POCKMARK
Surfaces are left with traces of a past by simple removing. What is missing can be covered, hid, filled in or ignored, yet that does not diminish the existence of what was taken away. Bangkok’s streets, accustomed to disruption, show not only physical pockmarks in the pavement but also in the memories of those who travel them.
หากโยกย้าย พื้นผิวย่อมคงเหลือไว้ซึ่งร่องรอยของอดีต เราอาจซ่อน เติม หรือละเลยสิ่งที่หายไป ถึงกระนั้นก็ไม่อาจทำลายการดำรงอยู่ของสิ่งที่ถูกพลาดจากไปได้ ถนนของกรุงเทพกับสภาพความยุ่งเหยิงที่คุ้นเคย ไม่เพียงแค่แสดงถึงร่องรอยที่พบตามทางแต่ยังแสดงถึงความทรงจำของผู้ที่สัญจรบนท้องถนนแห่งนี้
2017, Single channel video, 8.46 minutes
Unintentionally Waiting uses moving images and photographs to show how local governments struggle to facilitate services to the public. On one hand, the local installation of bus-stops is a front to earn more income from the accompanying advertising space, and on the other hand, local authorities want to make a show of striving to solve the long-running problem of inefficient public transportation.
The stops are waiting patiently.
Passengers become waiters unintentionally.
Public buses pass and stop at only some areas
while abandoning them on other routes.
Passengers are kept waiting.
They become sculptures, standing to display advertisements.
At night none of the public buses run.
But the bus stop lights are turned on.
What’s their purpose? Brightening advertising?
The bus stops call eyes to advertising, rather than calling buses to stop?
Bus stops often stand on roads with proper sidewalks in tourist attraction areas where advisement are visible to the largest audience. In some areas the bus stops stand less than a minute walk from each other! This work exposes the non-functional bus stops of Chiang Mai where passengers wait for buses that never arrive. Their act of waiting is parallel to the larger situation of the country’s frozen progress, with uncertain promises from their leader.
Eunhyung Chung
I have lived a life achieving the goals which were generally considered desirable. I just followed what others pursue without knowing what I really want to do. The society was always trying to push me in a safe direction with no risk and it seemed there was a very specific road to take, a 'right' way of doing things to become a good citizen. Thus, in this video, I appear as a bug which has two eyes on each side, but not in the front. It shows that I cannot look forward because I cared a lot about what others think. In this performance, I tried to move forward struggling to be in the yellow safety line that the society and my parents have drawn for me. To me, this was the view to be considered reasonable as well as natural.
Laura Scandrett documents the passage of time through drawing, alternative photographic processes and experimental film and video. She works in black and white, concerned with the absence and absorption of light and its speed as another measure of time. Colors occasionally enter the work through process and accident . By responding to seminal events and innocently examining existence, Scandrett aims to present moments of connection and beauty. "Gum Stains" is a video compiled of a multitude of still images of trampled chewing gum on the streets of New York City, which have turned black through time and wear. She lives in Santa Fe, New Mexico.
Casey Jenkins
cinematography: Simon Green
Suture: Lizzil Gay
Artist Casey Jenkins stitches into and adorns the stretch marks that have accumulated on her thighs over the years with gold threads. The work references the Japanese practice of Kintsugi or Kintsukuroi - mending broken crockery with gold to highlight the cracks.
Athapha Rattanaphongthara
"What was your favorite toy? When was the last time you played it?"
Having fun seeing women as entertainment in fairs?
This play in temple fair is a prominent example of sexual harassment, objectification, and instrument of pleasure in women in our society.
It started with questioning the gender equality between men and women in our society from the past until now.
It seems usual and acceptable to sexually objectifying women or to regard them as an instrument of (sexual) pleasure, commerce, marketing, as to be seen on adverts, music videos, magazines, and all media.
Danaya Chulphuthiphong
Night Watch A Film by Danaya Chulphuthiphong
Thailand, 2015, Running time: 9.30 minutes
Synopsis:
Watching through an ordinary night, under the “situation normal”, during the coup d’etat. An ordinary night during the coup d’état. The 2014 Thai coup d’état on May 22, which was declared after months of anti-government protests, is warmly welcomed by the middle class in Bangkok but seriously reduces the rights and the freedom of express
Elissa Ecker
Ferret: 4 min. aims to streamline the tutorial experience by creating a makeup applying cyborg from found tutorials. Taking cues from a need to learn more, learn faster and learn better a face is sectioned into application segments to help focus on the actions to put on, rub in, work with, spread and smear. The culmination resulting in a hypnotic hum of voices and gestures whose charm is found in their common goal and dismay in the ceaseless pursuit of an ever-changing goal.
Feb. 1-2, 2019 in collaboration with the French Embassy of Bangkok and Sony Bravia
LIV_ID collective presents Pockmark, a mobile video art experience as a part of Galleries Night 2019. Selected tuk-tuks were outfitted with screens displaying works of video art from Thai and International artists.
Pockmark (พอคมาร์ค)
หากโยกย้าย พื้นผิวย่อมคงเหลือไว้ซึ่งร่องรอยของอดีต เราอาจซ่อน เติม หรือละเลยสิ่งที่หายไป ถึงกระนั้นก็ไม่อาจทำลายการดำรงอยู่ของสิ่งที่ถูกพลาดจากไปได้ ถนนของกรุงเทพกับสภาพความยุ่งเหยิงที่คุ้นเคย ไม่เพียงแค่แสดงถึงร่องรอยที่พบตามทางแต่ยังแสดงถึงความทรงจำของผู้ที่สัญจรบนท้องถนนแห่งนี้

Sareena Sattaporn
เมื่อสิ่งที่ต้องทำ ควรทำ หรืออยากทำ เลือนลางเกินกว่าที่จะหยิบจับขึ้นมาทบทวน
การมีชีวิตอยู่เพื่ออะไรบางอย่างที่ไม่สลักสำคัญ อาจเป็นคำตอบของคำถามทั้งหมด