The exhibition A Machine Boosting Energy into the Universe presents an immersive—even spiritual—cinematic experience, centred on Korakrit Arunanondchai’s video installation, 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 in a discussion on rituals and their relationship with “media” and “cinema” in Southeast Asia. This talk is moderated by SAM curator Chanon Kenji Praepipatmongkol.

ABOUT THE SPEAKERS

Korakrit Arunanondchai
Korakrit Arunanondchai is a visual artist, filmmaker, and storyteller based in New York and Bangkok. His body of work merges fiction with poetry and offers synesthetic experiences engaged in a multitude of subjects, whether based in history, myth, or the lives of family, friends, and colleagues. He has held solo exhibitions at MoMA PS1 (2014), Palais de Tokyo (2015), Jim Thompson Art Center (2016), Kiasma (2017), and Serralves Museum (2020), among others. He has also participated in numerous group exhibitions, including the Biennale of Sydney (2016), Singapore Biennale (2019), Venice Biennale (2019), and Gwangju Biennale (2021).

May Adadol Ingawanij
May Adadol Ingawanij is a writer, curator and teacher. She researches de-westernised and decentred histories and genealogies of cinematic arts; avant-garde legacies; 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.

ABOUT THE MODERATOR

Chanon Kenji Praepipatmongkol
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.