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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Pratchaya Phinthong

Works


Galleries

gb agency
Solene Guillier
18 rue des Quatre Fils
75003 Paris
France

Phone: + 33 1 44 78 00 60
E-Mail: gb@gbagency.fr




Biography

Born in 1974, Thaïland
lives and works in Bangkok, Thaïland

Education

1997 College of Fine Art, Bangkok
2000 BFA, Silpakorn University, Bangkok
2004 Meisterschule at Staedelschule, Frankfurt am Main (Prof. Tobias Rehberger)

Award

2004
Kunstaspekte Kunstpreis

Residencies

2018 Residency Delfina Fondation, London
2014 Residency, Centre for Contemporary Art, Singapore
2010 C.A.C., Brétigny
2008 JENESYS Programme for emerging artists, Tokyo
2008 Iaspis, Stockholm

Solo exhibitions

2020
‘Pratchaya Phinthong/ Extended Release’, Art Center University, Wang Thapra,
Bangkok
2018
‘This page is intentionally left blank’, Bangkok Citycity Gallery, Bangkok
‘A whole from a different half’, gb agency, Paris
2015
Who will guard the guards themselves?’, gb agency, Paris /
Bangkok Art and Culture Centre, Bangkok
2013
‘A proposal to set CH4 5.75H20 on fire’, Kiosk, Ghent
‘A piece that nobody needs’, Lothringer13_halle, Münich
‘Broken Hill’, Chisenhale Gallery, London
2012
‘Pratchaya Phinthong’, gb agency, Paris
‘Sleeping Sickness’, Biennale d’art contemporain, La Criée, Centre d’Art Contemporain, Rennes
2011
‘Give More Than You Take’, GAMeC, Galleria d'Arte Moderna e Contemporanea, Bergamo
2010
‘The News of the Day, the Problem of the Hours’, University Gallery, Bangkok
‘Give More Than You Take’, CAC, Centre d’Art Contemporain, Brétigny
2009
‘What I Learned I no Longer Know;The Little I Still Know, I Guessed’, gb agency, Paris
2007
‘If I Dig a Very Deep Hole’, gb agency, Paris
‘Ephemeral Cinema’, Out door project, Louvre moats, gb agency, Fiac, Paris
2005
‘Missing Objects’, Chula Art University, Bangkok

Group exhibitions

2020
Around the Day in Eighty Worlds, CAPC Bordeaux
‘Time to leave the capsule ... if you dare’, CEAAC, Strasbourg
‘Global Resistance’, Musée National d’Art Moderne, Paris
‘Chine Afrique’, Musée National d’Art Moderne, Paris
‘My body hold its shape’, Tai Kwun Contemporary, Hong Kong
‘Qué es Collegium’, Collegium, Arevalo
‘Moderna Museet Collection’, Stockholm
‘A Brave New World’, Pinchuk Art Centre, Kiev
‘Seismic Movements: Dhaka Art Summit’, Dhaka
2019
CERN, Meyrin
‘Hysterical Mining’, Vienna Biennal, Vienna Kunsthalle, Wien
‘Soft Power’, SF MOMA, San Francisco
‘In Situ from Outside: Reconfiguring the Past in Between the Present’, Bangkok
National Museum, Bangkok
‘Currency’, by Lucy Fontaine, Nome gallery, Berlin
2018
‘Peindre la nuit / Painting the night’, Centre Pompidou, Metz
‘One Word it’s worth a thousand images’, Galeria Cristina Guerra, Lisbon
‘Live’, Frieze Art Fair, London
‘Absurdity in Paradise’, Kasseler Kunstverein, Kassel
‘In Search of Southeast Asia through the M+ Collection’, M+ Pavilion, West
Kowloon, Hong Kong
‘All Time High’, Gallery VER , Bangkok
‘Harsh Astral, The Radiants 2’, Gallery Francesca Pia, Zürich/ Halle für Kunst
Lüneburg
‘General Rehearsal’, Museum of Modern Art, Moscow
Dhaka Art Summit, Dhaka
‘Kedem Kodem Kadima’, The Center for Contemporary, Tel Aviv
2017
What is not visible is not invisible’, BACC, Bangkok
‘Private Choices, 11 collections Bruxelloises d’art Contemporain’, Centrale,
Brussels
‘Etre pierre’, Musée Zadkine, Paris
‘Météorites, entre ciel et terre’, Museum National Histoire Naturelle, Paris
‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, National
Art Center and Mori Art Museum, Tokyo ‘Corners / In Between’, Norma Mangione gallery, Torino ‘La lama di Procopio, Collezione AGI Verona al Nuovo Spazio di Casso,’ Pieve di Cadore ‘Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas’, Pedro Salazar Torres, Regen Project, Los Angeles ‘Soil and Stones, Souls and Songs’, Jim Thompson Art Center, Bangkok ‘Mondes flottants/Floating Worlds’, 14th Biennale de Lyon, Lyon ‘Untitled Life, a User's Manual, Art Encounters Timisoara’, Biennale of Contemporary Art, Timisoara ‘Soil and Stones, Souls and Songs’, Para Site, Hong Kong Art Basel, gb agency, Convention & Exhibition Centre, Hong Kong ‘Manipulating The World’, Moderna Museet, Stockholm ‘Analog Currency’, The Mistake Room, Los Angeles ‘Soil and Stones, Souls and Songs’, Museum of Modern and Contemporary Art, MACAN, Jakarta
2016
‘Proposals to Surrender’, Ming Contemporary Art Museum, Shanghai
‘Nanjing International Art Festival’, Nanjing
‘Farewell 2016: The Art Center acknowledges’, The Art Center, Chulalongkorn
University, Bangkok
‘Soil and Stones, Souls and Songs’, Museum of Contemporary Art and Design,
MCAD, Manila
‘The World Precedes the Eye’, Institute of Contemporary Arts Singapore, Lasalle
College of the Arts, Singapore
‘The Society Machine – The Industrial Age from the Perspective of Art’, Malmö
Konst-Museum, Malmö
‘In The Belly of the Whale’, Witte de Witte, Rotterdam
‘Anywhere But Here’, Bétonsalon, Center for Art and Research, Paris
‘Quand fondra la neige, où ira le blanc, Opere dalla Collezione Enea Righi’, l
Palazzo Fortuny, Venizia
‘Camera of Wonders’, MAMM, Museo de Arte Moderno, Medellin
‘We Call It Lud wig, The Mu se um Lud wig Is Turn ing 40!’, Ludwig Museum, Köln
‘The Eighth Climate (What Does Art Do?)’,11th Gwangju Biennale, Gwangju
‘Money - Good and Evil. A History of Ethics and Assets’, Staatliche Kunsthalle,
Baden-Baden
‘Presently’, neugerrienschneider, Berlin
‘Roll Your Pain Away, Udomsak Krisanamis, Pratchaya Phinthong’, NMCAC, New
Museum of Contemporary Art, ChiangMai
2015 ‘
Camera of Wonders’, from the Colección Isabel y Agustín Coppel, CIAC A.C
and Kadist Art FoundationCentro de la Imágen, México
‘La Sottile Linea del Tiempo, Opere dalla collezione AGI Verona’, Fondation
Museo Minischalchi-Erizzo, Verona
‘Les ruses de l'intelligence’, Parc Saint Léger, Centre d'Art Contemporain,
Pougues-les-Eaux
‘What is the true value of wealth?’,Tyler School of Art, Temple University, Philadelphia
‘Un été dans la Sierra (My first Summer in the Sierra)’, Frac Ile-de-France, Château de Rentilly, Rentilly
‘The 1st Asia Contemporary Art Exhibition’, Jeonbuk Museum of Art, Jeollabukdo ‘Maju Kena, Mundur Kena: Learning in The Present’, Jakarta Biennale, Sarinah Jakarta
‘3rd Ural Industrial Biennial of Contemporary Art’, Yekaterinburg, Russia ‘Under the Clouds’, Serralves Museum, Porto
‘Happy Together’, curated by Clara M. Kim, Tina Kim Gallery, New York
‘The Way Things Go: A Special Curatorial Project with Rirkrit Tiravanija’, Yerba Buena Center for the Arts, San Francisco
‘BCC: Brussels Cologne Contemporaries’, Lempertz, Brussels
‘Time of Others’, Museum of Contemporary Art, Tokyo;
Gallery of Modern Art, National Museum of Art, Osaka; Singapore Art Museum, Queensland Art Gallery, Queensland
2014
‘The Ultimate Capital is the Sun. Metabolism in contemporary art, politics, philosophy and science’, Neue Gesellschaft für bildende Kunst, Berlin ‘Soleil Politique’, Museion, Bolzano
‘Credit to the Edit. carte blanche à MOREpublishers’, cneai, Chatou ‘Forms of Distancing Representative Politics and the Politics of Representation’, Steirischer Herbst Festival, Graz
Art 45 Basel, gb agency, Basel
‘Projects for A Monument to the Anthropocene’, Les Abattoirs, Toulouse ‘Invisible Hand: Curating as Gesture’, CAFAM Biennale, central Academy of Fine Arts Museum, Beijing
‘La Llamada Del Destino’, LiMAC Museo de Arte Contemporaneo de Lima,
2012
‘APT7’, 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery,
Gallery of Modern Art, Brisbane
‘BACC Experimental Project:Temporary Storage #01’, curated by Chitti
Kasemkitvatana, organized by Bangkok Art & Culture Centre, Bangkok
‘Thai Transience’, Singapore Art Museum, Singapore
‘Extra Academy platform in Extra City’, Antwerpen
‘Absence of Wor’, Koninklijk Museum voor Schone Kunsten, Antwerpen
‘Dimensions Variables’, Institut d’Art Contemporain Villeurbanne/Rhône-Alpes,
Villeurbanne
‘Film On The Rocks’, Yao Noi, Film Festival, Thaïland
Fiac, gb aency, Grand Palais, Paris
‘When Attitudes Became Form Become Attitudes’, CCA Wattis Institute, San
Francisco
‘The Monster that is History’, Taipei Biennial, Taipei
‘dOCUMENTA(13)’, Kassel
Art 43, gb agency, Basel
‘Yoko Ono, Grapefruit’, Moderna Museet, Stockholm
Philadelphia
‘From an Object’s Point of View’, Murray Guy, New York
‘RetroVer-spective’, VER Gallery, Bangkok
‘Explorateurs’, Musée de l’abbaye Sainte-Croix, Les Sables d’Olonne
‘Le Mont Fuji n’existe pas’, Le Plateau, Frac Ile de France, Paris
‘It is what it is. Or is it?’, Contemporary Arts Museum, Houston
‘How to make - Ideen Notationen, Materialisierungen’, Kunsthaus Dresden,
Städtische Galerie für Gegenwartskunst, Dresden
‘You are not Alone’, Art Aids, BACC, Bangkok
‘The Ungovernables’, New Museum Triennial, New York
2011
‘Pratchaya Phinthong & Ryan Gander’, Art Nova, gb agency, Art Basel Miami
Beach
‘Le sentiment des choses’, Le Plateau, Frac Ile de France, Paris
2010
Fiac, gb agency, Grand Palais, Paris
Sunday, gb agency, Ambika 3, London
‘Lunatique’, Kadist Art Foundation, Paris
‘The Living Currency’, Museum of Modern Art, Warsaw and 6th Berlin Biennale
for Contemporary Art, Berlin
‘Permanent Mimesis, an Exhibition on Realism and Simulation’, GAM, Torino
‘La Panique du noyau’, Galerie de l’ESAB, Brest
‘Fax and Move on Asia’, Para/Site Art Space, Hong Kong
‘Fair Use: Information Piracy and Creative Commons in Contemporary Art and
Design’, Columbia College Glass Curtain Gallery, Chicago
‘Inventory: New Art from Southeast Asia’, Osage Singapore, Singapour
‘As Yet Unnamed: 2010 Taipei Station’,TAV, Taipei Artists Village, Taïpei
‘Return Ticket’, carte blanche, BACC, Bangkok
2009 ‘More to Love’, Casa Asia, Barcelona
‘Nord, Nord-Ouest’, gb agency, Paris
‘Paper works’, NICC, Antwerpen
‘Paper Exhibition’, Artists Space, New York
2008
‘The More Things Change’, The 5th Bangkok Experimental Film Festival,
Bangkok
‘As Yet Unamed’, About Café, Bangkok
‘Reversibility’, The Fair Gallery, Frieze Art Fair, London
6th Busan Biennale, Busan
‘Some Rooms’, Osage Gallery, Hong Kong
‘Cinematic Panorama’, gb agency, Paris
‘More To Love’, Chiang Mai University Art Center, Chiang Mai
‘More to Love’, The Art Center, Chulalongkorn University, Bangkok
2007
Fiac, gb agency, Cour carrée du Louvre, Paris
‘Eternal Frame, Imagining a future at the end of the world’, RedCat Gallery,
Los Angeles
‘The More Things Change…’, 5th Bangkok Experimental Film Festival, Bangkok
‘Belief’, 1st Singapore Biennale, Singapore
2006
‘Melting Place’, Bangkok University Gallery, Bangkok
‘Platform’, Queen’s gallery, Bangkok
2005
‘Petites compositions entre amis, Séquence 3’, gb agency, Paris
‘Just do it’, Lentos Museum, Linz
‘We Love Amerika’, Gallery Jan Winkelmann, Berlin
2004
‘Here and Now’, Foundation AARA, About Café, Bangkok
‘Fin’, Städel Museum, Francfurt am Main
‘Rendez-vous 2004’, Musée d’Art Contemporain, Lyon
‘Do you Believe in Reality’, Taipei Biennial, Fine Arts Museum,Taiwan
2003
‘On the Island...’, The long night of the Museums, Muenster
2002
‘Aus’, Frankfurt am Main
2001
‘Alien Generation 2’, Khonkaen University, Khonkaen
2000
‘Social Grace’, Bangkok University, Bangkok
‘Alien Generation’, Chulalongkorn University, Bangkok
1999
‘Cities On the Move’, Film City project curated by Dominique GonzalezFoerster
1998
‘Grounding, Photographs by Young Emerging Artist’, curated by Chitti
Kasemkitvatana, About Studio/ About Café, Bangkok
‘Clean up Project’ with Surasi Kusolwong in Book project, Kurusapa Building,
Bangkok
1997
‘18 Crowns’, Hamrock Café, Bangkok

Pratchaya Phinthong
Born in 1974, Thaïlandlives and works in Bangkok, ThaïlandEducation1997 College of Fine Art, Bangkok2000 BFA, Silpakorn University, Bangkok2004 Meisterschule at Staedelschule, Frankfurt am Main (Prof. Tobias Rehberger)Award2004 Kunstaspekte KunstpreisResidencies2018 Residency Delfina Fondation, London2014 Residency, Centre for Contemporary Art, Singapore2010 C.A.C., Brétigny2008 JENESYS Programme for emerging artists, Tokyo2008 Iaspis, StockholmSolo exhibitions2020 ‘Pratchaya Phinthong/ Extended Release’, Art Center University, Wang Thapra,Bangkok2018 ‘This page is intentionally left blank’, Bangkok Citycity Gallery, Bangkok‘A whole from a different half’, gb agency, Paris2015 ‘Who will guard the guards themselves?’, gb agency, Paris /Bangkok Art and Culture Centre, Bangkok2013 ‘A proposal to set CH4 5.75H20 on fire’, Kiosk, Ghent‘A piece that nobody needs’, Lothringer13_halle, Münich‘Broken Hill’, Chisenhale Gallery, London2012‘Pratchaya Phinthong’, gb agency, Paris‘Sleeping Sickness’, Biennale d’art contemporain, La Criée, Centre d’Art Contemporain, Rennes2011‘Give More Than You Take’, GAMeC, Galleria d'Arte Moderna e Contemporanea, Bergamo2010 ‘The News of the Day, the Problem of the Hours’, University Gallery, Bangkok‘Give More Than You Take’, CAC, Centre d’Art Contemporain, Brétigny2009‘What I Learned I no Longer Know;The Little I Still Know, I Guessed’, gb agency, Paris2007‘If I Dig a Very Deep Hole’, gb agency, Paris‘Ephemeral Cinema’, Out door project, Louvre moats, gb agency, Fiac, Paris2005‘Missing Objects’, Chula Art University, BangkokGroup exhibitions2020 Around the Day in Eighty Worlds, CAPC Bordeaux‘Time to leave the capsule ... if you dare’, CEAAC, Strasbourg‘Global Resistance’, Musée National d’Art Moderne, Paris‘Chine Afrique’, Musée National d’Art Moderne, Paris‘My body hold its shape’, Tai Kwun Contemporary, Hong Kong‘Qué es Collegium’, Collegium, Arevalo‘Moderna Museet Collection’, Stockholm‘A Brave New World’, Pinchuk Art Centre, Kiev‘Seismic Movements: Dhaka Art Summit’, Dhaka2019 CERN, Meyrin‘Hysterical Mining’, Vienna Biennal, Vienna Kunsthalle, Wien‘Soft Power’, SF MOMA, San Francisco‘In Situ from Outside: Reconfiguring the Past in Between the Present’, BangkokNational Museum, Bangkok‘Currency’, by Lucy Fontaine, Nome gallery, Berlin2018‘Peindre la nuit / Painting the night’, Centre Pompidou, Metz‘One Word it’s worth a thousand images’, Galeria Cristina Guerra, Lisbon‘Live’, Frieze Art Fair, London‘Absurdity in Paradise’, Kasseler Kunstverein, Kassel‘In Search of Southeast Asia through the M+ Collection’, M+ Pavilion, WestKowloon, Hong Kong‘All Time High’, Gallery VER , Bangkok‘Harsh Astral, The Radiants 2’, Gallery Francesca Pia, Zürich/ Halle für KunstLüneburg‘General Rehearsal’, Museum of Modern Art, MoscowDhaka Art Summit, Dhaka‘Kedem Kodem Kadima’, The Center for Contemporary, Tel Aviv2017 What is not visible is not invisible’, BACC, Bangkok‘Private Choices, 11 collections Bruxelloises d’art Contemporain’, Centrale,Brussels‘Etre pierre’, Musée Zadkine, Paris‘Météorites, entre ciel et terre’, Museum National Histoire Naturelle, Paris‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, NationalArt Center and Mori Art Museum, Tokyo ‘Corners / In Between’, Norma Mangione gallery, Torino ‘La lama di Procopio, Collezione AGI Verona al Nuovo Spazio di Casso,’ Pieve di Cadore ‘Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas’, Pedro Salazar Torres, Regen Project, Los Angeles ‘Soil and Stones, Souls and Songs’, Jim Thompson Art Center, Bangkok ‘Mondes flottants/Floating Worlds’, 14th Biennale de Lyon, Lyon ‘Untitled Life, a User's Manual, Art Encounters Timisoara’, Biennale of Contemporary Art, Timisoara ‘Soil and Stones, Souls and Songs’, Para Site, Hong Kong Art Basel, gb agency, Convention & Exhibition Centre, Hong Kong ‘Manipulating The World’, Moderna Museet, Stockholm ‘Analog Currency’, The Mistake Room, Los Angeles ‘Soil and Stones, Souls and Songs’, Museum of Modern and Contemporary Art, MACAN, Jakarta2016 ‘Proposals to Surrender’, Ming Contemporary Art Museum, Shanghai‘Nanjing International Art Festival’, Nanjing‘Farewell 2016: The Art Center acknowledges’, The Art Center, ChulalongkornUniversity, Bangkok‘Soil and Stones, Souls and Songs’, Museum of Contemporary Art and Design,MCAD, Manila‘The World Precedes the Eye’, Institute of Contemporary Arts Singapore, LasalleCollege of the Arts, Singapore‘The Society Machine – The Industrial Age from the Perspective of Art’, MalmöKonst-Museum, Malmö‘In The Belly of the Whale’, Witte de Witte, Rotterdam‘Anywhere But Here’, Bétonsalon, Center for Art and Research, Paris‘Quand fondra la neige, où ira le blanc, Opere dalla Collezione Enea Righi’, lPalazzo Fortuny, Venizia‘Camera of Wonders’, MAMM, Museo de Arte Moderno, Medellin‘We Call It Lud wig, The Mu se um Lud wig Is Turn ing 40!’, Ludwig Museum, Köln‘The Eighth Climate (What Does Art Do?)’,11th Gwangju Biennale, Gwangju‘Money - Good and Evil. A History of Ethics and Assets’, Staatliche Kunsthalle,Baden-Baden‘Presently’, neugerrienschneider, Berlin‘Roll Your Pain Away, Udomsak Krisanamis, Pratchaya Phinthong’, NMCAC, NewMuseum of Contemporary Art, ChiangMai2015 ‘Camera of Wonders’, from the Colección Isabel y Agustín Coppel, CIAC A.Cand Kadist Art FoundationCentro de la Imágen, México‘La Sottile Linea del Tiempo, Opere dalla collezione AGI Verona’, FondationMuseo Minischalchi-Erizzo, Verona‘Les ruses de l'intelligence’, Parc Saint Léger, Centre d'Art Contemporain,Pougues-les-Eaux‘What is the true value of wealth?’,Tyler School of Art, Temple University, Philadelphia‘Un été dans la Sierra (My first Summer in the Sierra)’, Frac Ile-de-France, Château de Rentilly, Rentilly ‘The 1st Asia Contemporary Art Exhibition’, Jeonbuk Museum of Art, Jeollabukdo ‘Maju Kena, Mundur Kena: Learning in The Present’, Jakarta Biennale, Sarinah Jakarta ‘3rd Ural Industrial Biennial of Contemporary Art’, Yekaterinburg, Russia ‘Under the Clouds’, Serralves Museum, Porto ‘Happy Together’, curated by Clara M. Kim, Tina Kim Gallery, New York ‘The Way Things Go: A Special Curatorial Project with Rirkrit Tiravanija’, Yerba Buena Center for the Arts, San Francisco ‘BCC: Brussels Cologne Contemporaries’, Lempertz, Brussels ‘Time of Others’, Museum of Contemporary Art, Tokyo; Gallery of Modern Art, National Museum of Art, Osaka; Singapore Art Museum, Queensland Art Gallery, Queensland2014 ‘The Ultimate Capital is the Sun. Metabolism in contemporary art, politics, philosophy and science’, Neue Gesellschaft für bildende Kunst, Berlin ‘Soleil Politique’, Museion, Bolzano ‘Credit to the Edit. carte blanche à MOREpublishers’, cneai, Chatou ‘Forms of Distancing Representative Politics and the Politics of Representation’, Steirischer Herbst Festival, Graz Art 45 Basel, gb agency, Basel ‘Projects for A Monument to the Anthropocene’, Les Abattoirs, Toulouse ‘Invisible Hand: Curating as Gesture’, CAFAM Biennale, central Academy of Fine Arts Museum, Beijing ‘La Llamada Del Destino’, LiMAC Museo de Arte Contemporaneo de Lima,2012 ‘APT7’, 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery,Gallery of Modern Art, Brisbane‘BACC Experimental Project:Temporary Storage #01’, curated by ChittiKasemkitvatana, organized by Bangkok Art & Culture Centre, Bangkok‘Thai Transience’, Singapore Art Museum, Singapore‘Extra Academy platform in Extra City’, Antwerpen‘Absence of Wor’, Koninklijk Museum voor Schone Kunsten, Antwerpen‘Dimensions Variables’, Institut d’Art Contemporain Villeurbanne/Rhône-Alpes,Villeurbanne‘Film On The Rocks’, Yao Noi, Film Festival, ThaïlandFiac, gb aency, Grand Palais, Paris‘When Attitudes Became Form Become Attitudes’, CCA Wattis Institute, SanFrancisco‘The Monster that is History’, Taipei Biennial, Taipei‘dOCUMENTA(13)’, KasselArt 43, gb agency, Basel‘Yoko Ono, Grapefruit’, Moderna Museet, StockholmPhiladelphia‘From an Object’s Point of View’, Murray Guy, New York‘RetroVer-spective’, VER Gallery, Bangkok‘Explorateurs’, Musée de l’abbaye Sainte-Croix, Les Sables d’Olonne‘Le Mont Fuji n’existe pas’, Le Plateau, Frac Ile de France, Paris‘It is what it is. Or is it?’, Contemporary Arts Museum, Houston‘How to make - Ideen Notationen, Materialisierungen’, Kunsthaus Dresden,Städtische Galerie für Gegenwartskunst, Dresden‘You are not Alone’, Art Aids, BACC, Bangkok‘The Ungovernables’, New Museum Triennial, New York2011 ‘Pratchaya Phinthong & Ryan Gander’, Art Nova, gb agency, Art Basel MiamiBeach‘Le sentiment des choses’, Le Plateau, Frac Ile de France, Paris2010 Fiac, gb agency, Grand Palais, ParisSunday, gb agency, Ambika 3, London‘Lunatique’, Kadist Art Foundation, Paris‘The Living Currency’, Museum of Modern Art, Warsaw and 6th Berlin Biennalefor Contemporary Art, Berlin‘Permanent Mimesis, an Exhibition on Realism and Simulation’, GAM, Torino‘La Panique du noyau’, Galerie de l’ESAB, Brest‘Fax and Move on Asia’, Para/Site Art Space, Hong Kong‘Fair Use: Information Piracy and Creative Commons in Contemporary Art andDesign’, Columbia College Glass Curtain Gallery, Chicago‘Inventory: New Art from Southeast Asia’, Osage Singapore, Singapour‘As Yet Unnamed: 2010 Taipei Station’,TAV, Taipei Artists Village, Taïpei‘Return Ticket’, carte blanche, BACC, Bangkok2009 ‘More to Love’, Casa Asia, Barcelona‘Nord, Nord-Ouest’, gb agency, Paris‘Paper works’, NICC, Antwerpen‘Paper Exhibition’, Artists Space, New York2008 ‘The More Things Change’, The 5th Bangkok Experimental Film Festival,Bangkok‘As Yet Unamed’, About Café, Bangkok‘Reversibility’, The Fair Gallery, Frieze Art Fair, London6th Busan Biennale, Busan‘Some Rooms’, Osage Gallery, Hong Kong‘Cinematic Panorama’, gb agency, Paris‘More To Love’, Chiang Mai University Art Center, Chiang Mai‘More to Love’, The Art Center, Chulalongkorn University, Bangkok2007 Fiac, gb agency, Cour carrée du Louvre, Paris‘Eternal Frame, Imagining a future at the end of the world’, RedCat Gallery,Los Angeles‘The More Things Change…’, 5th Bangkok Experimental Film Festival, Bangkok‘Belief’, 1st Singapore Biennale, Singapore2006 ‘Melting Place’, Bangkok University Gallery, Bangkok‘Platform’, Queen’s gallery, Bangkok2005 ‘Petites compositions entre amis, Séquence 3’, gb agency, Paris‘Just do it’, Lentos Museum, Linz‘We Love Amerika’, Gallery Jan Winkelmann, Berlin2004 ‘Here and Now’, Foundation AARA, About Café, Bangkok‘Fin’, Städel Museum, Francfurt am Main‘Rendez-vous 2004’, Musée d’Art Contemporain, Lyon‘Do you Believe in Reality’, Taipei Biennial, Fine Arts Museum,Taiwan2003 ‘On the Island...’, The long night of the Museums, Muenster2002 ‘Aus’, Frankfurt am Main2001 ‘Alien Generation 2’, Khonkaen University, Khonkaen2000 ‘Social Grace’, Bangkok University, Bangkok‘Alien Generation’, Chulalongkorn University, Bangkok1999 ‘Cities On the Move’, Film City project curated by Dominique GonzalezFoerster1998 ‘Grounding, Photographs by Young Emerging Artist’, curated by ChittiKasemkitvatana, About Studio/ About Café, Bangkok‘Clean up Project’ with Surasi Kusolwong in Book project, Kurusapa Building,Bangkok1997 ‘18 Crowns’, Hamrock Café, Bangkok

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