Thursday, 27 November 2014

Artvehicle issue 67

Karl Ingar Røys, Burmese Days (2014)
Two-channel video installation (Installation View)
17 minutes, with sound 

 

Interview with Karl Ingar Røys after his exhibition Burmese Days at John Jones Project Space, 15 August-27 September 2014 by Ali MacGilp

http://www.artvehicle.com/interview/46

 

Karl Ingar Røys latest work Burmese Days (2014) looks at cultural production in Yangon – Burma’s former capital – and how it has managed to co-exist within the political regime.

How did you come to make a film in Yangon?

The trigger was George Orwell, who served as a police officer with the British colonial authorities in Burma for five years, under his real name, Eric Arthur Blair.

The initial idea of making a project in Yangon came from an article I read in a magazine about the Knowledge Exchange Movement, an underground activist publishing agency in Yangon that copied and redistributed political literature to encourage Burmese citizens to think more critically about the society they lived in. Part of their project was to reprint an old, rare copy of George Orwell’s Animal Farm in a Burmese translation. As the government at that time censored all publications they had to work in total secrecy and copy the book in copy-shops away from any prying eyes, not so unlike the setting of Orwell’s Nineteen Eighty-Four.

The original printing of the Burmese version of Animal Farm was funded by the United States and distributed as anti-socialist propaganda in the 1950s, during the short, chaotic period before the military coup. But the young intellectuals of the time did not warm to it at all, so it didn’t have as much impact as the US probably wished for. It is a kind of historical irony that owning an Orwell book just a few decades later was actually used as evidence that the owner was a Communist. I also read that in Burma many intellectuals looked upon Orwell almost like a prophet, in reference to his Burmese Trilogy. His debut novel Burmese Days describing Burma’s colonial past, Animal Farm’s focus on the military’s failure during the revolution and of course the dystopian Nineteen Eighty-Four, which they said was an accurate description of their suppressed life in Burma.

Further on, it is also said that the democratic movement, the 88 Generation, which was the prime target of Burma’s regime and its Ministry of Truth, was inspired by Orwell too. In the 1988 uprising the military massacred thousands of 88-Generation members and Aung San Suu Kyi was sentenced to a fifteen-year long house arrest. In 1989, a year after the massacre, a spokesman for the regime uttered the following message on behalf of the government: ‘Truth is the only truth within a certain time. What was once true, need not be true a few months or years later’. In Orwell’s Nineteen Eighty-Four, the ruling party had the slogan: ‘He who controls the past controls the future. He who controls the present controls the past.’ These overlapping connections between reality and Orwellianity motivated me to research the political – and its gestures in contemporary Burmese artistic production, the possibilities for cultural activism.

Could you tell me how you met the artists in your film Burmese Days?

I always do a lot of research before I get to the stage where I actually shoot the film. The purpose is to have a big pool of ideas and facts that I can use later if I need to, as filming guerilla style, as I do, can sometimes result in the unexpected, and I need to be prepared for that. I have done this for some time now, so I am getting better at improvising and seeing the potential in a suddenly evolving context. During my research I try to gather as much background information on the place, people and the political context I am working in as I can. I read the available literature, guides, reports, newspapers, statistics, watch films, talk to people, contact organisations and institutions that work with issues that I am interested in.

In the early stages of the preparation for Burmese Days I contacted Audun Agre at the Norwegian Burma Committee in Oslo who very generously gave me a long list of contacts in Burma. One of them was the writer and journalist Ma Thida who in turn put me in contact with the hip-hop scene and J-me. Via the Berlin-based filmmaker Lindsey Merrison, who initiated the Yangon Film School, we came into contact with the local filmmaker So Moe Aung who assisted us with the translation and getting in contact with San Zaw Htway. I had a certain idea of who I was interested in getting in touch with before I travelled to Yangon, but I was also open to the idea of meeting people just by chance, as we did with the street-sweeper Maung Oo who just happened to be working that night we filmed. All in all, the artists and musicians we filmed in Burmese Days, were people that we either met via others or as a result of our research. We met up several times with the punk vocalist Skum and Eaid Dhi, who plays the guitar in my film, to talk and to listen to them play and record music. At the time, it was almost impossible for them to do gigs publicly so most of the time they were instead trying out new material in the recording studio.

Why did you portray them in the manner you did? The juxtaposition works beautifully.

In Burmese Days, I wanted to present different kinds of cultural, artistic expression that seek to challenge and invite the spectator to add something of themselves. By juxtaposing the scene of Htway memorising the rubbish material he used for his artworks with footage of the street-sweeper Maung Oo at work, where he goes through rubbish to salvage the parts that he can recirculate, I wanted to highlight the potential of people, the potential of rubbish and of things that we normally disregard, as they don’t concern us directly, maybe like conflicts and problems in faraway places. The content for me was more important than the form. That is also the reason why I invited the punk singer Skum to recite his lyrics from his song Urban Rubbish in the actual backstreets of Yangon. I wanted to highlight the serious and highly relevant content of his text that maybe gets lost for some people because they have negative preconceptions about this type of music. This approach is a vital part of my work, finding new angles on a context, as with the documentary filmmaker Min Htin Ko Ko Gyi who does not show us his documentary film, but instead tells us about the essence and the heart of his film. My purpose was to open up a different way to interpret the personal and the political in a cultural expression. By deconstructing and reconstructing expressions I wanted to reveal how meaning and truth are constructed layer by layer, just as the hip-hop singer J-Me creates his songs in the studio.

Did the film develop over time or did you have a clear picture of the outcome from the start?

If I can, I like to leave the footage just after I have filmed it, to mature the material a bit. As I am doing the shooting and the editing myself, it’s good to leave it for a while, work on another project and then look at it again with fresh eyes. Sometimes I see things then that I missed the first time. The film was actually finished just the night before the preview. I like the intensity of working in such a focused way just before the opening of the exhibition, it creates a certain energy that I can also see in the work afterwards. It also helps me to better combine the work with where it will be presented, to introduce the work to the space gradually.

Why is the work presented on two screens simultaneously? Did the presentation of the film respond to the setting of the John Jones Project Space?

In the beginning, before I saw the space at John Jones I was testing out different ways of presenting the film with multiple simultaneous screens, but after experiencing the space myself, it was clear that it had to be a dual projection, straight onto the concrete. It suited the mood and the content of the film.

Burmese Days has many layers that maybe will not be so clear at first sight. Like a poem, in this work I was inspired by the rich imagery and poetry of Burmese art. The sequence where I illustrate and tell the story about the moon and the rabbit has many meanings; it relates to Htway and the pictures he made in prison and how I interpreted them. Also, as an image of Aung San Suu Kyi’s self sacrifice in what she had to go through during her time fighting for freedom and progress in Burma. Not being able to leave the country to see her children or to see and care for her dying husband. In the original story the rabbit was a he, I changed it to a she to underline that. The story was also meant as an allegory on how mythology and artistic expressions can define and shape our past and future. Other than that, the typewriter in the film was also meant as an Orwellian nod, as was the use of multiple cameras – linking surveillance and Orwell writing about Big Brother’s all-controlling eye. The choice to present the videos on two walls simultaneously was based on the same principles and to emphasise the dualistic choice of point of view. I wanted to open up the story, the interpretation and in that way to activate the viewer.

Could you tell me about the soundtrack? You worked with Matthias Kispert, an Austrian composer I believe? The sound of the typewriter is particularly evocative.

I have a lot of respect for the importance of sound and what it adds to the imagery, so I think it is better that the sound artist himself, Matthias Kispert answers below:
 
What the sound track does, or at least what it’s trying to do at times, is to subtly modify the position of the viewer in relation to the image. For example, in the first scene we see a woman typing on a typewriter. The image mixes different temporalities; with the typewriter being almost obsolete technology, yet the woman is writing a letter about what she will be doing the following day. At this point the sound appears to be coming from within the machine that the camera is observing from without, reversing the perspective of the viewer.

When the rapper J-Me lays down some lyrics for a new track, the sound switches first to the backing track played through speakers in the control room, then to J-Me’s unaccompanied voice, and finally to the track heard through headphones in the recording booth. This shows the way a music recording is constructed and mirrors the construction of the documentary narrative with different interpretative interventions in the moments of framing, editing, and finally viewing.

In the scene before Skum appears for the first time to recite the lyrics to his song: Urban Rubbish, the camera drifts across different views of Yangon’s streets at night. Here I have mixed recordings of street atmospheres from Yangon with the sound of electromagnetic radiations that are emitted by technology like fluorescent tubes or flat-screen displays in the urban space. They cannot be heard with the naked ear, but there is a very cheap way of recording their audio spectrum. By way of analogy, this creates a kind of crossing between what is visible and what is not.
Matthias Kispert, September 2014

Could you say anything about the artists you introduce us to in your film? It was wonderful that you shared the stage with the Burmese artist San Zaw Htway, who features in your film and was the winner of this year’s Art Raker Award, during your talk at John Jones Project Space.

The artist San Zaw Htway is a former student at the University of Yangon who was arrested and sentenced to thirty-six years imprisonment by the military government for involvement in a student protest. Htway began to create collage art from pieces of rubbish to cope with his solitary confinement and poor living conditions in Taungyi Prison and after twelve years in prison, he was released following a presidential amnesty. His work and engagement is important, strong and beautiful and I am very glad and grateful that he could join us at the talk.

Min Htin Ko Ko Gyi is an independent filmmaker and poet living and working in Yangon. His award-winning documentary Floating Tomatoes, which he talks about in my film, is about the disastrous effect that pesticides are having on Myanmar's Inle Lake. He is also the organiser of The Art of Freedom Film Festival Burma and also organises film screenings in rural areas of Burma as a way to educate people. His film is a good example of how cultural activism can directly change things. After watching his film, the Norwegian and the US Government decided to donate enough funds to clean up Inle Lake.

Skum is a punk singer in the band Kultureshock and he is a former student of English Literature at Yangon University of Foreign Languages. Before his final year exams, the police arrested him for antisocial behavior and he was given a twelve-year sentence. He served six years, three in the notorious Inseine Prison and the rest in a labour camp. Before I left Yangon he translated and gave me his lyrics for the song Religious Massacre – a response to the brutal persecutions of ethnic and religious minorities in Burma.

Religious Massacre

The silence, the corpses of racial hatred scattered. 

In the darkness, the innocent victims crying. 

Raping humanity, the new age of terror. 

Blinded by faith, fueled by anger


The religious massacre. The religious massacre.


The genocides, provoked by misunderstanding and rage. 

All the hopeless people in the third world country. 

Raping humanity, the new age of terror. 

Blinded by faith, fuelled by anger


The religious massacre. The religious massacre.

Lyrics by Skum
 

I understand you are returning to Yangon next year? What will you be working on this time?

I will do some interviews in relation to my research on Cultural Activism and Civil Society that I am working on at the University of Bergen.

Do your previous studies in Law have an influence on your art practice? And does your current study of Comparative Politics feed into your work? Is there a relationship between your academic life and your artistic practice?

Yes, for sure, there are many interlinking factors that have been essential in many of my artworks. I think it has helped me in grounding my work in many ways and also I feel quite relaxed negotiating with state institutions as I have a certain familiarity with the sets of rules they are governed by. It gives me a better overview, and maybe another angle that can enrich and transport my work in a different way.

Do you believe, in the words of Boris Groys, in the ‘ability of art to function as an arena and medium for political protest and social activism’?

I think artists can play an important role, maybe not only to directly change something, but also to open up and create spaces for discussion. I have seen many examples where a gallery, an artspace, is an essential and unique place that can attract people that normally do not discuss political issues in societies that suppress freedom of speech. It is a space of possibilities and interpretation – that triggers something.
Ali MacGilp

Tuesday, 23 September 2014

Karl Ingar Røys in conversation with San Zaw Htway



Cultural Activism/Cultural Diplomacy
Karl Ingar Røys in conversation with San Zaw Htway
Thursday 25th September, 6.30pm
 

Join artists Karl Ingar Røys and San Zaw Htway for a discussion around the role of artistic activism in transitional societies. Taking Karl Ingar Røys’s current exhibition Burmese Days as a starting point, the speakers will look at cultural production in Burma before and after the military regime, and will discuss the role of art within societies currently undergoing political upheaval: How can art engage and stimulate civil society? How can an artist maintain freedom of expression within an oppressive political situation? 

Karl Ingar Røys initially studied Law at the University of Tromsø in Norway before graduating from Central Saint Martins College of Art in 2000. He is currently studying his Masters in Comparative Politics at the University of Bergen in Norway researching the role of cultural activism in transitional societies. Røys has exhibited internationally, with his most recent projects held at Kunstnernes Hus, Oslo; Kube Art Museum, Ålesund; Rex Culture Centre, Belgrade; MediaDepo, Ukraine; Tallinn Kunst Hall, Estonia; and Künstlerhaus Büchsenhausen, Austria. He lives and works in Oslo and Berlin.

San Zaw Htway was studying at the University in Yangon when he was arrested for involvement in efforts to re-establish the All Burma Federation of Students Union (ABFSU). Aged just 24, he was sentenced to 36 years' imprisonment by the military government but was released in 2012 following a presidential amnesty. Whilst in prison, San Zaw Htway created collage art from old food wrappers and plastic packaging to cope with his solitary confinement and poor living conditions. He is currently nominated for the 2014 Artraker Award given to artists who have made a meaningful contribution to change in the midst of conflict.

Chaired by Ali McGilp, Curator & Writer

Free, but booking is recommended
 
John Jones Project Space
The Arts Building
Morris Place
Finsbury Park
N4 3JG
Find us

Open: Tue-Fri 11-6pm, Sat 10-3pm

+44 (0)20 7281 5439
info@johnjones.co.uk
www.johnjones.co.uk/project-space/






Friday, 19 September 2014

Cutout Culture

ARTIST KARL INGAR RØYS TALKS ABOUT HIS FILM: BURMESE DAYS

Karl Ingar Røys’ film installation: Burmese Days is currently showing at the John Jones Project Space (15 August-27 September 2014, free entry) London. Filmed on location in Yangon, Burma’s former capital after the military Junta’s control of artistic production was reformed, the film explores the potential in personal acts of creativity as cultural activism.  
Read full interview in  CUTOUT CULTURE

Thursday, 28 August 2014

Outdoor screening of Caminata Nocturna in Bergen, Norway

 

Doppler presenterer: Caminata Nocturna (Nattevandring)

Uteprojeksjon under B-open 2014, lørdag kveld 13.september kl. 21.30-22.00 i havneområdet ved C. Sundtsgt. 51, 5004 Bergen. Kunstnersamtale med Karl Ingar Røys kl. 22.15-23.00 på Kunstnerverksteder CS55 (4 etg. C. Sundtsgt. 55).
Merk: døren stenger kl. 22.10.

Caminata Nocturna
To kanals videoprojeksjon/22 min

Karl Ingar Røys kunstprosjekt, filmen Caminata Nocturna, dokumenterer flukt og forfølgelse av ulovlige økonomiske migranter på den meksikansk -­‐ amerikanske grensen. Eller det er det den tilsynelatende gjør.

Dette kunstprosjektet utnytter nemlig spesifikt inautensiteten ved en iscenesatt grensepassering, turisthappeningen Caminata Nocturna, som et kritisk virkemiddel for nettopp å nærme seg det autentiske. I stedet for å forsøke det nesten umulige, å representere reell undertrykkende minoritetspolitikk, utnytter Røys den fiktive dimensjonen ved den iscenesatte turisthappeningen til noe mer forstyrrende. Det vil alltid være en risiko for at et prosjekt som dette lett kan reduseres til bare en kunstrefleksjon. Meningsforskyvingen og spillet mellom det reelle og iscenesatte som karakteriserer prosjektet, trues av at prosjektet også blir presentert som kunst i en utstillingskontekst. Men her blir dette avverget ved at prosjektet fordobler tvetydigheten mellom det virkelige og det uvirkelige. Umiddelbare sanntidsbilder som direkte representerer forfølgelse og tilfangetakelse i nesten reell tid, avdekker og framhever samtidig den hypermediale og spektakulære dimensjonen ved dette spektakulære turistprosjektet. Slik konstruerer Røys en fortelling om forfølgelse og pågripelse i Caminata Nocturna, som ved å utgi seg som en dokumentasjonsfilm (Cinema Verité) leker med og setter på spill sin egen status. Dette spillet gir paradoksalt nok fiksjonsfortellingen om en fiktiv grensepassering mulighet til å nærme seg og representere de reelle hendelsene som turisthappeningen så tvetydig iscenesetter. 
(Utdrag fra tekst av John Cunningham, London. Norsk oversettelse av Synnøve Skjong) 

Nykirken, Bergen

Doppler is a video based artist group established in Bergen 2012. Our foundation is a focus on the media itself, time based, mobile art productions and researches in various urban landscapes. Doppler works in public spaces through announced and unannounced events. Our aims are to promote and exhibit video art to a broader audience through the use of public space, to articulate and mirror the medias changeable, intangible and mobile qualities. Doppler are: Bjørg Taranger, Kjersti Sundland and Maria Øy Lojo.

Doppler was established  with support from  Bergen Kommune and Vederlagsfondet 

Saturday, 23 August 2014

Burmese Days

 
17 min. Two Channel HD Video Projection

15th August - 27th September 2014

Preview: Thursday 14th August, 6-9pm
John Jones Project Space
The Arts Building
Morris Place
Finsbury Park
N4 3JG London

Karl Ingar Røys’s latest work Burmese Days (2014) looks at cultural production in Yangon – Burma’s former capital – and how it has managed to co-exist within the political regime.. This multi-channel video installation takes its name from George Orwell’s novel of the same title. Orwell is seen as a prophet by the Burmese who regard his books as prescient: tracking Burma’s recent history from colonial oppression in Burmese Days, the socialist military coup in Animal Farm, to the tyrannical dictatorship portrayed in his most famous novel 1984.

Burma was ruled by a military junta from 1962 to 2011, which controlled all artistic production; censoring works including George Orwell’s novels and forcing galleries to seek permission for the artworks they exhibited. Røys’s Burmese Days occupies the aftermath of the 2012 media reforms and intimately portrays Yangon as a site where the personal and the political are overlaid. Drawing upon the real experiences of individuals who lived under the regime – from the punk vocalist with outspoken lyrics and the artist who makes work out of rubbish – Røys intertwines subjectivity into an uncertain reality.  Cassandra Newham, Curator

The soundscape for Burmese Days is recorded and produced by the London-based Austrian composer and sound artist Matthias Kispert.

This project has been made possible by: 

Thursday, 14 August 2014

To Whom it May Concern in Cologne


Videostill of To Whom it May Concern
Single Channel video. 3 minutes

Friday, 1 August 2014

Bangkok Art and Culture Centre




TO WHOM IT MAY CONCERN
Video 3.00 min


In his video Karl Ingar Røys mixes together many different commercials to give the work a completely new meaning. The message is presented just as fast as advertising's own aesthetics, allowing the viewer to be tempted to interpret the work within an advertising critical context. One becomes seduced by the editing. Sentences such as ‘Apparently you never had it so good’ and especially ‘How clear do you want it to be?’ fall right into the politically correct interpretations of the commercial; that the commercial seduces us with simple solutions of eternal beauty, youth and success.

But no; if you look closer at the video work, the video becomes something completely different. It is simply a video-letter where one person ends a relationship with another person. The couple, though seen only from one perspective has a confrontation with their wishes, their dreams and the life that this person has lived in the relationship.

‘To whom it May Concern’ suddenly becomes something very personal. Since the idea suggests that it could be two separate interpretations of the work, the commercial and its language is stripped and revealed. - Text by Anne-Britt Rage

Date : 18 July - 28 September 201

Date : 18 July - 28 September 2014
Location: Main Gallery, 7th floor
Opening ceremony 17 July 2014


The Experimental Video Art Exhibition is an annual presentation of new video art from Thailand and Europe, which started in 2004. The exhibition focuses on artistic video practices to reveal new media’s important position and versatile use in contemporary art that differs from traditional art media such as painting, sculpture, and print making. Video art uses new technology, computer calculation and engineering practices for artistic expression and generates results in close proximity to our increasingly technological living environments. In Thailand video art and its emphasis on technology has not been widely presented, yet.
 
The Experimental Video Art Exhibition Thai-European Friendship installment of this video art series intended to show current styles and modes of video practices in Thailand will be featured from nine participating universities such as Bunditpatanasilata Institute in Bangkok, Painting, Sculpture and Graphic Arts Faculty at Silpakorn University, Fine Art Faculty at Chiang Mai University, Fine Art Faculty at Burapa University, Department of Fine Art, Architecture Faculty, at King Mongkut's Institute of Technology Ladkrabang, Faculty of Fine Arts, Bangkok University, Fine Art Faculty at Suan Sunandha Rajabhat University, Faculty of Humanities and Social Science, Dhonburi Rajabhat University. College of Fine Arts Ladkrabang, Bangkok.
 
The purpose of the annual project is to showcase a diverse international group of students from various universities and artists working in video art each year to stir up new concerns, methods of practice, art theory and discourses of meaning about global influences of new media on social behavior, perception and artistic expression. We invite many artists from Europe who currently live and work in Germany, Austria, Italy, Switzerland, Slovenia, England and other countries. Each artist’s style and individual work process contributes to the diversity of the exhibition project providing insights into their cultures, roots and customs, personal interests and issues that tackle concerns about place, time and simulation.
 
Through the participation of artists from various backgrounds we intend to create a network that enhances understanding of different cultures through artistic practices and opens up an international platform for discussions.
 
Additionally, we focus on building academic partnerships within Thailand as well as establishing academic exchange programs with foreign universities and institutes that already include the Academy of Fine Arts in Vienna (Austria), the Academy of Media Arts in Cologne (Germany), and others.
 
Our specific goal is to improved fine art education and academic regulations in Thailand. Science technology is nowadays an important area of study in the arts and projects should be made available for students at their academic institutes. The Experimental Video Art, Exhibition Thai-European Friendship is a project that extends knowledge of new media for students and the general public through organized video screenings and receptions at various universities in Bangkok. The cooperation among artists from Thailand and abroad proved to be very successful in the past few years opening up future communication between nations around the world.
Curators
Komson Nookiew
Pascal Fendrich
Sabine Marte

Artists
Alex Heim/ Anja Krautgassner/ Anon Chaisansook, Rach Chulajata, Nattapat Thamasal, Napat Vattanakuljalas and Bavorn Kajonpanpong/ Arnont Nongyaow/ Barbara Sturm/ Billy Rois/ Boris Irmscher/ Chayanis Wongthongde/ Daniel Burkhardt/ Dariusz Kowalski/ David Larcher/ Derek Robert/ Dieter Kovacic/ Doris Schmid/ Egbert Mittelstädt/ Eva Weingärtner/Evamaria Schaller/ Gerald Zahn/ Gertrude Moser-Wagner/ Giuliano Vece/ Graw Boeckler/ Harald Hund and Paul Horn/Hee-Seon Kim/ Heidrun Holzfeind and Christoph Draeger/ Ittiphon Chuntong/ Jan Arlt/ Jan Machacek/ Jate Yooyim/ Jihye Park/Johan Lurf/ Julia Weidner/ Jun Yang/ Kanakorn Kachacheeva/ Karin Fissthaler/ Karl Ingar Røys/ Kate Pickering/ Katharina Huber/ Khae Mongkornwong/ Kitti Sornmanee/ Komson Nookiew/ Kosit Juntratip/ Lena Ditte Nissen/ Leopord Kessler/ LIA/ Maki Satake/ Manuel Knapp/ Maria Petschig/ Matej Modrinjak/ Matthias Neuenhofer/ Menno Aden/ Miriam Bajtala/ Namfon Udomlertlak/ Nanthanach Ithisampand/ Natnaran Bualoy & party/ Nawarat Kanchaninthu/ Nicole Schatt/ Nithiphat Hoisangthong/Nonglak Trithanachot/ Norbert Pfaffenbichler/ Oliver Stotz/ Orawan Arunrak/ Panu Saeng-Xuto/ Pascal Fendrich/ Pascal Fendrich and Bernd Härpfer/ Pasut Kranrattanasuit/ Peter Conrad Beyer/ Phillipp Messer/ Piriya Ouypaibulswat/ Puttipong Pisikullapark/ Rimas Sakalauskas/ Robert Vater/ Sabine Marte/ Susanne Schuda/ Susi Jirkuff/ Tessa Knapp/ Theerawat Maysasitthivit/Thorsten Schneider/ Tina Frank/ Tintin Cooper/ Tuksina Pipitkul/ Urs Domingo Gnad/ Wuntigorn Kongka/ Yoshihisa Nakanishi/ Yuthachai Tangwongcharoen



An exhibition co-organized by BACC Exhibition Department and Komson Nookiew


Bangkok Art and Culture Centre
939 Rama I Rd, Wangmai, Pathumwan, 
Bangkok 10330 Thailand



The Experimental Video Art Exhibition is an annual presentation of new video art from Thailand and Europe, which started in 2004. The exhibition focuses on artistic video practices to reveal new media’s important position and versatile use in contemporary art that differs from traditional art media such as painting, sculpture, and print making. Video art uses new technology, computer calculation and engineering practices for artistic expression and generates results in close proximity to our increasingly technological living environments. In Thailand video art and its emphasis on technology has not been widely presented, yet.
The Experimental Video Art Exhibition Thai-¬‐European Friendship installment of this video art series intended to show current styles and modes of video practices in Thailand will be featured from nine participating universities such as Bunditpatanasilata Institute in Bangkok, Painting, Sculpture and Graphic Arts Faculty at Silpakorn University, Fine Art Faculty at Chiang Mai University, Fine Art Faculty at Burapa University, Department of Fine Art, Architecture Faculty, at King Mongkut's Institute of Technology Ladkrabang, Faculty of Fine Arts, Bangkok University, Fine Art Faculty at Suan Sunandha Rajabhat University, Faculty of Humanities and Social Science, Dhonburi Rajabhat University. College of Fine Arts Ladkrabang, Bangkok.
The purpose of the annual project is to showcase a diverse international group of students from various universities and artists working in video art each year to stir up new concerns, methods of practice, art theory and discourses of meaning about global influences of new media on social behavior, perception and artistic expression. We invite many artists from Europe who currently live and work in Germany, Austria, Italy, Switzerland, Slovenia, England and other countries. Each artist’s style and individual work process contributes to the diversity of the exhibition project providing insights into their cultures, roots and customs, personal interests and issues that tackle concerns about place, time and simulation.
Through the participation of artists from various backgrounds we intend to create a network that enhances understanding of different cultures through artistic practices and opens up an international platform for discussions.
Additionally, we focus on building academic partnerships within Thailand as well as establishing academic exchange programs with foreign universities and institutes that already include the Academy of Fine Arts in Vienna (Austria), the Academy of Media Arts in Cologne (Germany), and others.
Our specific goal is to improved fine art education and academic regulations in Thailand. Science technology is nowadays an important area of study in the arts and projects should be made available for students at their academic institutes. The Experimental Video Art, Exhibition Thai-¬‐European Friendship is a project that extends knowledge of new media for students and the general public through organized video screenings and receptions at various universities in Bangkok. The cooperation among artists from Thailand and abroad proved to be very successful in the past few years opening up future communication between nations around the world.

Curator
Komson Nookiew
Pascal Fendrich
Sabine Marte
Artist
Alex Heim/ Anja Krautgassner/ Anon Chaisansook, Rach Chulajata, Nattapat Thamasal, Napat Vattanakuljalas
and Bavorn Kajonpanpong/ Arnont Nongyaow/ Barbara Sturm/ Billy Rois/ Boris Irmscher/ Chayanis Wongthongde/ Daniel Burkhardt/ Dariusz Kowalski/ David Larcher/ Derek Robert/ Dieter Kovacic/ Doris Schmid/ Egbert Mittelstädt/ Eva Weingärtner/
Evamaria Schaller/ Gerald Zahn/ Gertrude Moser-Wagner/ Giuliano Vece/ Graw Boeckler/ Harald Hund and Paul Horn/
Hee-Seon Kim/ Heidrun Holzfeind and Christoph Draeger/ Ittiphon Chuntong/ Jan Arlt/ Jan Machacek/ Jate Yooyim/ Jihye Park/
Johan Lurf/ Julia Weidner/ Jun Yang/ Kanakorn Kachacheeva/ Karin Fissthaler/ Karl Inger Roys/ Kate Pickering/ Katharina Huber/ Khae Mongkornwong/ Kitti Sornmanee/ Komson Nookiew/ Kosit Juntratip/ Lena Ditte Nissen/ Leopord Kessler/ LIA/ Maki Satake/ Manuel Knapp/ Maria Petschig/ Matej Modrinjak/ Matthias Neuenhofer/ Menno Aden/ Miriam Bajtala/ Namfon Udomlertlak/ Nanthanach Ithisampand/ Natnaran Bualoy & party/ Nawarat Kanchaninthu/ Nicole Schatt/ Nithiphat Hoisangthong/
Nonglak Trithanachot/ Norbert Pfaffenbichler/ Oliver Stotz/ Orawan Arunrak/ Panu Saeng-Xuto/ Pascal Fendrich/ Pascal Fendrich and Bernd Härpfer/ Pasut Kranrattanasuit/ Peter Conrad Beyer/ Phillipp Messer/ Piriya Ouypaibulswat/ Puttipong Pisikullapark/ Rimas Sakalauskas/ Robert Vater/ Sabine Marte/ Susanne Schuda/ Susi Jirkuff/ Tessa Knapp/ Theerawat Maysasitthivit/
Thorsten Schneider/ Tina Frank/ Tintin Cooper/ Tuksina Pipitkul/ Urs Domingo Gnad/ Wuntigorn Kongka/ Yoshihisa Nakanishi/ Yuthachai Tangwongcharoen

An exhibition co-organized by BACC Exhibition Department and Komson Nookiew
For inquiry on the exhibition:
Bangkok Art and Culture Centre
939 Rama I Rd., Wangmai, Pathumwan, Bangkok 10330
Tel. 02 214 6630 – 8 Fax. 02 214 6639
- See more at: http://en.bacc.or.th/event/Experimental-Video-Art-Exhibition-Thai-European-Friendship-2004-2014-EVA-project-.html#page
The Experimental Video Art Exhibition is an annual presentation of new video art from Thailand and Europe, which started in 2004. The exhibition focuses on artistic video practices to reveal new media’s important position and versatile use in contemporary art that differs from traditional art media such as painting, sculpture, and print making. Video art uses new technology, computer calculation and engineering practices for artistic expression and generates results in close proximity to our increasingly technological living environments. In Thailand video art and its emphasis on technology has not been widely presented, yet.
The Experimental Video Art Exhibition Thai-¬‐European Friendship installment of this video art series intended to show current styles and modes of video practices in Thailand will be featured from nine participating universities such as Bunditpatanasilata Institute in Bangkok, Painting, Sculpture and Graphic Arts Faculty at Silpakorn University, Fine Art Faculty at Chiang Mai University, Fine Art Faculty at Burapa University, Department of Fine Art, Architecture Faculty, at King Mongkut's Institute of Technology Ladkrabang, Faculty of Fine Arts, Bangkok University, Fine Art Faculty at Suan Sunandha Rajabhat University, Faculty of Humanities and Social Science, Dhonburi Rajabhat University. College of Fine Arts Ladkrabang, Bangkok.
The purpose of the annual project is to showcase a diverse international group of students from various universities and artists working in video art each year to stir up new concerns, methods of practice, art theory and discourses of meaning about global influences of new media on social behavior, perception and artistic expression. We invite many artists from Europe who currently live and work in Germany, Austria, Italy, Switzerland, Slovenia, England and other countries. Each artist’s style and individual work process contributes to the diversity of the exhibition project providing insights into their cultures, roots and customs, personal interests and issues that tackle concerns about place, time and simulation.
Through the participation of artists from various backgrounds we intend to create a network that enhances understanding of different cultures through artistic practices and opens up an international platform for discussions.
Additionally, we focus on building academic partnerships within Thailand as well as establishing academic exchange programs with foreign universities and institutes that already include the Academy of Fine Arts in Vienna (Austria), the Academy of Media Arts in Cologne (Germany), and others.
Our specific goal is to improved fine art education and academic regulations in Thailand. Science technology is nowadays an important area of study in the arts and projects should be made available for students at their academic institutes. The Experimental Video Art, Exhibition Thai-¬‐European Friendship is a project that extends knowledge of new media for students and the general public through organized video screenings and receptions at various universities in Bangkok. The cooperation among artists from Thailand and abroad proved to be very successful in the past few years opening up future communication between nations around the world.

Curator
Komson Nookiew
Pascal Fendrich
Sabine Marte
Artist
Alex Heim/ Anja Krautgassner/ Anon Chaisansook, Rach Chulajata, Nattapat Thamasal, Napat Vattanakuljalas
and Bavorn Kajonpanpong/ Arnont Nongyaow/ Barbara Sturm/ Billy Rois/ Boris Irmscher/ Chayanis Wongthongde/ Daniel Burkhardt/ Dariusz Kowalski/ David Larcher/ Derek Robert/ Dieter Kovacic/ Doris Schmid/ Egbert Mittelstädt/ Eva Weingärtner/
Evamaria Schaller/ Gerald Zahn/ Gertrude Moser-Wagner/ Giuliano Vece/ Graw Boeckler/ Harald Hund and Paul Horn/
Hee-Seon Kim/ Heidrun Holzfeind and Christoph Draeger/ Ittiphon Chuntong/ Jan Arlt/ Jan Machacek/ Jate Yooyim/ Jihye Park/
Johan Lurf/ Julia Weidner/ Jun Yang/ Kanakorn Kachacheeva/ Karin Fissthaler/ Karl Inger Roys/ Kate Pickering/ Katharina Huber/ Khae Mongkornwong/ Kitti Sornmanee/ Komson Nookiew/ Kosit Juntratip/ Lena Ditte Nissen/ Leopord Kessler/ LIA/ Maki Satake/ Manuel Knapp/ Maria Petschig/ Matej Modrinjak/ Matthias Neuenhofer/ Menno Aden/ Miriam Bajtala/ Namfon Udomlertlak/ Nanthanach Ithisampand/ Natnaran Bualoy & party/ Nawarat Kanchaninthu/ Nicole Schatt/ Nithiphat Hoisangthong/
Nonglak Trithanachot/ Norbert Pfaffenbichler/ Oliver Stotz/ Orawan Arunrak/ Panu Saeng-Xuto/ Pascal Fendrich/ Pascal Fendrich and Bernd Härpfer/ Pasut Kranrattanasuit/ Peter Conrad Beyer/ Phillipp Messer/ Piriya Ouypaibulswat/ Puttipong Pisikullapark/ Rimas Sakalauskas/ Robert Vater/ Sabine Marte/ Susanne Schuda/ Susi Jirkuff/ Tessa Knapp/ Theerawat Maysasitthivit/
Thorsten Schneider/ Tina Frank/ Tintin Cooper/ Tuksina Pipitkul/ Urs Domingo Gnad/ Wuntigorn Kongka/ Yoshihisa Nakanishi/ Yuthachai Tangwongcharoen

An exhibition co-organized by BACC Exhibition Department and Komson Nookiew
For inquiry on the exhibition:
Bangkok Art and Culture Centre
939 Rama I Rd., Wangmai, Pathumwan, Bangkok 10330
Tel. 02 214 6630 – 8 Fax. 02 214 6639
- See more at: http://en.bacc.or.th/event/Experimental-Video-Art-Exhibition-Thai-European-Friendship-2004-2014-EVA-project-.html#page
The Experimental Video Art Exhibition is an annual presentation of new video art from Thailand and Europe, which started in 2004. The exhibition focuses on artistic video practices to reveal new media’s important position and versatile use in contemporary art that differs from traditional art media such as painting, sculpture, and print making. Video art uses new technology, computer calculation and engineering practices for artistic expression and generates results in close proximity to our increasingly technological living environments. In Thailand video art and its emphasis on technology has not been widely presented, yet.
The Experimental Video Art Exhibition Thai-¬‐European Friendship installment of this video art series intended to show current styles and modes of video practices in Thailand will be featured from nine participating universities such as Bunditpatanasilata Institute in Bangkok, Painting, Sculpture and Graphic Arts Faculty at Silpakorn University, Fine Art Faculty at Chiang Mai University, Fine Art Faculty at Burapa University, Department of Fine Art, Architecture Faculty, at King Mongkut's Institute of Technology Ladkrabang, Faculty of Fine Arts, Bangkok University, Fine Art Faculty at Suan Sunandha Rajabhat University, Faculty of Humanities and Social Science, Dhonburi Rajabhat University. College of Fine Arts Ladkrabang, Bangkok.
The purpose of the annual project is to showcase a diverse international group of students from various universities and artists working in video art each year to stir up new concerns, methods of practice, art theory and discourses of meaning about global influences of new media on social behavior, perception and artistic expression. We invite many artists from Europe who currently live and work in Germany, Austria, Italy, Switzerland, Slovenia, England and other countries. Each artist’s style and individual work process contributes to the diversity of the exhibition project providing insights into their cultures, roots and customs, personal interests and issues that tackle concerns about place, time and simulation.
Through the participation of artists from various backgrounds we intend to create a network that enhances understanding of different cultures through artistic practices and opens up an international platform for discussions.
Additionally, we focus on building academic partnerships within Thailand as well as establishing academic exchange programs with foreign universities and institutes that already include the Academy of Fine Arts in Vienna (Austria), the Academy of Media Arts in Cologne (Germany), and others.
Our specific goal is to improved fine art education and academic regulations in Thailand. Science technology is nowadays an important area of study in the arts and projects should be made available for students at their academic institutes. The Experimental Video Art, Exhibition Thai-¬‐European Friendship is a project that extends knowledge of new media for students and the general public through organized video screenings and receptions at various universities in Bangkok. The cooperation among artists from Thailand and abroad proved to be very successful in the past few years opening up future communication between nations around the world.

Curator
Komson Nookiew
Pascal Fendrich
Sabine Marte
Artist
Alex Heim/ Anja Krautgassner/ Anon Chaisansook, Rach Chulajata, Nattapat Thamasal, Napat Vattanakuljalas
and Bavorn Kajonpanpong/ Arnont Nongyaow/ Barbara Sturm/ Billy Rois/ Boris Irmscher/ Chayanis Wongthongde/ Daniel Burkhardt/ Dariusz Kowalski/ David Larcher/ Derek Robert/ Dieter Kovacic/ Doris Schmid/ Egbert Mittelstädt/ Eva Weingärtner/
Evamaria Schaller/ Gerald Zahn/ Gertrude Moser-Wagner/ Giuliano Vece/ Graw Boeckler/ Harald Hund and Paul Horn/
Hee-Seon Kim/ Heidrun Holzfeind and Christoph Draeger/ Ittiphon Chuntong/ Jan Arlt/ Jan Machacek/ Jate Yooyim/ Jihye Park/
Johan Lurf/ Julia Weidner/ Jun Yang/ Kanakorn Kachacheeva/ Karin Fissthaler/ Karl Inger Roys/ Kate Pickering/ Katharina Huber/ Khae Mongkornwong/ Kitti Sornmanee/ Komson Nookiew/ Kosit Juntratip/ Lena Ditte Nissen/ Leopord Kessler/ LIA/ Maki Satake/ Manuel Knapp/ Maria Petschig/ Matej Modrinjak/ Matthias Neuenhofer/ Menno Aden/ Miriam Bajtala/ Namfon Udomlertlak/ Nanthanach Ithisampand/ Natnaran Bualoy & party/ Nawarat Kanchaninthu/ Nicole Schatt/ Nithiphat Hoisangthong/
Nonglak Trithanachot/ Norbert Pfaffenbichler/ Oliver Stotz/ Orawan Arunrak/ Panu Saeng-Xuto/ Pascal Fendrich/ Pascal Fendrich and Bernd Härpfer/ Pasut Kranrattanasuit/ Peter Conrad Beyer/ Phillipp Messer/ Piriya Ouypaibulswat/ Puttipong Pisikullapark/ Rimas Sakalauskas/ Robert Vater/ Sabine Marte/ Susanne Schuda/ Susi Jirkuff/ Tessa Knapp/ Theerawat Maysasitthivit/
Thorsten Schneider/ Tina Frank/ Tintin Cooper/ Tuksina Pipitkul/ Urs Domingo Gnad/ Wuntigorn Kongka/ Yoshihisa Nakanishi/ Yuthachai Tangwongcharoen

An exhibition co-organized by BACC Exhibition Department and Komson Nookiew
For inquiry on the exhibition:
Bangkok Art and Culture Centre
939 Rama I Rd., Wangmai, Pathumwan, Bangkok 10330
Tel. 02 214 6630 – 8 Fax. 02 214 6639
- See more at: http://en.bacc.or.th/event/Experimental-Video-Art-Exhibition-Thai-European-Friendship-2004-2014-EVA-project-.html#page

Thursday, 10 July 2014

BURMESE DAYS



14 August – 27 September 2014
John Jones Project Space
The Arts Building
Morris Place
London
N4 3JG

Friday, 25 April 2014

Oslo Open Artist Film Screening at Cinemateket



























CAMINATA NOCTURNA 
22 min
Sunday April 27 @ 12.00

Cinemateket Filmens Hus
Dronningensgate 16
0152 Oslo
Norway








Oslo Open
Astrup Fearnley Museet for Moderne Kunst
Atelier Nord
Billedkunstnerne i Oslo og Akershus (BOA)
Fotogalleriet / Forbundet Frie Fotografer (FFF)
Kunstnernes Hus
Nasjonalmuseet for kunst, arkitektur og design
Norsk Billedhoggerforening (NBF)
Norske Kunsthåndverkere Oslo og Akershus (NKOA)
Norsk senter for teknologi i musikk og kunst (NOTAM)
Norske tekstilkuntnere/SOFT
Tegnerforbundet (TF)
Unge Kunstneres Samfund (UKS)
Med støtte fra
Oslo Kommune
Norsk Kulturråd
Bildende Kunstneres Hjelpefond

Thursday, 20 February 2014

Saturday night only - Kunstkvarteret Lofoten

Performance, films, live music and talk. A small gathering of the Ar(c)ti(c) Tribes - 8 artists from Russia and Norway are in Lofoten for an Art Residency in Kunstnerhuset, Svolvær and Kunstkvarteret Lofoten.

The artists are: Per Kristian Nygård , Karl Ingar Røys, Maiken Stene, Karianne Stensland, Alexandra Galkina, MIKAELA, Haim Sokol and Grigory Yuschenko. Video screenings and presentations by Karianne Stensland, Maiken Stene, Grigory Yuschenko, Alexandra Galkina, MIKAELA and Karl Ingar Røys (Caminata Nocturna). Kristoffer Dolmen will play a piano solo. Eva Bakkeslaett's last film from Nikkel will be shown. Andreas Knag-Danielsen, current AIR at Kunstkvarteret in February, will have a perfomance: "FITSPIRATION" where he presents slogans from the fitness world and the ideals for perfect bodies. Saturday February 22 at 19.00 Kunstkvarteret Lofoten, Norway