The INHIBITION series are the flip side of going to an exhibition. The artist’s studio, or in most cases home, is a frame rarely confronted. We often forget this first frame of the work—one that precedes the gallery or the museum.
INHIBITION is a manifestation of this first frame upon which the subsequent ones depend. A chance encounter of the work before its public distribution will then be subjected to infinite manipulations. It is the work and the artists’s original reality, a reality in which it will soon distance itself from. We then encounter a paradox: The work’s purpose is to remove itself from this reality—from its home. However, if it were to remain here, the artists would risk a self-removal through starvation. We choose to stay in this contradiction, sitting in a perpetual studio.
Inhibition Series_1 2 1.3 :
Pasuth Sa-ingthong / Peerada Puapoomcharoen
Once every hundred years, the ghost of grandma will return to ask this
question. Happening on many platforms including but not limited to, physical rotating exhibition, online browser exhibition, virtual worlds, and publication.
The Centennial is a manifestation of grandma’s spirit across many mediums,
with many timelines, all at once.
Jeanne Penjan Lassus
Text and Title
Tong aka Punt
Wirunwan Pitaktong & Bruno Ruiz
The monthly zine would be under the title of Office Hours. Its content is open to form. It acts as a way to gather members, and to provide spaces for each candidate’s reflections. The zine could be seen as a starting point of collaboration that could be further developed into other projects of various forms.
In Greek legends, Null Island is said to be the origin of all destructive monsters. It had then become the coordinate (0,0) that the sea explorers used as references to directions, and in more recent history, it also became a virtual location where digital waste gather. Null Island, hence, has its own life both as an ancient legend and as a trash bin in this digital age. Regardless of its status, how people assign meanings to this island signify human’s attempt to understand the relations between oneself and the world’s terrain that is so vast it seems boundless, to anchor ourselves so as to be reminded of our own presence or its past, or to imagine new relations of ourselves and the surrounding. It is an act of map-making. Thus, this exhibition, MAPPA, is the exploration of the possibilities of map-making in the time when game developers gave us Wold edit or Mod, a tool with which we could upend the existing physics.
Supported by The Shophouse 1527
Artists: Unchalee Anantawat, Pasuth Sa-Ingthong, Worakun Sittipochai, Poom Nuthong