20:25 minutes, A4 photographs
When Need Moves the Earth is a three-channel video that combines elements of documentary footage, archival material and abstract aerial shots to encompass a painterly yet forthright exploration of a coal mine and a water dam in Thailand. A meditation on the impact of industrialization on the natural environment, the work highlights the drastic alterations that these operations leave in its place. Som Supaparinya’s work is often a commentary on political, social, and personal issues. She considers and decodes public information to reveal the structures that affect us and the world we live in. Questioning how we value what is ‘natural’ or ‘man-made’; or what is ‘truth’ or ‘fiction’, her most recent projects investigate the social and environmental impact of industrial activity and in parallel, governmental control in Thailand. Working in a wide variety of mediums including installation, photography, video and sculpture, she questions the interpretation of images, text and sound and of her own sociopolitical context.
Humanity is not ontologically transcendent, artist Som Supaparinya’s work makes adamantly clear: actions energetically create impacts, experience dictated not only by our perceptions but equally the world that surrounds us, tethered inextricably. Transhuman in scope, probing subjects from the strange experiential dimension of wind, to Thai political corruption, Supaprinya’s films, photographs and installations engage with affective experiences that cement themselves into the complex environmental systems of our world. Supaparinya’s work is often a commentary on political, social, and personal issues. She considers and decodes public information to reveal the structures that affect us and the world we live in. Questioning how we value what is ‘natural’ or ‘man-made’; or what is ‘truth’ or ‘fiction’, her most recent projects investigate the social and environmental impact of industrial activity and, in parallel, governmental control in Thailand. Working in a wide variety of mediums including installation, photography, video and sculpture, she questions the interpretation of images, text and sound and of her own sociopolitical context.
The flat, wide river holds on its surface a tour-boat of memories, as Som Supaparinya documents her Grandfather’s return via cruise to familiar territories in rural Thailand that were submerged after the Thai government installed a series of dams...
In Schubert recital series in Hong Kong, pianist Paul Lewis brings out the complex layering of composer’s musical ideas | South China Morning Post Advertisement Advertisement Performing arts in Hong Kong + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more Pianist Paul Lewis performs during the fourth and final part of the “Schubert’s 12 Piano Sonatas with Paul Lewis” concert series at the Grand Hall, Lee Shau Kee Lecture Centre, University of Hong Kong on January 28, 2024...
House of Cardboard: A review of Impractical Uses of Cake by Yeoh Jo-Ann | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles January 21, 2021 By Nathaniel Chew (800 words, 4-minute read) Is it enough to be not unhappy ? This is what Yeoh Jo-Ann’s Impractical Uses of Cake sets out to interrogate, framing the question in terms that speak to both existential crises at large as well as the uniquely Singaporean predicament of progress and prosperity...
Hybridized drawing is a continued exploration in Moshekwa’s practice, integrating elements of graffiti, thread and yarn to enrich his abstract drawings of maps and space...
The flat, wide river holds on its surface a tour-boat of memories, as Som Supaparinya documents her Grandfather’s return via cruise to familiar territories in rural Thailand that were submerged after the Thai government installed a series of dams...
In “And so it is” shows the image of a faceless man before a microphone, ready to deliver an important message...