GHOST2565: Live Without Dead Time

    Ghost is a video and performance art series that takes place in Bangkok, Thailand. The second edition Ghost 2565: Live Without Dead Time curated by Christina Li runs from October 12 to November 13, 2022 at venues throughout Bangkok.

    Ghost 2565 features moving-image works by Meriem Bennani, Revital Cohen and Tuur Van Balen, Özgür Kar, Lap-See Lam, Li Shuang, Diane Severin Nguyen, James Richards, Shen Xin, Natasha Tontey, Wu Tsang with Tosh Basco, and Emily Wardill and two new film installations by Chantana Tiprachart and Tulapop Saenjaroen.

Ghost2565: Live Without Dead Time weekly schedule

    A variety of live events happen throughout the month-long festival. They include a joint lecture performance by Rabih Mroué and Hito Steyerl, and commissioned pieces that respond to Bangkok’s historical and urban framework, namely a series of audio walk s by Orawan Arunrak, a sonic, architectural intervention by Pan Daijing, and a nighttime gathering around collective dreaming and eating devised by Koki Tanaka.

GHOST2565: Intermission

Ramavania: Lord of Shadows Exhibition
Visual and publication designer



Ramavania1868: Lord of Shadows exhibition
Key Visual and publication design


Artist:
Anon Chaisansook [TH]
Nanut Thanapornrapee [TH]
Theerapat Wongpaisarnkit [TH]
Tomoko Sato [JP]
Kosuke Nagata [JP]
Curator: Pongsakorn Yananissorn [TH]

Exhibition date: 3 July - 4 August 2024
Venue: The Fifth Floor gallery at Tokyo

Common belief tells us that a vampire’s image cannot appear
in mirrors. Be it because they have no souls or a more interesting theory says that mirrors back then are made from polished silver, a holy substance that deters evil. Perhaps that is why they can appear on film. How ironic when one considers that vampires are a form of time-based medium, or rather one that resists time itself. They often occupy the position of a stranger, they look like us, even think like us yet they are foreign. However, one cannot forget that a vampire cannot enter unless it is allowed, invited.  

A specter is haunting us — the specter of colonialism. All the lands of the world have unknowingly entered into this haunting, whether they have directly been colonized or not, such is the case with Thailand and Japan. Some say the specter has long left us, that we are past that age. Some say that we are in the midst of it, regardless one cannot deny how the specter lingers.  It has evolved to make itself less distinguishable but no matter how many garments it has changed, it still stalks. Modes of governance thought long since dead have merely adapted to fit in with the times, a secular veneer to once obvious forms of mythical violence, from brutal persecution to parasitic exploitation.

Modern vampires (Bram Stoker’s and John William Polidori’s) appeared in the popular conception during the late early modern era (1800s) as manifested anxieties of state centralization and new notions of exploited labor through industrialization. The prey is no longer dead but sucked dry, a continual and persistent violence to a regime which proposes

modernity yet retains the character of the predatory noble aristocrat now turned bourgeois. One could’v almost mistaken them for a force, an inherently conservative one. An essence of a vampire is one of timelessness  — a resistence to change.  

It prides itself in its history and those it has turned. The unrelenting desire of immortality and the abandonment of the ceaseless march of time has left them as mere forms for the undead but the image.

Ramavania: Lord of Shadows is a foray into the creation of such entities through geopolitical forces in Asian history during the age of colonization and industrialization. Thailand and Japan’s response to encroaching Western powers through attempts at modernization runs parallel to one another. Both hinging their consolidation of a nation not only through technological advancements but through reconfiguring their relationships with their own supernatural entities, deities and in this case vampires. The bargain for  presumed independence is paid with an auto-imperialistic turn, a self-colonization and
re-identification of nationhood, where individuals become Gods and some men never die.


Ramavania1868: Lord of Shadows exhibition leaflet PDF ↓
Art IT Asia Press
Instagram: ramavania1868




Echoed Tranquility exhibition
project by Surin Pitsuwan Foundation 
Graphic designer




Echoed Tranquility exhibition
Key Visual design
Artist: Dinh Q. Lê, Pratchaya Phinthong, and Toshiko Tanaka
Exhibition date: 6 - 20 December 2023
Venue: Event Space at Jim Thompson Art Center
 

The Sasakawa Peace Foundation and the Surin Pitsuwan Foundation are pleased to extend an invitation to the art exhibition titled "Echoed Tranquillity" at the Jim Thompson Art Center in Bangkok. This exhibition is the result of a collaborative effort among the Sasakawa Peace Foundation in Japan and the Surin Pitsuwan Foundation in Thailand with support from the Jim Thompson Art Center, the Embassy of Japan in Thailand and the Hiroshima Peace Memorial Museu

Echoed Tranquility is an art exhibition that delicately captures the essence of tranquility that emerges after conflicts. Through subtle and introspective artworks, the exhibition explores the journey of understanding and resilience in the aftermath of strife. It portrays the intricate interplay between brokenness and renewal. With its nuanced approach, Echoed Tranquility illuminates the subtle conversation and hopeful whispers that arise when shattered landscapes and souls find solace and serenity, embodying the delicate essence of lives after conflicts. The exhibition features a notable artwork by Dinh Q. Lê, 'South China Sea Pishkun' (2009), a new iteration of Pratchaya Phinthong's 'The Organ of Destiny' series, and a collection of enamel paintings by Toshiko Tanaka, who, as a survivor of the Hiroshima atomic bombing, transitioned into an artist.

More information about the exhibition





Arcane Plateau by Thanawat Numcharoen
Graphic designer

Arcane Plateau | คำสาปที่ราบสูง
Key Visual design
for a Solo Exhibition by Thanawat Numcharoen
Curated by Wirunwan Victoria Pitaktong

Runs from 12 August – 13 October 2023 
at Prachachee library, Bangkok.

Key Visual Design: Lita Chala-adisai
Consist of the Namkheun Collective, Speedy Grandma and Prachachee library

Arcane Plateau: leaflet PDF ↓




🎀 by Kamolros Wonguthum
Graphic designer | Published by Gallery VER



A Solo Exhibition by Kamolros Wonguthum
15 July – 17 September 2023
Gallery VER, N
Opening Reception: 15 July 2023, 18:00 - 21:00


Gallery VER is pleased to present the exhibition
“🎀” by our represented artist, Kamolros Wonguthum

A cute rhizome formulates structures of substance, shiny emaciated luxury compositions – sketchy and recognisable topographical forms – archipelagos of wealth straddle the walls with their shiny chromatic skeins... layered flotsam and jetsam... mirroring our social precariousness.

All that glitters is ontological precarity and dark potentiality. The dialectics of aesthetics in our global saturated commodification, is a realm of discourse of an unconscious realism. A stratified plethora of neural sights, psychic renderings and feelings; embodied knowledge of pathways that waver into the imagination for pleasurable escapism. Ones that are constantly and implausibly equidistant, never seeming to be fully reachable, just out of sight, just out of attainment.

Franco ‘Bifo’ Berardi, discusses the unconscious of a society in his post-pandemic work ‘The Third Unconscious’ (2021), where our unconscious connectedness is what fundamentally underpins the whole of the social world. For Berardi, ‘Freud, who conceived the Unconscious as the dark side of the well ordered framework of Rational Progress’ (Berardi, 9, 2021) is critical of this contradictory perceived development. A plurality of profit and unrecognised provocation. The codified dialectics of capital, bounce and play in terms of alternatives of uncertainty to direct meaning; values of desire act as a substrate from this psycho-social world. Kamolros’s new assembled work, pins down both poles of this dialectic: the aesthetic sales-ship of a sexy and glossy ambiguity, to an aware civil-comatose, wrapped up with ribbons and bows.

The exhibition encapsulates a knowledge of brinkmanship. Where cellar doorways mooch into the dark side of the subtleness of the soul. Meanings... as in the meanings we hold to knowledge and values, act like the psycho-social babble of lucrative and desperate sales pitches, incoherence: but specific of a deeper social understanding – the dialectics of capitals unconscious.

A publication alongside this exhibition features New York based writer and journalist, from SSENSE, VICE and Rolling Stone, Gaby Wilson’s cultural response.

Key Visual Design: Lita Chala-adisai


Golem by Ruangsak Anuwatwimon

A House in Many Parts

Almost Nature

Visual Designer

Zing

    Zing (ซิ่ง), a term used by a sub-cultural group of Thai teenagers to define anything that exceeds or is an exaggeration of the norm, the default. Commonly used to refer to engines customized to go faster and harder.

    ZingVDO then is a video, a moving image, a film that is rad. Ones that exceed the normal definition of a video. With this ethos, our team comes together with a spirit of resistance against all that is factory setting, of the default. Bringing together a community with a commitment to innovating moving images.

ZingVDO Key Visual

    ZingVDO is an exhibition platform for all those interested in the subject, no matter the practice. We welcome those from all fields, whether it be an animator, designer, vlogger, and etc.

    Our first project, ‘Fish tank’ originates from our interest in a contained ecosystem that serves as decor like those in a restaurant.
A glass cage for entertainment that exists in various public places, existing only to be observed.

    We have created an ecosystem of a fish tank and installed a screen within it. Situated on the second-floor dining area of a restaurant.