves that are performed across the exhibition halls. With the pink raincoat (Salzburg = rain) I become an obvious intruder in the space. Together with the music track it becomes a dance show for the surveillant in an unconventional setting.
30. Natnaran Bualoy (Thailand) “Untitled” Pal, No sound, Colour, 3 min., 2020.
31. Philipp Messner (Italy) “DL-M-highres” Pal, Color, Sound, 6 min., 2019.
32. Natthaphon Chaiworawat (Thailand) "EAT WE" Pal, Color, Sound, Performance, 10-15 min., 2017.
Concept:
Performance (10-15 mins) Natthaphon examine daily activity such as eating to represent the potential of simplicity and consciousness.
Objects MONOCHROMATIC, Light Installation by MELION 2.50 Euros, 1 Walls Magnum Almond Ice-cream, 1 Seatplace
33. Poorinat Plangklang (Thailand) “Lion Fish” Pal, Color, Sound, 2.22 min., 2019.
34. Poorinat Plangklang (Thailand) “Sea Fish” Pal, Color, Sound, 2.22 min., 2019.
35. Pasutt Kanrattanasutra (Thailand) “Pattani Today” Pal, Color, Sound, 13.22 min., 2019.
36. Rachata Yooyim (Thailand) "Journey" Video Pal , color and sound , 2.51 min , 2018
Concept:
Bringing different audio and video together to create a relationship to bring the audience together with sound and picture.
37. Praewvanich Sae-Lim (Thailand) “Untitled” Pal, Color, Sound, 9.33 min., 2019.
Concept:
Existing or non-existent areas: free ground, ground water, wind, sun, sunning, floating, pointless.
38. Praewvanich Sae-Lim (Thailand) “Bon Voyage” Pal, Color, Sound, 1.56 min., 2019.
Concept:
This work of mine is presents my thought and beliefs in Chinese culture through the tragedy of Malaysia Airlines MH370 flight. Departing from Kuala Lumpur of Malaysia to Beijing of China that lost without a trace by using pictures instead of this event like a memoryless state the thing that reminds me is human. An airplane was flying into the sky like leaving the real world floating grooves looking at clouds of carious shapes, the sky is vast in an imaginary world, associate the truth with things that are not true. Comparison of overlap and diversity between existence the dividing line of the opposite will tend to blur, Indicates travel to destinations.
39. Sakonpat Chotipatthamanon (Thailand) “UNDER CONTROL” Pal, Color, Sound, 5.30 min., 2019.
Concept:
The main concept of this artwork was from the research. I had read about The number of depression people is increasing nowadays. And They might turn to commit suicide. So, I try to represent some part of their feeling. I was putting myself to get downstairs by walking back to put myself to risk situation and try to understand how the depression people feel and suicide people.
40. Sabine Marte (Austria) “Accident” Pal, Color, Sound, 4.21 min., 2020.
41. Salme Dutt & Aphra Tesla (Slovenia) “A Mole, Larger in Size Than Ever Seen Before" Pal, Color, Sound, 7.37 min., 2020.
Concept:
"A Mole, Larger in Size Than Ever Seen Before" is a poetic work of years long discussion, sistership and brotherhood between Huxtrl, Tanel Rander and Aphra Tesla. The video is made in the dark burrows of mind amidst the perversion of existence and the era of new fascism. The title of the video comes from Frantz Kafka's text "Village Schoolmaster" that speaks about frustration of powerless marginality and provinciality.
42. Supapong Laodheerasiri (Thailand) “Thai Red Chicken Curry with Jasmine Rice” Pal, Color, Sound, 4 min., 2018.
Concept:
Thai Red Chicken Curry with Jasmine Rice is a chilled ready meal from Lidl in Glasgow, Scotland. However, Lidl is not a British supermarket, but it is a German global discount supermarket chain. The food could indicate a form of transformation of the original Thai food to become British Thai food. The taste and the ingredients of the original of Thai Red Curry are applied to suit the tastes of British people. Thus, it becomes hybrid food. Furthermore, the eating chilled ready meals from supermarkets could reflect the urban contemporary life style. In conclusion, concepts of the artwork are about issues of nationality, international relations, Brexit, and an independence referendum. Including, the living in contemporary sociality, which is the multicultural and hybrid society.
43. Susi Jirkuff (Austria) “Measuring the Distance” Pal, Color, Sound, 7 min., 2019.
Concept:
Being at the margin is no only a spatial but a social reality. The film explores images of the edges of cities and the narratives they carry with them.
44. Tina Van De Weyer (Germany) “Into the Light” Pal, Color, Sound, 2.50 min., 2020.
45. Vacharanont Sinvaravatn (Thailand) “In-Between” Pal, Color, Sound, 10.16 mins., 2019.
46. Vacharanont Sinvaravatn (Thailand) “In-Between” Pal, Color, Sound, 10.16 min., 2019.
47. Warocha Sathurat (Thailand) “พูดไปก็ไหม้หมด” Pal, Color, Sound, 4.48 min., 2020.
Concept:
It was inspired by the COVID-19 crisis and the neglect of the government that did not solve the problem poorly and completely, despite the fact that there was a lot of news of people making grievances through various media channels. But I didn't see any solve better solutions to the problem. inspired this work. It is similar to the irony of how good it is, how poor it is, it burns out, it looks useless.
48. Yasinee Saeung (Thailand) "ASMR Please!" Performance, Pal, Color, Sound, 1.30 min., 2020.
49. Kamolnat Osotprasit (Thailand) "Love is no gender" Pal, Color, Sound, 2020.
Concept:
Being at the margin is no only a spatial but a social reality. The film explores images of the edges of cities and the narratives they carry with them.
44. Tina Van De Weyer (Germany) “Into the Light” Pal, Color, Sound, 2.50 min., 2020.
45. Vacharanont Sinvaravatn (Thailand) “In-Between” Pal, Color, Sound, 10.16 mins., 2019.
46. Vacharanont Sinvaravatn (Thailand) “In-Between” Pal, Color, Sound, 10.16 min., 2019.
47. Warocha Sathurat (Thailand) “พูดไปก็ไหม้หมด” Pal, Color, Sound, 4.48 min., 2020.
Concept:
It was inspired by the COVID-19 crisis and the neglect of the government that did not solve the problem poorly and completely, despite the fact that there was a lot of news of people making grievances through various media channels. But I didn't see any solve better solutions to the problem. inspired this work. It is similar to the irony of how good it is, how poor it is, it burns out, it looks useless.
48. Yasinee Saeung (Thailand) "ASMR Please!" Performance, Pal, Color, Sound, 1.30 min., 2020.
49. Kamolnat Osotprasit (Thailand) "Love is no gender" Pal, Color, Sound, 2020.
Concept:
This concept conveys the love that have no gender limitation. This is showing Pre-wedding of the couple who are both non-binary. I am willing to give people realization about the human right that legal violence against LGBTQ community should be band. Moreover, people should aware that physical and emotional abuse are not acceptable. Deep in my heart, I truly believe that “love is not criminal”.
50. Chaiworawat Natthaphon (Thailand) “Fox in the beer garden” Pal, Color, Sound, 1 Hour 53 min., 2019.
51. Virinsire Chomchey (Thailand) “I am going to Paris , when I stay in Bangkok”
Color, Sound, 4.30 min., 2020.
Concept:
I have many dreams, I love traveling, I love adventure, I want to travel; I love people, I love nature, I would like to see other things, I have a dream.
Exhibition Venue
Fine Arts Department, Architechture Faculty,
King Mongkut's Institute of Technology, Ladkabang.
17 September - 25 September 2020
Faculty of Fine and Applied Arts Faculty,
Burapha University
22 - 24 October 2020
Painting Department, College of Fine Arts,
Ladkabang, Bangkok.
12 -14 November 2020
Painting, Sculpture and Graphic Arts Faculty,
Silpakorn University.
18 - 21 November 2020
Suan Sunandha International School of Art,
Suan Sunandha Rajabhat.
14 - 16 December 2020
Media Arts and Design Institute,
ChiangMai University.
25 - 27 December 2020
Co-Operators
Associated Professor Pitiwat Somthai,
Fine and Applied Arts Faculty, Burapha University
Instructor Sakchai Bunin,
College of Fine Arts, Bangkok
Instructor Arnont Nongyao,
Media Arts and Design Institute,
ChiangMai University
Instructor Soemsakun Saranpreti,
Painting, Sculpture and Graphic Arts Faculty, Silpakorn University
Assistant Professor Siridej Sirisomboon,
School of Fine and Applied Arts Faculty, Bangkok University
Assistant Professor Komson Nookiew,
Fine Art Department,
King Muangkut's Institute of Technology,
Ladkrabang, Bangkok
Susanna Schoenberg,
Consulten and Co-operator,
Cologne-Düsseldorf,
Germany
Christian Sievers,
Consulten and Co-Operator,
Cologne-Düsseldorf, Germany
David Rych,
Consulten and Co-Operator,
Berlin-Norway, Germany
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