GHOST2565: Live Without Dead Time

    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

🎀 by Kamolros Wonguthum

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.