Tulapop Saenjaroen

A Room with a Coconut View

Tulapop Saenjaroen

A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.

People on Sunday

Tulapop Saenjaroen

Worarat Sawatdipisan, Alisa Chunchue

In this updated homage to the 1930 German silent film of the same title, Thai artist Tulapop Saenjaroen examines the paradox of people relaxing while being filmed. As a film shoot appears to be in perpetual delay, crew members kill time fiddling on their smartphones, all the while under the persistent gaze of the camera.

Nightfall

Tulapop Saenjaroen, Anocha Suwichakornpong

Vel Ng, Anocha Suwichakornpong

The chronicles of a day in the life of a nameless woman as she wanders around Singapore. Part documentary part video essay, 'Nightfall' is a fictionalized account of Suwichakornpong's time spent during a residency researching Thai politics in a foreign land.

Notes from the Periphery

Tulapop Saenjaroen

Supamart Boonnil

Commissioned by the Abandon Normal Devices Festival as an exploration into the globalised shipping networks, liminal territories and spaces of trade and labour that converge on the port city of Laem Chabang in Thailand.

The Return

Tulapop Saenjaroen

Tulapop Saenjaroen

“The Return” is an attempt by the artist to recall his lost memories of his father who died in the car accident in 1991 when the artist was almost five years old. Personal family photographs from his father’s funeral are overlaid with the imagined voice by the artist himself, fictionalising that his dead father is coming back to life—a strange and moving feedback loop between father and son, between photographic documentation and deteriorating memories, between personal history and its own otherness.

Squish!

Tulapop Saenjaroen

Anongnart Yusananda, Aacharee Ungsriwong

Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate ‘movements’. By extrapolating and redefining the terms of ‘movement’, be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression.