Unexploded Ordnance was realized during a journey on a cargo ship, CMA CGM Fidellio from Vancouver to Shanghai as part of 23 Days at Sea residency in 2017. The project was conceived in two parts, as moving image and writing, which co-exist in parallel - a double image, a doppelgaenger.
"What if the ocean is not the timeless space we
presume, but the very basin of time? What if the sea
was in fact a theatre of history, one wherein the
horror of humankind’s many exploitations repeatedly
play out, sink into obscurity, and traumatically return
to haunt us in shadow form, revealing all that modern
history has rendered ghostly?"
The book "Unexploded Ordnance" can be read online in English at https://issuu.com/sikarnt/docs/unexploded_ordnance_s2
The project was supported by Access Gallery in partnership with the Burrard Arts Foundation and the Contemporary Art Gallery.
Director Biography - Sikarnt Skoolisariyaporn
Sikarnt Skoolisariyaporn is an artist and writer based in Bangkok and Berlin. Via moving image, performance, text and installation - their practice embraces perpetual complexity of space and time anomaly. They makes art in a state of weightlessness, and currently practice spinning and falling (level 2.8)
Recent exhibition and screening includes: Bangkok Screening Room (short open film); Twenty-Three days at Sea, Access Gallery, Vacouver, Canada; MOST, Hong kong; Parabiosis: Regeneration-Expansion, Chongqing Changjiang Contemporary Museum, Chongqing, China; Bangkok Underground Film Festival 2017, Bangkok, Thailand; Guilt Complex, Chalton Gallery, UK; Laundry National Art Prize, Australia; When Body Moves City, CCLAP, UK; Pareidolia ll, SPILL festival, UK; No Electricity, No Gas, No Water, Germany.
Recent performance includes: Interval 9, Essen, Germany; Object without Shadow, CAG, Vancouver, Canada; Space in body in Space, Stanley picker gallery, London, UK;Ouroboros Month of Performance Art-Berlin, Cell 63, Berlin, Germany; Amnesia Liquidity, Gruentaler 9, Berlin, Germany.
Cuts across mediums of moving image, performance, text and installation, my practice explores a notion of human and non-human history embedded in geological spacetime; the history of mankind that is remembered by the earth and it's landscape. I am particularly interested in landscape of the sea: a seascape, as it offers a potential to imagine a perpetual landscape that transcends concept of "space" into "time". Seascape cannot be captured through photograph and cannot be represented in three dimensional virtual cartography (e.g. google street view), for the reason that - while the ground unfolds its still landscape in the three dimensional space - seascape only reveals itself in the fourth dimension of time. Landscape of the sea exists in its movement of waves and wind, in it's constant shape changing, in it's state of flux. It does not only suggest a new way to understand spatiality - but also change the way of approaching history (a set of events that happens within space and time): history as a contingent meta-object that cannot be known in it's entirety but can only be kaleidoscopically sensed through it's partial encounter. This perspective leads to an encounter with perpetual complexity and mystery of the past - suggests the imagination for the impossible task towards the emancipation of history from human's limit of thought.