特別感謝：Lanna Rice Research Center、The Land Foundation
影像紀錄：Thiranun Kunatum、Jirawat Tunprasert
藝術團體 lololol 由張欣與林亭君組成。
lololol 是循環的笑聲，0與1構成無盡陰陽變化，同時演示電腦語言的基礎脈動。lololol 悠遊於虛實之間的地平線上，不受限於制定的文化邏輯或角色扮演。由兩位藝術家於2013共同發起，作為藝術團體主要關心科技生活中的身體政治，借鏡道家思想相關科技論去重新思考我們所身處的世界秩序。她們近年的創作擅長各種身體表演性、裝置性的媒材，到VR技術的開拓等，展現出各種身心與科技對應而生的倫理與策略。
吳松吉 Chitti Kasemkitvatana（泰國）
居於曼谷的藝術家、策展人。他在墨爾本 RMIT大學取得藝術學士，在 1997 年協同創辦 About Art Related Activities，活躍於當地藝術場景裡。2001 年毅然出家七年，在泰國北部森林裡修習佛法。重返藝術工作後，其作品轉向以觀念藝術與極簡主義的實踐，在精神生活上構築新的想像，探討在場性與缺席、實在和虛空的互置，並在這些轉換之間觀察到訊息意義在網絡間的生產與傳遞。近年來又協同成立了出版品和計畫性空間 Messy Sky。
他的展覽經驗豐富，曾展出在維也納分離宮、波爾多當代藝術美術館、紐約 PS1、巴黎 Le Plateau, Level One, Kadist、廣州時代美術館等。
羅子涵 Zihan Loo（新加坡）
羅子涵作為一個在表演、舞蹈、劇場、視覺藝術領域內的教育者和表演者，曾任教於新加坡南洋理工大學藝術學院、2015年獲頒國家藝術基金會的青年藝術家獎，2017年或 M1-The Straits Time Life 的最佳多媒體設計獎。
阮芳伶 Linh Phuong Nguyen （越南）
她的父親為越南第一個獨立藝術機構 Nha San Studio 的創始人之一，而她也在 2013 年成立 Nha San Collective，以游擊工作的方式來接續已被查封的 Nha San Studio之獨立和實驗精神，她在當地社群裡同時以藝術家和組織者的身份活躍，關注青年藝術世代的互助養成，持續對越南的政治社會、歷史傳統問題，進行新的探索。
陳業亮 Henry Tan（泰國）
大米釀造姐妹俱樂部 Rice Brewing Sisters Club（韓國，由申賢珍、柳卲玧、孫惠慜三位組成）
王永安 Wang Yung An（台灣）
Via a series of workshops, 7 Bodies & the Talking Sea investigated body politics in our post-anthropocene society. In November of 2022, selected participants and artists created a temporary community to collectively create and explore a discursive space via many exercises that embodied an inner journey as well an outward adventure with body and mind, the media and other surroundings. Participants transformed artistic research and creative methodologies into immersive and sensory experiences. By doing so, participants unlearned habitual actions and rehearsed new political relationships and space. While expanding sensibilities and sharpening senses, we learned to lay eyes on many invisible beings, such as bacteria and the growth of moss, to grasp different meanings of symbiosis beyond the human perspective.
Artists created sensible forms of knowledge, and reframed their creative ideas as transmittable frequencies that speak louder than words. Hailing from different Asian countries, these artists shared diverse content and designed various workshop sessions, including: “Deep Listening & Echolocation”, “Sleep Salon”, “Mind-Skin Code”, “Seokkeodoongdoong”, “Magic In Magic Out: The Magic Picnic”, “On Procession and Public Space”, “The Playground”, “On Solitary-Solidarity”, “On Migration, Transmission & Perseverance”, and “Cinema Vipassana”. During these consecutive exercises, a collective performative experience was formed to contemplate everyday experiences, such as gazing, listening, touching, sleeping, and to engage these actions in a generated political paradigm.
Proposed as an experimental art education model, this five-day event which took place in Chiang Mai University and its surrounding landscape was presented by Moss Piglets and co-hosted by the Multidisciplinary Art, Faculty of Fine Arts.
Advised by: Ministry of Culture, Taiwan
Organized by: The Cultural Taiwan Foundation
Co-organized by: SEA plateaus
Produced by: Moss Piglets
Co-hosted by: Multidisciplinary Art, Faculty of Fine Arts, Chiang Mai University
Special thanks to: Lanna Rice Research Center, The Land Foundation
Project Manager: Thitiphorn Kotham
Visual Design: Shin Shin
Photographer: Thiranun Kunatum, Jirawat Tunprasert
At the center of Kasemkitvatana's work stands a concept of ephemerality and emptiness, of the presence of the absent with particular focus on its permeability. Historical and contemporary sources of his research –– including passages of Thai modernity, scientific proposals and poetical measurement of time –– are brought together to unveil the interconnectedness of current events and the wider tapestry of history in which they unfold. His created objects are devices for reconnecting life, art, environment, politics and the universe. Each are steps forming a spiral staircase that winds round and round through echoes and repetition, circling an empty core.
Artistic, curatorial, educational and publishing work all have an equal footing within Kasemkitvatana's practice. At the turn of the millennium, he worked at VER Magazine and curated exhibitions at About Studio/About Cafe. His recent collaborative and curatorial works include Messy Sky Magazine, Messy Project Space, and The Immeasurable and World’s End (JWD Art Space, 2022). For his artistic practice, he has exhibited in numerous shows including Stories We Tell To Scare Ourselves With (MOCA Taipei, 2019) and Bangkok Art Biennale (The Prelude One Bangkok, 2022). A recipient of the 2014 DAAD Artist-in-Berlin program, Kasemkitvatana currently lives and works in Bangkok.
A human[ ]bot — currently running and (re)navigating www.hoppla.id, a hub for (expanded) media uncertainty –– rlirl is living life in a party of confusion and creating a NET (or cult), but not art. Net-with-art is dull and irrelevant teehee. Let's fill in the magical space [ ] between humans and technology. Let’s host a picnic and throw a party of confusion teehee ヽ༼ ຈل͜ຈ༼ ▀̿̿Ĺ̯̿̿▀̿ ̿༽Ɵ͆ل͜Ɵ͆ ༽ﾉ
lololol is boundless laughter, an endless extension of lol (laugh out loud), an acronym that appears to be constructed by the building blocks of I-Ching and/or computer code. Founded by Xia Lin and Sheryl Cheung in 2013, the artist collective focuses on how emotions and body politics are informed by diverse technology cultures, with a special interest in martial arts and Tao-informed philosophies. Their technological interests range from medicine to ancient knowledge of martial arts, to all kinds of contemporary inventions. Future Tao is the group’s ongoing initiative to engage with Taoist mind and body practices as an alternative approach to technological exploration.
Zihan Loo is pursuing a PhD in performance studies at the University of California, Berkeley. He received his MFA in Studio Practice (Filmmaking) from the School of the Art Institute of Chicago, and obtained his MA in Performance Studies at New York University.
His research focuses on performance and resistance in Singapore. He is interested in examining the affinities between queer and ecological dispossession. Beyond academia, Zihan is an educator and artist working in performance, dance, theater and the visual arts. He has taught at various arts institutions including Nanyang Academy of Fine Arts and the School of the Arts, Singapore. He received the Young Artist Award from the National Arts Council in Singapore in 2015.
Phuong Linh Nguyen
Phuong Linh Nguyen is a conceptual artist living and working in Hanoi, Vietnam. Her multidisciplinary practice incorporates video and installation work and is concerned
with geographic cultural shifts, traditional roots, and the fragmented history of Vietnam. Her work contemplates notions of an visible/invisible truth, form and time, while conveying a pervasive sense of dislocation and the ephemeral.
In 2013 Phuong Linh co-founded and co-directed Nhà Sàn Collective, a group of young artists dedicated to pushing the boundaries of expression in Vietnam as well as supporting other young artists in the community. The collective is rooted in the spirit of the Nhà Sàn Studio, the first artist-run space in Vietnam which was co-founded by her father in 1998 in her childhood home, a traditional wooden house on stilts. Phuong Linh received the Pollock Krasner award in 2017, and in 2018 her solo show Trùng Mù - Endless Sightless was exhibited at BACC Bangkok for the Hans Nefkens BACC award. In 2022, the Nhà Sàn Collective presented their practice at Documenta 15 in Kassel.
Rice Brewing Sisters Club
Rice Brewing Sisters Club (RBSC) –– currently composed of Hyemin Son, Aletheia Hyun-Jin Shin, and Soyoon Ryu –– is a collective that experiments with the processes of "social fermentation" as an artistic form. With a participatory practice encompassing visual art, performance, creative writing, oral history, ecological thinking, and auntie wisdom, RBSC seeks to build synergetic networks to connect the sensorial with the relational and co-create visions for the future.
Henry Tan is an artist based in Bangkok and is co-founder of Tentacles Art Space, a member of Freaklab, Thailand, as well as a member of metaPhorest, Japan. Henry explores various concepts around life and simulation through the investigation of technology. These incorporate ideas around synthetic biology, mixed reality, brain stimulation and artificial intelligence. He is interested in how lifeforms adapt to and negotiate with changing environmental conditions including the climate, geopolitics and geoeconomics.
Henry collaborated with Fablab Hamamatsu and Kornkarn Rungsawang to create The Lunartic Dream Project (2021). This work investigates human interplanetary desires and ideology by combining mythology and advanced technology to materialize the human-non-human dream of spreading life to other planets. In the Young Eel project (2019), Henry combines lab-grown meat, brainwave, sound, and light to reanimate sleepers and transfer consciousness and memories into cloned bodies. Through an exploration of sleep and dreams, he investigates aging society and environmental concerns for human and eel populations.
Wang Yung An
Wang Yung An focuses her research in the context of touch cognitive mechanisms, while expanding her artistic approach through performance and visual language. With an emphasis on deducing inner-material dynamics under the skin, Wang has been developing a touch score/script system to investigate biopolitics via varying body codes, boundaries and interoceptive feelings. Her work touches on the gaps between human and non-human life. Her creative propositions question the haptics of seeing, as well as how skin can act as a thinking organ.