Artist’s list EVA-23 (2026)
1. Amanda Drejer (Demmark) “He was a hungry man” Animate short, Sound Color, 5.08 min., 2024.
2. Chayanis Wongthongde (Thailand) “Trance : ภวังค์” Black & Whiteม, 2.22 mins. 2026.
Concept:
An inquiry into the inner state of the mind through remembrance, awareness, and self-consciousness, exploring experience and perception within a particular moment in life.
3. Ana Beznea (Romania) "Taken by the dance" Digital Video, Color, Sound 7:38 min., 2026.
Concept:
"Taken by the Dance" is an autoethnographic essay film that moves between observation, folklore, and lived experience. Drawing on the figure of the Iele from Romanian mythology, it considers movement as a form of knowledge and belonging as something learned through repetition rather than arrival. Layering smartphone footage, ambient sound, and an essayistic voiceover, the film explores the fragile space between memory and place, where ordinary gestures become traces of unseen choreographies and quiet transformations. Ana Beznea (Romania), "Taken by the dance" Digital Video, Color, Sound 7:38 min 2026 Thank you for your consideration. Kind regards, Ana Beznea
4. Panu Saeng-Xuto (Thailand) “DIALOGUE – CHAI ARUN YEAR 3” Color, Sound, 10 min., 2026.
Concept:
OBSERVE / PLOT / ARCHIVE / WANG DERM – WANG THA PHRA 2569 B.E. A dialogue through moving images: Streets, People, Community, Wang Derm, 2026. As part of the 3rd year of the "Chai Arun" project, "We will cross the Chao Phraya to meet," Wang Derm shines brightly, Chai Arun Wang Tha Phra. This video series presents a narrative method. This video series chronicles the movement, lifestyle, and unique cultural charm of the Wang Derm area through street scenes, blending beautiful Thai architecture, traditional Thai food and desserts, and boat traffic on the Chao Phraya River. It also reflects the intricate urban landscape through the interconnected electrical wiring and antique street signs. Every element weaves together a narrative of progress and culture unfolding harmoniously, reflecting a beauty that blends the past and present.
5. Debora Fede (Italy) “Untitled” Sound, Color, 3.40 min., 2026.
6. Rachata Yooyim (Thailand) “Laplae” Color, Sound, 2.22 min., 2026.
Concept:
Presenting the image of a city through beliefs, attitudes, history, and another set of truths is the process of decoding the identity of a space. It brings hidden dimensions, the voices of marginalized people, or alternative history to create contemporary art, reflecting a new and deeper perspective beyond the original stereotype.
7. Doris Jauk-Hinz (Austria) “Enough!” Color, Sound, 1.38 min., 2026.
8. Nithiphat Hoisangthong (Thailand) “Mutation” Color, Sound, 1.30 min., 2026.
Concept:
"A sci-fi vision captured through a night-vision lens, revealing a desolate roadside wasteland transformed into the breeding ground for a new biological species. The mutated insect’s form and soundscapes in the video mimic scanning frequencies, reflecting a dark future where nature is forced to evolve and adapt to human behavior just to survive in the shadows."
9. Laura Kolar (Germany) “Tunnel Vision” Color, Sound, 16.06 min., 2026.
10. Natnaran Bualoy (Thailand) “Sleep on duty:during sleep” Black & white, Sound, 00.50 min. 2026
Concept
Drowsiness, sleeping in the wrong place at the wrong time, but with the right vibe.
11. Trillium Performance Collective (A group from USA)“Three Days Of Silence” Color, Sound, 5.56 min., 2024.
12. Rapeepong Somboon (Thailand) “Finding Peace” Color, Sound, 4.38 min., 2026.
13. Xiangyun You (Singapore) “Saturn Devouring His Son” Sound, Color, 7.20 min., 2026.
Concept:
Saturn Devouring His Son is a video installation that examines the body as a site where care, violence and inherited power become physically visible. Referring to Goya’s Saturn Devouring His Son, the work relocates the violence of the myth into a contemporary domestic setting. Through gestures of cutting hair, touching, holding and dressing, the video explores how intimacy, family structures and bodily dependence can become inseparable from control and sacrifice.
14. Jittanan Jittikitrattanakul (Thailand) “Distorted Solitude” Color, Sound, 1.35 min., 2026.
15. Naomi Xila-Xulis (Germany) “AULA UNTER STROM (Documentation)” Color, Sound, 7.24 min., 2026.
16. Apapatr Boonyarangkul (Thailand) ”WHAT INSIDE THE COOKIES BOX” Color, Sound, 1.14 min., 2026.
17. Egil Forsberg (Sweden) "Breaking Camp" Color, Sound, 4:12 min, 2025.
18. Phattharanan Jantorn (Thailand) “Creation of Hatred” Color, Sound, 2.19 min., 2026.
19. Elanit Leder (Israel) “Untitled- Middle east dance” Color, Sound, 8.06 min., 2026.
Concept:
The ancient origins of belly dancing in the Middle East and North Africa are intertwined with religious fertility rituals and women's medical practices. It was born as a sacred and intimate ritual intended solely for women. The complex abdominal movements and isolations were actually invented as a medical preparation for childbirth; they were designed to celebrate the feminine power of bringing life into the world.As the fabric sits in the water in an attempt to remove stains, an innocent fusion of the glamorous and the mundane emerges. This combination prompts the viewer to draw connections to the changing role of women—both past and present—in Middle Eastern culture."
20. Varasa Leesiam (Thailand) “26 May” Color, Sound, 1.40 min., 2026.
21. Eva Ursprung (Austria) “Rettungsring” Color, Sound, 10.20 min., 2026.
22. Alice De Visscher & Evamaria Schaller (Belgium & Austria) “Orange” Color, Sound, 2.01 min., 2026.
23. Siwarat Suthakam (Thailand) “Fountain” Color, Sound, 1.16 min., 2026.
24. Evelin Stermitz (Austria) “The Magic Mirror Sees Black and White” Color, Sound, 4.14 min., 2019.
Concept:
Mirrors have long been associated with female knowledge and power, and mirrors can be fruitfully used to think about how the fantastic represents and responds to everyday experience. The centrality of the magic mirror allows the doubled, divided, or multiplied self that reflects women's psychological experiences to be fully portrayed. The mirror was a driving metaphor for Luce Irigaray, whose 1974 book, the one that got her expelled from Lacan's circle, was entitled 'Speculum of the Other Woman', punning on the use of the word 'speculum' to mean 'mirror'. Irigaray continued to work with this metaphor also in further writings such as 'This Sex Which Is Not One'. Simultaneous with the rise of second-wave feminism, Lacan's mirror stage and issues of the internalized male gaze described through the metaphor of the mirror by Sandra Gilbert and Susan Gubar in 'The Madwoman in the Attic', the mirror became a highly significant issue during the 1970s. With Naomi Wolf's book 'The Beauty Myth', the question of appearance as a feminist issue took on new urgency, and so was the age-old relationship between women and mirrors interrogated anew within 1990s feminism. The mirror doubles the boundary between the subject and object, self and other, I and not-I. The mirror emerges as a potent source of self-creation, magic, and ultimately story-telling itself. Contemporaneous theory argues that the mirror becomes a symbol of telling stories through a feminine subjectivity that is characterized by permeable ego boundaries and connection with others, as well as with the alienation from the self under conditions of patriarchy. The mirror's - and fantasy's - illusion of another world, identical and yet opposite to ours, creates a space for expressing the lived experiences of women and envisioning the feminist change necessary to improve those experiences.
(Source: Veronica Schanoes, Fairy Tales, Myth, and Psychoanalytic Theory: Feminism and Retelling the Tale. Routledge, 2016)
25. Yosita Juntarungsi (Thailand) “Untitled” Color, Sound, 1.10 min., 2026.
26. Ginevra M. Demartis (Italy) “OCDENITAS-V.I” Color, Sound, 5.22 min., 2023.
Concept:
Ocdenitas is a video installation that explores identity through the lenses of data, surveillance and breached privacy. Can our data reconstruct ourselves, our identity, our consciousness? Can we trace our data, our “digital fingerprints,” back to a defined identity, to the point of determining consciousness? It's a play of observing and being observed, of data collected that doesn't belong to us no more. In all of this, what is left of us?
27. Peerawish Bannarak (Thailand) “Existential” Color, Sound, 2.04 min., 2026.
28. Fiona Rukschcio (Austria) “Tanzendes Brusthaar” Color, Sound, 3.20 min., 2014.
29. Phanthawat Khamlamun (Thailand) “Untitled” Color, Sound, 2.00 min., 2026.
30. Heidrun Holzfeind (Austria) “The 49th Year” Color, Sound, 37.17 min., 2023.
31. Pojchanun Homasawin (Thailand) “7 DEADY SINS” Color, Sound, 1.07 min., 2026.
32. Harald Hund (Austria) “SAD SYMPHONY” Color, Sound, 9 min., 2026.
Concept:
Sad Symphony highlights the significant role that fossil fuel production continues to play worldwide. Autocratic rulers in both the East and West, in particular, continue to rely unflinchingly on oil extraction and hinder the expansion of sustainable energy. The slow up-
and-down movement of the oil pumps illustrates the constant and unceasing extraction of oil, which contributes to global warming and leaves behind largely devastated landscapes.
33. Thitisak Omchim (Thailand) “นัตถิ กัมมัง สมะพลัง” Color, Sound, 7.34 min., 2025.
34. Iris Hoppe (Austria) "APPROACH" Color, Sound, 3.55 min., 2024.
Concept:
We find comfort in nature, but then why are we destroying it? The starting point for the video work APPROACH is the book Warum wir Trost brauchen (Why we need Consolation) by philosopher and theologian Jean-Pierre Wils. The video was created during the residency TROSTPROJEKT 2024 at the ArToll Art Lab on the grounds of a former forensic clinic in Bedburg-Hau, Germany. In his book, Jean-Pierre Wils draws on quotes from Michel Foucault, which — in conjunction with the history of this oppressive place and its evocative spaces —inspired me to use a tree as a metaphor for a human being, to explore the blurred boundaries between the self, the inner, and the outer, to explore the boundaries between inside and outside — in order to metaphorically express both the longing for freedom and the desire for protection.
Quotes from the book "Why We Need Consolation" by Jean-Pierre Wils (pages 114, 116, 117): “In the 13th century, bees were regarded as an example of a perfect society, as a natural utopia of the right and proper way of life.” “This bee has a beautiful soul.” “The forest was violated by a gas attack.”
35. Nattansa Chotikasathian (Thailand) “Under the Sea” Color, Sound, 0.14 Second., 2026.
36. Jeremy Hiah (Singapore) “Aliennation” Color, Sound, 1.26 min., 2026.
Concept:
Aliennation is written in this way is to make it more alien to read that can read it many way. Aliennation is a works that deals with space, environment and people and how it adapts to different situation. As a Singaporean living in a cosmos and globalization country having multi races people and different religions and everything is becoming more alien than others. The world had come to this state of technology that with our transportation and communication we would reach to a different space within hours and communicate to anyone from the other side of the world within second. In a way we are going to have more people coming together. Singapore is a country that is close to a lot of different space different races and religion around its region and is interesting to explore in this area. Being an artist in Singapore is seem to be more an alien works then other works and had not been treated as a practicing profession.
The work that I present is about adapting to a different space, environment and people so that we could tolerant and understands each other. In the video performance the title aliennation I perform from a virus to an insect and to an animal and then to a being and back to an animal into an insect and a virus and disappears. This whole living thing had an instinct to adapt or change to suit their living. In the process of metamorphosis of the alien changes it color from to blue to red to yellow. Is a cycle of a life whether we change ourselves to adapt the space or change the space to adapt ourselves? The performance is to let everyone aware that we should not judge the space by it surrounding the skin by it colors the language by the sounds, and the work by it job.
37. Ai Harnsubsinsuk (Thailand) “Re Re(2026)” Color, Sound, 4.26 min., 2026.
38. Karl Ingar Røys (Norway) “RIANXEIRA” Color, Sound, 15.30 min., 2011.
Concept:
La Solfónica is a choir based in Madrid, which grew out of the protests at Puerta del Sol on May 15, 2011, the day after which the “15-M” movement is named. Formed in the run-up to regional elections, its members, inspired by the Arab Spring, demanded change. Performing classical music at demonstrations, the choir follows the tradition of composers like Giuseppe Verdi, who in the opera Nabucco propagated the liberation of northern Italy from Austria. This opera was written in 1841 and became closely linked with the Italian unification movement. David Alegre, conductor of La Solfónica, says the same message still resonates today in Spain, more than 170 years later. At that time he says, “it was a political military occupation but today the occupations are economic and ideological.” Rianxeira is a film about collective resonance and dissonance as dissidence. RIANXEIRA is supported by OCA. Office for Contemporary Art Norway. Camera: Francisca Valenzuela Moguillansky & Karl Ingar Røys Postproduction: Karl Ingar Røys Music: Pau Casals: Song of the Birds, La Solfónica Voiceover: David Alegre (Conductor), Elena Merayo (Vocal Coach) og Ana Olmos (Solo Singer) Translator: Francisca Valenzuela Moguillansky
39. Arnont Nongyao (Thailand) “Another Way” Color, Sound, 4.43 min., 2026.
Concept:
As two men sought a way to move the massive object they had salvaged from the heap of refuse, an unforeseen solution revealed itself.
40. Karo Zacharski & Kacper Dziedzic (Norway / Poland) "Hedonia Draconis" Color, Sound, 01:34 min., 2026.
Concept:
A reptilian being, clad in glossy black latex, moves around in a dimly lit minimal environment, switching between stillness and slow, sensual movements. The character engages with its environment, interacting with it and its elements, such as a black leather couch, to create intimate and quiet moments. The camera concentrates on the textures and details of the costume, such as the reflective qualities of the latex, the reptilian headpiece, the clawed gloves and the contours of the body of the being to reveal a form that exists somewhere between human, reptile, and fantasy. Rather than following a traditional storytelling, the video explores the themes of transformation, identity and eroticism by playing on attraction and unfamiliarity.
41. Sakonpat Chotpatthamanon (Thailand) “Begrebet Angest” Color, Sound, 8 min., 2026.
Concept:
While the modern world is filled with systemic stress, financial pressure, and unpredictable chaos, humanity possesses an incredible capacity for resilience. Begrebet Angest (The Concept of Anxiety) is an 8-minute audiovisual journey that moves through existential dread to find a path toward survival and inner peace. By isolating the viewer, much like Zarathustra’s retreat into nature, the artwork serves as a space for deep self-reflection. It beautifully weaves the four essential elements of life (Oxygen, Carbon, Hydrogen, and Nitrogen) into a sensory experience of our connection to the Earth. While science helps us understand the world and technology handles our consumption, it is the human mind that ultimately holds the power to calm the chaos. Through a soundscape that transforms overwhelming noise into a restorative, profound silence, the piece demonstrates that even within unstable systems, we can ground our subconscience, reconnect with "pure experience," and find the clarity needed to thrive.
42. Kate Pickering (UK) “The Anchorite Sees” Colour, Sound, 16.57 min., 2026.
43. Supakit Seksuwan (Thailand) “Parallel Reality: The Aura Phone” Color, Sound, 3.01 min., 2025.
44. Komson Nookiew (Thailand) “The Lean-to roof” Color, Sound, 3 min., 2026.
Concept:
The Lean-to roof (known in Thai as Song Ma-Ngean or Pheng Ma-Ngean) originates from traditional Thai vernacular architecture. It emphasizes simplicity, budget-friendliness, and quick construction, and has been adapted into modern architectural designs today.
45. Supakit Seksuwan (Thailand) “Color Echoes: A Reminder Through Memories” Color, Sound, 2.25 min., 2025.
46. Leopold Kessler (Austria) “Balloon Crossing” Color, Sound, 4.19 min., 2025.
47. Supakit Seksuwan (Thailand) “Beyond the Window: The Color of Solitude” Color, Sound, 1.18 min., 2025.
48. Menno Aden (Germany) “Room portrait” Color, Sound, 1.40 min., 2026.
49. Oradol Kaewpraserta (Thailand) “ALLAN” Color, Sound, 17.50 min., 2023.
Concept:
Experimental Documentary using Poetic Documentary Approach, 17.50 minutes, 2023.
Allan tells the miraculous story of a Filipino-American child who escaped severe home abuse to survive on Manila’s streets. To bridge his decade-long "visual void," art pieces serve as poignant visual metaphors for his pain and absent past. After sacrificing leaving his
infant child behind to pursue a university education.
50. Michaela Grill (Austria) “When Fire Turns To Ash” Color, Sound, 1.35 min., 2025.
51. Natthakan Kaesontamkittiwut (Thailand) “I have no choice, and I must choose” Color, Sound, 7.10 min., 2026.
Concept:
“I have no choice, and I must choose” is derived from the question of how citizens, as a role, exist within a nation during a state of war. It considers the paradox of civic identity under conditions where participation becomes compulsory, not only through military service or ideological alignment, but through the logic of survival itself. The artist presents a dilemma. In such circumstances, the citizen must assume a position,
while even refusal becomes another position taken. In this sense, the citizen is placed within a structure where neutrality is nearly impossible, one must weigh each side on a probability chart to bet against another in a chance to not only survive but to also prosper in the
aftermath.
52. Shiro Masuyama (Japan) “Knitting a woolen jumper for the sheep I shear” Color, Sound, 28.55 min., 2026.
53. Sibpakorn Jampaoon, Anchana Thammakhantha, Anyamanee Thongarp, Thanaphat Lampao (Thailand)
“Dream” 2D + 3D Animation (Experimental), Color, Sound, 5.55 min., 2026.
Concept:
In a world where rest is dismissed as wasted time, an office worker escapes reality through sleep. Drawn into a dreamscape that is both alluring and perilous, he finds the boundary between dreams and reality gradually beginning to dissolve.
54. Sidse Ambrosine Holst Schytte (Denmark) “ Color, Sound, 11.30 min., 2026.
Concept:
I am walking in straight lines. Time stretches and bends as I move, my pace slowed, my movements extended. At times, I leave the frame entirely, and in those moments, very little appears to happen.
And yet, I continue walking.
In Walking in Straight Lines, I work with duration, movement, and disappearance. I step out of view and return, demonstrating that my journey extends beyond the edge of the frame. Even in the absence, the straight walk continues quietly and linearly through time.
55. Sofia Umamong, Natvadee Chuchuai,
Thanaphat Lampao,Taree Khantinitikun, Pasin Phumparpan, Sujinthara Taweesing (Thailand) “Wood of the Black Goat”Found footage film, 9.24 minutes, 2026.
Concept:
Amid a carefree getaway, a group of teenagers captures every joyful moment on camera. But as strange events begin to unfold, the footage that once preserved their laughter becomes the final record of an inexplicable tragedy.?
56. Aphra Tesla (Slovenia) “HUXTRL” Color, Sound, 0.5 Sec., 2026.
Concept:
"Aphra Tesla is established interdisciplinary artist, sound arhitect and author of the longitudinal project Aphra Tesla Operating System. HUXTRL is intermedial persona, known for re-cat- egorisation of the legal definition of intermediality. HUXTRL 2026 manifests intangible cultural heritage of Slovenia, manifested as a video, specialy for this occasion."
57. Pachara Thuentham (Thailand) “A Step Back”
Real-time Recording, Found Footage, Superimposition,
2.23 minutes., 2026.
Concept:
People tend to assume that moments of happiness pass quickly, while moments of waiting pass slowly. In reality, time always moves forward at a constant rate. What changes is not time itself, but human perception, which shifts according to our attention to the present
situation. If we take a step back, will we see time itself as having changed, or is it simply our perception that has changed?
58. Ryuzo Fukuhara and Stasa Kobal (Slovenia) “Don't play me” Color, Sound, 0.9 min., 2026.
Concept:
"Ryuzo Fukuhara and Stasa Kobal are experimental dance tandem living in Slovenia. Ryuzo is a Japan born Korean, a Butoh dancer, choreographer and dance teacher. Stasa is a philosopher and contemporary dancer. The video captures process of imitation becoming prediction. Stepping out of oneself into another, with camera invoved as a 'bil significant other'.
59. Thana Sartsanathiang (Thailand) “Multipurpose”
Analog horror, 2.50 minutes, 2026.
Concept:
Whether an object is good or evil depends on the intentions of the one who wields it. A late-night television program was interrupted by a commercial that should never have existed.
60. Tina Hochkogler (Austria) “Focus On: Tin.Hoc” Color, Sound, 35.20 min., 2023.
61. Suttirak Thongtae Punyaporn Thongpuang Somboon Sangjam Nathakorn Saengsuriya
Thanittha Thuwadaratrakool (Thailand) “Hedgehog Dilemma " Color, Sound, 33.38 min., 2026.
Concept:
The situation where a group of hedgehogs try to move close to one another to share body heat in cold weather, but are forced to stay apart because their sharp quills inevitably hurt each other. It metaphorically illustrates the struggle of human intimacy—the closer we get to someone, the more we risk causing mutual harm.
In a turbulent relationship, this plays out as a cycle of pulling close out of love and loneliness, only to clash and pull back when emotional wounds flare up, leaving both partners caught in a painful loop of clinging and retreating.
62. Siriphop Tresirinate, Natthakan Kaesontamkittiwut (Thailand) “Hears my Dear” Experimental film, Color, Sound Collage, 11.40 minutes., 2026.
Concept:
“We cannot escape the use of violence and pain to sell aesthetics. This piece of art is no exception.” The business of meat, the artificiality of making animals happy before slaughter, the avoidance of eating animals, valuing life, fattening animals, offal noodles—all symbolize the increasing consumption of violent media. Violence becomes entertainment, categorized like choosing which parts of an organ to eat. The exploitation of closeness to sorrow for profit, ultimately used in various media platforms within the capitalist system. All of this—zero waste—in media or entertainment, comes at the cost of pain, later used for progress claimed to benefit humanity. The sophistication of taste may be defined by the bizarre transgression of the limits of pain, forming class divisions in perception. The use of events—pain, survival, hunger—these are all recorded by me in my mother's family's space. My art business also profits from this, even the cries of pigs, their breaths, and the atmosphere of those areas. I believe these materials must be used to their fullest potential, processed through synthesized sounds. I may be no different from any other factory, inevitably. I continue my search, drawn from the aesthetics of art, separated by the intensity of the stories told through works of art. The depths delve into humanity, and the deeper and more intense it becomes, the more it infringes upon the safety of the subject matter. The filth of borrowing and extracting pain into stories becomes more and more alluring to those seeking novelty and profound depth. It's an endless cycle. This sordid consumption is just one example from my perspective.
63. Rapeepong Somboon (Thai) “Finding Peace” Color, Sound, 1.40 min., 2025.
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