The exhibition, A Machine Boosting Energy into the Universe, features Korakrit Arunanondchai’s immersive video installation which invites us to be in communion with machines and ghosts. The exhibition centres around the artist’s work, Painting with history in a room filled with people with funny names 3 (2015–16) from the Singapore Art Museum collection. Join Korakrit Arunanondchai and Professor May Adadol Ingawanij from the University of Westminster and the Centre for Research and Education in Arts and Media (CREAM) in discussing ideas of the ritual and its relationship to the visual membrane of “media” and “cinema” in Southeast Asia. This talk is moderated by SAM curator, Chanon Kenji Praepipatmongkol. 

This talk is streaming live on SAW Digital, please register for a free ticket here.

ABOUT THE SPEAKERS
May Adadol Ingawanij // เม อาดาดล อิงคะวณิช is a writer, curator, and teacher. She works on de-westernised and decentred histories and genealogies of cinematic arts; avant-garde legacies in Southeast Asia; forms of potentiality and future-making in contemporary artistic and curatorial practices; aesthetics and circulation of artists’ moving image, art and independent films in, around, and related to Southeast Asia. She is Professor of Cinematic Arts at the University of Westminster where she co-directs the Centre for Research and Education in Arts and Media.

A visual artist, filmmaker and storyteller, Korakrit Arunanondchai employs his versatile practice to tell stories embedded in cultural transplantation and hybridity. His body of work merges fiction with poetry and offers synesthetic experiences engaged in a multitude of subjects primarily based on lives of family, friends, and colleagues as much as local myths. Surpassing a solitary artist, Arunanondchai is an avid collaborator who has worked on videos, performances and music together with an extensive list of people.

This panel is co-presented with Singapore Art Museum (SAM).

ABOUT THE MODERATOR
Chanon Kenji Praepipatmongkol is an art historian and Curator at Singapore Art Museum. He holds a PhD from University of Michigan, and previously worked for Tate Britain and Museum of Contemporary Art Chicago. His current research explores the fault lines between contemporary art, craft, and the digital. His writing has appeared in Artforum, Aperture, and British Art Studies, with an essay on David Medalla forthcoming in Oxford Art Journal.

Co-Presented with Singapore Art Museum