Thursday, January 10, 2019

(EVA15) Experimental Video Art Exhibition, Thai-European Friendship 2018




1. Anna Baydak “Sayless” (Germany) Pal, Colour, Sound, 2016.
Concept:
    Main idea is to convey sensations from personal experience that was lived through in Iceland. Experience about uselessness and unimportance of words, need for silence, that can express much more than something said. That is why the word «silence» slowly transforms to «sayless», like an organic whole, immortalized in marble truth.
This conversion is accompanied by music made only from "sounds of silence" recorded in Iceland, that is physically impossible to capture that is why it contains nature and surroundings. Track composed from different layers like the noise of hot stream to the voices of geese.

The concept of silence experience is the major thought of the work by gaining it you will have an opportunity to hear the inner rhythms and turn your thinking into the minimalistic modesty. 

2. Caroline Schwarz “Doors of Perception” (Germany) Pal, Colour, Sound, 2016.
Concept:

The limitation of perception causes the fear of the unknown. The unknown seems unimaginable. We don’t experience it: So do we only see what we know?“Doors of perception” is a fairy tale in black light. In a world where the unknown is black infinity an individual wakes up and has to look for her ways in darkness. She sets o to search for the familiar, the trustworthy. But does the truth lie in the visible? 
3. Christian Sievers “Über Cyber” (Germany) Pal, Colour, Sound, 2016.
Concept:

As you are approaching the spiral it's easy to underestimate its length. The distance from its edge to the center is just five meters, but the route is around 180 m long. Walking into it, you realise there is quite a bit of distance to cover, and you fall into some kind of automatic trot. March music lends itself to that kind of situation, but the spiral makes you dizzy. There are people coming towards you, the corridor is too narrow to easily fit two, so there are traffic jams and blockages. You have to negotiate, make eye contact and make room for each other. It's awkward, but it's OK if you communicate and don't take it too seriously. Marching doesn't work. 

4. Denise Winter “Von O nach B (from O to B)” (Germany) Pal, Colour, Sound, 2016.
Concept:

The video shows a drive through a tunnel, which partly keeps the view of the passing, snow-covered landscape on one side. Depending on the speed, the landscape as such or only bright stripes are recognizable. The projection of the video takes place on windows and shutters or in room corners - depending on what the exhibition space gives to the projection surface. 

5. Diego Vivanco “The Wait” (Spain) Pal, Colour, Sound, 2.54 min.,
2014. 
Concept:
The first starting point of this project is the most important German Romantic painter Caspar David Friedrich and his fascination with the relationship between man and nature. This Idea is present in many of his paintings of people observing an immense landscape, turning their backs to the viewer. The second point is the confrontation with the idea of destruction, the aesthetics that belongs to it and the impact that this has on our society. Nature and Destruction awake in us feelings of something sublime and extraordinary. Both share an intrinsic and overwhelming essence. In the video you can see me standing with my back to the camera, against a magnificent field of blossoming canola. After a while, an explosion occurs in the middle of the field, which confuses the viewer, making him wonder about the relationship between all variables. The video celebrates the encounter between man, nature and destruction.

6. Diego Vivanco “Not Understand” (Spain) Pal, Colour, Sound, 4.22 min.(Loop), 2012.
Concept:

In the video "Not understood" I use the flag telegraphy system "Flag semaphore" which is directly connected with corporal movements. The video plays with the communication means of flags signal which normally are used at sea and in mountaineering
communication. Firstly, I draw attention to myself and the flags ("a call") and then I display "Not understood" as long as my arms can hold. With this work I question communication. At the same time I show my fundamental lack of understanding the functioning of contemporary society. 

7. Diego Vivanco “Somos (We Are)” (Spain) Pal, Colour, Sound, 1.07 min., 2011.
Concept:

A Video work in which I approach differences of opinion and the idea of "swimming against the current". In the video you can see me walking in direction of the camera while the people around me, against all probability, are walking backwards. The crowd as a metaphor of a barely reflective and aligned society, the herd which continues the way without questioning anything. At the end of the video I say my name to the camera with the same function as when the artist signs the picture playing with the reverse effect. 

8. Evamaria Schaller “DOZE” (Austria) Pal, Colour, Sound, 11.54 min., 2017. 

9. Felix von Klitzing “Silver Lining” (Germany) Pal, Colour, Sound, 4.35 min., 2018.
Concept:

Silver Lining is about imaging an imaging system for further
personal exploration of the interface between the mind, its human imaging system and the outside imaging systems.
Felix von Klitzing, born in 1992 and raised in a small village near Jülich, Germany, is interested in music, its connection to visualization and video art. After completing his bachelor's degree in philosophy in 2017 at the Heinrich HeineUniversity, he began studying at the Art Academy Düsseldorf. 

10. Fins Wagner “I thought it would feel good... And I was right” Part I (Germany) Pal, Colour, Sound, 2017. 

11. Fins Wagner “I thought it would feel good... And I was right” Part II (Germany) Pal, Colour, Sound, 2017.
Concept:

A screen sinking into the flesh-colored foam shows different experiences of different materials, Found footage and 3D animations are blended together. The material simulated here only becomes tangible and real following the beholder’s experience of immersion. The second screen shows scenes from gatherings that are often related to violence. The arm creates the illusion that you are filming these events yourself. A device that reduces sentiments and participation stands between the perceiver and the event. The works are located between crowded, digital information overload and media stupefaction in everyday events. [Hermann Nöring] 
12. Fins Wagner “Untitled” (Germany) Pal, Colour, Sound, 2015. Concept:
This work deals with the relation and dependance between an object and its surface. Normally a 3D-texture is a picture which is wrapped around a volume and its position is given by coordinates. These pictures used as textures are not made for the human perception. It’s a technical image which first has to be transformed into the virtual and three-dimensional room to fit to the human perception of objects. The textures in this work are not bonded on its object, they have its own physical behavior and become independent objects themselves. 

13. Fins Wagner “aquatic surface feel” (Germany) Pal, Colour, Sound, 2016.
Concept:

The combination of simulated material on the screen and real material in the sculpture, generates a surface feel between these to realities. Real water is flowing above objects with a fake coating. This thin water film causes its more authentic look, all flaws and artificiality are concealed. Some objects are partly not covered with water, on this spots one can see all the imperfections. But the associations which normally arise from the real material still exist. The computer generated water gets tangible through immersion with interaction between the avatar and the water. 
14. Frederico Evaristo “Don’t Ask Don’t Tell” (Brazil) Pal, Colour, Sound, 1.30 min., 2018.
Concept:

Just another fashion shoot in our Fashion World. It is an experience about the (ab) use of the power, in a critical self reflection that you just have to swallow it. A video by: Frederico Evaristo Performed by: A photographer - Tarcio Generoso - as the model. 

15. Gerald Zahn “What do I have to do that you fall in love with me” (Austria) Pal, Colour, Sound, 5.43 min., 2017. 

16. Gertrude Moser-Wagner “zwei Vögel und vier Menschen (two birds and four men)” (Austria) Pal, Colour, Sound, 2017. 

17. Juliana Höschlova “Gorgeous attractive blond young funny white elegant woman” (Czech Republic) Pal, Colour, Sound, 2016. 

18. Kamolnut rangwat “Torture” (Thailand) Pal, Colour, Sound, 1.56 min., 2016.
Concept:

Ideas come from personal experiences in childhood. About being superstitious.
Content : Because I want to bring personal experiences that have come to life as a work of art in the form of video art. It expresses the
mystical power that can cause physical and mental suffering. It also reflects the sinfulness of others. 

19. Katharine Fry “d.a.n.c.e. f.o.r. y.o.u.r. d.a.d.d.y.” (Germany) Pal, Colour, Sound, 2017.
Concept:

My work moves through performance, video and installation and features a women in a containing domestic interior. I start with a site responsive performance gesture and a choreography with objects that show a figure in relation to a limiting rigid system. Through video, I experiment with different temporal mechanisms or violence of the cut. I also overlay do wop style renditions of pop songs. I then stage the screens as encounters with bodies, playing out an intimate confrontation with the viewer. 

20. Natthaworn Suriyasarn “ Happy / Happier / Happiest” (Thailand) Pal, Colors, Sound, 2017.

21. Kiatpitack Puttirungsikul “NATURAL” (Thailand) Pal, Colour, Sound, 2017. 

22. Kiatpitack Puttirungsikul “26 (twenty - six)” (Thailand) Pal, Colour, Sound, 2017. 

23. Komson Nookiew “Lives but Speed 4” (Thailand) Pal, Colour,
Sound, 1 min., 2018.

24.
Leopold Kessler “dogpicknick:” (Austria) Pal, Colour, Sound, 2016. 

25. Leri Matehha “BECAUSE IT‘S MIDDLE OF MARCH (Part 1 and 2)” (Germany/Israel) Pal, Colour, Sound, 8.45 min., 2017. Concept:
An impressionistic lm-essay about the founding history of the state Israel: bodybuilding as the aesthetically leading theme of this movie becomes mixed up with the myth of building up the state of Israel and the need of self-protection. 

26. Lia Sáile “Release” (Germany) Pal, Colour, Sound, 12.22 min., 2014.
Concept:

The experimental film RELEASE - while analyzing the digital medium - consciously clashes and unites conceptual art and sensual cinematic experience. It explores disintegration - fragmenting unity into pieces - leading to temporary destruction. It goes from presence to absence; releasing its own form. Montage, time-space-context, sound and media-reflexive attention to the digital carrier-medium by turning to image-resolution - in German, resolution and dissolution are one word: 'Aufloesung' - form the basis. The compression types JPEG, MPEG and GIF radically destroy parts of the film, create disruptive factors, trigger irritation and distance the audience from the film. Every day sound recurrently collide with the abstract black-and-white images. In between an almost cinematic music fills the space yet not long enough to be immersed in. Using every aspect of the medium, re- building cinematic experience that is recurrently ruptured, disintegration becomes intellectually, emotionally perceivable. 
27. Lia Sáile “BORDERLINE I-III” (Germany) Pal, Colour, Sound, 9.45 min., 2014.
Concept:

Based on civil and military footage of border control cameras these digitally altered videos depicting crossings at the Mexico/USA border (North-/South America) and Melilla border (Africa/Europe) focus on the actual act of frontier crossing itself. Various degrees of pixilation through gif-algorithm compression, reduced to pure black and white images, ‘resect’ the individuals out of their specific context, floating on black – alluding to 8-bit computer games – deconstructing the scene to its basic movements, dynamics and shapes, turning it into an abstract choreography of white pixilated abstract figures in motion. 

28. Menno Aden (German) “Untitled (Traffic II)” Pal, Colour, Sound, 1.30 min., 2018 Concept: Ghostly moves through spaces. 

29. Miriam Gossing & Lina Sieckmann “OCEAN HILL
DRIVE” (Germany) Pal, Colour, Sound, 2016. 
Concept:
Ocean Hill Drive examines a rare phenomenon, the so-called shadowflicker’, that occurs in a suburban area on the outskirts of Boston. As a result of an erroneously installed wind turbine, the flicker effect, which brings to mind structuralist experimental cinema , appears instead in documentary images showing the landscape and architecture of a Massachusetts coast town.The film focuses on the visual quality of the pulsating shadows that intrude the suburban domestic sphere and disrupt the social and psychological equilibrium of the community. Documentary images are complemented with a female voiceover, which is based on multiple interviews that were transcripted and assembled into a single narration. The film slowly uncovers fragmentary memories from the time when the flicker began. An atmosphere of suspense and intangible fear is generated throughout the film, while the actual source of the flickering lights remains unknown. 

30. Nat Tanachodwattanasiri “The Old Hag (Ma-Noot- Pa)” (Thailand) Pal, Colour, Sound, (Re-make on 2018). Concept:
The concept in this video is talked about ‘The Old Hag (Ma- Noot-Pa)’ ,a person who is very condescending and egotistical. And a person who thinks that the world revolves around them. Presented with music orchestra ‘Tom and Jerry’ style.

31.
Nikolai Meierjohann “Kissing a fire alarm (Kiss From A Rose)” (Germany) Pal, Colour, Sound, 10 min., 2017. 
32. Nithiphat Hoisangthong “Silent wave” (Thailand) Pal, Colour, Sound, 1 min., 2018. 

33. Manu Saeng-Xuto “See Sea Scene Gen.3” (Thailand) Pal, Colour, Sound, 2.15 min., 2017.
Concept:

Int.Memories-Sundown 

34. Paula Pedraza “NO ESTAR” (Germany) Pal, Colour, Sound, 10 min., 2015.
Concept:

It makes allusions to negation, which approach it from the perceptual experience from the video and the specific record of the action, also the intermitence of the subject presence, it is concerned with problems of identification and it is a gesture that marks a separation of individual as a permanent entity, as well as social and conceptually determined, it uses visual mechanisms, visualsand bodily obscurities, contrasts and rituals both of the precariousness of the image and of the circularity of the action with the hula hoop, to speak of that fleeting presence of inhabiting the action and the virtual space
of the video, touching edges related to the detachment, oblivion and contradiction. 

35. Sabine Marte “No Beach just Sand, nr.2” (Austria) Pal, Colour, Sound, 2018. 

36. Sabrina Osborne “Yajus-a sacrificial prayer” (India-England) Pal, Colour, Sound, 8 min., 2018.
Concept:

‘Yajus’ is one of the eight performance based videos which were conceived, performed and filmed at the London Hornsey Town Hall’s Council Room during a week-long residency in 2016.The town hall has been stripped of its authority, lying disused and abandoned for overadecade. TheperformancesaredelicatelyhuedwiththeHindu sacrifice rituals performed in and around temples: the place where gods reside as living breathing entity and interact with humans. It is said by worshiping the deities as stipulated in the scriptures, and keeping them happy, they prevent misfortune and calamities befalling upon people and ensure peace, prosperity, and welfare of all in the towns and villages where the temples are situated. Artist could see the similarity of that authority in the temples of government Town Halls deciding destiny of common man. Through these physically enduring performances the artist investigates the trajectories of authority & suppression, the struggle between detachment and belonging, the antithesis of solitude and alienation, the contradictions of rebel & surrender and the dichotomy of acceptance and rejection of social dogmas and expectations experienced as an individual who struggles to negotiate her identity in a foreign land as an immigrant. 
37. Severin Spengler “Wintergarten Intothegruen” (Germany) Pal, Colour, Sound, 17 min., 2018.
Concept:

To be in a space involves self supply and optimization of a system for myself to live in. This is a selection of specific observations in my garden.
Severin Spengler, born 1987 in Cologne, is a conceptual artis working with/on video, photography, lyrics and poems, sculpture, living systems, media performance and animation. Based in Cologne he is a student at Kunstakademie Düsseldorf working in the class of Prof. Marcel Odenbach. 

38. Shinya Matsunaga “Eternity gazing” (Thailand) Pal, Colour, Sound, 12.90 min., 2016.
Concept:

I got influence from Kahlil Gibran philosopher, he explained on the beauty of women, I think, the beauty should goes through every day live now a day which consist from our technology and trane and many artists would explain their idea from women curve which I think
is true element. 

39. Susanna Schoenberg “AA_glas_(แก้ว) Thai (VIDRIO)Telescopic camera on wheels” (Italy) Pal, Colour, Sound, 1.56 min., 2014-2018. 

40. Susanna Schoenberg “BB_Architectur (สถาปัตยกรรม) Thai (VARQUITECTURA) Telescopic camera on wheels” (Italy) Pal, Colour, Sound, 2.45 min., 2014-2018. 

41. Susanna Schoenberg “TM_bus_(ป้ายรถประจําทาง) Thai (PARADA) Telescopic camera on wheels” (Italy) Pal, Colour, Sound, 1.56 min., 2014-2018. 

42. Susanna Schoenberg “TM_park_(สวนสาธารณะ) Thai (PARQUE) Telescopic camera on wheels”, (Italy) Pal, Colour, Sound, 1.56 min., 2014-2018. 

43. Susanna Schoenberg “ZZ_memoria_(ความทรงจํา) Thai (MEMORIA) Telescopic camera on wheels” (Italy) Pal, Colour, Sound, 1.56 min., 2014-2018. 

44. Taisiya Ivanova “ALMA MATER + EVA (work in progress)” (Russia) Pal, Colour, Sound, 40 min., 2018. 
45. Tim Gorinski "Time in Rhythm" (Germany) Pal, Colour, Sound, 14.34 min., 2017. 

46. Tin Tin Cooper “Failed Memory” (Thai-English) Pal, Colour, Sound, Installation, 14.34 min., 2013
Concept:

The one-channel video / sound installation "Time in Rhythm" is a confrontation with natural and mechanically generated rhythm patterns. Ebb and tide as naturally occurring two rhythms are broken by dotted, wandering drum patterns, which spread across five speakers and perform a movement in the room. These drum loops are additionally manipulated by a fixed section score and repeatedly broken. A schema is to be felt but not grasped. 

47. Tuksina Pipitkul “Wash” (Thai) Pal, Colour, Sound, 1 min., 2017.
Concept:

Human and Water, Water is valuable resource for body and mind, Water purify and humidify, No matter it is natural or pressed water. 

48. Walter Solon “ETHICS OF SURVIVAL” ((Brazil/Germany) Pal, Colour, Sound, 29 min., 2017.
Concept:
A documentary about the director’s brother, who is a survivalist, Krav Maga fighter and Jewish youth leader, considering leaving Brazil to volunteer in the Israeli Defence Forces. 

49. Water Salon “FREE TEKNO” ((Brazil/Germany) Pal, Colour, Sound, 7 min., 2016.
Concept:

An experimental dance piece shot chronologically during sunrise inside a parking lot in the renaissance village of Montepulciano, Tuscany. Collaboration with Moritz Riesenbeck, Hannah Krebs. 

50. Water Salon “DETACHMENT MISSION” ((Brazil/Germany) Pal, Colour, Sound, 6 min., 2016.
Concept:

Russian-Chinese Butoh-dancer Valentin Tszin had a workshop in Lisbon and we ended up spending six days there together, sharing a small apartment, looking for locations and shooting improvised dances amid the city’s different landscapes. 

51. Water Salon “DEMOLIDORA SOLON” ((Brazil/Germany) Pal, Colour, Sound, 13 min., 2015.
Concept:

Demolidora Solon (2015) is the first part of a photofilm trilogy on the consequences of bringing the São Paulo-based family
demolition business into bankruptcy and then escaping from Brazil to Israel, from Israel to Palestine...

52. Wutikorn Kongka “Untitled” (Thai) Pal, Colour, Sound, 4 min., 2018.

53.
Siridej Sirisomboon “Shape of Sky” (Thailand), Pal, Colour, Sound, 1 min., 2017.
Concept:
The shape of the sky may be determined by the object on earth through our perspective. 

54. Pison Suwanpakdee ”Hole” (Thailand) Pal, Colour, Sound, 3 min., 2017.
Concept:

Thailand became a civilization, but Thai people was empties in their mind. 

55. Teerapong Serisamran ”Buddha Concept No.3: (Identity)” Pal, Colour, Sound, 5 min., 2017.
Concept:
“Identity” is the thing that identify “The self” of us and everything. It helps us to divide what this thing is and what that thing is. What is the borderline between one and another? Can we
invaluably identify “The self” of everything? 

56. Parin Ananpati “?” (Thailand) Pal, Colour, Sound, 5 min., 2017. Concept:
The action itself is working against itself that affect to self in reality. 

57. Rutchana Buasri, Bunyanuch Tachatamtanes “Movement 
& colors” (Thailand) Pal, Colour, Sound, 1 min., 2017.
Concept:
Animation that uses the life of colored smoke, the movement of human beings, causes different senses. 

58. Phongsak nainreangsang, Wisaitas phoosiri “Darkness and Lightning” (Thailand) Pal, Colour, Sound, 2 min., 2017.
Concept:
Fighting of good and evil.


59. Pimpisa Dorksanthia, Siwaporn Waenkaew “Sequence
01” (Thailand) Pal, Colour, Sound, 1 min., 2017. Concept:
The idea comes from the sense of trance and blur and mixed with the acoustic. We look at one image, giving it a multi-dimensional dimension. 

60. Thirayut Poungkaw “Untitled” (Thailand) Pal, Colour, Sound, 2 min., 2017.
Concept:
wasting time, right?

61.
Prinyakan Ruesopa “Untitled” (Thailand) Pal, Colour, Sound, 1
min., 2017.
Concept:
The float on the air, and the journey pointless. Life is like that, we need to continue endlessly. 

62. Panwira Padtaumpan “Beautiful” (Thailand) Pal, Colour, Sound, 1 min., 2017.
Concept:
The beauty of flower in water is tarnished from being splashed by plentiful colors. Conclusively, although that flower is not any more appealing to others, it is still beautiful to someone forever. 

63. Natnaran Bualoy “Now Is Now sense of white” (Thailand) Pal, Colour, Sound, 1 min., 2017. 

64. Taline Piyaskunkiere “New form movement” (Thailand) Pal, Colour, Sound, 1 min., 2018.
Concept:
The body dance had made many lines and forms, we could find

new movement in it. 

65. Nitinei Meenunt “Sea Wave” (Thailand) Pal, Colour, Sound, 0.32 Second., 2018
Concept:

To change the emotion from sea wave movement become another things. 

66. Chayamon Satirasrirapin “Time and Society” (Thailand) Pal, Colour, Sound, 1.41 min., 2018. 
67. Thidarat Pienraphikun “my old photographies” Pal, Colour, Sound, 0.43 Second., 2018.
Concept:

To experimental an old photographies for moving images technique. 

68. Buntika Poppong “Ant” (Thailand) Pal, Colour, Sound, 1.49 min., 2018.
Concept:

An ant is a creature that not use hands when eat every things. 

69. Prepane Lungsrire “Decorate light” (Thailand) Pal, Colour, Sound, 0.33 Second., 2018.
Concept:

The light is decorated in my art work. 

70. Ratsart Yatra “The guardians Cat” (Thailand) Pal, Colour, Sound, 2.34 min., 2018.
Concept:

The cat name “Bungkee” is my related that I would be her guardian cat. 

71. Euekarn Areecharom “New form from apart of mine” (Thailand) Pal, Colour, Sound, 0.17 Second., 2018.
Concept:
I bring my own organs to oder new form of art in which no matter

what form will be. 

72. Wanfar Bunchom “Traffic Jam” (Thailand) Pal, Colour, Sound, 1.12 min., 2018.
Concept:

The felling when encountered on traffic jam in Bangkok.

73. Tanathut Hopap “Repetition of alone time” (Thailand) Pal, Colour, Sound, 1 min., 2018.
Concept:

In holiday I must be there alone and many things seem repeat itself all time. 

74. Wuttin Chansataboot "Untitled" (Thailand) Installation, 2017. 

75. Pitiwat Somthai "What make us human" (Thailand) Installation, 2017.

(EVA14) Experimental Video Art Exhibition, Thai-European Friendship 2017




 
                 I’ve always refused to see competitors in all my colleagues In an interview for an article I was asked how I see my ”function“ as an artist in the current capitalistic societies. And if there were any interventions still left to do - or ”aren’t artists producing just another type of commodity“?
                 I replied that I actually see art as one of the last remaining opportunities for individual design and personal creative intervention in the one eld that is so important: the transformation of language and image, in the emancipatory public sphere and in sociopolitical utopia. Yes, still ”utopia“. Society claims many aspects but not everything; not the domain of dif cult and subtle things and of mental assertions, not the underground and not the unpopular, nor free and critical thought, as long as we live in democracies and can offer resistance. I have always refused to see competitors in all my colleagues, though this is an attitude that the capitalist system presupposes us artists to adopt. In fact I believe more in the energy element of art than in its money element. According to this attitude - and I am not the only one to see art like this - I nd colleagues who share the idea in a similar way. I found them all over the world and their number seems to increase. Since 2000 I’ve been working as artist-curator, like several artists do, alongside with my own permanent work and I regard it as project-art and a logic fruit of the ”sharing“ principle, of philosophy and art-research. When Komson Nookiew started to study with Professor Michelangelo Pistoletto at the Academy of Fine Arts in Vienna around 1995, that master class was widely open for international students and the common language was English. Art as a process was actually the topic, rather than the art-object itself. The ”coming together“ was celebrated and later continued in Pistoletto’s own project Cittadellarte in Biella, Italy: ”Creativity becomes also procreation. It takes two to create. Art as a re ection of life gives back to energy its power of self-identi cation ...“ (Pistoletto quoted). What stands behind this is the simple idea of sharing, as a living principle to be spread all over the world. It seems to me that Komson Nookiew is constantly and obsessively working on that, since he had left Vienna and restarted his work in Bangkok. 

                  In 2005 he was asked to participate with a video- compilation (of more than 20 artists, mostly Thai, some European) at my former project „FARANG, Thai-Austri- an Art and Friendship“, Vienna (at MACHFELD, Kunsthalle Wien project-space, Fotogalerie Wien). This was one year after my own rst visit to Bangkok and Chiang Mai, some lectures at Universities there and two performances at Festival Asiatopia. Since then we collaborate from time to time, and I witness his successful annual project "EVA – Experimental Video Art", until now and agree with colleague Evamaria Schaller: EVA is not an ”experiment“ any more, it is a lived experience of bringing together different cultures and their points of view“ (catalogue for the exhibition at BACC, 2014). So this year it is our turn to provide another step into such professional exchange and we are glad to invite a selection of recent video art - to Murau (”art contains“, annual project by Gertrude Moser-Wagner) and to Schaumbad Graz, curated by Eva Ursprung, in July 2017, both are cities in Styria/Austria. By the way – both of us are women-artists whose videos were also included in Komson’s above mentioned compilation of 2005. This makes sense and will stimulate our visitors and ourselves to mutual cross- cultural understanding. Allow me a last remark to the students at Thai Universities and all those who bene t from the video-screenings and future exhibitions of EVA: Grasp the essence and the spirit of making, experiencing and sharing this video-art, and art in general, in a sustainable way, in short: never stop sharing your energy, always create enlivenment! 

Gertrude Moser-Wagner, Vienna, 2017 


                           EVA – document of cultural transformation
                            “Video art is a type of art which relies on moving pictures ...” 

                 Pictures that move and move you! Since the 60s the way of using technical equipment and the quality of the vid- eo-material changed whole generations. Instead of huge video cameras with magnetic tapes we shoot with our mobile phones in full HD-quality. All latest art- and scienti c technologies are used for Video-Art-productions. In the past everything which had to do with technologies mainly men were working on. The medium video and the free usage of technology changed a whole art-system. It is a gender-free medium which gives freedom as well as political in uence. A lot of female artists use/d this way of artistic expression like Joan Jonas, Ana Medieta, Ann Hamilton, Pipilotti Rist, Dara Birnbaum just to mention some women who became art history. “Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying ‘live’ or recorded images and sounds;.[1]”
                   Although Video Art arrived in the art-market. it is still treated as minor little sister of the Fine-Arts. Videos like other art-products always raise questions of: How to sell it? How to present it? But the main question is: How to preserve it? It is not like a painting you hang up. You can upload it onto the web or let it die on an external re wire drive because the technology develops so fast that the way of how to encode or store digital material becomes a major question. But there are some notable video art organisations who focus on presenting and preserving it. Because of the vast amount of mobile phones with great implemented cameras billions of videos are viral. The amount of moving images we are able and forced to see every day grows every second. Important and non important stages of our lives are spread out into the WWW, the biggest brain which never forgets? 

                   Most of the latest wars and rebellions where captures through mobile-cameras and we take every propaganda as true proof. So how can we distinguish between Video-Art or a viral tweet in a microblogging service? We are trained to perceive and judge in a very quick way, scroll through movies, don ́t watch them fully because of our impatience and time pressure. We read the headlines and not whole article. It is the same everywhere: Everybody wants to grasp an art piece in seconds and is irritated when consumption and processing takes time. Video Art is about time and timing. It has the strength to re ect our systems, political in uences, own wishes and dreams in the process of watching. So why don ́t we take time to share the visions of the video artists in the EVA-project. EVA is a kind of time-capture in itself. After 12 years of existence it preserves a great amount of video art-production. It shows cultural transformations in different parts of the world. Video is one of the quickest mediums to re ect society and EVA is one of the longest continuous existing Video-Art-exhibitions worldwide. It is showing different needs and cultural transformations in these last decades. Artists who showed their rst works in EVA are showing new ones and even that is another way of transformation – it shows artistic process and progress in this huge video-archive collected by Komson Nookiew and other.
The Experimental Video Art Exhibition EVA highlights the Thai-European friendship. It understands this multicultural platform not as a tool for showing the differences between cultures and languages, but as a tool of encountering and exchange. The desire to produce a meeting point keeps it moving. The Video-Art ows on between zones of misunderstandings and at the same time rede nitions of society.
[1] Hartney, Mick. “Video art”, MoMA, accessed January 31, 2011 Wikipedia uses the words of rst generation video-artist and video art chronicler Mick Hartney to de ne video-art. 

Evamaria Schaller


Sunday, September 18, 2016

(EVA 13) Experimental Video Art Exhibition, Thai - European Friendship 2016



EVA – document of cultural transformation
by Evamaria Schaller

“Video art is a type of art which relies on moving pictures …”

Pictures that move and move you! Since the 60ies the way of using technical equipment and the quality of the video-material changed whole generations. Instead of huge video cameras with magnetic tapes we shoot with our mobile phones in full HD-quality. All latest art- and scientific technologies are used for Video-Art-productions. In the past everything which had to do with technologies mainly men were working on. The medium video and the free usage of technology changed a whole art-system. It is a gender-free medium which gives freedom as well as political influence. A lot of female artists use/d this way of artistic expression like Joan Jonas, Ana Medieta, Ann Hamilton, Pipilotti Rist, Dara Birnbaum just to mention some women who became art history. “Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying ‘live’ or recorded images and sounds;.[1]”

Although Video Art arrived in the art-market it is still treated as minor little sister of the Fine-Arts. Videos like other art-products always raise questions of: How to sell it? How to present it? But the main question is: How to preserve it? It is not like a painting you hang up. You can upload it onto the web or let it die on an external fire wire drive because the technology develops so fast that the way of how to encode or store digital material becomes a major question. But there are some notable video art organizations who focus on presenting and preserving it. Because of the vast amount of mobile phones with great implemented cameras billions of videos are viral. The amount of moving images we are able and forced to see every day grows every second. Important and non important stages of our lives are spread out into the WWW, the biggest brain which never forgets? Most of the latest wars and rebellions where captures through mobile-cameras and we take every propaganda as true proof. So how can we distinguish between Video-Art or a viral tweet in a microblogging service? We are trained to perceive and judge in a very quick way, scroll through movies, don´t watch them fully because of our impatience and time pressure. We read the headlines and not whole article. It is the same everywhere: Everybody wants to grasp an art piece in seconds and is irritated when consumption and processing takes time. Video Art is about time and timing. It has the strength to reflect our systems, political influences, own wishes and dreams in the process of watching. So why don´t we take time to share the visions of the video artists in the EVA-project. EVA is a kind of time-capture in itself. After 12 years of existence it preserves a great amount of video art-production. It shows cultural transformations in different parts of the world. Video is one of the quickest mediums to reflect society and EVA is one of the longest continuous existing Video-Art-exhibitions worldwide. It is showing different needs and cultural transformations in these last decades. Artists who showed their first works in EVA are showing new ones and even that is another way of transformation – it shows artistic process and progress in this huge video-archive collected by Komson Nookiew and other.

The Experimental Video Art Exhibition EVA highlights the Thai-European friendship. It understands this multicultural platform not as a tool for showing the differences between cultures and languages, but as a tool of encountering and exchange. The desire to produce a meeting point keeps it moving. The Video-Art flows on between zones of misunderstandings and at the same time redefinitions of society.

[1] Hartney, Mick. "Video art", MoMA, accessed January 31, 2011 Wikipedia uses the words of first generation video-artist and video art chronicler Mick Hartney to define video-art. 

Artists’s list

1. Anukul Chueamon (Thai) “The universe of bitterness” Pal, Colour, Sound, 7.31 min., 2016.

Concept:
Objects in memory is stored in the house to create the atmosphere of the desire of the family.

2. Arnont Nongyao (Thai) “Light of Happisadness” Pal, Colour, Sound, 15.10 min., 2016.

Concept:
Out of focusing and look at another dimension of weird world that still ongoing. During at night of new year 2016, I ran a bicycle with vibrator camera and shooting the light of new year celebration but it could not focus the light such as political in my place where I live.

3. Debora Fede (Italian) “II tempo ritrovato (finding time)” Pal, Colour, Sound, 4.30, 3.5 min., 2014.

Concept:
The Time is whatever happens when nothing else happens. Video shows time dynamics and ambiguity of the mirror, at the same time span proposing the natural events flow and the  revers flow of the same events. The video is focused on the fragments of everyday life that happen, with apparent no sense.

4. Donnakot Saelao (Thai) “Prototype” Pal, Colour, Sound, 3.02 min., 2016.

Concept:
This video work presents my attitude toward people who want to be themselves by taking other people personalities into them. This is because nowadays, people always think that how we look from outside is more important than who we are from within.  

5. Florian Bittner (German) “Leaving Home” Pal, Colour, Sound, 10.42 min., 2016.

6. Kanitharin Thailamtong (Thai) “Bath” Pal, Color, Sound, 10.04 min., 2016.

7. Kanitharin Thailamtong (Thai) “Outdoor” Pal, Color, Sound, 10 min., 2016.

8. Kanitharin Thailamtong (Thai) “Room” Pal, Color, Sound, 10.30 min., 2016.

9. Gerald Zahn (Austrian) “The Champagne Fountain” Pal, Colour, Sound, 2.20 min., 2015.

Concept:
The Champagne fountain is a nostalgia luxury symbol, a nowadays cliché of cruising ships and casinos. Using the arrangement of glasses as an anachronistic staple of glamour, the artist engages in the self-indulgent ritual, celebrating the unavoidable personal routines.

10. Gerald Zahn (Austrian) “Hysteria” Pal, Colour, Sound, 4.44 min., 2015.


Concept:
When using a common search engine you often find a confusing mix of information, especially if a subject is more complex. If you type in “pussy + vibrator” in the search engine, the internet will direct you to the second most popular subject after sex: cats! – in this case, cats playing with vibrators.

11. Gerald Zahn (Austrian) “Ghosts ” Pal, Colour, Sound, 1.54 min., 2015.


Concept:
Millions of tourists travel to Alps in winter. Not only travel by car, but also the ski infrastructure take a toll on the environment - as if a whole region was transformed into a highway, clearing kilometres of forests. When summer comes, the tourists leave and the underlying structure of the ski resort is exposed. The area takes time to recover; grass grows over the skiing slopes. The shadows of the ski lifts are only ghosts, a distant memory – until next winter.

12. Arunratsamee Wichian (Thai) “Game” Pal, Colour, Sound, Stop Motion, 2.28 min., 2015.


Concept:
Experience from play games in my childhood,created imagine to this Artwork in 2D combine 3D technic.

13. Gertrude Moser-Wagner (Austrian) “Vierteldrehung Wienergasse” Pal, Colors, Sound, Performance, 1 min., 2016.


Concept:
Future, quarter turn to right. Not a clockwork, actually - 
one performer or two: all is always now. Four sections of a wall.

14. Tuksina Pipitkul (Thai) “The Changing Images” Pal, Colour, No Sound, 1.30 min., 2016.

Concept:
Our eyes see thing in a wide view and they always look for a focal point on objects. Meanwhile, a camera has a limited square frame to frame what we see. Then using  camera as a tool to see the world view within its limited frame, it can change the images of what we ordinary see. Without changing camera’s position setting on a moving  vehicle, camera can change the images of what we ordinary see into interesting images. 

15. Harald Hund (Austrian) “Empire of Evil” Pal, Colour, Sound, 12.04 min., 2016.

Concept:
documentary about the partial and exclusively negative political representation of Iran in the West. The film critically interrogates the medium of the documentary film and its claim to truth. This is achieved by juxtaposing and contrasting documentary footage shot secretly in Iran with the image of the country created in Western media.

16. Siridej Sirisomboon (Thai) “Dynamic 01” Pal, Colour, Sound, 1.00 min., 2016.

Concept:
The law of gravity tied things. In our world, both physical and conceptual. To overcome gravity would have caused a different worldview.

17. Jun Yang (Austrian) “Paris Syndrome” Pal, Colour, Sound, 10 min., 2008.


Concept:
the story of Paris Syndrome is the question about the difference between the reality and the dream that we have, so in a way I thought it's much more beautiful annectent about something like longing for something, hoping for something and dreaming for something, that something expresses our need and wishes towards something, and if you think of this direction, Paris Syndrome happens everyday, in all of us, this is one of the thoughts we started... so even though I didn't know what piece I am going to do, I really want to do a piece dealing with about longing for something, it expresses the reason why we move on. 


18. Pison Suwanpakdee (Thai) “History” Pal, Colour, Sound, 3.00 min., 2016.


Concept:
Humans are social animal, History tells a story for exchange experiences with each other endlessly.

19. School of the Event Horizon (Emily Rosamond, Steven Ounanian and Kate Pickering) (UK) "Triple Bottom Line" Pal, Colour, Sound, Performance, 5.49 min., 2016.

20. Teerapong Serisamram (Thai) “Buddha Concept No.2: CATEYE” Pal, Colour, Sound, 9.09 min., 2016.

Concept:
Exploring the Awareness and Adherence to the Ego of the Cats. Through the film of the cats , the cats are showing themselves.

21. Khem Jurachonlamark (Thai) “Fath 1” Pal, Colour, Sound, 00.35 min., 2015.

22. Khem Jurachonlamark (Thai) “Fath 2” Pal, Colour, Sound, 1.13 min., 2015.

23. Khem Jurachonlamark (Thai) “Fath 3” Pal, Colour, Sound, 1.16 min., 2015.

24. Khem Jurachonlamark (Thai) “Fath 4” Pal, Colour, Sound, 1.08 min., 2015.

25. Lena Ditte Nissen (Danish) “ANÓME” Pal, Colour, Sound, 13.00 min., 2015.

Concept:
Interweaving documentary images from the two matrilineal tribes of the Moshu (China) and the Kuna (Panama) this film connects alleged female societies from continent to continent. The link between these two worlds is the filmmaker herself, trying to cope with the otherness of what is seen and the strangeness of the inner experience. Refusing to see at times, unable to make visible.


26. Komson Nookiew (Thai) “Lives but Speed 3” Pal, Colour, Sound, 3.00 min., 2016.

27. Jate Yooyim (Thai) “Thai Display” Pal, Colours, Sound, 2.50 min., 2014.

28. Leopold Kessler (Austrian) “Kollektive Rüttelplatte / Collective Power Plate” Pal, Colour, Sound, 5.28., 2015.

Concept:
Interactive vibration plate for up to 20 people.
Object: metal, electro-mechanics, 300x300x200 cmInstalled at Mariahilferstrasse / Schadekgasse, 1060 Vienna, Austria, until 29.11.2015

29. Thirathep Chonmaitree (Thai) “Circle of Food” Pal, Colour, No Sound, 3.00 min., 2016.


Concept:
Going to buy something to eat mostly put in circle or round shape containers. In this round shape develops the different way of managing and processing food. In opposed to having square shape, the heat expansion evenly throughout the food processing in the circle shape. The power of appreciation and attractiveness during the process elevate the art of craving along the way.

30. Menno Aden (German) “Untitled (Traffic)” Pal, Colour, Sound, 2.00 min., 2016.


Concept:
A walk through walls into different spaces.

31. Nath Palathanarotch (Thai) “Martyrdom of Homosapien” Pal, Colour, Sound, 2.19 min., 2016.

Concept:
martyrdom just masturbate. Think, doing and kill it. It's normally.

32. Miriam Bajtala (Austrian) “So Far So Real” Pal, Colour, Sound, 30 min,. 2015.


Concept:
Actors demonstrate states and behavioral patterns of the mentally ill for medical students. Careful observations translate into language and movement, thus creating images for grasping the incomprehensible, understanding the intangible: Perhaps it’s the only way to put a displaced reality in perspective. A mysterious house with no furniture, with white walls: a vacated sanatorium? A matte aluminum towel holder over a radiator, bars in front of the windows, in any case, a site that examines and questions reality based on the many blanks. The painstaking description of a person goes far beyond medical categorization. A neutral clinical picture becomes recognizable; the actors portray it meticulously, thus making it partially visible. The interaction with the space, the building, and the chair become comprehensible in cinematic clinical images and through the performance. The resistance to conventions becomes manifest in the certainty of a seemingly senseless movement and distortion of language. Catatonic rigidity paralyzes a body that cannot walk, pushing itself across the bare floor, thus seeking protection at ground level from the attacks of a lack of emotional detachment. Never cry in front of others, only in the safe seclusion of the locked toilet. The filmmaker’s voice takes over the actors’ voices and refocuses attention. What is said is given an echo, a voice-over, the spoken word is supplemented or replaced. This doubletalk creates a further subtle level of altered perception, interpretation, and attempted insight into illness. With SO FAR REAL, Miriam Bajtala has once again created a performative exploration of space. The deconstruction of the physical and psychic spaces generates breathless tension. The non-acting people attempt to unravel the objectified reflections and respectful interventions of the acting people. The real remains so far away. (Wilbirg Brainin-Donnenberg)

33. Natnaran Bualoy (Thai) “Starman” Pal, Colour, Sound, 4.50 min., 2016.

34. Nicola Gourds (Gördea), (German) “3-pbar” Pal, Colour, Sound, 19.06 min., 2013.

35. Nicola Gourds (Gördea), (German) “KOMET” Pal, Colour, Sound, 12.39 min., 2014.

36. Nithiphat Hoisangthong (Thai) “Unstable Situation” Pal, Colour, Sound, 3.00 min., 2016.

37. Panu Saeng-Xuto (Thai) “See Sea Scene” Pal, Colour, Sound, 3.30 min., 2016.

Concept:
Experiment Storytelling “Caption and Capture of memory ” for first time opening film festival at media arts KMUTT

38. Phanjapon Nanuam (Thai) “Unreality in Media” Pal, Colour, Sound, 10.12 min., 2016.

Concept:
Live report on all issues All content Tells the true story.

39. Pipat Pajantaboot (Thai) “Surname” Pal, Colour, Sound, 1.38 min., 2016.

Concept:

Collection of name on small fruit bucket from different Fruit garden in Thailand, reflect the problem of trading and oversupply.”

40. Siwat Maksuwan (Thai) “Made in China” Pal, Colour, Sound, 2.30 min., 2016.

Concept:
We know what happens to the environment. But we can’t do anything. The mainstream media didn’t broadcast about what happening , we still have to accept it. 


41. Roman Szczesny & Hedda Schattanik (German) “Viktor Al Manouchi” Pal, Colour, Sound, 16.47 min., 2016.

42. Saran Cheurkrung (Thai) “Backyard Zion” Pal, Colour, Sound, 3.18 min., 2015.

43. Saran Cheurkrung (Thai) “Inside Out” Pal, Colour, Sound, 1.23 min., 2015.

44. Saran Cheurkrung (Thai) “Music Box” Pal, Colour, Sound, 0.55 min., 2015.

45. Saran Cheurkrung (Thai) “Zionbox X” Pal, Colour, Sound, 0.46 min., 2015.

46. Sabrina Osborne (Thai) “Chakra (The cycle)” Pal, Colour, Sound, 12.00 min., 2016.


Concept:
It is first video in the series- Lost Lullaby, This video is compilation of three performances.

47. Thunyathorn Amornlertvit (Thai) “Dharma in Daily Life (In the afternoon)” Pal, Colour, Sound, 16.32 min., 2916.


Concept:
Ideal and imagine which compose of happiness and affliction appear in mind pacified. From this point I consider the cause of affliction in my mind. The affliction are built up from desired and passion of human such as greedy, angry and enchantment. I always use a doctrine from Dharma-book to inspire myself for treating and removing the affliction.

48. Silke Schöenfeld (German) “Turkish for belly dancer” Pal, Colour, Sound, 9.26 min., 2016.


Concept:
The video installation shows two young men in an office hallway dancing a folkloristic turkish belly dance. Traditionally two men are invited to family celebrations such as weddings to entertain the crowd with this kind of dance. They never lose eye contact with each other. The architecture and the absence of the crowd forced the dancers to dance on their own.

49. Wasin Tirawattananich (Thai) “Hidden Dialogue” Pal, Colour, Sound, 8.16 min., 2015.

Concept:
A sound of dialogue  between me with the woman worker alien from Cambodia going to interface with a perspective of the marginal area. It's a beginning of her relationship. “Hidden Dialogue” is the part of work  series “Space of  Culture” with the installation moving image and object  to compose a  content for narrative. This space happened for consider a relation in between person and space with a diversity of latent feeling.

50. Tintin Cooper (English-Thai) “Kiss 1” Pal, Colour, Sound, Loop, 2015.

51. Tintin Cooper (English-Thai) “Kiss 2” Pal, Colour, Sound, Loop, 2015.

Concept:
Cooper has made two animated collage gifs, Kiss (#01) and Kiss (#02)(both 2015), which show sports players kissing their trophies. Isolating the near iconic images—of a male “winner” kissing his trophy—heightens our focus on the act of adulation, so much a part of male-dominated sports, but it also adds a little humor to the act of idolization, hopefully questioning our readiness to worship.

52. Chayanis Wongthongde (Thai) “Borderland” Pal, Colour, Sound, 1.40 min., 2016.


Concept:
The complexity of our relationship in society now a day is inside the border of city and it is between life and without live.


53. Supitchar Aimdilokwong (Thai) “Paper Aircraft” Pal, Colour, Sound, 0.57 min., 2016.

54. Supitchar Aimdilokwong (Thai) “Rocket in Sapace” Pal, Colour, Sound, 1.00 min., 2016.

55. Supitchar Aimdilokwong (Thai) “Shinkansen Z” Pal, Colour, Sound, 1.22 min., 2016.

56. Wanchanok Sawasdee (Thai) “Papa, Who is my mother?” Pal, Colour, Sound, 3.31 min., 2015.

57. Wanchanok Sawasdee (Thai) “The leader of family” Pal, Colour, Sound, 1.35 min., 2015.

58. Wanchanok Sawasdee (Thai) “How can i go there?” Pal, Colour, Sound, 4.21 min., 2015.


Concept:
From the observation the person in the family. The artist is the most commitment All have an identity (Identity) differently. The artists to create works inspired the content meets the attitude of the artists. By a convey emotion and attitude about the relationship of the artist"s per person in the family, from the commitment, feeling or experience that the artist touched. Directly by comparing or figurative tells the story of a family relationship through talk and interview. Observe very closely. In accordance with the cuisine. Indication characteristics of individuals in the family from the attitude of artists.

59. Sakonpat Chotipatthamanon (Thai) “The Order’s Chotipatthamanon” Pal, Colour, Sound, 8.12 min., 2016.

60. Sakonpat Chotipatthamanon (Thai) “Silent inside Disorder” Pal, Colour, Sound, 4.56 min., 2016.

61. Sakonpat Chotipatthamanon (Thai) “The Turbulence” Pal, Colour, Sound, 4.56 min., 2016.

62. Pasutt Kanrattanasutra (Thai) “Untitled” Pal, Colour, Sound, 1 min., 2016 


63. Pimlak Boontariksawat (Thai) "Play it Mutate!" Pal, Color, Sound, 7.05 min., 2016.

Concept:
If we mix two amazing things together, we'll get a new super amazing thing. If we combine some nutritious fruits with some kinds of animals, we'll get a amazing living and moving fruits. Let's create some marvelous things.

 



Places of Exhibition

Faculty of Humanities and Social Science,

Dhonburi Rajabhat University,
12 October 2016.

Painting Department, College of Fine Arts,

Ladkabang, Bangkok,
28 - 29 November 2016

Media Arts and Design Institute,

ChiangMai,University
9 - 12 January 2017

School of Fine and Applied Arts Faculty,

Bangkok University,
23 - 27 January 2017

Faculty of Fine and Applied Arts Faculty,

Burapha University,
27 - 31 March 2017

Painting, Sculpture and Graphic Arts Faculty,

Silpakorn University,
3 - 5 April 2017

Fine Arts Department,  Architecture Faculty,  

King Mongkut's Institute of Technology, Lakabang,
18 - 21 April 2017 


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

   
Associated Professor Tuksina Pipikul,
School of Fine and Applied Arts Faculty, Bangkok University

Assistant Professor Komson Nookiew,

Fine Art Department,
King Muangkut's Institute of Technology, Ladkrabang, Bangkok

  
Matthias Neuenhofer, Consulten and Co-operator,

Cologne-Düsseldorf, Germany

Gertrude Moser-Wagner, Consulten and Co-Operator,

Vienna, Austria

Designed By Kanitharin Thailamtong     CopyRight 2016