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Prof May Adadol Ingawanij will be talking with artist Hikaru Fujii at the opening of his exhibition Lines, Gazes, Landscapes, at the Daiwa Foundation, London. 4 March, 6-7pm.

Fujii is one of Japan’s most prominent contemporary artists, primarily working with film to explore the role of artistic practice within today’s social and political conditions. His practice is grounded in extensive historical research and frequently draws on archival materials related to Japanese imperialism and colonial occupation. This exhibition brings together several works by Fujii, shown in the UK for the first time, to examine moments in which empire and disaster appear side by side, occupying the same space.

Image from Hikaru Fujii, Southern Barbarian Screens, 2017, single-channel video. Courtesy of the artist.

https://dajf.org.uk/exhibitions/lines-gazes-landscapes

Applications are invited for University of Westminster QHT Doctoral Studentships, deadline Feb 6th. Link for more info in bio and at t.ly/zBdNO.

Westminster School of Arts is open to PhD projects that explore wide-ranging issues. You can find out more about our research expertise at cream.ac.uk. For questions please email Ozlem Koksal: koksalo@westmisnter.ac.uk.

School for Ghost Archivists
เม อาดาดล อิงควณิช ร่วมกับ ชลิดา เอื้อบำรุงจิต, ก้อง ฤทธิ์ดี, หอภาพยนตร์ไทย (องค์กรมหาชน), ไอดา อรุณวงศ์, ธนัช ธีระดากร, ท้าวหมาหยุย และ พิพิธภัณฑ์แรงงานไทย

8 พฤศจิกายน 2568 12:00 - 17:00 สงวนสิทธิ์สำหรับผู้สมัครเวิร์คช็อป
9 พฤศจิกายน 2568 13:00 - 17:00 บุคคลทั่วไปเข้าร่วมได้
สถานที่: พิพิธภัณฑ์แรงงานไทย

ใครคือผีคอยจัดเก็บข้อมูล? เราแต่ละคนต้องเรียนรู้จัดเก็บภูตผีอย่างไร? School for Ghost Archivists จินตนาการตนเองในฐานะโรงเรียนศึกษานอกเวลาที่โดนหลอกหลอนด้วยบรรดาวัตถุข้อมูลที่สูญหาย กิจกรรมนี้เชิญชวนมาใช้เวลาด้วยกันเพื่อแบ่งปันเรื่องเล่าจากสิ่งของที่ซุกซ่อนในกรุเก็บหลากแหล่ง ฟังบทเพลงหรือสุ้มเสียงต่างๆ ที่อาจสิงสถิตย์อยู่ในสิ่งของจากอดีต

เวิร์คช็อปวันเสาร์ที่ 8 พฤศจิกายน จะขอให้ทุกคนที่เข้าร่วม พกของเก่าจากอดีตที่ตนเองเก็บไว้เงียบๆ มาหนึ่งชิ้น จะเป็นของอะไรก็ได้ที่ทิ้งไม่ลง ที่ทำให้คิดย้อนกลับไปถึงทางเลือกแบบอื่นที่อาจจะเลือกเดิน หรือชวนให้คิดถึงอนาคตที่เคยคิดฝันถึงหรือที่อาจเป็นอื่น

ส่วนในวันอาทิตย์ที่ 9 พฤศจิกายน มีกิจกรรมเดินทัวร์พิพิธภัณฑ์แรงงานไทย พร้อมกับการฉายภาพยนตร์และการเสวนา ที่จะมาร่วมสำรวจว่าเสียงเพลง ภาพยนตร์ หรือวัตถุเอกสารจะสามารถปรับบริบทและถูกแนะนำใหม่อีกครั้งในขบวนการเคลื่อนไหวทางสังคมร่วมสมัยอย่างไร

🟢 เปิดรับสมัครผู้เข้าร่วมเวิร์คช็อปวันที่ 8 พฤศจิกายน 2568

เรากำลังมองหานักปฏิบัติการทางวัฒนธรรมทุกสาขาและความหมาย ที่กำลังทำงานหรือต้องการทำงานในประเด็นว่าด้วย แรงงาน ประวัติศาสตร์ทางการเมือง การเร้นหายไปของเรื่องราย และ การรวมกลุ่ม

🖊️ หากสนใจ ส่งสรุปย่อถึงเรื่องที่สนใจ งานที่กำลังศึกษาวิจัย หรือ โครงการที่กำลังทำอยู่หรือต้องการจะทำในอนาคตในจำนวน 500 คำ รวมถึงประวัติมาที่ ⁦https://forms.gle/BqtPuQ2ZL4tT9we39⁩

-ไม่มีค่าใช้จ่าย
-จำกัดจำนวนผู้ร่วมเวิร์คช็อปไม่เกิน 15 คน
-ดำเนินกิจกรรมเป็นภาษาไทย
-รับสมัครถึงวันที่ 6 พฤศจิกายน 2568 เวลา 23:00 น.
-ผู้สมัครจะได้อีเมลยืนยันการเข้าร่วมภายใน 1 วันหลังปิดรับสมัคร

หากมีข้อสงสัยติดต่อเราได้ที่ info@ghost2568.com หรือดูข้อมูลเพิ่มเติมที่ ⁦ghost2568.com⁩

#Ghost2568

School for Ghost Archivists
เม อาดาดล อิงควณิช ร่วมกับ ชลิดา เอื้อบำรุงจิต, ก้อง ฤทธิ์ดี, หอภาพยนตร์ไทย (องค์กรมหาชน), ไอดา อรุณวงศ์, ธนัช ธีระดากร, ท้าวหมาหยุย และ พิพิธภัณฑ์แรงงานไทย

8 พฤศจิกายน 2568 12:00 - 17:00 สงวนสิทธิ์สำหรับผู้สมัครเวิร์คช็อป
9 พฤศจิกายน 2568 13:00 - 17:00 บุคคลทั่วไปเข้าร่วมได้
สถานที่: พิพิธภัณฑ์แรงงานไทย

ใครคือผีคอยจัดเก็บข้อมูล? เราแต่ละคนต้องเรียนรู้จัดเก็บภูตผีอย่างไร? School for Ghost Archivists จินตนาการตนเองในฐานะโรงเรียนศึกษานอกเวลาที่โดนหลอกหลอนด้วยบรรดาวัตถุข้อมูลที่สูญหาย กิจกรรมนี้เชิญชวนมาใช้เวลาด้วยกันเพื่อแบ่งปันเรื่องเล่าจากสิ่งของที่ซุกซ่อนในกรุเก็บหลากแหล่ง ฟังบทเพลงหรือสุ้มเสียงต่างๆ ที่อาจสิงสถิตย์อยู่ในสิ่งของจากอดีต

เวิร์คช็อปวันเสาร์ที่ 8 พฤศจิกายน จะขอให้ทุกคนที่เข้าร่วม พกของเก่าจากอดีตที่ตนเองเก็บไว้เงียบๆ มาหนึ่งชิ้น จะเป็นของอะไรก็ได้ที่ทิ้งไม่ลง ที่ทำให้คิดย้อนกลับไปถึงทางเลือกแบบอื่นที่อาจจะเลือกเดิน หรือชวนให้คิดถึงอนาคตที่เคยคิดฝันถึงหรือที่อาจเป็นอื่น

ส่วนในวันอาทิตย์ที่ 9 พฤศจิกายน มีกิจกรรมเดินทัวร์พิพิธภัณฑ์แรงงานไทย พร้อมกับการฉายภาพยนตร์และการเสวนา ที่จะมาร่วมสำรวจว่าเสียงเพลง ภาพยนตร์ หรือวัตถุเอกสารจะสามารถปรับบริบทและถูกแนะนำใหม่อีกครั้งในขบวนการเคลื่อนไหวทางสังคมร่วมสมัยอย่างไร

🟢 เปิดรับสมัครผู้เข้าร่วมเวิร์คช็อปวันที่ 8 พฤศจิกายน 2568

เรากำลังมองหานักปฏิบัติการทางวัฒนธรรมทุกสาขาและความหมาย ที่กำลังทำงานหรือต้องการทำงานในประเด็นว่าด้วย แรงงาน ประวัติศาสตร์ทางการเมือง การเร้นหายไปของเรื่องราย และ การรวมกลุ่ม

🖊️ หากสนใจ ส่งสรุปย่อถึงเรื่องที่สนใจ งานที่กำลังศึกษาวิจัย หรือ โครงการที่กำลังทำอยู่หรือต้องการจะทำในอนาคตในจำนวน 500 คำ รวมถึงประวัติมาที่ ⁦https://forms.gle/BqtPuQ2ZL4tT9we39⁩

-ไม่มีค่าใช้จ่าย
-จำกัดจำนวนผู้ร่วมเวิร์คช็อปไม่เกิน 15 คน
-ดำเนินกิจกรรมเป็นภาษาไทย
-รับสมัครถึงวันที่ 6 พฤศจิกายน 2568 เวลา 23:00 น.
-ผู้สมัครจะได้อีเมลยืนยันการเข้าร่วมภายใน 1 วันหลังปิดรับสมัคร

หากมีข้อสงสัยติดต่อเราได้ที่ info@ghost2568.com หรือดูข้อมูลเพิ่มเติมที่ ⁦ghost2568.com⁩

#Ghost2568

CREAM Research Associate post for Burmese speaker.

PhD alumni Dr. ZHUANG Wubin returns to CREAM as a recipient of the British Academy 2025 Visiting Fellowship. This prestigious grant enables Dr. Zhuang to research the role of salon photography (or Pictorialism) in making and visualising Southeast Asian nations during periods of decolonisation.  

Through archival research, Salon Photography and the Making of the Nation: Malay(si)a, Singapore, and Burma (Myanmar) in the 1950s and the 1960s, focuses on the salon photographers and resurfaces their interactions with patrons, politicians, state officials and other cultural workers. Dr. Zhuang’s project contends that their connections shaped the praxis of salon photography, and the latter was implicated in the political project of nation-building during decolonisation and the Cold War. The project asks: How did the photographers utilise salon photography to materialise different visions of the nation during this period? What do the archival traces of salon photography tell us about their differing and intersecting desires in nation-building?

CREAM is recruiting a Research Associate to assist in the archival research and organisation of its public programme. This part-time, fixed-term role requires excellent command of the Burmese language. Please following these links to learn more about Dr. Zhuang’s project and for further information about the Research Associate’s role.

Application deadline 25 July 2025

https://cream.ac.uk/features/salon-photography-and-nation-building/

https://vacancies.westminster.ac.uk/hrvacancies/default.aspx?id=50072402

Image caption: An announcement from the catalogue for the Members’ Exhibition of Pictorial Photography 1958, hosted by Federation of Malaya Pictorialists, British Library. Image by Zhuang Wubin.

Looking forward to being part of MoMA C-MAP Seminar 2025 - Assemblies in Uncertain Times.

“This public program brings together Nancy Adajania, May Adadol Ingawanij, Frida Muenala from Mullu, and Bonaventure Soh Bejeng Ndikung for an evening of inquiry into forms and practices of gathering. The speakers, who represent diverse practices in the cultural fields—from art making to curation to institutional leadership—and operate across vast geographies, will unpack their different approaches to assemblies.

Among the topics that will be discussed are assemblies of the human and other-than-human as collectives, assemblies of materials into collections, and assemblies of spaces and places into shared worlds. The speakers will draw from their engagement with exhibitions, films, public programs, and cultural institutions to map how these forms of assemblies realize the poetic potential of coming together through difference. Assemblies in Uncertain Times offers an opportunity to imagine other futures together, complicating established linearities and teleologies.”

Thank you @carlosquijonjr Quijon Jr + C-MAP team for conceiving & organising.

Wed, Jun 11, 6:00–8:00 p.m.
Followed by a reception

MoMA, Mezzanine, Theater 3
The Celeste Bartos Theater

Free, this link for registration: https://www.moma.org/calendar/programs/150

A patch echoes, a city glides
Harvard Film Archive
Thur 27 March 2025, 6pm

I curated this screening programme for Collaborations Afield https://collaborationsafield.com. Thank you Pauline Shongov and team for organising this conference and opening up a range of creative contributions. I’ll be in keynote-conversation after the screening.

Ecological and historical poetics are two major tendencies of Southeast Asian contemporary artists’ cinema. This screening programme honours the important work of the Migrant Ecologies Project and re-situates the cine-poem of Sasithorn Ariyavicha as a prescient practice of ecological imagining.

Among contemporary artists sustaining a durational and politically committed mode of exploring ecological entanglement and human-nonhuman relations in Southeast Asia, Lucy Davis stands as an important instigator. In 2009 she initiated the Migrant Ecologies Project, an ongoing collaborative umbrella for a series of transdisciplinary artistic inquiries whose starting point is, as the artist-professor puts it, “a very particular more-than-human encounter. A patch of urban scrub, an encounter with a squawking in the canopy.” {if your bait can sing the wild one will come} Like Shadows Through Leaves, exemplifies the poetry and the rigour of MEP’s method. “Common for all these stories is that they evolve through processes of rhythmic returns, to the same place..the same bird call.”

At the turn of this century Sasithorn Ariyavicha was a precursor of Thai artists’ cinema. Having graduated from studies in the USA, she returned to Thailand and continued experimenting with analogue and digital modes of making pure cinematic images from fragments of the city and fleeting moments and gestures. At that point, her solitary mode of filmmaking, and the intensely poetic quality of her images, had been associated with the poetic tradition of experimental cinema emphasising individual subjective vision and memory. The turn to ecological poetics among artists’ cinema practices invites another engagement with her major work, Birth of the Seanéma, more attuned to its defamiliarisation of the city film via its poetics of submergence.

A patch echoes, a city glides
Harvard Film Archive
Thur 27 March 2025, 6pm

I curated this screening programme for Collaborations Afield https://collaborationsafield.com. Thank you Pauline Shongov and team for organising this conference and opening up a range of creative contributions. I’ll be in keynote-conversation after the screening.

Ecological and historical poetics are two major tendencies of Southeast Asian contemporary artists’ cinema. This screening programme honours the important work of the Migrant Ecologies Project and re-situates the cine-poem of Sasithorn Ariyavicha as a prescient practice of ecological imagining.

Among contemporary artists sustaining a durational and politically committed mode of exploring ecological entanglement and human-nonhuman relations in Southeast Asia, Lucy Davis stands as an important instigator. In 2009 she initiated the Migrant Ecologies Project, an ongoing collaborative umbrella for a series of transdisciplinary artistic inquiries whose starting point is, as the artist-professor puts it, “a very particular more-than-human encounter. A patch of urban scrub, an encounter with a squawking in the canopy.” {if your bait can sing the wild one will come} Like Shadows Through Leaves, exemplifies the poetry and the rigour of MEP’s method. “Common for all these stories is that they evolve through processes of rhythmic returns, to the same place..the same bird call.”

At the turn of this century Sasithorn Ariyavicha was a precursor of Thai artists’ cinema. Having graduated from studies in the USA, she returned to Thailand and continued experimenting with analogue and digital modes of making pure cinematic images from fragments of the city and fleeting moments and gestures. At that point, her solitary mode of filmmaking, and the intensely poetic quality of her images, had been associated with the poetic tradition of experimental cinema emphasising individual subjective vision and memory. The turn to ecological poetics among artists’ cinema practices invites another engagement with her major work, Birth of the Seanéma, more attuned to its defamiliarisation of the city film via its poetics of submergence.

A patch echoes, a city glides
Harvard Film Archive
Thur 27 March 2025, 6pm

I curated this screening programme for Collaborations Afield https://collaborationsafield.com. Thank you Pauline Shongov and team for organising this conference and opening up a range of creative contributions. I’ll be in keynote-conversation after the screening.

Ecological and historical poetics are two major tendencies of Southeast Asian contemporary artists’ cinema. This screening programme honours the important work of the Migrant Ecologies Project and re-situates the cine-poem of Sasithorn Ariyavicha as a prescient practice of ecological imagining.

Among contemporary artists sustaining a durational and politically committed mode of exploring ecological entanglement and human-nonhuman relations in Southeast Asia, Lucy Davis stands as an important instigator. In 2009 she initiated the Migrant Ecologies Project, an ongoing collaborative umbrella for a series of transdisciplinary artistic inquiries whose starting point is, as the artist-professor puts it, “a very particular more-than-human encounter. A patch of urban scrub, an encounter with a squawking in the canopy.” {if your bait can sing the wild one will come} Like Shadows Through Leaves, exemplifies the poetry and the rigour of MEP’s method. “Common for all these stories is that they evolve through processes of rhythmic returns, to the same place..the same bird call.”

At the turn of this century Sasithorn Ariyavicha was a precursor of Thai artists’ cinema. Having graduated from studies in the USA, she returned to Thailand and continued experimenting with analogue and digital modes of making pure cinematic images from fragments of the city and fleeting moments and gestures. At that point, her solitary mode of filmmaking, and the intensely poetic quality of her images, had been associated with the poetic tradition of experimental cinema emphasising individual subjective vision and memory. The turn to ecological poetics among artists’ cinema practices invites another engagement with her major work, Birth of the Seanéma, more attuned to its defamiliarisation of the city film via its poetics of submergence.

A patch echoes, a city glides
Harvard Film Archive
Thur 27 March 2025, 6pm

I curated this screening programme for Collaborations Afield https://collaborationsafield.com. Thank you Pauline Shongov and team for organising this conference and opening up a range of creative contributions. I’ll be in keynote-conversation after the screening.

Ecological and historical poetics are two major tendencies of Southeast Asian contemporary artists’ cinema. This screening programme honours the important work of the Migrant Ecologies Project and re-situates the cine-poem of Sasithorn Ariyavicha as a prescient practice of ecological imagining.

Among contemporary artists sustaining a durational and politically committed mode of exploring ecological entanglement and human-nonhuman relations in Southeast Asia, Lucy Davis stands as an important instigator. In 2009 she initiated the Migrant Ecologies Project, an ongoing collaborative umbrella for a series of transdisciplinary artistic inquiries whose starting point is, as the artist-professor puts it, “a very particular more-than-human encounter. A patch of urban scrub, an encounter with a squawking in the canopy.” {if your bait can sing the wild one will come} Like Shadows Through Leaves, exemplifies the poetry and the rigour of MEP’s method. “Common for all these stories is that they evolve through processes of rhythmic returns, to the same place..the same bird call.”

At the turn of this century Sasithorn Ariyavicha was a precursor of Thai artists’ cinema. Having graduated from studies in the USA, she returned to Thailand and continued experimenting with analogue and digital modes of making pure cinematic images from fragments of the city and fleeting moments and gestures. At that point, her solitary mode of filmmaking, and the intensely poetic quality of her images, had been associated with the poetic tradition of experimental cinema emphasising individual subjective vision and memory. The turn to ecological poetics among artists’ cinema practices invites another engagement with her major work, Birth of the Seanéma, more attuned to its defamiliarisation of the city film via its poetics of submergence.

Yebisu International Festival for Art & Alternative Visions 2025 Artists Commission Project @yebizo Incredible new works by the four commissioned artists showing at TOP Museum until 23/3. https://www.yebizo.com/en/archives/program

Haruka Komori, SPRING, ON THE SHORES OF THE AGA [image 1]

A portrait of Hideto Hatano, the instigator of the documentary film “Living on the River Agano” (1992, directed by Makoto Sato), as someone who has been taking care of the victims of Niigata Minamata disease for 50 years, and who, as part of that commitment, has had to unlearn what activism could and should do. Presented at Yebisu as an installation with archival materials. Awarded special prize by the selection committee.

Eri Makihara, THREE TIMES [image 2]

Makihara experiments with the multimedia installation format to evoke communicative sensations inspired by sign and visual language. The installation comprises a short video in which an expressive face looks directly at the viewers, a live performances taking place inside TOP Museum and a workplace for sign language users co-managed by the artist. The performances are relayed at irregular intervals on the same screen showing the video.

Kaori Oda, RECORDING WITH MOTHER “WORKING HANDS” [image 3]

An achingly intimate portrait of a day in the life of the artist’s mother. She learns a new karaoke song at the kitchen table and talks about the jobs she’s done over the decades. Oda’s camera studies her aged hand and the shifting light illuminating her face against the train window. A distant rumble registers the unsettling world beyond. Presented at Yebisu as an installation with the artist’s painting.

Kosuke Nakata, FIRE IN WATER [image 4]

The process of alcohol fermentation is an entanglement of microorganisms, law, tax, bacteria, human behaviour and social structures. This becomes a prism through which Nakata’s extensively researched, compelling video essay-installation explores the afterlife of Japan’s occupation of Korea.

Selection committee: Keisuke Oki, Ayako Saito, Leonhard Bartolomeus, Hiroko Tasaka, May Adadol Ingawanij.
@keisuke_oki_art_data @leonbarto @lislen

Yebisu International Festival for Art & Alternative Visions 2025 Artists Commission Project @yebizo Incredible new works by the four commissioned artists showing at TOP Museum until 23/3. https://www.yebizo.com/en/archives/program

Haruka Komori, SPRING, ON THE SHORES OF THE AGA [image 1]

A portrait of Hideto Hatano, the instigator of the documentary film “Living on the River Agano” (1992, directed by Makoto Sato), as someone who has been taking care of the victims of Niigata Minamata disease for 50 years, and who, as part of that commitment, has had to unlearn what activism could and should do. Presented at Yebisu as an installation with archival materials. Awarded special prize by the selection committee.

Eri Makihara, THREE TIMES [image 2]

Makihara experiments with the multimedia installation format to evoke communicative sensations inspired by sign and visual language. The installation comprises a short video in which an expressive face looks directly at the viewers, a live performances taking place inside TOP Museum and a workplace for sign language users co-managed by the artist. The performances are relayed at irregular intervals on the same screen showing the video.

Kaori Oda, RECORDING WITH MOTHER “WORKING HANDS” [image 3]

An achingly intimate portrait of a day in the life of the artist’s mother. She learns a new karaoke song at the kitchen table and talks about the jobs she’s done over the decades. Oda’s camera studies her aged hand and the shifting light illuminating her face against the train window. A distant rumble registers the unsettling world beyond. Presented at Yebisu as an installation with the artist’s painting.

Kosuke Nakata, FIRE IN WATER [image 4]

The process of alcohol fermentation is an entanglement of microorganisms, law, tax, bacteria, human behaviour and social structures. This becomes a prism through which Nakata’s extensively researched, compelling video essay-installation explores the afterlife of Japan’s occupation of Korea.

Selection committee: Keisuke Oki, Ayako Saito, Leonhard Bartolomeus, Hiroko Tasaka, May Adadol Ingawanij.
@keisuke_oki_art_data @leonbarto @lislen

Yebisu International Festival for Art & Alternative Visions 2025 Artists Commission Project @yebizo Incredible new works by the four commissioned artists showing at TOP Museum until 23/3. https://www.yebizo.com/en/archives/program

Haruka Komori, SPRING, ON THE SHORES OF THE AGA [image 1]

A portrait of Hideto Hatano, the instigator of the documentary film “Living on the River Agano” (1992, directed by Makoto Sato), as someone who has been taking care of the victims of Niigata Minamata disease for 50 years, and who, as part of that commitment, has had to unlearn what activism could and should do. Presented at Yebisu as an installation with archival materials. Awarded special prize by the selection committee.

Eri Makihara, THREE TIMES [image 2]

Makihara experiments with the multimedia installation format to evoke communicative sensations inspired by sign and visual language. The installation comprises a short video in which an expressive face looks directly at the viewers, a live performances taking place inside TOP Museum and a workplace for sign language users co-managed by the artist. The performances are relayed at irregular intervals on the same screen showing the video.

Kaori Oda, RECORDING WITH MOTHER “WORKING HANDS” [image 3]

An achingly intimate portrait of a day in the life of the artist’s mother. She learns a new karaoke song at the kitchen table and talks about the jobs she’s done over the decades. Oda’s camera studies her aged hand and the shifting light illuminating her face against the train window. A distant rumble registers the unsettling world beyond. Presented at Yebisu as an installation with the artist’s painting.

Kosuke Nakata, FIRE IN WATER [image 4]

The process of alcohol fermentation is an entanglement of microorganisms, law, tax, bacteria, human behaviour and social structures. This becomes a prism through which Nakata’s extensively researched, compelling video essay-installation explores the afterlife of Japan’s occupation of Korea.

Selection committee: Keisuke Oki, Ayako Saito, Leonhard Bartolomeus, Hiroko Tasaka, May Adadol Ingawanij.
@keisuke_oki_art_data @leonbarto @lislen

Yebisu International Festival for Art & Alternative Visions 2025 Artists Commission Project @yebizo Incredible new works by the four commissioned artists showing at TOP Museum until 23/3. https://www.yebizo.com/en/archives/program

Haruka Komori, SPRING, ON THE SHORES OF THE AGA [image 1]

A portrait of Hideto Hatano, the instigator of the documentary film “Living on the River Agano” (1992, directed by Makoto Sato), as someone who has been taking care of the victims of Niigata Minamata disease for 50 years, and who, as part of that commitment, has had to unlearn what activism could and should do. Presented at Yebisu as an installation with archival materials. Awarded special prize by the selection committee.

Eri Makihara, THREE TIMES [image 2]

Makihara experiments with the multimedia installation format to evoke communicative sensations inspired by sign and visual language. The installation comprises a short video in which an expressive face looks directly at the viewers, a live performances taking place inside TOP Museum and a workplace for sign language users co-managed by the artist. The performances are relayed at irregular intervals on the same screen showing the video.

Kaori Oda, RECORDING WITH MOTHER “WORKING HANDS” [image 3]

An achingly intimate portrait of a day in the life of the artist’s mother. She learns a new karaoke song at the kitchen table and talks about the jobs she’s done over the decades. Oda’s camera studies her aged hand and the shifting light illuminating her face against the train window. A distant rumble registers the unsettling world beyond. Presented at Yebisu as an installation with the artist’s painting.

Kosuke Nakata, FIRE IN WATER [image 4]

The process of alcohol fermentation is an entanglement of microorganisms, law, tax, bacteria, human behaviour and social structures. This becomes a prism through which Nakata’s extensively researched, compelling video essay-installation explores the afterlife of Japan’s occupation of Korea.

Selection committee: Keisuke Oki, Ayako Saito, Leonhard Bartolomeus, Hiroko Tasaka, May Adadol Ingawanij.
@keisuke_oki_art_data @leonbarto @lislen

We’re excited to announce our next screening Collective Filmmaking: A Chorus of Resistance, taking place at @icalondon on Sun 23 Feb!

In the two decades of the 1960s and 1970s, a wave of filmmakers united collectives, a shift from an individual, hierarchical model of production to one based on fluidity and embracing the ‘amateur’ spirit of such collaborations. Nevertheless, the screening and post-screening talk aim to emphasise the labour of female filmmakers within such collectives, who are often written out of the narratives of their radical efforts, particularly Tongpan (1977) which was made by a group of amateur students. The film is a cornerstone of Thai Third Cinema, exploring rural agrarian reform and the challenges of development in the aftermath of a military dictatorship. 

Bringing together the works of Isan Film Collective, Kaidu Film Club, a feminist experimental film club in South Korea and The Nihon University Cinema Club from Nihon, Tokyo, this programme highlights bold, radical and often experimental films born from the collective labour of filmmakers who rejected traditional hierarchies, aiming to create cinema for and by the people. 

Followed by a talk with Dr. May Adadol Ingawanij @mayadadol that will focus on the production of Tongpan (1977).

Screening at @icalondon
🎥 Sun 23 February 15:30

🎫 Book tickets from link in bio

Curated by @cici__peng

The event is part of our ongoing season <Vulnerable Histories> 2024-25, supported by Arts Council England @aceagrams

We’re excited to announce our next screening Collective Filmmaking: A Chorus of Resistance, taking place at @icalondon on Sun 23 Feb!

In the two decades of the 1960s and 1970s, a wave of filmmakers united collectives, a shift from an individual, hierarchical model of production to one based on fluidity and embracing the ‘amateur’ spirit of such collaborations. Nevertheless, the screening and post-screening talk aim to emphasise the labour of female filmmakers within such collectives, who are often written out of the narratives of their radical efforts, particularly Tongpan (1977) which was made by a group of amateur students. The film is a cornerstone of Thai Third Cinema, exploring rural agrarian reform and the challenges of development in the aftermath of a military dictatorship. 

Bringing together the works of Isan Film Collective, Kaidu Film Club, a feminist experimental film club in South Korea and The Nihon University Cinema Club from Nihon, Tokyo, this programme highlights bold, radical and often experimental films born from the collective labour of filmmakers who rejected traditional hierarchies, aiming to create cinema for and by the people. 

Followed by a talk with Dr. May Adadol Ingawanij @mayadadol that will focus on the production of Tongpan (1977).

Screening at @icalondon
🎥 Sun 23 February 15:30

🎫 Book tickets from link in bio

Curated by @cici__peng

The event is part of our ongoing season <Vulnerable Histories> 2024-25, supported by Arts Council England @aceagrams

We’re excited to announce our next screening Collective Filmmaking: A Chorus of Resistance, taking place at @icalondon on Sun 23 Feb!

In the two decades of the 1960s and 1970s, a wave of filmmakers united collectives, a shift from an individual, hierarchical model of production to one based on fluidity and embracing the ‘amateur’ spirit of such collaborations. Nevertheless, the screening and post-screening talk aim to emphasise the labour of female filmmakers within such collectives, who are often written out of the narratives of their radical efforts, particularly Tongpan (1977) which was made by a group of amateur students. The film is a cornerstone of Thai Third Cinema, exploring rural agrarian reform and the challenges of development in the aftermath of a military dictatorship. 

Bringing together the works of Isan Film Collective, Kaidu Film Club, a feminist experimental film club in South Korea and The Nihon University Cinema Club from Nihon, Tokyo, this programme highlights bold, radical and often experimental films born from the collective labour of filmmakers who rejected traditional hierarchies, aiming to create cinema for and by the people. 

Followed by a talk with Dr. May Adadol Ingawanij @mayadadol that will focus on the production of Tongpan (1977).

Screening at @icalondon
🎥 Sun 23 February 15:30

🎫 Book tickets from link in bio

Curated by @cici__peng

The event is part of our ongoing season <Vulnerable Histories> 2024-25, supported by Arts Council England @aceagrams

We’re excited to announce our next screening Collective Filmmaking: A Chorus of Resistance, taking place at @icalondon on Sun 23 Feb!

In the two decades of the 1960s and 1970s, a wave of filmmakers united collectives, a shift from an individual, hierarchical model of production to one based on fluidity and embracing the ‘amateur’ spirit of such collaborations. Nevertheless, the screening and post-screening talk aim to emphasise the labour of female filmmakers within such collectives, who are often written out of the narratives of their radical efforts, particularly Tongpan (1977) which was made by a group of amateur students. The film is a cornerstone of Thai Third Cinema, exploring rural agrarian reform and the challenges of development in the aftermath of a military dictatorship. 

Bringing together the works of Isan Film Collective, Kaidu Film Club, a feminist experimental film club in South Korea and The Nihon University Cinema Club from Nihon, Tokyo, this programme highlights bold, radical and often experimental films born from the collective labour of filmmakers who rejected traditional hierarchies, aiming to create cinema for and by the people. 

Followed by a talk with Dr. May Adadol Ingawanij @mayadadol that will focus on the production of Tongpan (1977).

Screening at @icalondon
🎥 Sun 23 February 15:30

🎫 Book tickets from link in bio

Curated by @cici__peng

The event is part of our ongoing season <Vulnerable Histories> 2024-25, supported by Arts Council England @aceagrams

Bangkok Experimental Film Festival BEFF7 @beff.th Guest Curators’ programme
SMALL HOURS OF THE NIGHT (Daniel Hui, 2024)

“Largely unfolding within the four walls of a smoke-filled room, Daniel Hui’s atmospheric chamber drama is a daring fever dream—and a rare cinematic foray into Singapore’s political history. In the 1960s, in the newly independent city-state, a man interrogates a woman who, over the course of a rainy night, begins to channel voices from the future. Drawing on real-life court testimonies from the 1970 and ’80s, sometimes verbatim, Hui’s austere docu-fiction conjures the absurdities and cruelties of statecraft. Shot on black-and-white 16mm film, the smoke and shadows that envelop each glance and gesture evoke multitudes of defendants—here coalescing in a single protagonist—who cycled through a merciless court of law. While this blurring of identities sends the story spiraling into delirium, Hui’s commitment to exploring truth remains stoically certain” (MoMA Doc Fortnight)

The film’s director @danielhuifilm will be present.

Guest curated by Julian Ross @julianross12 & May Adadol Ingawanij
Thank you to Daniel Hui and Mary Pansanga @mary.pansanga

Sun Jan 26, 1730-1900
Fri Jan 31, 1900-2100
https://beffth.com/screening-guest-curators-programs

BEFF7 @beff.th programme HAND & SKIN

Artists: Diana Cam Van Nguyen, Ai Ozaki, Hsu Che-yu, Apichatpong Weerasethakul, Maryam Tafakory. Thank you to the artists and Mary Pansanga @mary.pansanga

Live-action images coexist with graphic and abstract practices of animating in broader conditions of crisis, chaos and repression.

Curated by Julian Ross @julianross12 & May Adadol Ingawanij

Diana Cam Van Nguyen @dianacamvan
Love, Dad, 2021 [image1]

“I found these letters from my father that I was keeping all the time, but didn’t remember that I had them. So when I read them again, I just noticed that there were so many feelings and so much love that I don’t see from my father anymore, so I had the idea that maybe I could do a film about it.” (Interview with May Ngo) 

Ai Ozaki @ai_ozaki_
Joy of Life, 2016 [image2]

“The reason for addressing 'sex' and 'eating' is that everyone has a body, and also comes from my parents' job, pixelation to hide genital parts of pornographic videos in Japan. The people touching each other on screen were like animals. When I look at the behavior of animals and living things, it looks like a microcosm of life.” (Rijksakademie)

Hsu Che-yu @hsu__che_yu
Single Copy, 2019 [image3]

“I produce a digital-scan model and fiberglass cast of the first Taiwanese conjoined twins, using archival data as a source to capture memories from the early life of one of the twins, Chang Chung-I. Through this process, I aim to explore the dynamics of biopolitics and the mechanisms of memory.”

Apichatpong Weerasethakul @kickthemachine_official
Fiction, 2018 [image4]

BEFF7 is pleased to present Apichatpong’s Fiction as a single-screen cinematic projection. This work is originally shown as a video installation.  

Maryam Tafakory @maryamtafakory
Razeh-del, 2024 [image5]

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Sun 26 Jan 1430-1630
Thur 30 Jan 16oo-1800
https://beffth.com/screening-guest-curators-programs

BEFF7 @beff.th programme HAND & SKIN

Artists: Diana Cam Van Nguyen, Ai Ozaki, Hsu Che-yu, Apichatpong Weerasethakul, Maryam Tafakory. Thank you to the artists and Mary Pansanga @mary.pansanga

Live-action images coexist with graphic and abstract practices of animating in broader conditions of crisis, chaos and repression.

Curated by Julian Ross @julianross12 & May Adadol Ingawanij

Diana Cam Van Nguyen @dianacamvan
Love, Dad, 2021 [image1]

“I found these letters from my father that I was keeping all the time, but didn’t remember that I had them. So when I read them again, I just noticed that there were so many feelings and so much love that I don’t see from my father anymore, so I had the idea that maybe I could do a film about it.” (Interview with May Ngo) 

Ai Ozaki @ai_ozaki_
Joy of Life, 2016 [image2]

“The reason for addressing 'sex' and 'eating' is that everyone has a body, and also comes from my parents' job, pixelation to hide genital parts of pornographic videos in Japan. The people touching each other on screen were like animals. When I look at the behavior of animals and living things, it looks like a microcosm of life.” (Rijksakademie)

Hsu Che-yu @hsu__che_yu
Single Copy, 2019 [image3]

“I produce a digital-scan model and fiberglass cast of the first Taiwanese conjoined twins, using archival data as a source to capture memories from the early life of one of the twins, Chang Chung-I. Through this process, I aim to explore the dynamics of biopolitics and the mechanisms of memory.”

Apichatpong Weerasethakul @kickthemachine_official
Fiction, 2018 [image4]

BEFF7 is pleased to present Apichatpong’s Fiction as a single-screen cinematic projection. This work is originally shown as a video installation.  

Maryam Tafakory @maryamtafakory
Razeh-del, 2024 [image5]

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Sun 26 Jan 1430-1630
Thur 30 Jan 16oo-1800
https://beffth.com/screening-guest-curators-programs

BEFF7 @beff.th programme HAND & SKIN

Artists: Diana Cam Van Nguyen, Ai Ozaki, Hsu Che-yu, Apichatpong Weerasethakul, Maryam Tafakory. Thank you to the artists and Mary Pansanga @mary.pansanga

Live-action images coexist with graphic and abstract practices of animating in broader conditions of crisis, chaos and repression.

Curated by Julian Ross @julianross12 & May Adadol Ingawanij

Diana Cam Van Nguyen @dianacamvan
Love, Dad, 2021 [image1]

“I found these letters from my father that I was keeping all the time, but didn’t remember that I had them. So when I read them again, I just noticed that there were so many feelings and so much love that I don’t see from my father anymore, so I had the idea that maybe I could do a film about it.” (Interview with May Ngo) 

Ai Ozaki @ai_ozaki_
Joy of Life, 2016 [image2]

“The reason for addressing 'sex' and 'eating' is that everyone has a body, and also comes from my parents' job, pixelation to hide genital parts of pornographic videos in Japan. The people touching each other on screen were like animals. When I look at the behavior of animals and living things, it looks like a microcosm of life.” (Rijksakademie)

Hsu Che-yu @hsu__che_yu
Single Copy, 2019 [image3]

“I produce a digital-scan model and fiberglass cast of the first Taiwanese conjoined twins, using archival data as a source to capture memories from the early life of one of the twins, Chang Chung-I. Through this process, I aim to explore the dynamics of biopolitics and the mechanisms of memory.”

Apichatpong Weerasethakul @kickthemachine_official
Fiction, 2018 [image4]

BEFF7 is pleased to present Apichatpong’s Fiction as a single-screen cinematic projection. This work is originally shown as a video installation.  

Maryam Tafakory @maryamtafakory
Razeh-del, 2024 [image5]

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Sun 26 Jan 1430-1630
Thur 30 Jan 16oo-1800
https://beffth.com/screening-guest-curators-programs

BEFF7 @beff.th programme HAND & SKIN

Artists: Diana Cam Van Nguyen, Ai Ozaki, Hsu Che-yu, Apichatpong Weerasethakul, Maryam Tafakory. Thank you to the artists and Mary Pansanga @mary.pansanga

Live-action images coexist with graphic and abstract practices of animating in broader conditions of crisis, chaos and repression.

Curated by Julian Ross @julianross12 & May Adadol Ingawanij

Diana Cam Van Nguyen @dianacamvan
Love, Dad, 2021 [image1]

“I found these letters from my father that I was keeping all the time, but didn’t remember that I had them. So when I read them again, I just noticed that there were so many feelings and so much love that I don’t see from my father anymore, so I had the idea that maybe I could do a film about it.” (Interview with May Ngo) 

Ai Ozaki @ai_ozaki_
Joy of Life, 2016 [image2]

“The reason for addressing 'sex' and 'eating' is that everyone has a body, and also comes from my parents' job, pixelation to hide genital parts of pornographic videos in Japan. The people touching each other on screen were like animals. When I look at the behavior of animals and living things, it looks like a microcosm of life.” (Rijksakademie)

Hsu Che-yu @hsu__che_yu
Single Copy, 2019 [image3]

“I produce a digital-scan model and fiberglass cast of the first Taiwanese conjoined twins, using archival data as a source to capture memories from the early life of one of the twins, Chang Chung-I. Through this process, I aim to explore the dynamics of biopolitics and the mechanisms of memory.”

Apichatpong Weerasethakul @kickthemachine_official
Fiction, 2018 [image4]

BEFF7 is pleased to present Apichatpong’s Fiction as a single-screen cinematic projection. This work is originally shown as a video installation.  

Maryam Tafakory @maryamtafakory
Razeh-del, 2024 [image5]

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Sun 26 Jan 1430-1630
Thur 30 Jan 16oo-1800
https://beffth.com/screening-guest-curators-programs

BEFF7 @beff.th programme HAND & SKIN

Artists: Diana Cam Van Nguyen, Ai Ozaki, Hsu Che-yu, Apichatpong Weerasethakul, Maryam Tafakory. Thank you to the artists and Mary Pansanga @mary.pansanga

Live-action images coexist with graphic and abstract practices of animating in broader conditions of crisis, chaos and repression.

Curated by Julian Ross @julianross12 & May Adadol Ingawanij

Diana Cam Van Nguyen @dianacamvan
Love, Dad, 2021 [image1]

“I found these letters from my father that I was keeping all the time, but didn’t remember that I had them. So when I read them again, I just noticed that there were so many feelings and so much love that I don’t see from my father anymore, so I had the idea that maybe I could do a film about it.” (Interview with May Ngo) 

Ai Ozaki @ai_ozaki_
Joy of Life, 2016 [image2]

“The reason for addressing 'sex' and 'eating' is that everyone has a body, and also comes from my parents' job, pixelation to hide genital parts of pornographic videos in Japan. The people touching each other on screen were like animals. When I look at the behavior of animals and living things, it looks like a microcosm of life.” (Rijksakademie)

Hsu Che-yu @hsu__che_yu
Single Copy, 2019 [image3]

“I produce a digital-scan model and fiberglass cast of the first Taiwanese conjoined twins, using archival data as a source to capture memories from the early life of one of the twins, Chang Chung-I. Through this process, I aim to explore the dynamics of biopolitics and the mechanisms of memory.”

Apichatpong Weerasethakul @kickthemachine_official
Fiction, 2018 [image4]

BEFF7 is pleased to present Apichatpong’s Fiction as a single-screen cinematic projection. This work is originally shown as a video installation.  

Maryam Tafakory @maryamtafakory
Razeh-del, 2024 [image5]

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Sun 26 Jan 1430-1630
Thur 30 Jan 16oo-1800
https://beffth.com/screening-guest-curators-programs

Poster for the 2024 Flaherty Film Seminar @theflaherty with art by Nipan Oranniwesna @nipan_or and design by Zile Liepiens @ziileziile 🙏

The open call’s gone live for the CREAM Flaherty International Fellowships, deadline 30 April, @uow_cream. Please apply if you would like to attend and are an early career/emerging practitioner who would be eligible for the international (non-US/Canada based) registration rates. Find out more about the fellowships and how to apply on the CREAM website https://cream.ac.uk/features/cream-flaherty-international-fellowship-open-call/

This year’s Flaherty Film Seminar, To Commune, will take place in Asia for the first time in its history. It will be hosted at the Thai Film Archive @thaifilmarchive. CREAM International Fellows are required to attend in person from Wednesday, June 26 through to Tuesday, July 2, 2024.

Curated by Julian Ross @julianross12 and myself, To Commune approaches non-fiction cinema as that which brings together bodies, minds and spirits across different spaces, worlds and temporalities. To commune is to communicate with mystical, animistic, and ritualistic capacities. Beyond affirming commonality, to commune is to connect with others and to be in touch with the unknowable. Our proposition turns to the fundamental value of cinema as an encounter with beings and worlds very different from our own.

We’re hugely energised by the openness of spirit of colleagues at the Thai Film Archive and the Flaherty. To make alliances across such different contexts, and to bring the trust to try something new together, feels like the kind of optimism necessary for withstanding the times.

Things I enjoy about the people of this city. Bangkhunthian ‘Bangkok’s beach’ on the eve of the Songkran new year break 💦🔫