Wit Pimkanchanapong x living room for seed
Artist(s)
Wit Pimkanchanapong
x living room for seed
Planetary Seed
惑星的共自在性
จร
惑星的共自在性 <Planetary Coexistence of Self-reliance>
The term Wakusei/惑星, a Sino-Japanese term for Planet, was first coined in the process of translating the idea of the heliocentric system of Copernicus in the late eighteenth century. Deriving from the Greek word planḗtai, which means wanderer, this word consists of two characters, Wandering and Stars: 惑 and 星. In the ceaseless movement of individual bodies, their flickering movements deliver a faint yet unwavering ray of light, to somewhere beyond time and space. The gentle glow evokes the traces of all lives and movements, intersecting on an eternal horizon of moments. Perhaps, like these celestial bodies, we are planeting — drifting across spaces not making much sense at the first sight, even perplexing ourselves, but weaving a certain intricate orbit in co-influence and presence of everything else.
“Endemic ways of life” — interactions and correspondences over planetary scale of time
“They call them endemic or native species, but endemics are created through the overlap of many different things. You can trace it back to any region of the globe." said a farmer working to keep native seeds alive, to pass them on to future generations confronted with ever-changing climate change. In the face of climate change, plant diversity is also at danger as homogenised seeds with traits that are convenient for industrialised agriculture have come into use as the international standard. For example, this single plant, the hamanasu, which has been grown only in one coastal area of Japan, is a product of the migration and interaction of people, plants, and animals, over vast distances and time, from Indonesia to Thailand to the equator. Endemic species, which on the surface appear to be unique and local in origin, are the product of interactions and correspondences over long periods of time on a global scale, easily transcending the geographical and political boundaries of our own myopic time scale, and are connected to all places within their ecological context.
Awakening discarded time and space in the ever-morphing terrain of a maze
The ever-morphing terrain of a maze realised by Wit Pimkanchanapong invites us onto a pathway to experience tactile connections and fragments that we overstep in our daily lives. Wit has been constructing a three-dimensional maze rooted in Buddhist teachings in Thailand, inviting visitors to immerse themselves and encounter experiences reflective of Buddha's journey to enlightenment. This iteration has evolved into a dynamic maze that continually shifts. Through his engagement with experiential research and dialogue within the ongoing actions of living room for seed, the maze became an attempt to generate a realm of coexisting self-reliance which awakens the space and time discarded in contemporary societies. Every step appears as a moment of reflection and encounter, for us to choose a forgotten horizon and intersection upon which we still stand. Ahead of us lies only off roads, where we wander and feel our own way to move. The temporal and spatial dimensions expanded with living room for seed invite all to find a realm of spontaneity that will call the concrete pavement of today’s life into question, opening an interstice that connects unexpected and unheard.
About the artist
Wit Pimkanchanapong
x living room for seed
Wit Pimkanchanapong
![](https://sp-ao.shortpixel.ai/client/q_lossy,ret_img,w_2560,h_1707/https://100tonsonfoundation.org/wp-content/uploads/2024/08/DSC08754-scaled.jpg)
Wit Pimkanchanapong began his studies in architecture at Chulalongkorn University. With a passion for creation, his work merges architecture and sculpture, integrating modern technology. Beyond his artistic pursuits, Wit is an avid cyclist and long-distance paddler. In 2014, he founded Audax Randonneurs Thailand, a long-distance cycling network, marking the beginning of his journey to explore rural areas outside of urban centers in all regions of Thailand without the use of motor vehicles. This approach to understanding pre-modern landscapes, societies, and cultures has shaped his perspective on the landscapes of Thailand, influencing the content and dimensions of his current artistic practice.
living room for seed / spontaneous, experimental, ecosystem, drifting.
living room for seed is a space of gathering to conceive and practise a modality for worlds of individuals to be oneself and feel their coexistence. Consisting of practitioners and thinkers from diverse fields and locales, we aim to cultivate a space for lived words and experiences that can be exchanged and embraced. s.e.e.d. stands for spontaneous, experimental, ecosystem, drifting. With increasing concerns about surveillance both by the government and private corporations, freedom of expression, assumedly a prerequisite for any creative activity, needs to be reinvestigated not as a condition that is given or granted, but rather as a place we create for and by ourselves. Living room for seed illuminates the importance of self-reliant actions to envisage one’s own ecosystem that enables us to carve out the place where we can exist freely with others. Based on hands-on, tactile research – ranging from kayaking, cycling, and walking to dancin – our collective dialogue explores the cyclic flow of life and death. Initiated and nurtured by practitioners, such as Kayoko Iemura, Daisuke Nagaoka, Tyuki Imamura, Daizaburo Sakamoto, and Wit Pimkanchanapong, it has sparked a moment of collective engagements and in-depth research of the endangered ways of living across diverse places, including Yamagata, Tokyo, Kassel, Kanchanaburi, Pattani, Chiang Rai, and Bangkok. Back to main exhibitions