News category: EVENT
13 February 2025
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PHOTOPSIA's 2nd Public Program| A rigorous selection process for Photopsia: Open Call for Video Arts, Moving Images, and Experimental Short Films, uncovered inventive talent from over 500 submissions, highlighting an incredible potential for artistic expression and innovation.
We are thrilled to introduce Flickering Objects, a thought-provoking screening program curated by Suphon Niamkamnoet, as part of the Photopsia exhibition, which delves into the transformative realms of memory, history, and visual perception, inspiring new perspectives and possibilities.
13 February – 9 March 2025 / At 100 Tonson Foundation
PROGRAM (50 minutes)
Omitting 1986
Louis Gahide | 2024 | 5:51 minutes
Homing Desires
Anastacia Mala | 2023 | 6 minutes
ORBITOR
Sirasin Pangprasertkun | 2024 | 28 minutes
ที่ซึ่งมีแสง (Into a Flame)
Parin Intarasorn | 2024 | 10:26 minutes
The screening program will be showcased as part of Nat Setthana's Photopsia, a site-specific installation at the 100 Tonson Foundation. The premiere is scheduled for February 13, 2025, and the program will continue as a video installation within the exhibition space until March 9, 2025.
Photo credit: Omitting 1986, Louis Gahide
ABOUT THE FILMS
✷ Omitting 1986
Louis Gahide | 2024 | 5:51 minutes
Omitting 1986 emerges from the artist’s practice of scratching and manipulating film purchased from a flea market, later identified as a film roll of an anti-war French comedy by Les Harlots. Through experimentation with film as historical material, the artist engages in processes of distortion, recontextualization, and reimagining to examine the entanglement of the individual and collective, past and present, and the possibilities of memory beyond material constraints.
✷ Homing Desires
Anastacia Mala | 2023 | 6 minutes
Reflecting on her diasporic experience as a Malaysian raised in Norway, Anastacia Mala manipulates archived home videos by replacing the binary codes of the video files with significant dates from her personal life. This process creates glitches in the footage, combined with melancholic melodies composed by the artist. Home Desires explores the fragility and disruption of memory, capturing the emotional dissonance between a past that feels distant and a present of displacement.
✷ ORBITOR
Sirasin Pangprasertkun | 2024 |28 minutes
ORBITOR weaves a poetic narrative revolving around the 1966 Lunar Orbiter mission, narrated and infused with interviews of the artist's grandparents, recalling their fragmented memories of that same year. The layering of narrative and the ambient hum of a radio crash, disrupt, and interfere with each other, revealing a haunting blurred portrait of Thailand in the Cold War era, oscillating between personal memory and geopolitical histories.
✷ Into a Flame
Parin Intarasorn | 2024 | 10:26 minutes
Into a Flame is an experimental documentary, observing the space within a textile factory from a perspective that is neither too distant nor too close, exploring the relationship between humans and nonhumans. Without dialogue—only the rhythmic hum of machines and the silent presence of workers—the film leaves a lingering afterimage, evoking a metaphorical experience, akin to flapping swarmers drawn irresistibly to light.
6 October 2021
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As part of Apichatpong Weerasethakul’s A Minor History, SILENCE is a three-channel synchronized video installation (21 mins, color / B&W, sound, 2020), integrating archival footage and texts to recount the unvoiced memories of the most gruesome incident in modern Thai history.
6 – 10 October 2021
100 Tonson Foundation, Bangkok
FREE ADMISSION
As Thailand marks 45 years since the 6 October 1976 Massacre, 100 Tonson Foundation invites you to join a special showcase of SILENCE, conceived and directed by Kick the Machine Documentary Collective, and commissioned by Asia Culture Center (ACC),
Gwangju, Republic of Korea.
“In a city where hearing suddenly disappears from its inhabitants,
dreaming becomes the only thing close to perceiving sound. They keep
waiting for National Sleep Week. A best-selling dream-teller drifts
through a long dream, chasing a group of mysterious fireworks – blast
of enlightenment telling a latent story of a city full of peculiar sounds.”
Kick the Machine Documentary Collective
Kick the Machine Documentary Collective is a group of four Thai filmmakers and artist based in Chiang Mai and Bangkok, consisting of Apichatpong Weerasethakul, Akritchalerm Kalayanamitr, Chatchai Suban and Pathompong Manakitsomboon. Their body of work spans the moving image, installation, curation, and education.
Showtimes 6 – 10 October 2021
(approximately 30 mins per showing)
By appointment only
To make a reservation, don't hesitate to get in touch with 100 Tonson via LINE: @100tonson or FB Inbox: m.me/100Tonsonfoundation or email: hello@100tonsonfoundation.org call 098 789 6100
11:00 | 11:30 | 12:00
14:00 | 14:30 | 15:00
16:30 | 17:00 | 17:30
Note:
*SILENCE contains graphic images and is suitable for ages 15 and above.
**Please arrive at least 15 minutes before your showtime to allow for check-in.
27 March 2021
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100 Tonson Foundation delightfully invites you to the 5th public program of the House Calls exhibition, Pinaree Sanpitak 1985-2020 Monograph Launch. This activity will include a virtual conversation with art historians, academics, and curators who have been working closely with the artist to share their perspectives and interpretations of Sanpitak's art practice, along with her over three decades’ worth of influential works.
DATE: Saturday, March 27, 2021 | Virtual Conversation with
- Rhana Devenport (Editorial Advisor)
- Gridthiya Gaweewong (Writer)
- Roger Nelson (Writer)
- Vipash Purichanont (Writer)
On-site IN BANGKOK: TIME: 14.00-16.00 (Bangkok) at 100 Tonson Foundation Bangkok Thailand
Bangkok audience is welcome on-site at the foundation to view the monograph, layout design by Mali Chulakiet and be>our>friend studio, meet with the writers Gridthiya Gaweewong and Vipash Purichanont, and greet the artist Pinaree Sanpitak.
ONLINE: TIME
- 14.00-16.00 (Bangkok)
- 15.00-17.00 (Singapore)
- 18.00-20.00 (Melbourne)
Live on-site from House Calls at 100 Tonson Foundation, Bangkok and joining in from Singapore and Melbourne (English only)
JOIN HERE:
Zoom Meeting
https://us02web.zoom.us/j/82295582918?pwd=STk3RmxpMHNHNWtqUXp1UnFoOXJJdz09
Meeting ID: 822 9558 2918
Passcode: housecalls
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About Speakers:
Rhana Devenport | Editorial Advisor
Rhana Devenport ONZM is Director of Art Gallery of South Australia in Adelaide, she was previously Director of Auckland Art Gallery Toi o Tāmaki (2013-2018) and Govett-Brewster Art Gallery / Len Lye Centre (2006-2013), both in Aotearoa New Zealand. Devenport is a curator, writer and cultural producer whose career spans art museums, biennales and arts festivals. Her curatorial interests include contemporary art of Asia and the Pacific, time-based media and social practice. In 2017 Devenport was curator for the New Zealand Pavilion at La Biennale di Venezia for ‘Lisa Reihana: Emissaries'. She has previously held senior positions with the Biennale of Sydney, the Sydney Festival, and the Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery. (In 2018 she was appointed an Officer of the New Zealand Order of Merit.)
Gridthiya Gaweewong (Writer)
Gridthiya Gaweewong is a curator and the Artistic Director of The Jim Thompson Art Center and the co-founder of the non-profit art space Project 304, both in Bangkok, Thailand. Curatorial projects include Under Construction: New Dimensions of Asian Art (2002), Tokyo, Japan, Unreal Asia: Oberhausen International Short Film Festival (2009), Germany, “Apichatpong Weerasethakul: The Serenity of Madness” (2016), the inaugural exhibition of the MAIIAM Contemporary Art Museum in Chiang Mai, Thailand and Facing Phantom Borders, Imagined Borders, 12th Gwangju Biennale (2018), South Korea.
Roger Nelson (Writer)
Roger Nelson is an art historian working on the modern and contemporary art of Southeast Asia, and a curator at National Gallery Singapore. He is author of Modern Art of Southeast Asia: Introductions from A to Z (National Gallery Singapore, 2019) and translator of Suon Sorin’s 1961 Khmer novel, A New Sun Rises Over the Old Land: A Novel of Sihanouk’s Cambodia (NUS Press, 2019). His essays have appeared in journals including ARTMargins and World Art, as well as in several books and exhibition catalogues. He is co-founding co-editor of the scholarly journal Southeast of Now: Directions in Contemporary and Modern Art in Asia. Roger has worked with Pinaree on projects in Bangkok, Phnom Penh and Singapore.
Vipash Purichanont (Writer)
Vipash Purichanont is a curator based in Bangkok. He is a lecturer at the department of Art History at the faculty of Archaeology, Silpakorn University. He was an assistant curator for the first Thailand Biennale (Krabi, 2018), a curator of Singapore Biennale 2019 (Singapore, 2019), and a co-curator of the second Thailand Biennale (Korat, 2021). He is a co-founder of Waiting You Curator Lab, a curatorial collective based in Chiangmai.
1 July 2023
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ALL IS PRETTIER launches its first public program: Checkers Championship!
Saturday, July 1st, 2023| 1 PM - 4 PM| At 100 Tonson Foundation
Checkers Tournament with Udomsak Krisanamis
Message us to book as spots are limited!
The tournament will comprise 4 rounds as follows:
Qualifying round - 16 players / 8 pairs;
Quarter-finals - 8 players / 4 pairs;
Semi-finals - 4 players / 2 pairs;
Finals - 2 players / 1 pair.
We will be playing on checkerboards Krisanamis made.
All winners win a prize !!!
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UDOMSAK KRISANAMIS
ALL IS PRETTIER.
22.06.2023 - 19.11.2023
Curated by Chomwan Weeraworawit
PART 1 : SPEED
22.06.2023 - 13.08.2023
For more information:
100tonsonfoundation.org/exhibition/all-is-prettier
Tel: +662 010 5813 / +6698 789 6100
LINE: @100tonson ( page.line.me/100tonson )
Inbox: m.me/100Tonsonfoundation
25 May 2024
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To conclude the series of activities organized for the exhibition "Matrilineal," we invite you to an exclusive visit of artist's studio.
SATURDAY, MAY 25TH, 2024 | FROM 2:30 PM - 4:00 PM| AT SOI BANNASAN
To conclude the series of activities organized for the exhibition "Matrilineal," we invite you to an exclusive visit of Jakkai Siributr’s studio. This visit is intended to bring the audience right where the artworks were conceived and created for Matrilineal, that is in the artist’s house where his family has resided for generations, where he grew up, and where he finds his inspiration in old garments and family objects.
Specifically, the house is located along Sukhumvit Road, in a soi original called “Bannasan". Also giving the title to one of Siributr’s works in "Matrilineal", Bannasan as a name, however, beyond referring to a specific location, encapsulates a deeper meaning, pointing to the artist’s roots and family history. Soi Bannasan, to this day, still holds great significance in his personal and professional life as an artist.
On the special occasion of this intimate house/studio tour, the participants will be able to explore the artist’s familiar environment and memorabilia, as well as engage in exclusive conversations about his artistic practices and family ties that have brought him to create Matrilineal.
During the tour, the participants will be offered afternoon tea and small bites prepared according to the family recipes.
**Limited to only 12 guests**
Please register for a reservation at hello@100tonsonfoundation.org or contact us via:
Facebook: m.me/100TonsonFoundation
Instagram: 100tonsonfoundation
Line: @100tonson ( page.line.me/100tonson )
Call: +6698 789 6100
Note: Participants are kindly requested to visit the exhibition "Matrilineal" prior to the house tour to ensure a full engagement with the artist and the curator while visiting the studio. The exhibition is on display at 100 Tonson Foundation, open Thursday - Friday from 10:00 am to 6:00 pm and Saturday - Sunday from 11:00 am to 7:00 pm.
27 April 2024
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Reflecting 100 Tonson Foundation's emphasis on research and education, the Matrilineal exhibition publication presents essays commissioned from John Clark, Chairat Polmuk, and Loredana Pazzini-Paracciani.
Saturday 27th April 2024 | 13:30 – 16:30 | At 100 Tonson Foundation
Guest Speakers:
- Chairat Polmuk
- Prateep Suthathongthai
- Manit Sriwanichpoom
Moderated by Thiti Teeraworawit
Richly illustrated, the essays anchor reflections on Siributr’s oeuvre, from his textile practice to his socially engaged and archival approach to art. With Matrilineal, in fact, the scope of Siributr’s works fully matures into a manifestly personal-decidedly public, female-centered narrative of his family – specifically on the Svasti women – and on the awareness of the impermanence of life.
To celebrate the launch of the publication, this event will focus on the role of the photographic archive as a source of inspiration for the artist to create his large tapestries and embroideries featured in Matrilineal. In relation to their scholarly and artistic practices, writer Chairat Polmuk will be in conversation with artists Manit Sriwanichpoom and Prateep Suthathongthai to navigate the personal and national dimensions of history through the photographic archive. The talk is in Thai, moderated by Thiti Teeraworawit, Gallery Manager of HOP – Hub of Photography, and will be followed by a Q&A session.
About The Speakers:
Chairat Polmuk
Chairat Polmuk is an Assistant Professor in literary studies at the Department of Thai, Faculty of Arts, Chulalongkorn University, where he teaches Southeast Asian languages and literature, cultural theory, and media studies. He received a PhD in Asian Literature, Religion and Culture from Cornell University. His research focuses on affective and intermedial aspects of post-Cold War literature and visual culture, especially in Thailand, Laos and Cambodia. He is a member of the editorial collective of Southeast of Now: Directions in Contemporary and Modern Art in Asia.
Manit Sriwanichpoom
Manit Sriwanichpoom is a contemporary photographer who has been creating art for over 40 years. His works have been collected by numerous international museums. Manit is also a curator and researcher of Thai photographic history. His exhibition and book, "Rediscovering Thai Masters of Photography," are considered significant works that inspire the study of photographic history in Southeast Asia. Manit is also a visiting professor at the Faculty of Communication Arts, Chulalongkorn University, and serves as the director of Kathmandu Photo Gallery.
Prateep Suthathongthai
Prateep Suthathongthai acquired a Master of Fine Arts (Painting) from Silpakorn University. His works deploy the technique of photography by using film strips and creating large-scale site-specific photo installations. After relocating to the Northeastern region, Prateep has been interested in the disputable history. He returned to paintings in his solo exhibition “A Little Rich Country” (2018) at 100 Tonson Gallery and “Old Wound” (2022) at SAC Gallery. He painted the life-size cover of books and printed matters circulated during World War 2 reflecting the production of propaganda and collective memories controlled by the state. Prateep has numerous solo exhibitions with 100 Tonson Gallery, Bangkok and he has participated in many international art festivals including Busan Biennale 2008 (Busan, 2008), Singapore Biennale 2013 (Singapore Art Museum, 2013), Bangkok Art Biennale 2020 (The Prelude One Bangkok, Bangkok, 2020) among others. Prateep is currently teaching at the Faculty of Fine-Applied Arts and Cultural Sciences, Mahasarakham University.
Moderator: Thiti Teeraworawit
A curator and independent artist, holds a degree from the Faculty of Architecture, Art, and Design at King Mongkut's Institute of Technology Ladkrabang. His journey began as a curator in group exhibitions, stemming from his Thesis Project. He later became a curator of the "Secret Body" exhibition at WHOOP!, an exhibition room in HOP Hub of Photography. Thiti further expanded his role as a co-curator in the "BLOSSOM BODIES" exhibition at AVANI+ RIVERSIDE BANGKOK. Thiti's interest lies in presenting art from diverse perspectives and exploring the possibilities of contemporary art presentation on thought-provoking issues, delving into the content of the exhibition and the artists' works.
27 June 2024
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Planetary Seed's Opening | As the Sun reaches its highest point in the sky and just before sunset, the space will be open and the dynamic maze will be activated.
FRIDAY, 21 JUNE 2024 | FROM 17:00 - 21:00 HRS.| AT 100 TONSON FOUNDATION
The Summer Solstice — Opening Ceremony of
PLANETARY SEED
จร ● 惑星的共自在性
a collaborative exhibition by
Wit Pimkanchanapong x living room for seed
EVENT SCHEDULE
18:00 ● Opening Ceremony
by Daizaburo Sakamoto
18:30 ● Poetry Chanting
by Tyuki Imamura
18:48 ● Opening Remarks
by living room for seed
During the Opening Ceremony on the Summer Solstice, Daizaburo Sakamoto, a Yamabushi (Japanese mountain priest) and performing artist, conducted a ritual ceremony to cleanse the space and seek spiritual permission for its use. His performance included Goza mai, inviting the gods to a primitive shrine within the multi-dimensional maze, and Okina mai, the origin of modern Noh play, praying for peace and happiness.
The ceremony continued with Tyuki Imamura's poetry chanting of Hagoromo, a poem about a celestial being shedding its feathered garment. This ethereal imagery, reminiscent of a serpent's shedding—a legend prevalent across many parts of Asia—symbolizes transient encounters bridging our world and the otherworldly.
Simultaneous ceremonies began at sunset on the Summer Solstice in various locations including Bangkok, Chiangrai, Kanchanaburi, Pattani, and Yamagata (Japan). Documentation from each site will be interwoven into the landscapes within the ever-shifting terrain of the maze during the first phase of Planetary Seed, which runs until July 7, 2024.
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24 November 2024
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Mark the final day of Planetary Seed with a ritual performance by Daizaburo Sakamoto, a Yamabushi (mountain priest) and performing artist from Yamagata, Japan. Witness an intimate and reflective ritual < Shizume / Calm > serves as a closing gesture. It invites reflection and offers a moment of connection as the exhibition reaches its conclusion.
Sunday, 24 November 2024 | 05:00 PM – 06:00 PM | At 100 Tonson Foundation
< Shizume / Calm＞
Festivals are a time when the sacred comes from the depths of nature. When the sacred departs, everyday life resumes. An exhibition acts much like a festival. In Planetary Seed, the sacred is invited at the beginning, and at the end, we need to invite the holy to return to the other shore.
As part of the ritual process leading to the closing ceremony at 100 Tonson Foundation, Daizaburo performed an overnight vigil by the Chao Phraya River under the light of the half-moon, beginning at sunset on November 21 and concluding at sunrise on November 22. The artist called this meditative act < Komori / Staying >
< Komori / Staying >
In prehistoric times, caves were important to man. They were places of life that provided protection from the threats of nature and were also places of mystery that sometimes connected them to the roots of the universe. Entering a hole transforms the body and mind. The richness of the images that emerged from these places may have been the driving force behind the development of our culture. Cultures change their forms with time and place, but their roots are connected. There are many myths of holes, caves, eggs, boats, and the birth of sacred beings in South-East Asia and East Asia.
As the connection between the past and the present is rapidly disappearing, we would like to attempt to practice and recreate these stories, just like twisting frayed threads together.
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80° Virtual Tour of Planetary Seed online here,
we recommend watching it on YouTube for an even more immersive view
—but visit in person for the true experience!
24 August 2024
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100 Tonson Foundation teamed up with living room for seed, Hajime Jyuku, and the SDG Lab by Thammasat & AIS, joining forces with artist Daisuke Nagaoka to create "The Sphere Boat", utilizing Thai Ram Pan mats and recycled materials.
Central to this collaboration was the SDG Lab by Thammasat & AIS, a pioneering initiative focused on promoting sustainable development across Asia. The lab serves as a hub for research, innovation, and practical solutions aligned with the Sustainable Development Goals (SDGs), with key areas including climate, city development, and sustainable farming. Through its efforts, the SDG Lab contributes to a more sustainable and equitable future.
Daisuke Nagaoka's artistic project, "The Sphere House," offers a thought-provoking exploration of how living in a spherical house could fundamentally alter human society. By delving into both the practical and philosophical implications of such a radical concept, Nagaoka seeks to redefine our understanding of home, possession, and community. Challenging conventional notions of housing and society, "The Sphere House" presents a compelling vision of a future where everyday life is characterized by dynamism, interdependence, and a renewed connection to the natural world.
Building upon the concepts of "The Sphere House," Nagaoka developed "The Sphere Boat," a vessel designed to be lived in, floated, and paddled, crafted with Thai Ram Pan mats and recycled materials. These materials, sourced from one-time-use food plastic containers from convenience stores, underscore the project's commitment to sustainability by repurposing everyday waste into a functional and artistic creation. The Sphere Boat was brought to completion with the dedicated help of volunteers from the Thammasat team, who contributed their time and skills to ensure the project’s success. This project also engaged children from Hajime Jyuku, inviting them to participate in the creation process and experience the Sphere Boat firsthand.
The Sphere Boat is now available for everyone to experience and to try paddling at Puey Ungphakorn Centenary Hall and Park, Thammasat University Rangsit Campus.
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“The Sphere House”
Daisuke Nagaoka
“The Sphere House” is a project that involves building a spherical house, and examining modes of life in it. The ultimate aim of the project at large is to draw a line. As an artist who usually draws pictures, I began to wonder how I could possibly draw lines in a way that I have never done before. This project is what I arrived at in my pursuit of a method of drawing lines that express daily life itself, and the act of living. If the houses people live in were spherical, every movement of their residents would make them move as well. Every meal, every laugh, every fight and every roll-over in one’s sleep, would slowly rotate the entire house. The very act of living in a house would make it roll and leave a trace on the ground, and thereby draw a line onto the surface of the earth.
One thing that I understood at an early stage of the project was that human knowledge and perception are strongly biased. For a human society with spherical houses, “living” would be virtually synonymous with “moving.” This again would surely mean that the ideas of “possession” and “establishment” that we hold so dear take on different values. A house would be required to be mobile rather than decorative, and compactness would be preferable to expansiveness. In the event of an earthquake, tsunami or other natural disaster, people might be able to escape and take their houses with them. Versatile furniture and commodities would be appreciated, and terms like “comfortable” and “convenient” would be used to refer to different things than today. The concept of owning land would no longer exist, and social designs and economical systems, and ultimately, human thinking in general, would possibly change significantly from the modalities of the established society.
As all of these things come into play in this project, it isn’t done by simply building a spherical house. I consider it to be equally important to examine at once also a variety of technical matters in a society with spherical houses, such as agriculture, industry, food and communication. This would also mean to look at things that are not visible from a perspective that is defined by living in box-shaped houses. The “Zasso Kenkyujo” for example, which is part of the project, is dedicated to the observation of weeds (zasso). Once the basic living conditions for humans change, our perception of weeds shift from that of an “intruder” to a “cohabitor.” Furthermore, in order for multiple humans to live together on irregularly moving floors, they would need to be aware of each other’s presence, and continuously communicate in a non-verbal form. In this sense, a spherical house could be understood as a device that reinforces people’s sense of being alive.
Daisuke Nagaoka
Born 1973 in Yamagata, lives in Yokohama, Kanagawa. Completed a Master’s course at Wimbledon College of Arts, University of the Arts London, and is currently based in Yamagata and Yokohama. While continuing to focus on the connections between memory and the human body, he creates experimental drawings, videos, and other artworks that aim to capture the moment of creation. Launched the architectural drawing project “The Sphere House” in 2017, which he keeps expanding while examining a diverse range of aspects surrounding everyday life. He is currently a part-time lecturer at the graduate school of the Tohoku University of Art and Design.
19 August 2024
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Planetary Seed's 2nd Public Program: The Naga maze becomes a non-junction labyrinth on Buddhist holy days, perfect for reflective walking.
Together with SatiSpace and Buddhadasa Indapanno Archives, 100 Tonson Foundation will present a special activity, 'Wan Phen' (Full Moon), a meditation walk to discover some relevance in the maze. The labyrinth will officially activate on Monday, August 19th, 2024 — a major Buddhist holy day in August.
JOIN THE WALK AND TALK WITH:
- Phra Itthiyawat Chotipanyo, Wat Nikhomprateep, Trang
- Phra Suksan Supatto, Wat Buppharam Worawihan, Bangkok
- PhramahaTy Issaradhammo Dr,lWat Sa Ket Ratchaworamahawihan (The Golden Mount), Bangkok
- Chamnongsri L. Rutnin Hanchanlash, Founder of Cheevamits Social Enterprise
- Phawin Visetsiri, Co-founder of Duet Academ
*The meditation will be conducted in Thai*
**Free admission ● Limited to 25 participants**
Please register in advance via FB/IG Inbox,
e-mail at hello@100tonsonfoundation.org, or call +6698 789 6100
