Wednesday, November 6, 2019

(EVA16) Experimental Video Art Exhibition, Thai-European Friendship 2019



Video Art begins from its stories
Edited by Komson Nookiew
  
    In the supermarket, we take a glance at monitor just below the ceiling, puzzle for a moment, and suddenly recognize ourselves; grandparents read their grandchildren bedtime stories via Skype; video sequences made using a mobile phone are sent to up loaded directly online. For quite some time now, video recordings and their direct playback in private and public space have been a self-evident of our everyday culture, and this  has been implicated in the face that the dissolution or even reversal of the categories “Private” and “Public” is now considered complete. The medium of video generated great attention when it initially came onto the private market in the late 1960s and was used by artists for the first time. Since the advent of film and television, it was the first moving image that could be used individually. The synchronization of recording  and playback, which marked video’s specific relation to the present, was in a sense the new gene that this technology introduced to the family of technological visual media.
    Today, the attention paid to special quality of this medium might well have declined, but at the same time the renewed interest in the reflective engagement with video in the art of the 1960s and 1970s that arose in the late 1990s and remains ongoing today revels that something of what was then considered its specific temporality remains of lasting interest. On the one hand, the possible presentist orientation of the medium was politically interesting from the very beginning, video was used as a presentist medium aesthetically in either an affirmation or a deconstructive sense. The dual aspect of video’s media reference between the present and the performative, between the present tense and presence should be kept in mind if we are to understand the board spectrum of video art from its beginning to today, from the black and white, self-referential video works from the conceptual field of Fluxus and body art to a contemporary several-channel video projection and the immersive aesthetic attributed to it, from formal aesthetic experimentation with the possibilities of electronic visual manipulation to post-documentary video essays.


    The article from : Between Private Dreams and Public Space: On Critical Work with Video at the Intersection of Subjectivity in Art since 1970. From: Time pieces. Video Art Since 1963. (n.b.k.)

 

Artist’s Name List for EVA-2019

 

1. Anna Ida Pezzot & Aage A. Mikalsen (Denmark and Norway) “Pleasant Sound” Pal, Color, Sound, 3.32 min. 2018.

2. Anne Weylr (Germany)Performance, Sound, Loop, 2018.

“OCTOPODA METHAMORPHOSIS”  
Concept:The starting point of „Octopada Methamorphosis“ was the experimental setup with diffe- rent materials and textures such as fruits, coloured mucus and diluted food coloring. As a performer, I entered this eld to explore body images to brought me out of my usual way of behaiviour. The unexpected relationship between my body and its environment triggered new body and space experiences. The body reacted sensitively to its environment in an associative way and was sometimes taken out of its known orientation by moving isolated body parts with a high degree of control. The actions were being recorded and cut into a video loop, whichwas shown as a large-scale video installation.

3. Anton Benois (Australia, Russia) “On a Clear Day You Can See into Forever” digital video in 2 parts, Colour, Sound, 2:46 min & 1:41 min, 2018. Trondheim Academy of Fine Art, Norway.

4. Biniam Graffe (Germany) “Neomaterialism” Performance, Pal, Color, Sound, 2.39 min, 2018.

5. Caroline Schwarz (Germany) “Mitarbeiter des Monats” Pal, Color, Sound, 11.30 min., 2018.

6. Chayamon Steerasinlapin (Thailand) “Swim” Pal, Colour, Sound,2019.
Concept:
    The shape of body wave in a swimming pool like a language and sound in other meaning. It’s temporary and permanent in the same way.

7. Christopher Logan (USA /Norway), "Desensed Singular Flight or Fight", PAL HD Found Footage, 15:13, 2018.
Concept:
    This intense series of 3 videos form an episodic look into the desensitization of singular defining moments and the inherent fight or flight response.

8. Christopher Logan (USA /Norway), "The Will to Hurt" PAL HD Found Footage, 16:46, 2019.
Concept:
    A look into relationship power dynamics, the desire and rejection of pain and the utter search of relief from anguish.

9. Daniel Burkhardt (Germany) “Rauschen&Brausen” Pal, Color, Sound, 4.55 min., 2018.

10. Daniel Burkhardt (Germany) “SOLINE” Pal, Color, Sound, 9.25 min., 2018.

11. Daniel Burkhardt (Germany) “The Chorus of Passing” Pal, Color, Sound, 8.21 min., 2018.

12. Debora Fede (Italy) “Came back to Itaca” 2.51 min., 2019.

13. Doris Schmid (Switzerland) “Im ausland” Pal, Color, Sound, 5.31 min., 2011.

14. Frederico Ebaristo (Brasil) “Don’t ask don’t tell” Pal, Color, Sound, 2.22 min., 2019.

15. Frederico Ebaristo (Brasil) “Later” Pal, Color, Sound, 2.22 min., 2019.

16. Gertrude Mosser-Wager (Austria) "Starving” Pal, Color, Sound, 6.47 min., 2019.

17. Irina Yang (Germany) “Untitled” Pal, Color, Sound, 1.30 min., 2018.

18. Jana Jess (Germany) “ALL1/ FALL2/ WALL3” Pal, Color, No Sound, 23 min., 2018.

19. Jate Yuyim (Thailand) “OMV” Pal, Color, Sound, 2.50 min., 2018.

20. Jutaphit Usaha & Prang Yanotha (Thailand) “Name Grey/C” Pal, Color, Sound, 0.9 Second., 2018.

21. Komson Nookiew (Thailand) “Second year Media class” Pal, Color, Sound, 3 min., 2019.

22. Katrina Daschner (Germany) “(Perlenmeere) Sea of Pearls” Pal, Color, No Sound, 9 min., 2016.
Concept:
    Jellyfish floating gracefully through the water. Gently swaying sea anemones. Fragmenting closeups of naked skin. Gaping fissures in rough rock. Sensual body sculptures that blend in their similarity of form and montage to a hybrid film body: silent, beautiful, erotic. The reproduction of bodies far from social ascription as new artistic creations — in and through film. (Diagonale, catalogue 2016)

23. Kristine Wathne (Norway) “Clown Teaser” Pal, Color, Sound, 0.9 Second, 2018.

24. Kristine Wathne (Norway) “Clown” Pal, Color, Sound, 51 Second, 2018.

25. Kristine Wathne (Norway), "Smack A B***" Pal, Color, Sound, 00:11, 2018

26. Kristine Wathne (Norway), "Welcome to The Motel", Pal, Color, Sound, 00:52, 2018"

27. Kristine Wathne (Norway) “Smack a bitch” Pal, Color, Sound, 11 Second, 2018.

28. Letizia Balzi (Argentina) “Algorithm Bias I” Pal, Color, Sound, 2.58 min., 2018

29. Letizia Balzi (Argentina) “Algorithm Bias II” Pal, Color, Sound, 0.42 min., 2018

30. Liora Epstein (Germany) “Abends (in the evening” Performance, Pal, Color, Sound, 8.23 min., 2018.


31. Liora Epstein (Germany) “Versuch“ („attempt“)” Pal, Color, Sound, 11 min., 2019.

32. Lou Le Forban (Germany) “Self-labyrinth” Pal, Color, Sound, 3.11 min., 2018.

33. Máté Labus (Hungary), “Kettő (Two)” Pal, Color, Sound, 8.32 min, 2014.

34. Maurits Boettger (Germany) “Toauquix” Pal, Color, Sound, 3.31 min., 2018.

35. Menno Aden (Germany) “Untitled” Pal, Color, Sound, 0.30 Second, 2018.

36. Miriam Gossing & Lena (Germany) “SYNOPSIS SOUVENIR” 16 mm., Pal, Color, Sound, 20.43 min., 2019.

37. Natnaran Bualoy (Thailand) “Rap is now” Pal, Color, Sound, 3 min., 2019.

38. Nina Yuen (USA) “Raymond” Pal, Color, Sound, 11.21 min., 2018.
 Concept:
    Yuen asks her father to name all the people he knows who have died.  She pairs each name with a branch, a seed, a flower, or an organic fragment that has fallen to the street in a rainstorm.  The names describe the history of immigration to Hawaii through the sugar cane plantations that brought Yuen's ancestors to the islands.  The plants are also migrants: they came to Hawaii in the jet stream, a high elevation wind corridor that carries species over the oceans for thousands of miles.

39. Nithiphat Hoisangthong (Thailand) “Rhythmic fluctuations” Pal, Color, Sound, 1 min., 2019

40. Oscar Debs (Lebanon) “Vespers”, Digital Video, Color, Sound, 3.50 min, 2018

41. Oscar Debs (Lebanon) & Mena el-Shazly (Egyt) “The Surplus as Entropy”, Color, Sound, 7.09 min, 2015


42. Panu  Saeng - Xuto (Thailand) “SEE SEA SCENE Gen.4” PAL, Colour, Sound, 1 min., 2018.
Concept:
    Painfully

43. Paula (Germany) “Esparadrapo” Video Performance, Pal, Color, Sound, loop, 2018.

44. Sabine Marte (Austria) “No Beach Just Sand” Pal, Color, Sound, 14 min., 2017.
Concept:
    The graphic "mask" overlaying the scenario is reminiscent of a computer game. It is black and initially abstracts what is happening underneath it. Only very gradually is the viewer able to see through a slit as it moves over the image and a bright spot offering a glimpse of three performers. Their appearance is impressive: They are wearing black, full-face helmets while their bodies closely modelled with tightly wound black tape reveal their "nakedness".
    Sabine Marte has repeatedly pushed to dismantle the traditional aestheticizing of the female body along such lines. However, here this is not the thematic focus of the work but rather its axiomatic background. This is indicated among other things by the empty picture frames that provide the setting for the poetically and equally politically loaded video performance of No Beach Just Sand: "The loss of Utopia means nothing other than most of the future is already behind us," as made clear at one point when the exhausted bodies become counter-participants in an experimental inventory of neoliberal conditions. There is a big huffing and puffing going on despite the fact that everybody is just laying around exhausted, with their heads in the sand, waiting, or collectively isolated as they sit at a kitchen table. 
    Sabine Marte excerpts a selection of quotes taken from the book yesterday tomorrow by political author Bini Adamczak to combine in grand sound experiments for the audio track. Additionally, her own texts and single words flow into these aural collages. These include the worn out "Carry on!" of contemporary capitalism, here also countered by Melville´s Bartleby and Scarlett O´Hara´s lesson that, "Tomorrow is another day".
Meanwhile, on the visual level the performers test the functional efficiency of their bodies: Does an arm still have enough strength, can one foot be made to follow the other, can one still find one´s footing when further proceeding into the story?
    As befits the disillusioned title, there is no resolution and movements remain precarious, even if in the end a collective dance momentarily breaks through the prevailing dystopic mood. (Christa Benzer)

Translation: Eve Heller

45. Sakonpat Chotipatthamanon (Thailand) “THAT’S WERID OR NORMAL?” Pal, Color, Sound, 1.38 min., 2019.
Concept:
     The main concept is psychotic of internet. i used the symbol in RGB Color to represent for colour in digital and audio of mass media in era. Like sound in facebook, line, etc. Everyone knew the social media is closer in nowadays ,easy to use and update information every second in 24/7. You just turn on notification. Social network is alway control you every step include me by code colour (RGB).you will stick with that all time.So, It created a new disease. Call “ FOMO” or Fear of missing out or worry about Information you missed. If you don’t update information to chat with another people. You will be straggler. But this artwork don’t judge you about that. It has question to ask you “ THAT’S WERID ?”

46. Sissel Thastum (Denmark), Video & sound Installation, Pal, Color, 18:31 min loop, 2017

47. Susanna Schoenberg (Italy) “redirection activity”
Pal, Sound, Color, 3.18 min., 2013/2019

48. Vacharanon Sinvaravatn (Thailand) "A Solitude of Space" Collage video, Pal, Color, Sound, 6.00 min., 2019.
Concept:
     Present a place that does not exist by collage various locations into video, to create new perceptions.

49. Yaser Rahhal (Syrian)”FALCON”, MP4, 2 min, 2016

50. Unnur Andrea Einarsdottir (Iceland), "Selfie stick battle“, Format: .mov, Duration: 1.20 min, 2016

51. Unnur Andrea Einarsdottir (Iceland), "Code Lines", Format: .mov, Duration: 8.16 min, 2016

52. Virinsire Chomchey (Thailand) “Heaven” Pal, Colour, Sound, 2019.
Concept:
    Inspiration from the short film "Black Mirror - San Junipero" is questioning the area after the death of people. Where is heaven Is something that no one knows It is still just a theory.

53. Tuksina Pipitkul (Thailand) “Dimming Light” Pal, Color, No Sound, 1 min., 2019.
Concept:
    Light is a symbol of modern life. Light from ATM machine at Talad Thai, a hub of wholesale markets in Thailand, is a sign of on going financial flow which we still do not know its direction and what is going on in the future. 

54. Dachanut Chawalitkitcharoen (Thailand) “Boss Racing: The Art in Motorbike Garage” Pal, Color, Sound, 3 min., 2019.
Concept:
    The Art in Motorbike Garage was inspired by my family life story. As an eldest son, I carried hope for the family in taking care of motorbike garage family business. This responsibility tied me up with the feeling of detainment. It held me back from pursuing my dream of becoming a hip hop dancer.

55. Tonphon sapnirund (Thailand) “In between” Pal, Color, Sound, 5 min., 2019. 
Concept: 
    Beauty grown of ruin in moment of time.

56. Pison Suwanpakdee (Thailand) “1 man 2 sides, anyone 2 sides” Pal, Color, No Sound, 3 min., 2019
Concept: 
    The world consists of 2 sides, left and right.


57. Naphat Arunsawatrouck (Thailand) “Death and Spirit Who is currently with us” Pal, Color, Sound, 3 min., 2019.
Concepts:
    Death and wisdom Who is currently with us Once this place had died from each other And we are now combined with it.

58. Teerapong Serisamran (Thailand) “When she... , so he …” Pal, Sound, Color, 3 min., 2019.
Concept: 
    “ Being trapped in the world of thoughtfulness ,  the world of self-ego and dualism caused suffering. Enlightenment is to return to the unity , return to the real origin that is beyond the division.”

59. Witchayoot Ponpraserd (Thailand) “Far away" No se Pal, Sound, Color, 4.44 min., 2019.
Concept:
    This is a short experimental film that compares love with space journey. A relationship and a story of a couple  that simultaneously arose  and collapsed.

60. Siridej Sirisomboon (Thailand) “Shorten your life in 2 minutes” Pal, Sound, Color, 2 min., 2019.
Concept:
    Is time the most valuable matter for life? What is the worth of time and what is the waste of time? Or actually, the fact that being alive is the most important matter for our lives?  As a dialogue in the film called “The fifth element”, it stated that time is not important but life is more important.

61. A Group of Second Year Media class….. 
   


Exhibition Venue


Fine Arts Department,  Architecture Faculty,
King Mongkut's Institute of Technology, Lakabang,

28 March - 12 April 2019

Faculty of Fine and Applied Arts Faculty,
Burapha University,

22 - 24 April 2019

Painting Department, College of Fine Arts,
Ladkabang, Bangkok,

12 - 14 August 2019

Painting, Sculpture and Graphic Arts Faculty,
Silpakorn University,

9 - 11 September 2019

Suan Sunandha International School of Art, Suan Sunandha Rajabhat University
14- 16 October 2019

Media Arts and Design Institute,
ChiangMai,University

18 - 20 November 2019


Co-Operators 

Associated Professor Pitiwat Somthai,
Fine and Applied Arts Faculty, Burapha University
 
Instructor Sakchai Bunin,
 College of Fine Arts, Bangkok

Instructor Arnont Nongyao,

Media Arts and Design Institute, ChiangMai University

Instructor Soemsakun Saranpreti,
Painting, Sculpture and Graphic Arts Faculty, Silpakorn University
  
Assistant Professor Siridej Sirisomboon,
School of Fine and Applied Arts Faculty, Bangkok University

Assistant Professor Komson Nookiew,
Fine Art Department,
King Muangkut's Institute of Technology, Ladkrabang, Bangkok
 
Susanna Schoenberg, Consulten and Co-operator,
Cologne-Düsseldorf, Germany

Christian Sievers, Consulten and Co-Operator,

Cologne-Düsseldorf, Germany

David Rych, Consulten and Co-Operator,
Berlin-Norway, Germany

Gertrude Moser-Wagner, Consulten and Co-Operator,
Vienna, Austria

Designed By: A Group of Second Year Media Class, Fine Art Department (KMITL)     CopyRight ©2019
 


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. 

Exhibition Venue


Fine Arts Department,  Architecture Faculty,
King Mongkut's Institute of Technology, Lakabang,

28 March - 12 April 2018

Faculty of Fine and Applied Arts Faculty,
Burapha University,

22 - 24 April 2018

Painting Department, College of Fine Arts,
Ladkabang, Bangkok,

12 - 14 August 2018

Painting, Sculpture and Graphic Arts Faculty,
Silpakorn University,

9 - 11 September 2018

Suan Sunandha International School of Art, Suan Sunandha Rajabhat University
14- 16 October 2018

Media Arts and Design Institute,
ChiangMai,University

18 - 20 November 2018


Co-Operators 

Associated Professor Pitiwat Somthai,
Fine and Applied Arts Faculty, Burapha University
 
Instructor Sakchai Bunin,
 College of Fine Arts, Bangkok

Instructor Arnont Nongyao,

Media Arts and Design Institute, ChiangMai University

Instructor Soemsakun Saranpreti,
Painting, Sculpture and Graphic Arts Faculty, Silpakorn University
  
Assistant Professor Siridej Sirisomboon,
School of Fine and Applied Arts Faculty, Bangkok University

Assistant Professor Komson Nookiew,
Fine Art Department,
King Muangkut's Institute of Technology, Ladkrabang, Bangkok
 
Susanna Schoenberg, Consulten and Co-operator,
Cologne-Düsseldorf, Germany

Christian Sievers, Consulten and Co-Operator,

Cologne-Düsseldorf, Germany

David Rych, Consulten and Co-Operator,
Berlin-Norway, Germany

Gertrude Moser-Wagner, Consulten and Co-Operator,
Vienna, Austria

Designed By: Former post-graduate student

CopyRight ©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