Thursday, January 10, 2019

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



(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


Monday, August 31, 2015

(EVA12) Experimental Video Art 12 Exhibition, Thai-European Friendship 2015



A New Medium: a New Task for Art Presentation   

by Gisela Jo Eskhardt Head of Video-Forum 1977-2001 

Edited by Komson Nookiew


Video art is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. This fact is sometimes disputed, however, due to the fact that the first Sony Portapak, the Videorover did not become commercially available until 1967. In 1959 Wolf Vostell incorporated a television set into one of his works, "Deutscher Ausblick" 1959, which is part of the collection of the Museum Berlinische Galerie possibly the first work of art with television. In 1963 Vostell exhibited his art environment "6 TV de-coll/age" at the Smolin Gallery in New York. This work is part of the Museo Reina Sofia collection in Madrid.


Prior to the introduction of the Sony Portapak, "moving image" technology was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.


The two examples mentioned above both made use of "low tech tricks" to produce seminal video art works. Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image. Jonas' Organic Honey's Vertical Roll involved recording previously recorded material as it was played back on a television — with the vertical hold setting intentionally in error.


The first multi-channel video art (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. An installation of nine television screens, Wipe Cycle for the first time combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.


At the San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.


Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, John Baldessari, Joan Jonas, Dan Graham, Bruce Nauman, Peter Campus, William Wegman, Martha Rosler and many others. There were also those such as Steina and Woody Vasulka [1] who were interested in the formal qualities of video and employed video synthesizers to create abstract works.


Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Wolf Vostell (Germany), Dieter Froese (Germany), Wojciech Bruszewski (Poland), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Lisa Steele (Canada), Colin Campbell (Canada) and others.

Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television: a video is screened, projected or shown as a single image; Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture, electronic art, and digital art or other documentative aspects of artistic practice.

The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video, and create interactive installations based on video. Some examples of recent trend in work include entirely digitally rendered environments created with no camera, and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the world wide web or from remote locations.

Emerging in the 1970s, Bill Viola (USA) continues as one of the world's most celebrated video artists. Matthew Barney is another well-known American video artist, creator of the Cremaster Cycle. Other contemporary video artists of note include Americans Gary Hill and Sadie Benning, Pipilotti Rist (Switzerland), Shaun Wilson (Australia), Stan Douglas (Canada), Douglas Gordon (Scotland), Martin Arnold (Austria) and Gillian Wearing (UK).

สื่อ สมัยใหม่: พันธกิจการนำเสนอของวงการศิลปะ
โดย กิเซร่า โจ อิซคฮาดน์ท
หัวหน้าฝ่าย ของสมาพันธ์ วีดีโอฟอรั่ม 1977-2001

แก้ไขโดย คมสัน หนูเขียว 

การกำเนิดของวีดีโออาร์ต สามารถหวนระลึกกลับไปในช่วงปี 1963 เมื่อ ศิลปิน นัม จุง ไปร์ และวุฟ เฟอร์ไทล์ ที่ทั้งสองต่างแยกการทำงานอย่างอิสระ โดยการทำงานในขณะนั้นจะให้แตกต่างจากงานแนวแฮพเพนนิ่งอาร์ตที่มักถูกนำเสนอ โดยกลุ่มฟลักซุส และเพลงแนวอิเล็กโทรนิค (ศิลปินแนวนี้คือ จอนห์เกจ และ คาร์ไฮนซ์ สเตอกเฮาร์เซ็น) ที่ซึ่งได้เริ่มให้การจัดการกับภาพของจอทีวี และภาษาของศิลปะแนวการแสดงผสมผสานกัน การพัฒนาการของกล้องวีดีโอที่หาซื้อได้ง่าย และใช้สะดวกของกล้องถ่ายวีดีโอนั้นมันเป็นแค่จุดเริ่มต้น การผลิตและการจัดการตัดต่อวีดีโอเทปนั้นยังเป็นช่วงของการที่ต้องใช้เวลาใน การจัดการ และมักจะเป็นขบวนการที่ซับซ้อนอย่างมาก และนั่นจึงเกิดผลงานศิลปะวีดีโอเชิงทดลอง และวีดีโอสารคดีที่ช่วงนั้นมักถูกทำโดยใช้กล้องขนาด 16 มม. ความคุ้นเคยกับกล้องถ่ายวีดีโอนั้น คือใช้ง่าย และเป็นแรงดลใจอย่างใหญ่หลวงให้กับเหล่าศิลปิน และอุปกรณ์เหล่านี้ได้ถูกพัฒนาอย่างต่อเนื่องปีแล้วปีเล่า โดยครั้งแรกนั้นเจ้าวีดีโออาจถูกเพียงแค่ใช้ให้บันทึกเหตุการณ์ในแนวสารคดี หรือบันทึกขณะที่ศิลปินได้เปิดงานศิลปะแนวแสดง หรืองานศิลปะแฮพเพนนิ่งเท่านั้น อย่างเช่นที่ สมาพันธ์ นอยเออร์ เบอร์ลินเนอร์ คุนส์เฟอาย ได้เก็บรวมรวมเอาไว้ และเป็นผู้นำสื่อภาษาภาพอิเล็คโทรนิคอย่างเป็นแบบแผน

แท้ที่จริงประวัติศาสตร์ของวีดีโออาร์ต ค่อนข้างจะมีอุปสรรคเป็นอย่างมาก เนื่องด้วยผลพวงอันเกี่ยวเนื่องของเทคโนโลยี และอิเล็คโทรนิคที่ค่อนข้างยุ่งยาก และซับซ้อน ซึ่งเราอาจเห็นผลงานเหล่านี้ได้จากการมองไปยังศิลปินที่อาศัยในเบอร์ลิน คือกลุ่ม (เคพี เบรีฮเมอร์, เค เฮช โฮเดคี, รีเบคก้า ฮอลน์, วุฟ คาร์เลนน์, วุฟ เฟอไทร์) และศิลปินกลุ่มที่ถูกเชิญจากทุน เด อาร์ อาร์ เด อาทิ (วีโต้ เอคอซี่, ปีเตอร์ แคมพัส, ดักลาส เดวิส, ริชาร์ด ฮามินตัน, นัน ฮูเวอร์, ทาคา ลิมูร่า, โจเอน โจนัส, เอรัน เคบ์เรอว์, ชิอิโกะ คูโบตะ, นัม จุง ไปร์, เอดุลอาร์โด พาโอโลซี่)

ครั้งหนึ่งที่กลุ่มหัวก้าวหน้าเหล่านี้ที่กลายเป็นบุคคลอันเป็นสัญลักษณ์ของ โลกวีดีโออาร์ตในประวัติศาสตร์ศิลปะ กิจกรรมอันเกี่ยวกับพื้นที่ในสังคมเมือง กลุ่มแอคซิออนเน้น แด เอวางท์การ์ด ได้ให้ความหมายกับภาษาสื่อสมัยใหม่ต่อสังคม ในช่วงปี 1980 การพัฒนาเทคโนโลยีได้เพิ่มโอกาสในการให้ความหมายใหม่ๆของการแสดงออก: ทั้งยังช่วยเทคนิคการสมานกันระหว่างเหตุการณ์ของภาพ, การจัดการทางด้านเทคนิคสี, การจัดการภาพผ่านเทคนิคขัดสีออกไป, การใช้คอมพิวเตอร์อนิเมชั่น และรวมทั้งการให้ขบวนการของภาพนั้นเข้ากันได้กับระบบเสียงอิเล็คโทรนิคสมัยใหม่ โดยภาษาภาพอิเล็คโทรนิคได้จัดวางได้อย่างใกล้เคียงกับภาษาของภาพยนตร์เป็น อย่างมากยิ่งขึ้น และสำหรับผู้ซึ่งต้องการใช้สื่อสมัยใหม่ และที่ซึ่งต้องการขยายธาตุของศิลปินไปสู่หนทางใหม่ๆด้วยเช่นกัน ต้องเผชิญอุปสรรคกับความยากลำบากของเทคโนโลยีอย่างขนานใหญ่มาก่อน กล้องถ่ายวีดีโอ และคอมพิวเตอร์เป็นสิ่งที่ใช้อธิบายถึงความยุ่งเยิงของสิ่งเหล่านี้ได้อย่างดี และอุปกรณ์เหล่านี้ล้วนแล้วเป็นสิ่งที่มีราคาแพง และใช้งานยาก

ชัยชนะของสื่อสมัยใหม่นี้ต่างเดินแถวเป็นขบวนกันมา และมันก็ไม่ต้องตั้งคำถามถึงจุดยืนของมันอีกต่อไปในโลกของตลาดศิลปะร่วมสมัย ในปัจจุบันที่อาจกล่าวได้ว่าอดีตมันเคยกระเสือกกระสนมาก่อน ในความก้าวหน้าของมิติที่สี่ คือการรวมผนวกเข้าด้วยกันขององค์ประกอบของภาพยนตร์, ภาพถ่าย, เพลง และศิลปะการแสดงในวิถีของศิลปะนั้น มันมักจะเผชิญกับความไม่เข้าใจ

วันนี้ศิลปะวีดีโออาร์ต มันเป็นสิ่งที่เราเชื่อได้แล้วว่ามันอยู่ในโลกของศิลปะ และตลาดศิลปะ แต่ไม่แค่นั้นมันยังเข้าไปสู่ตลาดภาพยนตร์, ตลาดของโลกธุรกิจบันเทิง, โฆษณา และการออกแบบแฟชั่น เดี๋ยวนี้เราจำต้องกลับมาคิดถึงคุณค่า ความยากลำบาก และความเอาจริงเอาจังของยุคก่อนหน้า และต่อๆไปสู่อนาคต ดังเช่นการแสดงศิลปะอันมากมายที่เราๆได้เห็นกันอยู่


Artist's list:

1. Helmut Munz (Austrian) "Construction of Anstalt" Pal, Color, Sound, 5 min., 2015.

2. Thunwalai  Thaiprasert (Thai) "PUASE" Pal, Color, Sound, 3 min., 2015.
    Concept: This video work was made up as a situation model that has happened in our daily life. It shows  how we consume things  and  it is also a metaphor of  female gender that is seen as  weak or not as strong as male. I brought  these two subjects  to  the work and express  them  out   in a minimal way. This is to show my attitude toward Thai society’s context.

3. Billy Roiz, Dieter Kovacic (Austrian) "THE" Pal, No Color-image, Sound, 13 min,. 2014.

4. Nujarin Sutibak (Thai) "เกือบ" Pal, Color, Sound, 6.41 min., 2015.

5. Susi Jirkuff (Austrian) "Small Parts isolated and destroyed" Pal, Color, Sound, 3 min., 2015.
   Concept: Small Parts Isolated and Destroyed is a punk song by the Canadian punk band No Means No from the 80ies. The band's accurate and precise stile already fascinated me then. They were different from the usual wild guitar-, bass-, drum-noise that the avarage punk band produced, their tough and exact play sounded even more aggressive and brutal.
    At my request the two musicians Wolfgang Bründlinger and Marco Palewicz (guitar / keyboards) did an up to date interpretation of the song and produced a danceable version for a 'fitness and dance video'.
    A squashbox serves as a setting for a dancing competition. Beside real dancers there are also 'virtual people' from various video tutorials; everyone shows his/her best to conform to the omnipresent media type 'music video'.
    The original song's lyrics - in which the listener is asked: 'don't you think that you've been cheated?' - become an ironic comment to the ubiquitous visual effects due to which images are changed and manipulated.

6. Pasutt Kanrattanasutra (Thai) "ฟอง-น้ำ" Pal, Color, Sound, 1 min., 2015.

7. Sabine Marte (Austrian) "Farewell to Hell" Pal, Color, Sound, 5 min., 2014.

8. Pathipol Ratchataarpa (Thai) “still” Pal, Color, Sound, 3.04 mins., 2015.
    Concept: There is no real stillness, unmoving body does not mean unmoving emotion. Within the place that has no space our ocean never sit still.

9. Ascan Breuer (Austrian) "Jakarta Disorder" Pal, Color, Sound, 1.28 min., 2013.

10. Phanjapon Nanuam ( Thai ) "Little Video" Video, 6.31 min., 2015.
     Concept: That smallest in The World or biggest in The world is happen by human taste that want to be competitive for someone in the world.

11. Meinhard Rauchensteiner (Austrian) "HERBST" Pal, Color, Sound, 2.42 min., 2014.

12. Thunyathorn Amornlertvit (Thai) “Shadow and a bit of light” Computer Animation, 2.29 min., 2015.
      Concept: I' m sleep in my room with a bit of light, staring around my room and see a shadow from furniture. I think it’s move a little bit on my mind, That it's makes me imagine.

13. Tina Frank (Austrian) "Starlight 1" Pal, Color, Sound, 3.20 min., 2014.

14. Thunyathorn Amornlertvit (Thai) "Peek a garbage” Stopmotion, 1.05 min., 2015.
      Concept: This is a garbage from my daily routine. Originally, I just strike the eyes about the conflict of banana in recycle trash but that’s a beginning to try to compose the garbage.

15. Tina Frank (Austrian) "Starlight 2" Pal, Color, Sound, 1 min., 2014.

16. Chayanis Wongthongde (Thai) "Gaze:เพ่ง" Pal, Color, Sound, 1 min., 2015.
      Concept: Sometime when we look (gaze) straight toward to the things, many time lead us over looking gloomy but in the same time the environment we look (gaze) lead us more dull and dim.

17. Gerald Zahn (Austrian) "Clubs, Hearts, Spades&Diamonds" Pal, Color, Sound, 2 min., 2014.

18. Chayanis Wongthongde (Thai) "ฮาน : ตัด" Pal, Color, Sound, 1.30 min., 2015.
      Concept: Han (cut) is from northeast local dialect language, "the cut" this word is appears to local people how they live in the countryside which could effect to their live everywhere, whether they hear it from anywhere else and the haircut could lead an image to physical appearance  but rather related to harmony of their life, even they are right now living in the city called "Concrete-city".
                                      
19. Gerald Zahn (Austrian) "VOID" Pal, Color, Sound, 1.20 min., 2014.


20. Tuksina Pipitkul (Thai) “Who is the Monster” PAL, Color, Sound, 3 Min., 2015.
      Concept:  This video work is a question to the unlimited human’s greed. From one person and his/her greed until it comes to the endless desire.

21. Johann Lurf (Austrian) "Twelve Tales Told" Pal, Color, Sound, 3.50 min., 2014.

22. Suttida Wongpraneekul (Thai) “LIFE” PAL, Color, Sound, 3 Min., 2015.
      Concept: This video presents the beginning and the end, the emptiness and the fullness. It’s a comparative of live that we were born with emptiness and purity. As the beginning with purity then we are filled with experiences.  No matter how it is good or bad, we can’t remove those experiences from life. We have to live with them on and on. Finally, we accept them as they are till the end of life.  

23. Eva Weingätner (Austrian) "ONE ME" Pal, Color, No Sound, 2.20 min., 2014.

24. Paramee Jantarachod (Thai) “Walk around”  AAC, Color, Sound, 3 min., 2015.
      Concept: This video work was inspired by my interest to the daily life objects, the plastic bags, that I found around suburb area.  Plastic bags had been widely used so I wanted to adapt them in a dress. I wore the plastic dress and walked in many places like in a department store, fresh market and business areas. This is to tell a story and present the way of life of suburb people. 

25. Eva Weingätner (Austrian) "Lucid Dream" Pal, Color, No Sound, 2.24 min., 2014.

26. Oranan Pimchan (Thai) “Me&My Grandmother” PAL, Color, Sound, 10 Min., 2015.
      Concept: This work was inspired by my grandmother. By Observation her daily life and behavior, I was always amazed.  She made me think back and forth to the day that I would get old as her age and she was young as my age.   When I looked at grandmother, I feel like we were a mirror of each other. Therefore, I brought our daily live to blend with each other with video composition. This is to reflect the relationship between my grandmother and I, also to show the transition of life which is the truth of life.

27. Anna Vasof (Austrian) "Down to earth" Pal, Color, Sound, 3.57 min., 2014.

28. Nithiphat Hoisangthong (Thai) "Instinct noise"
Pal, Color, Sound 00.03.00 min., 2015.

29. Frederico Evaristo (Brazilian) "Rastros" Pal, Color, Sound, 3.49 min., 2014.

30. Natnaran Bualoy (Thai) "The Glory Girls" Pal, color, sound, 5.55 min., 2015.

31. Tintin Cooper (Thai-English) "Terminator (Remix)" Pal, Color, Sound, 8 min., 2007.
     Concept: Cooper subjects James Cameron’s 1991 Blockbuster, Terminator 2: Judgement Day to a slighty different violence, a kind of premature aging. Cameron’s film, replete with exciting new special effects, raised the technical bar for the first wave of digital cinema. But here it skips, scans and stutters like a cheap DVD. Cooper also finds historical lines in suggestion through music, for instance, in the late 1980s vogue for the inorganic (eg. In techno). Elsewhere this flow is reversed by Metallican’s Enter Sandman, reconstructed in the 90s by four piece Finnish cello outfit Apocalyptica. Cooper’s new soundtracks are patched together from audio sampls, sourced from popular video-sharing website Youtube.  The artist favours these musical grabs- quotations taken out of context, twice over- because remediation leaves them slightly off-key, like an out of tune paino in an old movie theatre.  They provide stark contrast to the custommade hi-fi scores created for blockbusters. (Text by David Teh)

32. Komson Nookiew (Thai) "Lives but speed 2" Pal, Color, Sound, 3 min., 2015.
      Concept: Their several colors and it can be tangible objects were around us, in the condition of our everyday live have been concerned those vehicles everywhere which is complicate and variously elsewhere.

33. Tintin Cooper (Thai-English) "Rambo (Remix)" Pal, Color, Sound, 7 min., 2007.
      Concept: In Rambo Remix (2008), a mashup video of the 1980s Slyvester Stallone saga, sees the hero catapulted from a Thai monastery into battle against the Soviet Union in Afghanistan (His only allies are the ancestors of the Taleban, the Mujahideen).  In contrast, with the hi-tech  trickery of the movie business, this lo-fi aesthetic favours unsophisticated visual effects, turning Rambo III into a silent black and white film with vaudeville music and hammy subtitles. The simple formal adjustments to a well known film demonstrates how easily one can wreck a genre, as well as uncovering hidden parallels in acting, cinematography and editing.(Text by David Teh)

34. Bianca Patricia (German) "PERSPEKTIVE" Pal, Color, No Sound, 22 min., 2015.

35. Patara Nimmol (Thai) “ Right, Left, Right” Pal, Color, Sound, 30 min., 2015.
      Concept: Right - Pointing out, Ordering, Way leading
              Left -   Dependence, Clinging,
                          Practice, Comfortableness
              Right - Settle Down
              Worship “ Pa Je Ra “ -The access to education, Be ordered, Graduation March-The exit, Educated

Keywords and Meaning

Worship “PA Je Ra” is the psalmody from student to their teacher, it is a tradition that have been doing in Thailand for many recent years. The Graduation March Is the sign that will be put on the floor to guide student when attend the graduation ceremony in order to keep them in line.

36. Bianca Patricia (German) "Spirale" Pal, Color, Sound, 22 min., 2015.

37. Keereekhan Chaiyaporn (Thai) "Vanish", Pal, B&W, Sound 6 min., 2015
      Concept: Cancer is the name for a group of more than 100 diseases in which cells begin to grow out of control. Many people die from cancer each year. It is a normal thing that happens to every human life.

38. Daniel Burkhardt (German) "In other worlds" Pal, Color, No Sound, 9 min., 2014.

39. Anukuen Cheimonn (Thai) "Mother" Pal, Color, Sound, 3 min., 2015.

40. Evamaria Schaller (Austrian) "PEEP" Video Performance, Pal, Sound, Color, 2.30 min., 2015.

41. Supitchar Aimdilokwong (Thai) "Light line" Pal, B&W, Sound, 2.30 min., 2014.
      Concept: The light and line was conflicted by parking lot and street lines.

42. Jan Arlt (German) "WYSIWYG" Pal, Color, Sound, No Sound, 6.20 min., 2011.

43. Khamraphon Jirachonramask (Thai) "อาบน้ำมนต์" Pal, Color, No Sound, 1.20 min (loop)., 2015.

44. Johannes Krell (German) "Still Life" Pal, Color, Sound, 10.30 min., 2014.

45. Jesada Pinkail (Thai) "ชีวิต1เทอม ปี2" Pal, Color, Sound, 4.40 min., 2015.

46. Matej Modrinjak (Slovanian) "Big Fun" Pal, Color, Sound, 1 min., 2015.
      Concept: Following the concept of video stories related to leisure and free time, I am presenting in the frame of artistic video presentation the domestic family theme that in my opinion is underrated the the artistic presentation.

47. Khamraphon Jirachonramask (Thai) "ห้วงเซียมซี" Pal, Color, Sound, 2 min (loop)., 2015.

48. Menno Aden (German) "Panel Flats" Pal, Color, Sound, 1.20 min., 2014.
      Concept: shows in a fast and hard changing rhythm more than 100 individually created spaces inside the same prefabricated windows of buildings made of precast slabs. The windows become interfaces that communicate from inside to outside as they reflect the world outside at the same time. The serial repetition nearly eliminates all human notion of the situation.

49. Sabrina Osborne (English-Indian) "Beard" Pal, Color, Sound, 3.20 min., 2014.

50. Supitchar Aimdilokwong (Thai) "Dancing urban people" Pal, Color, Sound, 2.48 min., 2014.
     Concept: The urban society have been stressful and seriously, I would make them dance cheerfully.

51. Tessa Knapp (German) "99 Beautiful" Pal, Color, Sound, 17 min., 2010.

52. Supitchar Aimdilokwong (Thai) "Aircraft" Pal, Color, Sound, 2.20 min., 2014.
      Concept: I was experimental on imagines that made by overlap technique reflected in our feeling, it was different direction as usual and both images and sounds which was originally from an image.

53. Tessa Knapp (German) "No Void" Pal, Color, No Sound, 4.30 min., 2007.

54. Pornchanok Suksan (Thai) "Untitled" Pal, Color, Sound, 56 second., 2015.

55. Fiona Rukschcio (Austrian) "tanzendes Brusthaar/ dancing chesthair" Pal, Color, Sound, 3 min., 2015.

56. Panu Saeng-Xuto (Thai) "A group project in Japan"
Pal, Color, Sound, 15.20 min., 2014.

57. Corey Best (American) "Bloom" Pal, Color, Sound, 3.23 min., 2015
      Concept: This is the first short drawing animation i have tried. It is just a small rough test i tried to do. My goal was to make it with normal materials that anyone can find here in Thailand. I just used normal pencils and cheap paper. And i tried to make it very fast with the short deadline. I wanted to show people what they can do with almost no money and basic materials. I wanted to show people that anyone can make an animation if they have an idea they want to share or experiment.

58. Pataimas Nuanchan (Thai) "Silhouette" Pal, Color, Sound, 2 min., 2015.
      Concept: concept: the silhouette of humans to procreate violence

59. Jun Yang (Austrian) "Phantom island" Pal, Color, Sound, 8 min., 2009.

60. Wunttin Chansataboot (Thai) "16X9 Capsule" Pal, Color, Sound, 6.20 min., 2014.

61. Gertrude Moser-Wagner, Ulrich Kaufmann (Austrain) "ERKENNTNIS 2" Pal, Color, Sound, 48 sec., 2015.
      Concept: If art is hidden within the flow (of images, words) then it is our task to grasp the right moment that would open up a question. Ulrich Kaufmann and Gertrude Moser-Wagner were sitting in front of the screen, looking at images from a travel to Tuscania, Italy.

62. Arnont Nongyao (Thai) “Ghost Rabbit & The Casket Sales” Pal, Color, No Sound, 6.40 min., 2015.
     Concept: By the way this route there is light at the end tunnel. When rabbits becoming to ghost and the casket sales prepare the celebration.

63. Kavinnat Haukhao (Thai) “0.001 gravity X father” Pal, Color, Sound, 4.21 min., 2015.
      Concept: If there are 11 dimensions in the universe of string theory. Gravity can lead us to the dimension of spiritual existence in the form of energy. That made me can meet my father again.

64. Kassakon Promkong (Thai) "KEEP LIGHT" Pal, Color, Sound, 3.20 min., 2015.
      Concept: Being of freedom in limit boundary.

65. Nanttakarn Chowpadreiw (Thai) "01100110010" Pal, Color, Sound, 1.20 min., 2014.

66. Siraprapa Srichan (Thai) "Untitled" Pal, Color, Sound, 23 min., 2015.

67. Nanttakarn Chowpadreiw (Thai) "Noise of Hitler" Pal, Color, Sound, 4.20 min., 2014.

68. Wasin Tirawattanawanich (Thai) "Slouchy" Pal, Color, Sound, 5.50 min., 2015.

69. Nanttakarn Chowpadreiw (Thai) "The letter" Pal, Color, Sound, 1.50 min., 2015.

70. Peter Conrad (German) "Hidden Star" Pal, B&W, Sound, 9.40 min., 2014.


Co-Operators 

Associated Professor Pitiwat Somthai,  
Fine and Applied Arts Faculty, Burapha University  
Instructor Sakchai Bunin, College of Fine Arts, Bangkok
Assistant Professor Supachai Satsara  
and Instructor Chatchawan Nilsakun,  
Fine Arts Faculty, 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
Instructor Komson Nookiew,  
King Muangkut's Institute of Technology, Ladkrabang  
Sabine Marte, Curator and Consulten, Vienna, Austria 
Pascal Fendrich, Curator and Consulten, Cologne, Germany   
Gertrude Moser-Wagner, Consulten and Co-Operator, Vienna, Austria 


Places of Exhibition

Faculty of Fine and Applied Arts Faculty, Burapha University,
25 - 28 September 2015

Painting Department, College of Fine Arts, Ladkabang, Bangkok,
23 - 24 November 2015

 Painting Department, Fine Arts Faculty, ChiangMai,University
 11 January - 15 January 2015
          Painting, Sculpture and Graphic Arts Faculty, Silpakorn University,
                                                                                      25-29 January 2016
                  School of Fine and Applied Arts Faculty, Bangkok University,
                                                                                    15-19 February 2016
Fine Arts Department,  Architecture Faculty,
King Mongkut's Institute of Technology, Lakabang,
14-18 March 2016

 Poster&Brochure designed by Komson Nookiew, Bangkok, Thailand.©2015