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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

A walk through walls into different spaces.

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

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.

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.

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.

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

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


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.

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.

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.

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.

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.

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.

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.

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.

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.

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,

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 


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

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