Bangkok Biennial 2020
Online Pavillion

No More Mesmerizations
  • Mar 13 to Apr 3, 2021
Group Show
Curated by Vincent Ardidon

To mesmerize is to hold sway over an economy of immediate attention; to command and depoliticize the onlooker to a certain extent. An understanding of the act of mesmerization by way of modernity’s aesthetico-political regimes brings us to the mandatory question of how might an object, scheme, or practical form enthrall the observer. But also what circumstances are at stake when the witness in the company of art, remains magnetized to building blocks of grand and petty convictions like affect, principle, or hypotheses.

This unmistakable status of contemporary art as a triumphant, mesmerizing machine in the wake of mereologic planetary instability happens to be shared not only in forms but in procedures; replete where audiences are at their most entrenched, entertained, and remiss. Simply put, mesmerization is the charismatic policy of the spectacle. And as our bid to install technologies to withstand human and more-than-human problems arose to our own designs of extinction¹, this mesmerizing status prevails as an ongoing operation that still attracts more capital and following, carrying on as an asset of distraction in the spate of catastrophes.

Taking this context in mind, the more arduous and exigent output requires us to imagine the obverse: what happens when an object, simply, ceases to mesmerize or denies the mesmerizing function to begin with. What forms and methods does art take when it no longer seeks to be mesmerizing? What could a politics of the ultranormal be, if the question could be posed as such? The pavilion is a testing ground to chart forms that dodge from rampant, standard avenues of production, if only to reroute to an orientation that distances away from appropriating the totemic, the value-adding, the mesmerizing. In this case, the title is the attitude: No More Mesmerizations. Allocate expiration, once and for all.



Prototype (chest)
Reworked and released in 2021


32.8 x 20.5 x 26 cm


Japan surplus, Eucalyptus wood veneer, acrap wood, adhesives, sealer


In all types of Eucalyptus trees, the bark dies each year. In smooth bark types, the bark comes off in flakes curls or long strips. In rough bark eucalyptus, the bark doesn’t fall off as easily, but accumulates in entwined, stringy masses of the tree. Shedding eucalyptus tree bark may help keep the tree healthy. As the tree sheds its bark, it also sheds any mosses, lichens, fungi and parasites that may live on the bark. Some peeling bark can perform photosynthesis, contributing to the rapid growth and overall health of the tree. The bark is highly flammable, so the grove creates a fire hazard. ornamental/trees/eucalyptus/


Prototype [light]
Reworked and released in 2021


25.5 x 24 x 49.5 cm


Bent Giant bamboo from Negros Occidental (part of a previous light prototype, 2019), custom stainless steel angle bracket (mirror finish), stainless steel hexagon nuts, bolts, washers and screws, T5 florescent tube light 8 watts 12” (daylight)