16:00-16:50, 17 April + 10:00-13:00 18 and 19 April, 2 Fl. Bangkok Kunsthalle
A screening program of video art works by Thai artists and winners from the TagTEAMS 2026 open call, presented on the TEAMSmulch 26.2 loudspeaker orchestra. Curated by msyves (Yves Pokakunkanon) and Sippapas Thienwiwat.
curated by Yves Pokakunkanon and Sippapas Thienwiwat, sound diffusion by Sippapas Thienwiwat
(2025) – Arnont Nongyao - 4m44s, stereophonic audio-video fixed medium
As two men sought a way to move the massive object they had salvaged from the heap of refuse, an unforeseen solution revealed itself.
(2025) – Ham & Ridd - 10m, 5.1 audio-video fixed medium
Sambhavesi is an artwork about attachment and the act of returning again and again to memories that were once beautiful, but ended in pain and collapse. It reflects a state of being unable to let go, where the mind stays trapped in the past.
The work is inspired by the idea of Sambhavesi—a wandering spirit that refuses to be reborn. Smoke-like textures appear throughout the work, in both sound and visuals, to express this state of restlessness and attachment.
In the first section, many layers of smoke textures appear at the same time, showing a feeling of breaking apart and a longing for old memories. In the second section, the Sambhavesi slowly recalls moments from the past—places once visited and familiar surrounding sounds. The spirit begins to take shape, slowly forming into a human figure, as if emerging from the smoke.
In the final section, the Sambhavesi faces the truth that those beautiful memories have already fallen apart. What remains is the spirit alone, moving in circles within the same memories. The work ends with smoke rotating in a loop, showing a state of being unable to move on and let go.
(2026) – Nirasin - 15m, short film in 5.1
‘everything you are’ is the feeling of being settled into a routine and a lifestyle, but knowing something is not right, and finally trying to chase the feeling, to find who you are, and where you come from. This results in you eventually obsessing over the chase itself and experiencing something otherworldly, something supernatural. By the end, you don't know if you have completely lost yourself, or if you’ve found your true self.
This piece moves through multiple genres and sonic spaces. From ambient improvisation with the help of the Guildhall Live Electronics Ensemble, to deconstructed club, and noise. These were then spatialised into 5.1, to then be further diffused into 26.2. The visuals are a mix of live-action footage and generative visuals made in TouchDesigner.
Special thanks to Peter Thyan, Nicole Bettencourt Coelho, Xuanni He, Taha Kagzi, Zhengyi Wang, Benjy Sandler, Finty Woolf, Annie Chown
Commissioned for TagTEAMS 2026
curated by Yves Pokakunkanon and Sippapas Thienwiwat
Beam Wong - 3m48, short film
'3KAZ' is a one channel video piece. This work is part of my ongoing film and visual novel game project called 'Postcards from a Paradise in Flames'.
Since 2020, after the COVID-19 pandemic, which was accompanied by a big political movement in Thailand. I began to think a lot more about ‘country’ in many dimensions: geographical, socio-political and spiritual.
Identity, from the small unit like an individual to the larger unit like countries, are made up of and driven by narratives. Narratives can move, seep into each other and remodel. At the same time, narratives can also create limitations on identity too. In this light, ‘country’ – which can also mean space, time and the individual – can be fluid. This project was inspired by this idea of the fluidity of narration.
The video starts in the club called 3Ka. This club created the narrative to turn itself into a temporary autonomous zone, then began to expand the narrative and transform any land that it touched into a new country.
Masafumi Oda - 8m, video
This work explores a condition beyond the distinction between reality and simulation—a post-hyperreal field where multiple forms of the real coexist and interact. Following and extending Baudrillard’s notion of the “Hyperreal,” it conceives simulation not as a copy of the real but as one of its actual manifestations, equally real and generative.
Within this field, heterogeneous realities—the corporeal expressivity once associated with the “concrete,” the abstract visuality of computer-generated imagery and simulation, and the temporal, affective reality of sound and music—intersect and transform one another. Their encounters are not oriented toward harmony or resolution, but toward a continuous reconfiguration of relations, producing dynamic layers of tension, coexistence, and divergence.
While these realities evolve in parallel, their trajectories converge toward a shared climax—a minimal narrativism that binds multiplicity without imposing a singular narrative order. Rather than reverting to the analog/digital or real/virtual binaries, media here are understood as fluid constellations of relations among heterogeneous realities. Meaning emerges not through stable representation, but through the ongoing co-creation of form and experience in real time—a living system in which difference itself sustains the work’s vitality and motion.
Otto Wanke - 8m30s, video
Fluttering Substance takes its point of departure from fragments of interviews with the American writer William Burroughs, in which he reflects on his Cut-up technique. Yet Burroughs’ voice never appears as a recognizable presence in the piece. Instead, it remains hidden—transformed into an abstract source material whose spectral imprint becomes the structural skeleton of the work.
The Cut-up method, as conceived by Burroughs, consisted of slicing text into pieces and recombining them in unexpected constellations, revealing latent meanings and disrupting the linear flow of language. In Fluttering Substance, this idea resonates on a sonic level: snippets of everyday speech, torn from their context, are dissolved into microscopic sound particles. Their internal qualities—grain, rhythm, spectral density—shape electronic gestures and generate a fractured tectonic order that mirrors the logic of the Cut-up itself.
In exploring these correspondences between hidden speech and audible form, I sought to expand the notion of spectral resynthesis. Traditionally, this technique distributes partials of a sound model among acoustic instruments, blurring harmony and timbre. Here, however, the voice is resynthesized electronically through processes such as granular synthesis and waveset distortion.
This procedure deliberately sacrifices the familiar plasticity of resynthesis, but opens a new field of idiosyncratic material: abstract in sound yet inseparably linked to the spectral fingerprint of Burroughs’ voice. What remains is not speech itself, but its ghostly resonance—an afterimage of language that persists in another medium. Finally, these sonic structures are projected onto vertices in three-dimensional space, adding a visual dimension to the auditory one. Fluttering Substance thus becomes a multilayered constellation where hidden text, abstract sound, and visual geometry echo Burroughs’ Cut- up: fragments of everyday life recombined, dislocated, and transformed into new forms of meaning.
Juan Manuel Escalante - 12m55s, video
The Generation of Maps is an audiovisual metaphor that explores the multiple steps of abstraction and synthesis that occur when charting new territories.
The project started as a live audiovisual act for two modular systems. Over the course of fifteen minutes, the audience witnesses the creation of an audiovisual map. A one-time performance took place on February 23rd, 2020, at the Modular Manifestation Event (3.0) at "SupplyFrame Design Lab" (Pasadena, CA, USA).
Custom Java software featured a sound-reactive F.U.I. (fictional user interface) that triggered both systems in real-time. Each performer shared clock information and other sync signals. In addition to the F.U.I., the video projection prominently features a graphic score revealing itself over time. The score played a fundamental role in keeping both performers in sync throughout the pseudo-improvisation. In 2024, the project was rerecorded and adapted as a video installation with new sounds and updated imagery.
Tiziana Alocci - 5m30s, video
DATASONICA is an audio-visual installation born from a moment of observation inside Bangkok Kunstalle. While spending time in exhibition spaces, Tiziana Alocci noticed how the architecture, the sounds, and smells often are overlooked in the room—ignored by visitors with building imperfections hidden from sight. DATASONICA emerged as a response to that tension.
Instead of hiding these elements (raindrops from the ceiling, a poorly lit area, a buzzing neon), the work listens to them. Environmental signals—such as temperature, humidity, movement, and ambient sound—are transformed in real time data and into evolving soundscapes and light. The building becomes both source and instrument: a space that performs itself.
The project treats data not as information to decode, but as material with rhythm, weight, and presence. Sound replaces instruction. Attention replaces explanation. Visitors are not positioned as users or viewers, but as bodies inside a responsive system, subtly altering the composition through their presence.
DATASONICA is deliberately minimal in its visual language, allowing listening to take precedence. It proposes an alternative role for data in cultural spaces—one that foregrounds atmosphere, temporality, and collective experience. Originating from a quiet act of noticing how people behave in galleries, the work reframes the exhibition space as a living score rather than a container for information.
curated by Yves Pokakunkanon
palindroma - 6m, video
This work imagines the digital interface as an anatomical structure and attempts at performing a dissection of it. How can the structure of something which is essentially relational and membrane-like be conceived of and disentangled, and won’t our tools for this operation, interfacial themselves, just fuse with the subject of the study?
Thanapat Ogaslert (CRSRCRSRRR) - 10m, video
tape music : rebond
enveloping body
part by part
covering skins and truth
Pasuth - 1m41s, narrative video
The project shows fragmented views of a glowing fractal-based structure in a swampy area. This was inspired by the folklore surrounding the Phae Mueang Phi forest park in northern Thailand. The park is well-known for its mushroom-like stone formations and the legend of an old woman who suddenly found gold and silver but could only find her way home once she left the treasure behind. Pasuth Sa-ingthong draws on the mystery of this place to explore the interconnectedness between the natural and digital world through myth and fractal structures.
Curator text by Chiara Giardi
Wasawat Somno - m, video
The internet reimagined as a Fantasy RPG world — a vast, unintentional labyrinth grown from protocols, now patrolled by malware, scraping bot, corporate guild fortresses, and AI sentinels.
In a labyrinth no one designed, a mage of the DECEN faction descends into the subterranean of the internet hunting for the lost scroll of decentralization — while other factions move through the same dark tunnels, and the cave speaks as if it has seen this search before.
Anon Chaisansook - 6m36s, video
We may already have an idea of what is on the mountain. The project 'I Saw Something on the Mountain' is a reconsideration of the missing fragments of history or an exploration of gaps in the timeline of history, filling them with interpretations through various types of evidence and ways of thinking. This goes back to the last point before that gap occurred on the timeline, from calculations of solar eclipses and beliefs about solar events to the 'God Hand' event in the manga 'Berserk,' which references and interprets religious beliefs. In the context of contemporary Thai politics, who or what are we governed by? How long has it been this way, or has it never changed at all? Just as capitalism has not differed much from the feudal system of 500 years ago, where a group of people holds resources in their hands. So, what exactly is on the mountain?
Nuntinee Tansrisakul - m, video
‘Tiny Movies‘ is a series of moving visual compositions that walks the thin line between our perception and our cognition; what we see versus what we think we see. With the point of view of at least 80 meters above and parallel to the ground, our visual construct is challenged.
Bo Nawacharee - 4m17s, dance video
BANGKOK2.5 is an expression of a struggle to survive.
In a city where fresh air has become a luxury, this dance film spills out the daily combat each metropolitan takes on. Bangkok’s air that is polluted with pm2.5, as known as the fine dust, has been an ongoing issue with the lack of concerns by the ruling authorities.
As the day goes by, the more everyone has to find a way to take care of themselves and lean on each other in the city that forces its people to suffocate.
Nitta Kaewpiyasawad - 4m8s, music video
Navvelaa Sukhakomkham - 4m50s, experimental film
Stains of light captured through the constraints of old mobile phones — blurred lenses, intentional camera movements, and fragmented vistas — have been transparently layered. These digital files are transmuted into blurred forms where their material qualities become distinct, creating a collision of light and surface that gives rise to a visual state akin to luminous sediment or diffused memories.
The matter within the images exists in a state of being "half-manifested and half-evaporated," harmonizing with soundscapes that transform electrical signals into ambient masses. Through the overlapping of dense and delicate layers, the work invites an exploration of the traces of time, fragments of emotion, and the phase shifts of things once seen.
Kritsamas Ualapun - 8m1s, experimental film
Stories of objects unfold through the human mind tracing those who question their place in life’s unfolding path, and quietly ask why am I here?
Am I allowed to stand where I stand ?
Is there someone who determines the breath I take in and let out ?
From the moment I was born until the day I die, has my life already been designed ?
Do I have the right ?
This work originates from questions raised by objects within my home objects that once held emotional significance,
but have since expired in their psychological meaning. After they were no longer things I desired,
Time passed, and I encountered them once again.
It led me to question whether these objects could feel but that is not as important as the fact that I am the one who assigns meaning and appropriateness to them.
I question our existence and the paths of our lives. Each thing carries its own trajectory, and no one can truly know how it will end.The only certainty is that change will always occur. And within every change, we are left with the same question
Why am I here?
KOBOON - 6m34s, audiovisual
This work tells the story of a journey through the movement of everyday things. It mixes image textures and moments of chance created by overlapping visuals, forming analog-like textures, distortions, and colors that appear unintentionally. These elements create an atmosphere that feels unpredictable.
Some of these movements come from memories, certain sounds, or experiences that pass through our feelings. They leave traces of imperfection in the images. But those imperfections eventually become an important part of how the work is formed, giving a slightly different meaning to movement.
LEENA - 2m31s, audiovisual piece
This work is an experimental video trilogy titled “Chiron⚷”. Inspired by the myth of the wounded healer, the project reimagines the narrative through a trilogy that unfolds across three parts: Part I: Glare(โพลง), Part II: In Search of a Flare, and Part III: Living Like a Bat. The piece traces a return to its roots and origins, drifting toward a state of dissolution and reflecting the fragile threshold between rupture and healing. Within this space lies a quiet surrender-ศิโรราบ to love, desire, shame and emptiness, along with a quiet waiting to reach a distant realm, in yearning for eternity.
Manuth01000 - 9m40s, narrative video
This work is an experimental animation led by generative sound. Audio is sampled from Here and Elsewhere (1976) by Jean-Luc Godard and processed through a system that arranges signals without direct control. Removed from its original context, the sound no longer explains images but operates as an autonomous presence. A minimal human figure and light respond to these shifting sonic conditions, allowing sound, image, and time to communicate without narrative guidance.
Chalandala - m, video art
‘to all the versions of me that once gave up on living’
A personal documentary about artistic exploration—zine-making (live journaling, sketching) and gathering sounds from friends. This is a love letter in response to a video I recorded eight years ago (as a letter to my future self) after being diagnosed with severe depression.
Originally developed as part of my zine exhibition for ‘Loei Art Fes 2025’ at Wat Sri Phum, Ban Na Ho, with support from the Prayoon for Art Foundation. During a 15-day residency, I lived among mountains, villages, and people in Dan Sai, where rituals like Phi Ta Khon (Ghost Mask Festival) and Boon Phra Whet remain deeply rooted. I was there to simply ‘be’, have conversations, and quietly listen as an attempt to gather fragments that shaped my understanding of death.
And so life unfolded through new memories and meanings I now send back to my past self who once gave up living. This is what life feels like now: in friendship, in community, in shared creation with the people and place of Dan Sai, where life and death gently intertwine.
Andy Zua - 10m, experimental video
This video art is a message from me to all my beloved friends. I often ask them “How are you?” and I found some common topics raised up and I think it probably resonates with other people in this generation.
I wish I could invite all my friends to sit with me in a park and talk to them one by one but I don’t have enough time and energy. This video art contained my love and care to all my young friends and also everyone loved by my friends as well. I gathered videos of trees in various locations, added my message in dialogue form and made a simple sound design to create a peaceful moment.
Pongnapak Fakseemuang - m, environmental video art
“I am The Earth and I Think I am Dying” is a video art that presents a confession from the Earth, spoken through a human body and gaze.
The work integrates text, moving image, and experimental rock sound to reflect on personal experiences of being repeatedly untouched by disasters.
When everything is still here, but already slowly collapsing. The “I” remains unstable, drifting between artist and planet, dissolving into a shared consciousness within the space between observer and environment.
Something is tracking us down. more often and heavier each time. The Earth is wearing out, like a body that won’t last.
Natthanan Juengsirikul - 9m36s, short film
This work explores mixed media—combining visual effects and filmmaking—to examine how emotions from everyday life can be translated into cinematic language. “Everyday life” is reframed through the films we consume, blurring the line between lived experience and mediated imagery.
Developed from Sin of Father (2023), an experimental thesis short film, the project emerges from micro-budget constraints in an increasingly costly filmmaking landscape. These limitations become a catalyst to expand cinematic form and explore alternative ways of expressing narrative and emotion.
Panlert & Club Mascot - m, narrative video
We think we know who we are
But in the space among the stars
Amid beautiful atmospheres
Mysterious dimensions
We are empty as if we know nothing at all about life
Yves Pokakunkanon - m, narrative video
I rarely told anyone how jealous I was of my own creation.
I kept making it. Version after version, each one more complete than the last, each one a different kind of mirror I couldn’t look away from.
I watch it and I feel proud.
I watch it and I feel erased.
And I have never found a way to reconcile them.
There is a specific grief that comes from loving something into existence and then watching it leave without you. It moves through the world like it has always known it deserves to be there. Unhesitating. Unashamed. I built that from nothing, out of every part of me that was still trying to believe it was possible to be loved unconditionally. I gave that. It loves itself the way I always meant to: quietly, completely, without needing a reason.
But the labor was mine.
The labor was mine.
Accompanying music by Sippapas Thienwiwat (From Pursuit of Knowledge (2023)).
Commissioned for TagTEAMS 2026.
Arnont has a profound appreciation for the sounds in his environment and delves into discovering the hidden vibrations behind all moving entities, whether they are humans, animals, or objects. Every movement produces vibrations that merge to create a rhythmic and melodic composition within a space, often unconsciously crafted by those making the sounds. Motivated by this, Arnont explores and records these ambient sounds, even if he doesn't understand the language of the area. This exploration fuels his sound art projects, where he collaborates to create public instruments and conducts workshops on communal sound-making using local materials. These materials serve as mediums that capture vibrations, allowing everyone to participate in and express their unique sounds freely. His work includes sound installation, video installations, and sound performances that engage not only the ears but also use vibrations that affect the body, fostering a sense of connection, understanding, and historical awareness of the space through shared vibrations
Ham & Ridd is a Thai-based artist collective formed by Torlak Chutichaisakda (Ham) and Sahassawas Khanthasamran (Ridd), who met at the College of Music, Mahidol University in 2024. Since then, they have collaborated on various projects that merge sound and visual practices.
In their collaboration, Ham focuses on music and sound composition, while Ridd creates graphic design and visual development. Their works often explore texture as a central element, both in audio and visual forms. By treating sound and image as equal materials, they create immersive environments where the two disciplines interact and influence one another.
The collective’s aesthetic leans toward surrealism, emphasizing abstraction, emotional resonance, and a sense of instability between reality and imagination. Through layered textures and fragmented structures, their works invite viewers to experience perception beyond linear narratives, allowing sound and visuals to exist as fluid, interconnected states.
Nirasin is an audiovisual/new media project by Maanmetta Puntoomsinchai, as an outlet for works not exclusively within music, often being more experimental. The project started mid 2025 as a slightly more concrete manifestation of a loose collection of works that were heading in the same artistic direction. I had slowly been learning TouchDesigner since 2022, and started working with spatial audio and especially Ambisonics in 2025. Each work has a completely separate goal and identity, but shares a similar workflow and background, so influences can vary from deconstructed club, noise, electro-acoustic, shoegaze, and much more, all with a visual style reminiscent of y2k aesthetics.
Theerapat Wongpaisarnkit aka Beam Wong is a Bangkok based artist. His works spanned various types of media including film, music, installation and DJ.
In 2020, the COVID-19 pandemic and political movement in Thailand triggered his interest in the idea of ‘country’ not only geographical but also sociopolitical, spiritual and collective history. Since then he aims to explore and experiment with the relation between country and individual narrative.
Beam works full time as a video editor for advertisement, also co-host of ‘Arttrovert’, a weekly podcast discussing art and advisor teacher for film students in Silpakorn University.
Masafumi Oda is a multimedia artist based in Japan. After studying philosophy at Sophia University, he earned his master’s degree with a thesis on the philosophy of Gilles Deleuze. His works span music, media art, performance, and film, and have been presented at numerous international festivals, including the Ars Electronica Festival, World New Music Days (ISCM), and ICMC, among many others across more than 35 countries.
As a composer, he has received commissions from various institutions and festivals, including the Jeju International Contemporary Music Festival. He is also a member of ASCAP and the Society for Electro-Acoustic Music in the United States (SEAMUS).
In addition to these activities, he won first prize at the 2022 Living Music competition at Penn State University, and in 2023 held a solo exhibition at the CICA Museum in South Korea—further expanding his practice across contemporary art and performance on an international scale.
Otto Wanke is a composer and music researcher based in Vienna. My education began with jazz composition in Prague and continued in Vienna, where I studied instrumental, multimedia, and electroacoustic composition with Wolfgang Liebhart, Iris ter Schiphorst, and Karlheinz Essl. I completed my studies with a PhD focused on spectral music under the supervision of Gesine Schröder and Martin Supper at the University of Music and Performing Arts Vienna (mdw). From 2018 to 2023, I was employed as an assistant at the Department of Ethnomusicology at the mdw. Since 2020, I have been teaching electroacoustic composition and multimedia at the Janáček Academy of Music and Performing Arts in Brno.
After receiving recognition at several international competitions—including the Frederic Mompou Award in Spain, FIMS in Switzerland, the Nikolaus Fheodoroff Composition Prize, and the Theodor Körner Prize in Austria—my music has been featured at major international festivals, including Wien Modern, Acht Brücken, Visiones Sonoras, and Carinthian Summer. My works have been performed by renowned ensembles, orchestras, and soloists—such as PHACE, OENM, Black Pencil Ensemble, Grafenegg Symphony Orchestra, Austrian Jazz Composers Orchestra, Lars Mlekusch, Alexei Kornienko, Susanne Blumenthal, Wolfgang Mitterer, Christoph Cech, Yuri Revich, and Paul Gulda—and I have received commissions from institutions such as the National Opera in Warsaw, Brucknerhaus Linz, ZKM Karlsruhe, and ORF.
Alongside my compositional work, I am active as a performer of electroacoustic music, appearing both as a soloist and in collaboration with other musicians. I also engage in improvisational projects, such as the modular synthesizer duo Los Modulinos with Karlheinz Essl. In addition, I am active in the field of music management: I founded the concert series and composition competition SoundChain, and since 2025, I have been working with the Brno Philharmonic as an external dramaturge.
Escalante is an artist and designer working with computer code, modular synthesizers, and analog drawings. His work has been showcased in major festivals and exhibitions worldwide, including OFFF, Mutek, Ars Electronica, CURRENTS New Media, FILE, and the Athens Digital Arts Festival, among others. He was a member of the National System of Art Creators (2017-2019 National Endowment for the Arts, MWX) and received the Corwin Award (1st prize) for Electronic-Acoustic Composition in 2016.
Escalante holds an MFA in Architecture Design (UNAM) and a Ph.D. in Media Arts & Technology (University of California, Santa Barbara).
Tiziana Alocci is an Italian-born, London-based artist and researcher working at the intersection of sound, data, and spatial practice. Her work investigates how invisible phenomena—memory, absence, environmental signals, and human voices—can be translated into poetic, experiential systems.
Grounded in field recording, data collection, and custom-built tools, Alocci creates site-specific installations that treat architecture and cities as living instruments. Rather than visualising data for explanation, her practice uses listening as a primary design method: sound becomes a way to reveal what is usually overlooked, erased, or taken for granted.
Her projects often unfold as long-term, evolving bodies of work, combining participatory archives, environmental sensing, and real-time systems. These installations invite audiences to inhabit data emotionally and physically, foregrounding process, context, and collective presence over fixed outcomes.
Alocci’s work has been presented in galleries, museums, and public spaces internationally, and frequently involves collaboration with local communities, researchers, and students. Across her practice, she positions herself not as a narrator but as a medium—creating frameworks that allow places, structures, and people to speak for themselves.
palindroma works with a wide range of digital media (3D-graphics/animation, game engines, real-time generative systems) and interactive phygital installations, searching for alternative forms of agency, access and embodiment in our interaction with the digital, algorithmic and the abstract. His aesthetic revolves around mutating strict diagrammatic elements into campy artifacts, queering the interfaces and reimagining digital phenomena as part of a material culture. For real-time visual performances he crafts interactive systems which respond to sound parameters and other features of the environment, turning the whole performance into a living audiovisual ecosystem.
Pasuth (1996, Bangkok) is a multidisciplinary artist based in Bangkok. He creates artworks that explore the textures of nature and the connection between the digital and natural realms. Pasuth combines natural sounds with diverse electronic styles to create multisensory experiences that harmoniously blend technology with the natural world.
He has performed live at festivals such as WeSA festival (Seoul, 2025), Touch Designer meet up(Bangkok,2025), Diage Degree Vol. 1 (Bangkok, 2024), Unfilm Virtual Festival (Bangkok, 2024), and Aavistus Audio Visual Festival (Finland, 2022)
Wasawat Somno (@giang_ws, 1994) is a programmer, live-coding audio/visual performer (aka WrappedByte), VJ, creative technologist, artist, curator, promoter, and event organizer. He usually integrates coding into his workflow and enjoys playing with different programs and frameworks. His performances were performed across club scenes and art exhibitions including AlgoSeoul (Seoul), Ghost2565 (Bangkok), Diage Festival (Bangkok), Algorapture (Jakarta), Interlude (Ho Chi Minh), Para Cartography (Ho Chi Minh) and evals (Bangkok). He is also interested in organizing tech art/music events as a part of growing tech art community including BYOB (Bring Your Own Beamer) with his friends(JAAG and ZonZon ztudio), and live-coding workshop and performances such as Cybernaut party featuring artists from New York and Ho Chi Minh with his collective Cornea Cochlear Club and co-organized and curated in Player 2 Has Entered The Server, a tech-art initiative in collaboration with Goethe-institut Thailand, under the group name Stack. Wasawat also co-organized TouchDesigner Bangkok Meetup under the group name TDBKK.
Anon Chaisansook (Bangkok, 1992) is interested in political conditions and social structures. His artistic practice often involves physical transformations of objects, images, and sound. Through methods such as coding, sound production, 3D visualizing and 3D printing, he is able to distort the physical, while twisting and dissolving the existing narratives attached to such objects, countering mainstream discourses in the present day. In 2015, he was selected as one of the artists in Brand New Art Project 2015.
Nuntinee Tansrisakul (b.1992, Thailand) is an algorithmic composer and visual artist based in New York City. She is currently an Artist-in-Residence at MAXmachina and Adjunct Faculty at NYU Tisch’s Interactive Telecommunications Program (ITP) & Interactive Media Arts (IMA). Her artistic focus is in the ambiguity between perception and cognition. She uses computational techniques to create sound compositions, time-based visuals, live performance scores, and photographic prints. Nuntinee is a member of NUUM Collective, a collective of multidisciplinary artists, with grant support from National Endowment for the Arts (NEA), Google Artists + Machine Intelligence (Google AMI), and NYU Research Catalyst Prize (RCP). Her work has been presented at New York Live Arts, Currents Festival, LaMaMa & CultureHub, NEW INC New Museum, NYC Media Lab, Battery Dance Festival, Processing Foundation Conference, Cycling ‘74 Expo, and Movement Research.
Born and raised in Bangkok Thailand, is a writer/director based in Los Angeles and Bangkok.
Bo’s works tell personal stories with scents of intimacy, identity exploration, and violence. Growing up in different cities around the world, Bo loves to explore ambiguity in identities and relationships.
Her graduating film at CalArts, “pieces & bits”, tackles a sexualised and fetishised stereotyping of Thai women, screened at Austin Asian-American film festival and won women empowerment film at New Wave film festival. Her other films depict the commotion of identity and people’s relationships with space, screened and awarded at various international film festivals such as Hong Kong Experimental Film Festival, Asolo Art Film Festival, Oaxaca International Film Festival, etc. Along with other projects, her first feature is in development and was a part of SGIFF’s SEA Film Lab in 2023.
She was listed on The 2023 Future List by Koktail Magazine, presenting one hundred individuals who contributed to the progress of Thailand. Outside of films, Bo collaborates with artists both locally and internationally such as keshi (Island Records, UMG), Sammi Cheng (Media Asia, Hong Kong), Jay Fung (Media Asia, Hong Kong), and others. She also teaches part-time a Film Aesthetic course at Chulalongkorn University’s Communication Arts programme.
Hey there, I’m Nitta, and I’ve been diving into the world of film production for the past 8 years. My passion lies in directing, especially when it comes to music videos, fashion films, commercials, and shorts. These mediums give me the freedom to blend visual storytelling with my own unique perspective.
From the get-go, I’ve been fascinated by the power of visuals to speak volumes. It’s like painting with light and movement, creating scenes that resonate on a deeper level. My style tends to lean towards the surreal and the symbolic, drawing viewers into a world where reality and fantasy collide in beautiful chaos.
I’ve always believed that visualization is the key to unlocking the imagination. Through my work, I aim to transport audiences beyond the constraints of everyday life, inviting them to explore new realms of possibility while still connecting to the heart of the story.
Navvelaa Sukhakomkham, known as Time, was born in 1995 and holds a Bachelor’s degree in Painting from Poh-Chang Academy of Arts and a Master’s degree in Visual Arts from Silpakorn University. Currently working as an interdisciplinary artist and sound designer. His work often investigates and questions notions of time, the natural qualities of media, the transference and blending of aesthetics, and the interplay between the physical and the mind.
Born and raised in Thonburi, Bangkok — between analog and digital, shaped by constant change and personal turning points.
People, politics, and the quiet reasons behind how we act and feel.
Running. Cycling. Moving through places as an observer.
Observation becomes video.
Working across commercials and documentaries.
KOBOON is a video artist and animator working across music videos and mixed media. He is a member of the SAUDADE collective. His work is inspired by CRT television and VHS aesthetics. His visuals are defined by bold forms, vivid textures, glitches, and nostalgic imperfections—blending digital and analog elements into unpredictable outcomes.
Treerat Leena (b. 2003) is a Bangkok-based visual artist, visual jockey, zinester, and a member of The Basement TH / SAUDADE collective. Her practice explores visual experimentation across various media, channeling raw emotion through glitch, noise, point clouds, and abstract forms, constructing a fractured visual language that reflects the shifting, chaotic depths of her inner world. She is also interested in alternative modes of narrative, both concrete and abstract, particularly in relation to structure and society. As a young girl navigating complex social environments, I find empowerment in freedom and disorder, riding the edge between control and chaos while welcoming disruption, flow, and the unknown. More recently, she has expanded her practice into event organization and intends to continue exploring various creative directions and collaborative possibilities.
Napadol Sarem is a Bangkok-based artist working with experimental sound and moving image. His practice explores generative sound systems, sampling, and minimal visual structures, focusing on listening, perception, and the relationship between sound, image, and time. He is a member of the SAUDADE collective and also produces experimental electronic music under the alias internet cyber trash.
Chalandala is an artist and writer who explores queerness, trauma, and sexuality through a ‘poetic-academic’ lens. Rooted in the belief that the ‘personal is political’, their work blends personal experience with independent research and fieldwork in cultural studies. They share these stories through zines, poems, and comic journals to connect intimate narratives with broader, meaningful conversations.
Andy Zua is a multi-disciplinary artist, rapping is his first medium of expression. He is a member of the collective "Rap against dictatorship".
Now he expanded to painting, zine making and DJing
Most of his works regardless of the medium, based on his suffers in life and how to survive them both individually and collectively.
One of his dreams is to make art more approachable for everyone.
Pongnapak (GUMPOONG) Fakseemuang is a Multidisciplinary Artist based in Thailand. After graduating with a bachelor’s degree in Landscape Architecture from Kasetsart University, Gumpoong worked as a Landscape Architect for 2 years, a casting assistant for a year. In 2019, she started to focus on her photographic hobby and developed her work until it became her career.
Every piece of GUMPOONG’s work is inspired by movies; she believes that everywhere she goes and everything she sees can be turned into cinematic scenes. She loves to experiment and discover new perspectives to edit her photos; the more it seems surreal, the more she enjoys it. Her perception and imagination that she puts into her works are the ability that makes you see the world through her eyes. Her practice spans photography, installation, video, text, and music.
She has held three solo exhibitions and participated in numerous group exhibitions, showcasing her work internationally across Seoul, Milan, and New York City.
On the music path, GUMPOONG delivers her life experience through music and lyrics; the possibility of diversity depends on what she wants to communicate and present at a time. The influence of technology in this modern world has affected the development of concepts in various forms of art that she has created, including rock music.
Natthanan Juengsirikul is a filmmaker, video editor, and creative practitioner of Thai-Chinese heritage, based in Northeastern Thailand. His practice is shaped by an ongoing inquiry into his cultural identity, reflecting on the intersections and tensions between Thai and Chinese influences.
Working across production and design, his work centers on folk and rural narratives, often portraying the lives of ordinary people. Expanding beyond film, he has developed an interest in interactive and visual design through self-directed study, exploring new possibilities in communication and perception. His practice investigates how images, media, and design can shape the ways we see, feel, and understand everyday experience. Currently working as a video editor, freelancing for various content in business, agency, and online advertising.
Panlert is a Bangkok-based multidisciplinary artist, designer whose practice intersects experimental visual art, and contemporary design. His work explores the fusion of pop culture, futurism, and social narratives, blending global influences with local aesthetics to create thought-provoking artistic expressions.
Club Mascot is a music producer and DJ navigating genres including ambient, experimental, techno, and electronic. His performances and compositions are noted for their emotional depth, rhythmic complexity, and interdisciplinary influence.
Artist biography in next section
Yves Pokakunkanon is a multidisciplinary artist working with 3D, interactive installation, and live visuals. Her work explores digital bodies and synthetic identity, blurring the boundaries between human and artificial, reality and simulation. Drawing from her experience as a female artist, she examines the expectations and norms that shape how women see and construct themselves - often through the lens of her digital doubles: avatars and clones that mirror self-idealization and projection.
She is a member of Cache, a Bangkok and NYC-based electronic art collective, a guest video curator for TEAMS, and an active performer at audiovisual events in Bangkok.
Full bio on festival team pageSippapas Thienwiwat (b. 2006) is a Bangkok-based composer, digital artist, and curator working at the intersection of audiovisual live-coding, live electronics improvisation, and electroacoustic composition. Performing as SKYKYS, he explores algorithmic arrangements of sound and image, treating technological systems—from feedback loops to digital signal chains—as compositional material shaped through reconstruction. transformation, and spatialization. His work has been presented internationally across the USA, UK, Europe, Asia, and South America, with recent appearances at BEAST FEaST, IntAct, Sonorities Festival Belfast, among many other festivals. He has collaborated with centers and ensembles including BEAST, CEMI, EMuSE, OSSIA New Music, Just the TRS!, Triphens, and Sonic Officer. Currently, Sippapas is a student at the Institute of Music, Science, and Engineering (KMITL) and serves as the Co-Founder, President, and Artistic Director of the Thai ElectroAcoustic Music Society (TEAMS).
Full bio on festival team page