Artist’s list EVA.2021
1. Anna Rimmel (England) “beyond a river is an ocean” Pal, Color, Sound, 8.00 mins., 2022.
Concept:
When everywhere I look and everywhere I turn seems to lead in only one direction where is left for me to go? Severed voices stumble through a psycho-landscape of media detritus searching for meaning and a
transformation. Exploring the materiality of images and language, desire,
imagination, the movements of queer migration, the film traces how a
nothing can become a something. In this heightened moment of informational semio-capitalism, its modes of control have taken on a particularly internalised and psychological quality. Language and images have subsequently become increasingly abstracted and performative in their meaning and intention. Drawing on the concept of productive desiring machines, Rimmel is interested in the forms of the contemporary media landscape and the meaning we create from
them in an age of informational and sensorial overload. Incorporating a
poetic breakdown of language with extracts of an interview from the
Archive of Embodied Memory, an ongoing project of Rimmel archiving the experiences of transgender people, the film explores the construction of desire and imagination, and how from these processes, these movements, an embodied and material reality can be created.
2. Arnont Nongyao (Thailand) “a Weirdo Never Fever Overry” Pal, Color, Sound, 14.08 mins, 2022.
Concept:
As a foolish man, I’m carrying such a confusedness of strange things in myhead. “A Weirdo Never Fever Overry” is a kind of weird Mekong travelogue aboutmy personal history and stories. Through the essay film, I would like to bring parts of my journey that contain: Anonymous Thai’s super 8mm home movie 1967-1979 that I accidentally found, northern-southern Vietnam train carriages wonderful experience with my partner, non-language communications with an inventor happened in Cambodia combined with strange sounds I recorded and composed along the way to represent myself as a Thai's people who lost unconscious colonization.
3. Billy Roisz & Dieter Kovačič (Austria) “Do they speak color” Pal, Color, Sound, 22.25 mins., 2022.
Concept:
Our human protagonist - let's call her Tilda - is looking out for possible ways to communicate across time and space with no other human beings at sight. Her world is strangely twisted, but we don't know exactly how. Usually we seek meaning in words. But there are no decipherable words in this movie. And yet there is plenty of meaningful communication going on. optical (light, colors), chemical (pheromons), physical (motion), accoustical (sound) ways of communication – from atomic semiotics to zebra finch - all the topics of communications are there and they are signifier and signified. You just have to let your receptors connect directly. Let it go - It will only make sense, if you don't seek for meaning.
4. Dhira Dhiraprachya (Thailand) "Somewhere Someone Sometime" Pal, 10:52 min, Color, Sound, 2021.
Concept:
Sometimes, someone who's in somewhere spends time on something.
5. Werner Jauk / Monika Wogrolly (Austria) “Lust – Trauer“ / „Lust - Grief“ Pal, Colour, Sound, 7.58 mins., 1989.
Concept:
The video „Lust - Trauer / Lust - Grief“ originates from a holistic, rather impetuous emotional approach: the terms "Lust” and “Grief”, which are central to the content and structure of the sound work, are spoken (as sonic expressions of the designated emotions) by human voices, partly clear, partly electronically shredded, "underpinned by naked, singing voices, whereby suddenness may come to the fore". The terms "haste" and "greed" iconically determine the dynamic course of the piece. The sound work was realised with a female voice and the techniques of analogue and digital sound processing.
6. Kawita Vatanajyankur (Thailand) “Shuttle” Pal, Color, Sound, 3.27 mins, 2017.
Concept:
Shuttle is a part of Vatanajyankur's Performing Textiles series where her body is caught in this moment of stasis—time-consuming and physically exhausting. The tonality of happy day-glow colours juxtaposed against dark humour and undercurrents of violence brings violent gravity to her work—drawing attention to mechanisation, and highlighting the historical trajectory of feminist art.
8. Werner Jauk / Marion Wicher (Austria) “linear transition“ Pal, Colour, Sound, 1.41 min., 2008.
Concept:
Venice's isolated location, its traffic structure of fewer canals and the multitude of narrow alleys primarily enables the unmediated footpath as the dominant form of movement. This special location leads to specific acoustics: Free from the soundscape of other cities, which is characterised by the lo-fi noise of technically mediatised movement, the reflectionless vastness of the sea is contrasted by the narrowness of the alleys with their short-term reflection, the shutter sound of footsteps - urban social life as human movement becomes audible through the reflection and resonance of architecture.
Based on this, the work is a simulation experiment to transfer the sound of the footpath from A to B through the maze of alleys to the direct linear propagation of sound, taking into account the intervening walls as resonating walls as well as squares as sound energy emitting openness, to implement linear transition sonically and parallel visually. While the visually controlled walk from A to B leads the body through the alleys surrounded by the walls of the houses, the sound passes through these walls in a sound-modulating way. In the digital simulation, the seeing gaze makes its way through the city unhindered by walls along the path of sound - as a linear transition.
9. Doris Jauk-Hinz (Austria) “Bilder” / “Images” Pal, Colour, Sound, 4.16 min., 1991.
Concept:
The video “Bilder / Images” is a non-narrative one and merges techniques of painting and graphics with the possibilities of analogue and digital electronic picture-generating and -processing. The fixed painting is set against the processing growth of a video. As it was a composing work, the video is - with regard to the formal aspect - a “parallel motion”, a “development” of and a “counterpoint” to the music and like this a formation of time. Self-performance and the confrontation with being a woman are the contents.
10. Komson Nookiew (Thailand) “Komson&Hanna” Pal, Color, Sound, 3 mins, 2022.
11. Doris Jauk-Hinz (Austria) “TRANS-LOCATION, 8 minutes to walk - 808 steps” Pal, Colour, Sound, 3.39 min., 2013.
Concept:
8 minutes of walking - 808 steps are represented by 808 red squares, which in their order form a line on the glass surfaces. This red line represents the distance between the former location and the new one of “esc media art labor” in Graz (AT). As part of the opening event, participants and passers-by were invited to shorten this line consisting of 808 red squares "step by step" by removing one square to reinstall it within a marked area by will. The dissolution of this line and the collective reorganization by participants are initiated as a performative occupation of the new space.
12. Natnaran Bualoy (Thailand) “Untitled” Pal, Color, Sound, 3 mins, 2022.
13. Gunther Skreiner (Austria) “Tonbild (Sounding image)” Pal, Color, Sound, 28.44 mins., 2021.
14. Hana Zeqa (Austria) “See me, Feel me, Touch me.. Hear me & Heal me..” Pal, Color, Sound, 2.57 mins., 2022.
15. Nithiphat Hoisangthong (Thailand) “Untitled” Pal, Color, Sound, 1 hour 53 mins, 2022.
16. Doris Jauk-Hinz (Austria) “Moving images” Pal, Colour, Sound, 1.00 mins., 1991.
17. Nipan Oranniwesna (Thailand) “Breath” Pal, Color, Sound, 24 mins, 2003.
18. Doris Schmid (Switzerland) “Natura morta” Pal, Color, Sound, 12 mins., 2021.
Concept:
The tradition of the genre "natura morta»,(still life) a representation or arrangement of motionless objects, goes back to antiquity. The objects are representative of philosophical interpretations of the visible world with reference to its transience. In this work, the media of image and sound are brought together within this concept. It is based on the exploration of a selected space under specific conditions. Space is understood here as a multi-layered link between a geographical location and a defined mental state. The visual starting point is a photograph of a landscape. Gradually, parts of the landscape begin to move. On the lake, glisten in slow-motion, while the leaves of the trees move in time laps in the wind. The movements of the individual parts of the picture take place in independent rhythms. The perception of a uniformly running time is suspended, several «local times» model the image. In music, we work with a limited contingent of sounds. Through transformations, their relations are constantly shifted. Size ratios, also foreground and background change, speeds are accelerated or slowed to a standstill. The human being remains visually and acoustically omitted. The absence of people is not only a characteristic of every still life, it also refers to the situation of our current lockdowns due to a pandemic.We become witnesses to a metamorphosis that oscillates between "real" and "fake».
19. Thammawat Sampetcharoen, Prachak Maneeboot, Rachel McPhillime, Supitta Jangpet (Thailand) “Soi On Nut 86” Visual Video, Performance, Photograph, Animation, Colour, Sound, 11.25 mins., 2022.
Concept:
Soi On Nut 86, a place used for waste and sewage management It is a place used to support things that people don't value and don't want anymore. It is also the residence and gathering place of those who work on waste disposal including those who live around the site. They will be affected by the disposal of these wastes that comes in the form of pollution in various forms a problem that cannot be solved. Because it is necessary to have a place to dispose of waste. As a result, people who work on waste disposal and the people around them have to bear those negative effects without being able to do anything. Not counting the attitudes and views of outsiders towards place and person related to waste disposal which hinders the development of waste disposal as it should even though those wastes come from outsiders. Even now, the impact of waste disposal has not been broadened to affect outsiders. But when there is no time to control the disposal of waste that be the case that the outsiders who are more severely affected than the insiders will get work up and understand how worse the situation is. People are unaware of the problems until those problems begin to affect themselves. Even though I feel that I should start solving those problems.
20. Eva Weingaertner (Austria) “Venus sounds” Pal, Color, Sound, 2.22 mins., 2017.
21. Pannaphat Meesitdee (Thailand) “Phantasm” Pal, Sound, 24 mins.,2022.
Concept:
Human life is always connected with time. In a sense, our lives are tied together and always stand alongside waiting. With time being the key variable that causes change in all things. presented through the way of life of the hometown of the province "Surat Thani", which is the main core area of the story. Demonstrates a different perspective on life in each area between the “city” and “province” areas. Early disparities in quality of life lead to questions about the impact on people's well-being and the standard of living values. figuratively going through different ages with overlapping territory, intensity, and existence.
22. Eva-Maria Gugg (Austria) “grazer-linien” Pal, Color, Sound, 33 second, 2020.
23. Papavee Kulkam (Thailand) “Overlay” Pal, Sound, 4.44 mins., 2022.
Concept:
I am attracted by the noises of the forest, particularly the animal sounds, which have drawn me to nature.
The sound of running water in my video work can transport the listener to a happy, carefree state, while the sound of the forest can make you fantasize about it.
24. Eva Ursprung (Austria) “Ghost main” Pal, Color, Sound, 5.18 mins, 2020.
25. Pasutt Kanrattanasutra (Thailand) “Mae Rim - Nawamin” Pal, Color, Sound, 4.54 mins., 2022.
Concept:
Mae Rim - Nawamin is the time to live, to know, to see, to feel, to be with the surroundings. Regardless of nature, little animals, and people, are always related to each other.
26. Georg Eckmayr (Austria) “Open water” Pal, Color, Sound, 11.18 mins., 2022.
27. Patsatorn Sinchu (Thailand) "The Alternate History: Thailand 1941" Interactive Video, Video Installation.
Concept:
What if Thailand overcame Japan in 1944? It started with questions about how it could be if we decided to choose another way at that time. Will it change history? In 1941 when the war in the pacific began. Thailand is a small nation but has a major role in the conflict than most people think. It may affect nowadays or even the future, If pick the wrong path.
28. Gerald Zahn (Austria) “How to learn to play drums” Pal, Color, Sound, 3.33 mins., 2022.
29. Phatcharacom Nopacoh (Thailand) “Random Dude Doing Graffiti” Pal, Color, Sound, 5.54 mins., 2022.
Concept:
Random Dude Doing Graffiti is a capture of a random dude doing theirs graffiti in random spot of BKK, Thailand. What does ACAB mean ?
30. Gertrude Moser-wagner (Austria) “Balance East” Pal, Color, Sound, 7.55 mins., 2022.
31. Pimnapas Anantasiri (Thailand) “Untitled” Pal, Color, Sound, 15.37 mins., 2022.
Concept:
This video art is said about Relationship between Human and Environment. Nowadays we all lean on technology and chemically much further, resources are run out faster. On the other hand, if we use human labor it will be so much more slow and difficult to work but this method will let nature restore itself.
32. Harald Hund (Austria) “Apnoe-UT” Pal, Color, Sound, 10.11 mins., 2011.
33. Rachata Yooyim (Thailand) “Ball” Pal, Color, Sound, 1.47 mins., 2022.
34. Heidrun Holzfeind (Austria) “The time is now” Pal, Color, Sound, first screen 19.52 mins and second screen 28 mins., 2022.
Concept:
"the time is now." is one of two films by Holzfeind about the Japanese shamanic improvisation duo IRO (Shizuko and Toshio Orimo). The couple have worked together since 1981. Their music, their activism in the peace and anti-nuclear movement, and their free-spirited way of life reflect an animist and pantheistic worldview that rejects commercialism in all its forms.
The film shows performances of the duo in various locations in the Inter-University Seminar House in Hachioji, Tokyo. The unique modernist complex—whose main building has the shape of a pyramid turned upside down—was designed in 1964 by the Japanese architect and thinker Takamasa Yosizaka (1917–1980). Yosizaka’s ideas about the relationship between humans, nature and architecture, individuality and community, sustainability and peace, as well as his critique of Western civilization in many respects concur with the musicians’ worldview. Holzfeind stages Yosizaka’s extraordinary architecture as a set for IRO’s performances, which combine improvisation on Noh and stone flutes, fan drum, and kagura bells with their unique punk kagura version of ancient Shinto rituals, indigenous ceremonies, and Korean mask theater.
In steady takes and rhythmic cuts, Holzfeind’s film plays with the contrasts and interactions between the brutalist architecture, the surrounding nature, and the musicians’ performance and instruments. IRO’s invocation of traditions that interpret artistic performance as a kind of magic is mirrored by Holzfeind’s use of color filters and subtle color shifts that suggest a crossover into other realities. Like the recurring motif of the eye, the tinted shots refer to the film "Phantom" by Japanese experimental filmmaker Toshio Matsumoto (1932–2017). The soundtrack interweaves the instrumental sounds with Shizuko’s chants and the sounds of nature and civilization. At times, it feels like the cicadas and crickets are in dialogue with IRO’s instruments.
The film’s second part takes the viewer inside the Central Seminar Hall, where Shizuko and Toshio perform an improvisation for piano and contrabass with free-form vocals based on their “anima animus” and “Maburi Henoko” motifs. “Maburi Henoko” is a “kotodama” or “word-spirit” coined by the Orimos that plays on the animist concept of “maburi” (meaning “soul” or “spirit”) and emblematizes their call for an end to the destruction of human and natural habitats caused by the construction of a US air base in Henoko Bay, Okinawa. Holzfeind juxtaposes the concert with found footage of the “Izaiho” women’s ritual in Okinawa, protest movements in Tokyo and Okinawa between the 1970s and the present, and a video recording of a concert by IRO in 1987. It was their last performance as the punk-rock duo IRO and marks a radical change in their musical practice: shaken by the Chernobyl disaster, they decided to exclude electronic sounds from their performances altogether, using only acoustic instruments and focusing on indigenous traditions and Shinto rites to make what has been described as “energy-free music.” The visual juxtapositions and acoustic superimpositions of the concert recordings from the 1980s and the fall of 2018 yield a synthetic impression of their artistic collaboration and experimentation, which spans more than four decades.
35. Nipatsara Bureepia (Thailand) “Impermanence of life” Pal, color, sound, 2.21 mins, 2022.
Concept:
Impermanence of life, everything changes over time and nothing lasts forever. The oil painted stop animation displays the mystery of the reality of nature and the nature of reality. The loop animation signifies the cycle of life, love, greed, anger, and delusion and the only three steps of things. Everything arises, exists, and ceases, nothing in the world is permanent. The expectation of things to last forever would be our fool but yet we should take delight when it lasts.
36. Jan Machacek (Austria) “Piece of a puzzle” Pal, Color, Sound, 4.14 mins., 2008.
37. Sakonpat Chotipatthamanon (Thailand) “MEDIGITAL” Pal, color, sound, 11.49 mins, 2022.
Concept:
This concept is related to the idea of posthumanism. In the present humankind merge and combine with the new technology whether smartphones, smartwatches, GMO food, or tracking items for your health. All these things will enhance the ability of humans to be more powerful and effective. So, My work will present some area of my body in this century and I am a posthuman.
38. Susi Jirkuff (Austria) “A concrete vision” Pal, Color, Sound, 1.50 mins., 2021.
Concept:
A Concrete Vision is part of a larger project that deals with the narrative of Franz Kafka’s ‚Das Schloss’ from 1922. ‚Das Schloss’ is translated into a series of architectural studies that try to picture the inpregnable castle in the form of surreal concrete buildings. In the video they are collected and presented as a gated resort and appear in a promotion film that mirrors not only the common real estate advertisements but also the twisted ambivalence of neoliberal virtues.
39. Sathaporn Fuengkhajorn (Thailand) “Darkness and imagination” Pal, Color, Sound, 6.54 mins., 2021.
40. Karin Fisslthaler (Austria) “women(Valie)” Pal, Color, Sound, 7.24 mins, 2022.
41. Surapat Sukchote (Thailand) “Hidden” Pal, Black-white, Sound, 10.43 mins., 2022.
Concept:
Due to the interest in the existence of ghosts in Thai modern society, people in modern society have been perceiving ghosts as the representation of supernatural beliefs that was left behind in the past which is based on the impossibility to explain some natural phenomenon during the ancient times and the concept of sacred things was created later on to explain those phenomena. The mysteries of ghosts that are being considered as something untouchable during ancient times are now being challenged in the present context of the contemporary world. Despite the fact that the portrayals of ghosts are repetitive, they never fail to satisfy the audiences’ curiosities. Ouija, Pop, Krasue, Murder victims ghosts calling for their own justice, Ghost trees, Guarding spirits, Wandering ghosts and ghosts with their own characteristics. For example, Mae Nak. These ghosts have been passed down through generations and somehow changed through times. The past appears in the incomplete present. People tend to use ghosts as a way to entertain themselves but ignore the real truth behind those ghosts who have been living through the unpredictability and the mess in the corner of civilized society nowadays. In summary, ghosts may not be just a form of entertainment but a living proof of the unorganised mess in our society.
The appearance of ghosts will continue to remain the same until the light find its own way to take the darkness’s place and light it up. Perhaps, Ghosts may lose their own identities and remain as stationary past.
42. Katrina Daschner (Austria) “Pomp” Pal, Color, Sound, 7.43 mins., 2020.
43. Naphat Kuantrakul (Thailand) “Eyes” Pal, Color, Sound, 3.50 mins.,2021.
Concept:
This work explores the state of mind after a traumatic experience by interviewing ten individuals who suffered significant loss in their lives resulting the conceptualizing of visual and sound representing deep connection between each individual.
A reoccurring theme from the focus group data analysis, demonstrates imaginations involving their thought loops and nightmares. These deep and vivid thoughts are interpreted into an illustrated video that represents the struggle of individuals having a hard time trying to rediscover their cosmic connection between society, nature, and themselves.
Sounds used in this artwork is developed by interpreting the rhythms of nature. Each element in the track represents the flow and the displacement of life.
44. Leopold Kessler (Austria) “Antagometer” Pal, Color, Sound, 3.50 mins., 2022.
45. Usawadee Srithong (Thailand) “Communication through food” Pal, Color, Sound, 4.29 mins.,2020.
Concept:
Three years back I studied Fine Arts at Santiniketan , a small town in the state of West Bengal of the Indian subcontinent. Back then when I first arrived a newcomer in the town I struggled while communicating with people both in English and Bengali. But my friends there were quite kind to me and didn't make me feel excluded. They often invited me to there hostel or houses to have food with them. These encounters were wonderful opportunities for me to learn the variety of food and the cuisines that was indegenous to the Bengali people. It also helped me build up a congenial relationship amongst the people whome I dined with.Food is an important element in culture that people identify themselves with. I believe food isn't just something we eat to satisfy hunger , it's also a mode to connect me with the other friends who now share different cultural palettes. In congruence with my experiences the Art Project is an opportunity that I want to create to begin a conversation between the audience and me . This conversation may differ from people based on their cultures i.e between the Thai people and Foreigner in Bangkok, Thailand . Although to me it is a dialogue between puri, ghughni of Bengal and Food is symbolic to a language as it's mode of communication is quite enriching and instrumental in building a relationship as it has been with friends and me. I wish to convey and utilize this concept in Ban Chao Phraya Thammasakmontri at Bangkok, Thailand once again.
46. Lydia Nsiah (Austria) “To forget” Pal, Color, Sound, 17.00 mins., 2019.
47. Ramses Jesus Ysea Casanova (Venezuela) “The new normal” Pal, Color, Sound, 2.3 mins., 2022.
Concept:
The story follows our character Brian, who is struggling with handling life inside his apartments and outside his apartment. At home he feels safe but he also feels trapped and lonely, outside he feels free yet he is scared of catching the virus. This constant shift in mood inside Brian’s head is leading him down a path of insanity where he cant distinguish what is real and what isn't.
48. Miriam Bajtala (Austria) “Work by the piece” Pal, Color, Sound, 10 mins., 2019.
Concept:
The video WORK BY THE PIECE shows my mother's hand movements at work. She made 15 years of piecework, in a work station at an eyeglasses factory. The work processes of her hands and feet during work can be seen in an abstract form, without objects and machines.
It's hard to figure out what she's doing right now. The movement of her hands is reminiscent of magical hand movements.
49. Channrithy Sen (Cambodia) “Home quarantine” Pal, Color, Sound, 2.15 mins., 2022.
Concept:
I want to share my daily life during the pandemic.
50. Lydia Nsiah (Austria) “VS” Pal, Color, Sound, 7.35 mins., 2021.
51. Tuksina Pipitkul (Thailand) “Recentraland” Pal, Color, Sound, 2.30 mins., 2022.
Concept:
The search for perfection in human life has led to the concept of centralized destruction which is reflected in the form of the financial economy, novel societies, and cultures. One of the exits from decentralization is reflected in the use of blockchain technology, crypto-currency finance, and social media lifestyles that allows the new generation to live in a virtual space with consumer finance, token coins and digital assets.
In addition, technology media has enabled people to create virtual worlds on the metaverse, where buildings, streets, shops, pubs, attractions are built with desired avatar transformation.
The physical integrity that is projected in the Decentraland platform metaverse is a different example of the real world society.
In the present day, humans still have to deal with various problems, whether it is a garbage, environment traffic, or labor problems, especially in the third world countries. These countries are where people are still dealing with multiculturalism, social problems, and environmental problems. The projection of the real world interspersed with the world in Decentraland is thus a representation of the human yearning for perfection and may not have a fixed answer for everyone.
52. Lydia Nsiah (Austria) “Distortion” Pal, Color, Sound, 4.40 mins., 2021.
53. Ekathep Michaels (Thailand) “Untitled Narcissus” Pal, Color, Sound, 55 Second., 2022.
Concept:
We live in a selfie culture, where the portrayal of one’s self image is posted on the digital platform and is seen by millions in a matter of seconds. The experimental video focuses on the feelings of self-infatuation, self-absorbedness of perfection and beauty with the sartorial usage of positive affirmations, through contemporary and abstract visualization of the tale of Narcissus through modern day perspectives.
54. Pia Strau (Austria) “merging” Pal, Color, Sound, 2.13 min., 2022.
Concept:
In Pia Straus experimental piece, fusion becomes a tool of disruption. The viewers twosensual relationship to film is dissected and layed out. As one becomes witness of the blurred lines of distinction, not only film but perceptible reality undergoes an empirical crisis. We become voyeurs of a reconstruction to wholeness, while simultaneously experiencing the deconstruction of the smooth flow of life. There is not a moment in time that we can’t split in hundred-thousands more.
55. Naphat Kuantrakul (Thailand) “Eyes” Pal, Color, Sound, 3.50 mins., 2022.
Concept:
This work explores the state of mind after a traumatic experience by interviewing ten individuals who suffered significant loss in their lives resulting the conceptualizing of visual and sound representing deep connection between each individual.
A reoccurring theme from the focus group data analysis, demonstrates imaginations involving their thought loops and nightmares. These deep and vivid thoughts are interpreted into an illustrated video that represents the struggle of individuals having a hard time trying to rediscover their cosmic connection between society, nature, and themselves.
Sounds used in this artwork is developed by interpreting the rhythms of nature. Each element in the track represents the flow and the displacement of life.
56. Sol (Austria) “1.Illumination, 2. Earth, 3a Imago, 3b imago, 4. breath”
Pal, Color, Sound, Loop, 2022.
57. Damian Fox (USA) “Pageboy” Pal, Color, Sound, 3 mins., 2022.
Concept:
When we travel abroad where we are the minority, we become diplomatic representatives of our home culture, whether we like it or not. The small choices we make are actions that have a larger impact and shape the perceptions of others.
Pageboy is an interactive narrative which explores the concept of mutable identity and the relationship between choice and consequence. The viewer embarks on a journey with the concept of “self” as a blank canvas. Throughout the adventure, the viewer is challenged by ethical choices that gradually shape their psychology and belief system. The major theme of the narrative is race relations, and the conclusion of the experience is determined by the choices made by the viewer.
58. Supakit Seksuwan (Thailand) “During the Ramadan” Pal, Color, Sound, 10.23 min., 2011.
59. Oradol Kaewprasert (Thailand) “Vamos Tailandia!” Pal, Color, Sound, 1.16 min., 2018-2019.
60. Manasak Khlongchainan (Thailand) “White Light” Pal, Color, Sound, 10 min., 2021.
61. Ivy Universe Baldoza (Philippines) “Strange horses and their stripes (Short)” Pal, Color, Sound, 11.32 min., 2016.
62. Panu Saeng-Xuto (Thailand) “INT. Memories – O N L I N E” ภายใน. ความทรงจำ – ออนไลน์ (Editor: Kitipoom Suwanteep)”, Pal, Color, Sound, 3 min, 2022.
Concept:
In a way, every day is online.
63. Manasak Khlongchainan (Thailand) "Anatta" Pal, Color, Sound, 4.15 min., 2014.
64. Weerapong Wimuktalop (Thailand) "Swing" Pal, Color, Sound, 30 min., 2011.
65. Jirapon Tewaruk (Thailand) "Draw a Dream" (Advisor: Tuenrudee Rugmai), Pal, Color, Sound, 11 min., 2022.
Concept:
Although the Covid-19 pandemic has tremendously affected students experience in education, they still have bright dreams at the end of the tunnel. This documentary presents their dreams for the future in a post pandemic world interpreted through the lens of motion graphics and live action.
66. Budsaba Preeda-ananthasook (Thailand) "Parts Apart" (Advisor: Tuenrudee Rugmai), Pal, Color, Sound, 5 min., 2021.
Concept:
Memory plays a fundamental role in a person’s day to day life, offering us references from past experiences which are then used to predict future possibilities. It also serves as an important factor in judgement, and can occasionally even function as evidence supporting claims. Despite its significance in the establishment of human society, memories are proved to become less accurate through time. Being constructed from personal point of views and biased feelings, each recollection tends to defer from its factual occurrences. This project was created in hopes to capture and express the flaws and fragility in memories through each participants’ recollections, piecing them together to form a bigger picture as a whole.
67. Sirawich Pukuka (Thailand) “Lucid : Dream” Pal, Color, Sound, 3.01 min., 2021.
Concept:
In dreams we often dissociated from logic. Searching for unknowns in almost every time we are speculating, this video with its three-dimensional transparent structures trying to mimic the spectacular kinship of typical stained glass. This video shows the fluidity of images around us as when lights staged a play on stained glasses.
68. Rinsatta Karnjanawati and Oradol Kaewprasert (Thailand) “Tears, Dreams, Meaning and Rain” Pal, Color, Sound, 1.33 min., 2022.
Concept:
Tears, Dreams Meaning and Rain is an Experimental Animation with a Poem by a Blind Pet Rinsatta Karnjanawatee. The poem is inspired by a song by Chit Phumisak , A droplet upon the sand.
69. Natthaphon Chaiworawat (Thailand) "Irresistible" Pal, Color, Sound, 6.59 mins., 2021. Concept: In "Irresistible", Chaiworawat created a metaphor of the state of irresistible through Durational Performance. He floated in a swimming pool and let body to encounter the current in the pool. Revealing the moment of the body's instinctive reaction to maintain its constant buoyancy in the water. Nevertheless, when the body floated away, the process of retention could no longer be seen by the physical eyes.
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