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...
Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Uncomformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens...
In Pieces - Photographs by Sophia Bulgakova, Lia Dostlieva, Ola Lanko, Katia Motyleva and Kateryna Snizhko | Book review by Sophie Wright | LensCulture Feature In Pieces In this imaginative collection of photobooks “made with a child in mind,” five artists of Ukrainian descent explore the everyday heroism of life in wartime...
Marshal Tie Jia (Turtle Island) explores the history of a tiny island off of the coast of Matsu in the Taiwan Strait that has been instrumental in the geopolitical relationships between China, Taiwan, and Japan...
“The Prisoner’s Cinema” is a phenomenon described in neurology as a hallucination, that appears after a prolonged absence of visual sensations...
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...
The stained glass windows of Chloé Quenum’s Les Allégories evoke the sacred and describe the movement of a rooster in the form of patterns extracted from a wax fabric found in Benin...