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Conversations

Sikarnt Skoolisariyaporn

10/17/2020

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Meet Sikarnt Skoolisariyaporn! Sikarnt is one of the 5 MAHA Pavilion artists. They are working with Rachel Yezbick for the Bangkok Biennial 2020.

Sikarnt is currently based in and out of Bangkok. Their work oscillates between writing, performance, installation, moving image, objects and found situations. They are one of the founders of the Center for Lost Objects, a hypothetical museum established in 2010 whose collection consists of thousands of found, broken, un-functional and unknown objects and fragments from around the globe. Sikarnt practices spinning and falling (level 0.1).
ปัจจุบันสิกานต์พำนักอยู่ที่กรุงเทพฯ และที่อื่นๆ งานศิลปะของสิกานต์ไหลผ่านสื่องานเขียน งานศิลปะแสดงสด อินสตอลเลชั่น ภาพเคลื่อนไหว วัถตุ และสถานการณ์ที่พบเจอ สิกานต์เป็นหนึ่งในผู้ร่วมก่อตั้ง Center for Lost Objects พิพิธภัณฑ์สมมติที่เกิดขึ้นในปี พ.ศ. 2553 ซึ่งเก็บรวบรวมวัตถุสาปสูญ สิ่งแตกหัก ของที่ใช้การไม่ได้ และวัตถุไม่ทราบชื่อจากทั่วโลก นอกจากนี้สิกานต์ยังฝึกฝนศาสตร์การหมุนและการร่วงหล่น (เลเวล 0.3)
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- First Zoom meeting between Sikarnt, Ryat and the curator, Prima 
- And That Ocean Too is a Fiction, video installation, 2019. Courtesy of the artist
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Wilwan Wiangthong

10/15/2020

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Meet Wilawan Wiangthong! Wilawan is one of the 5 MAHA Pavilion artists. They are working with Kim Zumpfe for the Bangkok Biennial 2020.

Wilawan Wiangthong is a graduate from Silpakorn University. Wilawan is a Thai performance artist. She focuses on issues of anthropology, gender and feminism. Her artworks arise out of the synthesis between performance and sculpture. The created identity has been characterized as fantastic and weird characters and recognized realistically in situation and space. 

The identity of women in society as it has been shown in various media such as female characters in online games, literature, or fiction, is examined and analyzed. The creativity and reinterpretation are adopted to create the weirdness in the identity and female as well as artworks in live performance, photography, moving images, and installation. 

Her works have been exhibited in various exhibitions and performance art festivals domestically and internationally like Taiwan, China, Indonesia, Laos, France, Ukraine and Japan.
วิลาวัณย์ คือ หนึ่งในห้าศิลปินของ MAHA Pavilion ทำงานร่วมกันกับ Kim Zumpfe ใน Bangkok Biennial 2020

วิลาวัณย์ เวียงทอง จบการศึกษาจาก มหาวิทยาลัยศิลปากร วิลาวัณย์เป็นศิลปินไทยด้านศิลปะการแสดงสด 
เธอมีความสนใจเกี่ยวกับประเด็นทางมานุษยวิทยา เพศสภาพ และสตรีนิยม ผลงานของเธอเริ่มจากการสังเคราะห์กันระหว่างการแสดงสดและประติมากรรม การสร้างตัวตน ที่มีความเพ้อฝัน ความแปลกประหลาด และยอมรับการปรากฎอยู่ในสถานการณ์และพื้นที่จริง

ซึ่งเธอได้ศึกษาและวิเคราะห์ตัวตนผู้หญิงในสังคมที่ปรากฎอยู่ในสื่อประเภทต่างๆ อาทิ เช่น ตัวละครที่อยู่ในเกมส์ออนไลน์ วรรณกรรม และนิยายที่แต่งขึ้น โดยผ่านการตีความหมายใหม่ สร้างนัย ตัวตนที่แปลกประหลาดและความเป็นเพศหญิง เป็นงานรูปแบบ ศิลปะการแสดงสด ภาพถ่าย ภาพเคลื่อนไหวและงานศิลปะการจัดวาง
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ผลงานของวิลาวัณย์ ได้ร่วมแสดงในเทศกาลศิลปะทั้งในและต่างประเทศ อาทิ เช่น ไต้หวัน จีน อินโดเนียเซีย ลาว ฝรั่งเศส ยูเครน และญี่ปุ่น

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- First Zoom meeting between Wilawan, Kim and the curator, Prima 
- Unseen, performance, 2015, Bangkok. Courtesy of the artist
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Boat Kansomdee

10/11/2020

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Meet Boat Sutasinee Kansomdee! Boat is one of the 5 MAHA Pavilion artists She is working with Teo Ala-Ruona for the Bangkok Biennial 2020.

Boat Sutasinee Kansomdee was born in 1987 in Chiang Mai. Now, Sutasinee lives and works in Chiang Mai.

She graduated from the Faculty of Fine Arts, Chiang Mai University in the Printmaking Division (2011) and is now studying for a Master's degree in Visual Arts at the Chiang Mai University. Her artwork ranges in many techniques including intaglio printing, industrial printing, mixed media, installation and performance art. Sutasinee is interested in recording life and emotions that occur in life in various ways by using art as an introspection tool. She is also interested in the expression of artists in public spaces, based on social and cultural criteria, and the violations of that culture and desires of society. Some parts of her life experience had an effect on her art making and became a source of “positive life” artwork projects. At present, she is interested in performance arts in relation to the line of power and the limitation of power that occurs in history of art. 

Her solo exhibitions include "Positive Life" at G Gallery, Chiang Mai (2015) and "Art8 + Positive life + Nowhere" at The Meeting Room Art Cafe, Chiang Mai (2016).​




Image credits:
  • First Zoom meeting between Boat, Teo and the curator, Prima 
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Yanin Bandaya

10/8/2020

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Meet Yanin Bandhaya! Yanin is one of the 5 MAHA Pavilion artists. She is working with Suneil Sanzgiri for the Bangkok Biennial 2020.


"My name is YANIN, an independent music artist based in Bangkok. People know me as a singer and songwriter but I'm also interested in performance art. I try to add Contemporary Dance and Improvisation Dance in my shows. I enjoy knowing what my anatomy can do or feel. 

In 2019, I did my Improvisation Music & Dance Band called “Socioparty”. Some of the performances are based on music first then the tone of music leads my anatomy to create the posture. Some of the performances are based on the posture from my choreography first to guide the mood & tone of the music rhythm.

In 2020, I started my Fire Dance Band called “She With Shiva”. Our choreography is based on the traditional Cambodian dance and belly dance."

- Yanin Bandhaya
ญาณิน คือ 1 ใน 5 ศิลปินของ MAHA Pavillion ซึ่งเธอได้ร่วมงานกับ Suneil Sanzgiri ใน Bangkok Biennial 2020
 
ญาณิน คือศิลปินอิสระที่อาศัยอยู่ในกรุงเพทมหานคร ผู้คนส่วนใหญ่รู้จักเธอในฐานะนักแต่งเพลงและนักร้อง แต่นอกจากเรื่องเสียงดนตรีแล้ว เธอยังสนใจเรื่อง Performance Art ด้วยเช่นกัน เธอพยายามที่จะสอดแทรกเรื่องของ Contemporary Dance และ Improvisation Dance ในทุกโชว์ของเธอ 
 
ในปี 2019 เธอได้มีวง Improvisation Music & Dance ชื่อว่า Socioparty ซึ่งในบางโชว์จะมีการสร้างเสียงดนตรีเป็นกลไกขับเคลื่อนหลัก นำพาไปสู่การเคลื่อนไหวของนักเต้น แต่บางโชว์จะใช้การเคลื่อนไหว น้ำหนักการลงท่วงท่า เป็นหลักในการนำพาเสียงดนตรีให้บรรเลงตามเธอ
 
ในปี 2020 เธอได้มีวงระบำไฟที่การออกแบบท่าเต้นนั้นได้รับกลิ่นอายมาจากระบบ Belly Dance และ นาฏศิลป์ในประเทศกัมพูชา
 
-ญาณิน

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- Visiting Wat Khaek via Google Maps on Zoom with Yanin, Suneil and the curator, Prima 
- Untitled (Dress: Bric a Brac), August 2020. Photographer: Santhipong Sillapachai. Courtesy of the artist
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Yingyai Kampanat Kotkaew

10/4/2020

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Meet Yingyai Kampanat Kotkaew! Yingyai is one of the 5 MAHA Pavilion artists. They are working with Linda Franke for the Bangkok Biennial 2020.

"My name is Kampanat Kotkaew also known as Yingyai. I am a queer artist. I work across many art disciplines such as Painting, Photographic, Video, Embroidery, Performance art, Make-up art, and especially Drag Queen transformation.
My field research is specialized in Sexual orientation, Gender Identity (Non-Binary, Genderless), and relationships between LGBTQ and social perspective.

I am also interested in new media by using an artivive application. I take on many styles such as Avant- Garde, Surrealism, Appropriation, and Interactive art. And I always try on new things to see how art can be or how can I create something new between LGBTQ in Thailand and Thai culture."
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- Yingyai Kampanat Kotkaew

หญิงใหญ่ เป็นหนึ่งในห้าศิลปินที่ร่วมกับ “มหา” พาวิลเลียน  โดยร่วมทำงานกับศิลปิน ลินดา แฟรงก์ ในงาน Bangkok Biennial 2020.

กัมปนาท โคตรแก้ว หรือหญิงใหญ่ เป็น queer artist ที่ทำงานหลากหลายรูปแบบทั้ง วาดภาพ ภาพภ่าย วิดีโอ เย็บปักถักร้อย ศิลปะแสดงสด และศิลปะการแต่งหน้าโดยเฉพาะการแปลงโฉมเป็น Drag queen แดร็กควีน โดยหญิงใหญ่สนใจในเรื่องการแสดงออกทางเพศ อัตลักษณ์ทางเพศ การก้าวข้ามคำจำกัดความเรื่องเพศ และยังสนใจในเรื่องของสัมพันธ์ระหว่างกลุ่ม LGBTQ กับมุมมองในสังคม

หญิงใหญ่ยังสนใจในเรื่องสื่อใหม่ ๆ เช่น การใช้แอพพลิเคชั่น artivive และยังสนใจสร้างสรรค์ผลงานหลากหลายสไตล์ เช่น อาวอง การ์ด  เหนือจริง การมีปฏิสัมพันธ์กับคนดู อีกทั้งยังแสวงหาสิ่งใหม่ ๆ เพื่อสำรวจว่าศิลปะสามารถทำอะไรได้บ้าง หรือตัวศิลปินสามารถสร้างสรรค์สิ่งใหม่ผ่านมุมมองระหว่างกลุ่ม LGBTQในประเทศไทยกับวัฒนธรรมไทย

หญิงใหญ่ กัมปนาท โคตรแก้ว
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  • First Zoom meeting between Yingyai, Linda and the curator, Prima 
  • I am beautiful with my brushes, oil color and acrylic color, 2017. Courtesy of the artist
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Trinh T. Minh-Ha's "Speaking Nearby"

9/1/2020

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I find Trinh T. Minh-Ha’s concept of “speaking nearby” instead of “speaking for” helpful in thinking about the desire or willfulness to address a place that is not one’s origin. Rather, this desire reveals one’s own position towards the subject one is speaking about, an allyship that is described and problematized by Saidiya Hartman’s interview with Fred Wilderson in “The Position of the Unthought”. Paralleling actions in LA and Bangkok, Kim Zumpfe’s proposal seeks to reveal the difficulty of such allyship when one action can be perceived as non-compliant and threatening to a site and not, in another. “Speaking nearby” can also be the voice of the lover, recounting memories of a place to one another, as in the tone of Rachel Yezbick’s proposed correspondence between two artists. Abstracted into language, the chosen sites in their respective cities are liberated from the otherwise heavily mediatized representation in cinema.

With technological and digital means of communication, the “nearby” is no longer a question of spatial proximity. It may refer to an intimacy that exceeds physical and temporal boundaries. Whose voice are we hearing in the duet of Ana Teo Ala-Ruona’s avatar, a speaker with their pre-recorded voice and the live voice of the Bangkok-based performer’s, performing in real time?
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Linda Franke’s proposal pursues this multivocality (another Trinh T. Minh-Ha’s term) by asking for photograph submissions of useful and disused objects that would later be printed on T shirts for participants to wear. The census nature of the project draws a portrait of Bangkok’s economy through every day objects and their relationships to their users. Lastly, Suneil Sanzgiri’s undertaking of Indian diasporic identity at Wat Khaek by way of recording the temple with a LomoKino creates a double distanciation between the performer, the camera and the temple itself. The LomoKino only records images by being manually cranked. The images produced are therefore traces of the rhythms of the performer’s body instead of documentation of the temple as site.
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Excerpts from "Speaking Nearby": A Conversation with Trinh T. Minh-Ha, Nancy N. Chen,
​in Visual Anthropology Review, Volume 8 Number 1, Spring 1992 
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Linda Franke

8/24/2020

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“For my performance as part of the MAHA Pavilion I would like to create an archive of objects that exist in the city of Bangkok. I hope to develop an abstract but also intimate idea about the routines of the city as well as information about economic situations despite my not being physically present there.

To create the archive I would like to ask a wide range of different people who live in Bangkok to take and send me photos of objects they frequently use and objects they did not use for a long time and maybe even plan to get rid of very soon.

In that process, I am looking for the experience of a collective authorship where I am the initiator of images that are being produced but the content that gets produced is out of my control.

Next, I would print T-shirts where the front side shows the image of the frequently used object and the back shows the object that is not useful anymore and give these T-shirts back to the contributors of the photos and ask them to wear it occasionally.

I imagine that one ever knows when this performance is happening. It will continue for an unknown time span in the future, basically until the T-shirts decay. These shirts will be objects of the future, talking about a specific moment in time and are only really alive when worn or chosen to be worn on a body.

​I am interested in the idea that the body displays an image in public space and in the tiny moments of irritation that appear when someone notices the image.
If possible I would like all people that have a T-Shirt to come together for one moment in a representative public space, maybe in front of the post office or a temple and walk together as a group slowly for 10 min.”

​- Linda Franke
Idea sketch for T-shirts and performance sketches in location for MAHA Pavilion,
2020, courtesy of the artist


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Rachel Yezbick

8/22/2020

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Performance sketches for MAHA Pavilion,
2020, courtesy of the artist
​"Yezbick explores body politics and contested sites of representation through an intimate collaborative performance with a Bangkok-based artist. For this work, the artists lend their bodies and sight to one another as proxies to explore each other’s respective cities, Bangkok and Los Angeles. They will engage with one another’s worlds via dialogue, distant tours, letters and personal memories of place.
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To contest highly mythologized and romanticized notions of these two cities, perpetuated by the film industry, the artists examine their own experiences to place, excavating the violence and vulnerability of the cities’ inhabitants that is often hidden from view. The work will layer the two sites on top of one another, uncovering the symbolic space between the locations.

The project occupies contested spaces in an effort to understand how we desire and yearn for places that have been fabricated from legacies of violence. By inviting comparisons between location and the artists themselves, this work asks us to reconsider the place and production of contested knowledge, as perceptions that permeate both place and person, the material and immaterial."

- Ryat Yezbick
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"I am interested in using performance to non-normatively occupy normative social situations. I’ve never traced Wilde’s uselessness of art to the queer habit of the non-normative but, here in our conversation, I wonder if they might have a relationship.” – Sharon Hayes

In “Love Address”, Sharon publicly shares a love address to an unknown lover. The address is really to the Iraq war and the ways in which private and political selves get bound together. Sharon’s work addresses the authenticity of words when you are repeating the words of another.
“Love Address”, Sharon Hayes, performance, 2009
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Kim Zumpfe

8/19/2020

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3D renderings of performance proposal for MAHA Pavilion,
​2020, courtesy of the artist
"Two non-compliant people have chosen to be subjected to decisions made by the other through a mutual decision making process that determines details of how tasks in a performance will be enacted. On highly visible streets in two financial centers, Sathorn in Bangkok and Downtown LA, these performers will respond to parallel infrastructures and architectures of the city. They walk, separated by distant geographies, yet still together in appearance and behavior. Their alliance is signaled by similar uniforms, actions, and the slowness of their pace, out of step with the rest of the crowd.

​Both performers have chosen to take on a role of non-compliance by engaging in behaviors that are outside of social standards. They will be watched, not only by people on the street, but also by people on a live-stream feed. In the watching, the audiences are placed in the position of bearing witness to the performers’ non-compliance. What responsibility does the audience have in watching? What response to the desire for recognition can be elicited from this non-spoken agreement? Can a different network of libinal relationships be formed beyond presence and perceptible distances?"

​- Kim Zumpfe
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- Non-Compliant Bodies: Social Equity and Public Space - 05.23.2017 Speaker: Joel Sanders, Principal, JSA; Professor of Architecture, Yale University on the Center for Architecture, Vimeo


- "The Position of the Unthought”, Saidiya V. Hartman and Frank B. Wilderson, Qui Parle, Vol. 13, No. 2 (Spring/Summer 2003), pp. 183-20, University of Nebraska Press
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Teo Ala-Ruona

8/11/2020

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“Using written speculative fiction, somato-fictional exercises and technology as mediums to imagine closeness and intimacy across distance, this work presents a fantasy in which the performer is welcoming another being to co-inhabit their body in a mutualistic and parasitic way, for the time of the performance.

Prior to the performance the two performers will do long-distance speculative embodied exercises together in order to reach out to one another through their imagination. These exercises stem from an exercise called "Mycelium of Nerves", created by Ala-Ruona's colleague, artist Outi Condit.

The performer speaks a duet with a loudspeaker. Together they form a techno-imaginary-symbiotic-cyborg by speaking in unison: the performer is the host and the loudspeaker’s sound is the parasite that visits the site of the performance through the performer’s body.”

- Teo Ala-Ruona
Text samples for the MAHA Pavilion performance proposal,
​2020, courtesy of the artist
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Image (top to bottom):

- illustration, Endosymbiotic Theory, Philpot Education
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- Endosymbiotic Theory, Philpot Education
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