“EVA as nomadic display”
by Evamaria Schaller
How would you describe nomadism? Everyone has probably stereotypical ideas in their mind. However, being a nomad in nowadays multicultural society is not limited to living in mobile homes. It is more about cultural transits. Children brought along by their parents into other cultures were defined as “third culture kids” by American-sociologist Ruth Hill Useem. Such trans-culture-kids spend most of their developmental years outside of their parents’ original culture. They are also called global nomads along with being raised in a new multicultural civilization. “The nomad stands for movable diversity, the nomad´s identity is an inventory of traces.” 1 as states theorist and feminist Rosi Braidotti.
The nomadic way of life, the building up of relationships means to learn different languages, but not solely communicating with languages. Braidotti uses the term “Polyglot” to distinguish cultures of communication: “The polyglot knows that language is not only and not even the instrument of communication but a site of symbolic exchange that links us together in a tenuous and yet workable web of mediated misunderstandings, which we call civilization.” 2 Braidotti refers to communication for the spoken and the written language: “Words have a way of not standing still, of following their own paths. They come and go, pursuing preset semantic trails, leaving behind acoustic, graphic, or unconscious traces.” 3
Also the Video-Artist in general is a person in transit between languages and cultures. S/he collects traces and visualizes them in her/his special way of using moving images. S/he is a collector of signs, pictures, gestures, new media or technical developments. The Video-Artist does not use the spoken or written language with her/his words; s/he uses her/his own mediated language with elements of montage video-snippets to create a completely new visual language. Videos by definition are not standing still; they create trails of perception. The movable image itself can be seen as a symbol of non-verbal exchange, mediated communication on display, within diverse concepts.
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. The perception of shared time and space is stretched to a sort of constant present. Video-Art as a way of intercultural communication builds up spaces of detachment to create this new spaces for exchange. Rhizome-like the video-artists spread out their senses and form new bodies of language and display nomadic cultures and interchanging of time-based art works.
1 “Nomadic Subjects, Embodiment and sexual difference in contemporary feminist theory” Rosi Braidotti, Columbia University Press, New York, © 1994 / page 14
2 ibid / page 13
3 ibid / page 8
1. Daniel Burkhardt (German) "ZOO" Pal, Color, Sound, Super 8 mm film - found footage, optical scanning, editing in HD-Video, 5.45 min
2. Padipar Kongugooluame (Thai) "Hallervorden-Spatz Syndrome" Pal, black&white, Sound, 3.35 min, 2013.
My work was inspired by my younger sister who has been sick for long time. She has Hallervoden-Spatz Syndrome, rare in the general population. This neurosis affects my sister's body. She cannot move well. Therefore her body and brain development are getting worse. Recently, she cannot walk, take care of herself or even communicate with people in family. This causes lots of effect to our family. Her life become my inspiration. I want to show how much our family care about her and want to encourage her. I want her to know our thoughts through this arts.
3. Michaela Grill (Austrian) "FORÊT D’EXPÉRIMENTATION" Pal, Color, Sound, AT , CA , 22 min, 2012.
FORÊT D’EXPÉRIMENTATION – the experimental forest, the name of a place, a title, and a statement of intent. The first step into this forest is represented as a black-and-white silhouette, branches against a background of clouds moving rapidly across the sky, with a modulating soundtrack that records and further develops nature’s sounds. A picture, whose aesthetic excess takes up well-known references to landscape paintings and photography, as well as genre cinema.
But as soon as one penetrates deeper into the forest, the visual and tonal register changes, the view moves ever closer to the landscape’s pre-civilizational elements; vegetation, water, and wildlife. Attention turns to details, rhythm; to subtle and also surprising changes and movements. Nature’s enigmatic aspect moves to the forefront and the viewer is captivated by formal beauty, by pictures, which must first be decoded in their visual alienation and play of various size relations.
The borders between nature and landscape, handed down forms of representation and playful experiment, the abstract and figurative are dealt with in the mode of a fascinating and simultaneously exploratory awareness. The processing of well-known visual and tonal alphabets produces an entirely unique, idiosyncratic cinematic experience.
The view remains in motion, there is constantly something new to see, hear, and discover. In the end, the circle closes with a sight that could again be taken from a classical painting or a feature film. Different levels of awareness overlap, penetrate, and influence one another. The experiment is in the search for a form of depiction, and also the view—from the landscape to nature and back again.
4. Nonglak Trithanachot (Thai) “The Switch” Pal, Color, Sound, 1.37 min, 2013.
I want to present problems of children who are games addicted. They tend to absorb aggressive behaviors from aggressive games. They cannot separate games from reality. This becomes social problems often be seen on newspaper. I want children to be aware and they should have a limitation to play games.
5. Susanne Jirkuff (Austrian) "The Reality Check" 3'34'', Pal, Color, Sound, 00.00, 2012.
Mr. C, a young curator with high-flown ideas is forced to watch the dull slide show of an unknown artist...
6. Patcha Veraanuntawat (Thai) "Rhythm of the journey” Pal, Color, Sound, 2.45 min, 2013.
Classical music is in our everyday life. Everyone can experience it.
7. Peter C. Beyer (German) "De Dentro" Pal, Sound, Color, 16 mm Film on Video, 10 min, 2006.
This film, which was mainly shot in Mexico, deals with the spiritual power of this country, which can be found in both the nature and in its people. De dentro attempts to portray or conjure up the atmosphere of various rituals of the shamanic Maya and Huicholes tradition at a documentary and physical level.
8. Mintra Yoonprayong (Thai) “เดียว” Pal, Color, Sound, 3 min, 2013.
No one is perfect. However, it does not mean that we have no value in ourselves.
9. Pascal Fendrich (German) "Tec rucsbo tejbo ud riséd" Pal, Color, Sound, 35mm found footage reedited on DVD,1.39 min, 2013.
For this citation of Luis Buñuel's famous last work "Cet obscure objet du désir" the original film has been completely cut to isolate each of its original shots. Then every shot has been reversed in time keeping the right order. Although the story is still comprehensible, the continuity of the scenes is broken. Nevertheless, very precise perception of each scenes meticulously composed choreography becomes possible.
10. Nattawat Garinta (Thai) "Change" Pal, Color, Sound, 3.44 min, 2013.
As the natural rules, the cycle of "Big animals eat small animals" is a procedure that make of everything remain to be balanced. Under the rule of nature, I feel like I have no freedom. Only imagination that gives me a way to a changeable world. I have fun playing with the other side of the truth.
11. Doris Schmid (Swiss) "Synopsis" Pal, Color, Sound, LEG Video AT, DE, 4:3, 5 min, Stereo, 2013.
Music: Stephan Roiss & Cordula Boesze
Album: Stephan Roiss - &&Label: Zach Records
LEG treated aspects and orders of room and image:
Several video-sequences are projected on objects from paper and are filmed once more. These objects are tuned to the immobile motives in the picture: Form, contour and rises correspond to the buildings and sceneries of the projection.Motives are effects of climatic events like wien (tornado/storm) and water (flood): Interventions and destructions of sceneries and rooms as well as concurrent interventions in the representation of her picture.
12. Tuksina Pipitkul (Thai) "The Rhythm of light and shadow (in the morning)" Pal, Color, Sound, 2 min, 2013.
The Aesthetics of light and shade presents through digital media.
12. (2) Tuksina Pipitkul (Thai) "The Rhythm of light and shadow (in the evening)" Pal, Color, Sound, 2 min, 2013.
This work is noted the changing of light and shade. It is made through the changing pattern of time in nature and through the manipulation of artist’s hands. This is to record and convey daily life to new abstract images.
13. Billy Roisz, Dieter Kovačič (Austrians) "Bring Me The Head Of Henri Chrétien!" Pal, Color, Sound, 8 min, Stereo, 2013.
Billy Roisz and Dieter Kovačič explore the world of odd formats on the basis of one of their origins: western movies and the wide span of (male) heroism between life and death. The music and imagery of "Bring Me The Head Of Henri Chrétien!" are consequentially based on western movies and their soundtracks. Especially spaghetti westerns like "Once Upon A Time In The West" and their distinct epic atmospheres were a great source of inspiration and artistic loot. On the audible side things stay mostly abstract, yet amplify and structure the story of challenge, conquest, success and failure in a fundamental way. On the visual side Billy Roisz' disquisition about the colors of 1960s and 70s movies layers harmonically with Dieter Kovačič's mostly monochromatic researches about structural patterns in duels and carriage rides. The film is screened in vertical cinemascope and takes the format into account in several ways - eg. the opening shot (pun intended) which morphs from horizontal to vertical cinemascope, or the panning shot across a horizontally mirrored landscape that makes the vertical display window act as a scanner – amplifying details in a decelerated movement. Finally and in spite of all formal and esthetic playfulness "Bring Me The Head Of Henri Chrétien!" is nevertheless a classical western movie. And the sequel might be a zombie movie with a similar title – who knows...
14. Pasutt Kanrattanasutra (Thai) "Flag" Pal, Color, Sound, 1 min, 2013.
The political changes in Thailand in the last several years have led to uncomfortable and weary feelings for Thai people. However, Thailand's national identity still have to exist.
15. Henning Frederik Malz (German) "John's desire" Pal, Color, Sound, 4.34 min, 2011.
16. Komson Nookiew (Thai) "Vice Versa and Simultaneously" Pal, Color, Sound, 1 min, 2013.
17. Lena Ditte Nissen (Danish-German) "Korona" Pal, Color, Sound, 10.20 min, 2011.
18. Niramon Pumipat, Nirumon Sanphop (Thai) "Adventure" Pal, Color, Sound, Stop Motion, 0.00, 2013.
19. Vera Drebusch (German) "Ping Pong" Pal, Color, Sound, 3.05 min,
20. Retechai Chamkyan (Thai) "For a short time" Pal, Color, Sound, 0.00 min, 2013.
21. Geraid Zahn (Austrian) "Just 5 more minutes" Pal, Color, Sound, 5.23 min, 2010.
22. Rinyapat Nitipatara-anan (Thai) "กาย-วิพากษ์" Pal, Color, Sound, 0.00, 2013.
23. Katharina Huber (German) "TANGRAM" Pal, Color, Sound, 10.26 min, 2012.
24. Taweewit Kijtanasoonthorn (Thai) "Flashes Light" Pal, Color, Sound, 2.42 min, 2013.
25. Evamaria Schaller (Austrian) "Die Wilderin vom Montafon" Pal, Color, (Super 16 mm., Super 8 mm.) Sound, 21 min, 2011.
The Austrian mountains, legend of itself. Power and Wild. Dangerous and Beautiful. She, the poacher woman, is part of this rich nature. She IS the nature. And she has the power to kill…. She - Myself. A free interpretation of the real story of the poacher woman of the Montafon.
26. Alisa Palaphon (Thai) "My Home" Pal, Color, Sound, 4.52 min, 2013.
27. Jun Yang (Austrian) "Seoul Fiction" Pal, Color, Sound, 15.43, 2008.
28. Papon Pichakul (Thai) "Twilight Affair" Pal, Color, Sound, 3.22 min, 2013.
29. Heidrun Holzfeind and Christoph Draeger (Austrian) "Tsunami Architecture / The Maldives Chapter Redux" Pal, Color, Sound, 26 min, 2013.
The 2004 Indian Ocean Tsunami was one of the worst natural catastrophes in history. While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. In the winter of 2010/2011, Christoph Draeger and Heidrun Holzfeind took a three-month trip to the five countries most affected – Thailand, Aceh/Indonesia, Sri Lanka, Maldives and India – to investigate the current state of architecture built or reconstructed in the aftermath of the tsunami. "Tsunami Architecture" documents the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel. “The Maldives Chapter Redux” looks specifically at how the flood of aid money has transformed whole islands, rebuilt and refashioned local economies and shaped communities on three islands in the Maldives.
"We were interested in how the flood of aid money has transformed the affected regions, rebuilt and refashioned local economies and shaped communities. How has architecture built after the tsunami been able to respond to the individual needs of affected communities? How were these communities able to participate in the recovery process? How have these structures been adapted over time by their inhabitants, and how did architectural interventions alter societal and communal structures?" (Draeger/Holzfeind)
In terms of preparedness we are quite ready: All of the islands have their own disaster management plan in case of a tsunami or sea level rise and to receive a warning we have an early warning system established. But obviously if it is a 19 or 20 meter high wave, I don’t think we stand much of a chance. Climate change is leading to an increase in the frequency of disasters and it’s going to be something we continue to face. We are trying to relocate people away from islands that would not survive the next 10, 15 years. But you can never be completely protected from a disaster, you can just try and minimize the consequences.
Nadine Waheed, Programme Officer UN Human Settlements Programme for the Republic of Maldives (from 2005-2008).
30. Chanaporn Naknee (Thai) "Essential Affair" Pal, Color, Sound, 2.49 min, 2013.
31. Wilawan Wiangthong (Thai) "Movement Sketch 3.4" Video Performance, Pal, Color, Sound, 30 sec., 2013.
31.(2). Wilawan Wiangthong (Thai) "Red" Video Performance, Pal, Color, Sound, 2.32 min, 2012.
32. Sarena Sataphon (co-work with Saroot Supasuthivech) (Thai) "Performance'n Light" Pal, Color, Sound, Video Performance, 4.52 min, 2013.
32.(2). Sarena Sataphon (Thai) "DIY by Dojo" Pal, Color, Sound, Video Performance, 1.54 min, 2013.
33. Kunlapak Chintanakorn (Thai) "20 06 2013" Pal, Color, Sound, 2.06 min, 2013.
34. Saroot Supasuthivech (Thai) "Once Upon a Time 2013" Video Still,
Pal, Color, Sound, 6 min, 2013.
35. Ekrak chainok (Thai) "The object music experimental"
Video Performance, Pal, Color, Sound, 8.15 min, 2013.
36. Lalita Rattanapan, Vitaya Vongwitkan, Terachai Dangsathan, Panida Poti, Napapas Langie, Tanatansiri Laauthai, Apinaya Pongpayle (Thai) "Make Up" Pal, Colour, Sound, 7.37 min, 2013.
37. Wiriyaporn Chumporn Chumchuen, Sarut Panarin (Thai) "Music in the darkness of death" Pal, Color, Sound, 5.23 min, 2013.
38. Varin Theivong, Seithechong Konkayang (Thai) "Eatting hamburger with Andy Warhol" Pal, Color, Sound, 8 min, 2013.
39.Kretalunk Thongpadup (Thai) "Untitled(Light)" Pal, Color, Sound, 2.45 min, 2012.
40. Jutamas Laopasort (Thai) "Unititled (sex imagination)" Pal, Color, Sound, 4.30 min, 2012.
41. Natakan Supadit (Thai) "Untitled (Gut)" Pal, Color, Sound, 3 min, 2012.
42. Tatiya Thapkosonpraniti (Thai) "Untitled (Blur)" Pal, Color, Sound,
1.10 min, 2012.
43. Suwadee Arunrear (Thai) "Untitled (light reflection)" Pal, Color, Sound, 0.30 min, 2012.
44. Wuttin Chansaboot (Thai) "(Almost) Freeze in Time" Pal, Color, Sound, 3 min, 2013.
45. Narumon Yuenyao (Thai) "Imagination" Pal, Color, Sound, 2 min, 2013.
46. Nithiphat Hoisangthong (Thai) "How to disappear completely" Pal, Color, Sound, 3.33 min, 2013.
47. Jate Yooyim (Thai) "EVRA" Pal, Color, Sound, 3.32 min, 2011.
48. Phillipp Messner (Italian) "Untitled" Pal, Color, No Sound, 1 min, 2012.
49. Sattha Saengthon (Thai) "My passing day" Pal, Color, Sound, 4.15 min, 2013.
50. Evamaria Schaller and Komson Nookiew (Austrian, Thai) "our homes (two worlds collaboration)" Pal, Color, Sound, 1.40 - 2 min, 2013.
51. Pansak Sakpiboonrat (Thai) "Room" Pal, Color, Sound, 20 min, 2012.
52. Menno Aden (German) "Closed Circuit" Pal, Color, Sound, 3 min, 2013.
53. Kitti Sornmanee (Thai) “Untitled” Pal, Color, Sound, 2.10 min, 2013.
Assistant Professor Pitiwat Somthai, Burapha University
Instructor Sakchai Bunin, College of Fine Arts, Bangkok
Instructor Kosit Juntarathip, Chatchawan Nilsakun, ChiangMai University
Instructor Phd Toeiqam Sritabub, Silpakorn University
Associated Professor Tuksina Pipikul, Bangkok University
Instructor Komson Nookiew, King Muangkut's Institute of Technology, Ladkrabang
Instructor Onanung Krinsiri, Bunditpatanasilpa Institute
Assistant Professor Pasit Puntien, Suan Sunandha Rajabhat University
Instructor Pasut Kranrattanasuit, Dhonburi Rajabhat University Samutprakan
Sabine Marte, Vienna, Austria
Pascal Fendrich, Cologne, Germany
Gertrude Moser-Wagner, Consulten and Co-Operator, Vienna, Austria