Afleveringen

  • The Quarantine Report by Krerkburin Kerngburi is a body of work that builds on many hours spent in front of the television. During the 2020 mind-numbing lockdown, Krerkburin found himself falling into a pit of catered information, propaganda, advertisement, drama, and even superstitions. Krerkburin experimented with image distortions, digital glitches, abstract colors, and unusual scenes on TV to reflect on the distorted, processed piece of information we received from the media. He explores the media’s capacity in shaping the collective (or even dualistic) realities in Thai society.

    The Quarantine Report āļœāļĨāļ‡āļēāļ™āļŠāļīāđ‰āļ™āļĨāđˆāļēāļŠāļļāļ”āļ‚āļ­āļ‡ āđ€āļāļĢāļīāļāļšāļļāļĢāļīāļ™āļ—āļĢāđŒ āđ€āļāļīāđ‰āļ‡āļšāļļāļĢāļĩ āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļĩāđˆāđ€āļ‚āļēāđƒāļŠāđ‰āđ€āļ§āļĨāļēāļŦāļĨāļēāļĒāļŠāļīāļšāļŠāļąāđˆāļ§āđ‚āļĄāļ‡āļ­āļĒāļđāđˆāļŦāļ™āđ‰āļēāđ‚āļ—āļĢāļ—āļąāļĻāļ™āđŒ āļŠāđˆāļ§āļ‡ Lockdown āđ€āļĄāļ·āđˆāļ­āļ›āļĩ 63 āđ€āļāļĢāļīāļāļšāļļāļĢāļīāļ™āļ—āļĢāđŒāļžāļšāļ§āđˆāļēāđ€āļ‚āļēāļ•āļāļĨāļ‡āđ„āļ›āđƒāļ™āļ§āļąāļ‡āļ§āļ™āļ‚āļ­āļ‡āļ‚āđ‰āļ­āļĄāļđāļĨāļ—āļĩāđˆāļ–āļđāļāļˆāļąāļ”āļŠāļĢāļĢāļ•āļēāļĄāļ„āļ§āļēāļĄāļ•āđ‰āļ­āļ‡āļāļēāļĢāļ‚āļ­āļ‡āļœāļđāđ‰āļŠāļĄ Propaganda āđ‚āļ†āļĐāļ“āļēāļŠāļ§āļ™āđ€āļŠāļ·āđˆāļ­ āļĨāļ°āļ„āļĢ āļŦāļĢāļ·āļ­āđāļĄāđ‰āļāļĢāļ°āļ—āļąāđˆāļ‡āđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļŦāļ™āļ·āļ­āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āđ€āļ‚āļēāļ—āļ”āļĨāļ­āļ‡āđƒāļŠāđ‰āļŠāļĩāļŠāļąāļ™āđāļ›āļĨāļāļ•āļē āļ āļēāļžāļ—āļĩāđˆāļšāļīāļ”āđ€āļšāļĩāđ‰āļĒāļ§ āļŦāļĢāļ·āļ­ digital glitch āļ‰āļēāļāđ€āļŦāļ™āļ·āļ­āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ—āļĩāđˆāļžāļšāđƒāļ™āļ—āļĩāļ§āļĩ āđ€āļžāļ·āđˆāļ­āļ•āļąāđ‰āļ‡āļ„āļģāļ–āļēāļĄāļ–āļķāļ‡ āļ„āļ§āļēāļĄāļŠāļēāļĄāļēāļĢāļ–āļ‚āļ­āļ‡āļŠāļ·āđˆāļ­āđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ„āļ§āļēāļĄāđ€āļŠāļ·āđˆāļ­āļŦāļĢāļ·āļ­āļ„āļ§āļēāļĄāļˆāļĢāļīāļ‡āđƒāļ™āļŠāļąāļ‡āļ„āļĄāđ„āļ—āļĒ āļ“ āļ›āļąāļˆāļˆāļļāļšāļąāļ™

  • Artist: Pixy Liao Photo Book: Experimental Relationship Vol.1 2007 - 2017

    Due to her upbringing in China, Pixy Liao used to believe that she could only love someone who was both older and more mature than she was. She was wrong. After that, she met Moro, her current boyfriend. She thought about relationships in a completely new way. She began to consider the significance of her own relationship and to experiment with photography as a way of documenting it. Her photographs look at the various ways in which heterosexual relationships may be explored. She learned from Moro that there is no necessity for heterosexual relationships to be standardized. Every two people will have a different form of relationship based on their personalities. This experiment's goal is to deviate from the standard model of relationships and find a new equilibrium. She intends to carry on with this project as long as they are together.

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  • āļĢāļīāļ‡āđ‚āļāļ° āļ„āļēāļ§āļēāļ­āļđāļŠāļī āđ€āļ›āđ‡āļ™āļŠāđˆāļēāļ‡āļ āļēāļžāļŠāļēāļ§āļāļĩāđˆāļ›āļļāđˆāļ™ āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļĢāļđāđ‰āļˆāļąāļāļ­āļĒāđˆāļēāļ‡āļāļ§āđ‰āļēāļ‡āļ‚āļ§āļēāļ‡ āļ”āđ‰āļ§āļĒāļœāļĨāļ‡āļēāļ™āļ āļēāļžāļ–āđˆāļēāļĒāļ‚āļ­āļ‡āļ„āļēāļ§āļēāļ­āļļāļˆāļī āļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļžāļīāđ€āļĻāļĐāļĄāļēāļāđ†āđƒāļ™āļ”āđ‰āļēāļ™āļŠāļĩāļŠāļąāļ™āļ—āļĩāđˆāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļ­āđˆāļ­āļ™āđāļĨāļ°āļ­āļ‡āļ„āđŒāļ›āļĢāļ°āļāļ­āļšāļ āļēāļžāļ—āļĩāđˆāļ”āļđāļŠāļšāļēāļĒāđ† āļ•āļĨāļ­āļ”āļˆāļ™āļ„āļ§āļēāļĄāļŠāļēāļĄāļēāļĢāļ–āđƒāļ™āļāļēāļĢāļ—āļģāđƒāļŦāđ‰āļœāļđāđ‰āļ„āļ™āļŠāļ‡āļŠāļąāļĒāļāļąāļšāļ āļēāļžāļ–āđˆāļēāļĒāļ‚āļ­āļ‡āđ€āļ˜āļ­ āļ—āļĩāđˆāđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļ™āđƒāļˆāļāļąāļšāļ—āđˆāļēāļ—āļēāļ‡āļŦāļĢāļ·āļ­ āđ€āļ„āļĨāļ·āđˆāļ­āļ™āđ„āļŦāļ§ āđ€āļĨāđ‡āļāđ† āļ™āđ‰āļ­āļĒāđ† āđāļĨāļ°āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ˜āļĢāļĢāļĄāļ”āļēāđ†āļ—āļĩāđˆāđ€āļāļīāļ”āļ‚āļķāđ‰āļ™āđƒāļ™āļŠāļĩāļ§āļīāļ•āļ›āļĢāļ°āļˆāļģāļ§āļąāļ™āļ‚āļ­āļ‡āđ€āļ˜āļ­ āļŦāļ™āļąāļ‡āļŠāļ·āļ­āļ āļēāļžāļĨāđˆāļēāļŠāļļāļ”āļ‚āļ­āļ‡ āļĢāļīāļ‡āđ‚āļāļ° ‘Illuminance’ āļ–āļđāļāļ•āļĩāļžāļīāļĄāļžāđŒāļ‚āļķāđ‰āļ™āđ€āļ™āļ·āđˆāļ­āļ‡āđƒāļ™āđ‚āļ­āļāļēāļŠāļ„āļĢāļš 10 āļ›āļĩāļˆāļēāļāļāļēāļĢāļ•āļĩāļžāļīāļĄāļžāđŒāļ„āļĢāļąāđ‰āļ‡āđāļĢāļ āļ āļēāļžāļ–āđˆāļēāļĒāļ‚āļ­āļ‡āđ€āļ˜āļ­āļĄāļļāđˆāļ‡āđ€āļ™āđ‰āļ™āđ„āļ›āļ—āļĩāđˆāļ§āļąāļāļˆāļąāļāļĢāļ‚āļ­āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āđ€āļāļīāļ” āđāļāđˆāđ€āļˆāđ‡āļš āļ•āļēāļĒ āđ€āļĨāđˆāļ™āļĨāđ‰āļ­āđ„āļ›āļāļąāļšāļāļēāļĢāđ€āļ„āļĨāļ·āđˆāļ­āļ™āđ„āļŦāļ§āļ‚āļ­āļ‡āļŠāļĩāđāļĨāļ°āđāļŠāļ‡āđƒāļ™āļ āļēāļžāļ‚āļ­āļ‡āđ€āļ˜āļ­ āļāļąāļšāļāļēāļĢāļ™āļģāđ€āļĻāļĐāļŠāđˆāļ§āļ™āļ‚āļ­āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ—āļĩāđˆāđ€āļ˜āļ­āļ™āļģāđ€āļŠāļ™āļ­āļ­āļĒāđˆāļēāļ‡āļ­āļĒāđˆāļēāļ‡āļĨāļ°āđ€āļĄāļĩāļĒāļ”āļĨāļ°āđ„āļĄ āļ āļēāļžāļ–āđˆāļēāļĒāļ‚āļ­āļ‡āđ€āļ˜āļ­āļˆāļķāļ‡āđ€āļŦāļĄāļ·āļ­āļ™āļāļąāļšāļāļēāļĢāđ€āļāđ‡āļšāļ āļēāļžāđ€āļāļīāļ”āļ‚āļķāđ‰āļ™āđ‚āļ”āļĒāļšāļąāļ‡āđ€āļ­āļīāļāļ—āļĩāđˆāđāļŠāļ™āļžāļīāđ€āļĻāļĐ