Time drifts, Spring grasses

Name: Time drifts, Spring grasses
Start: 2025-04-12T18:30:00+07:00
Location: 1048/3 Charoenkrung road Bangrak, Bangkok, Thailand, Bangkok 10500

Schedule

Sat, 12 Apr, 2025 at 06:30 pm

UTC+07:00

Location

1048/3 Charoenkrung road Bangrak, Bangkok, Thailand, Bangkok 10500 | Bangkok, BM

time drifts, spring grasses
Screening program by Linh San
12 April 2025, 6.30 PM onwards with the following Q&A session.
At Speedy Grandma, Charoenkrung, Bangkok & Á Space, Hanoi.
*Poster uses still image from Mid-autumn Night by Lê Xuân Tiến
** Original film language in Vietnamese, Czech, French with English subtitles.
Participating artists
LINGXI
Cao Việt Nga
Lananh Chu
Phạm Minh Thắng
Louise Lan
Lê Xuân Tiến
โลกหมุนตัวราวกับแสงที่กระจัดกระจาย – จังหวะแสนสั้นคงอยู่และเลือนหาย ทำนองของระยะทางและสายสัมพันธ์ เวลาเคลื่อนคล้อยไป Time drifts, spring grasses เป็นการคัดสรรภาพเคลื่อนไหวจากกลุ่มเพื่อน เปิดโอกาสให้ศิลปินได้ก้าวเข้าสู่โลกแห่งภาพของพวกเขาโดยไม่ต้องพึ่งพาถ้อยคำ
ด้วยภาษาภาพและมุมมองส่วนตัวที่หลากหลาย ผลงานเหล่านี้บันทึกการพบเจอแสนสั้น ในขณะเดียวกันก็สะท้อนให้เห็นทั้งโลกภายนอกและภายใน ถ่ายทอดผ่านภาพที่ถูกบันทึกด้วยกล้องและแอนิเมชัน บ้างจับจ้องโลกด้วยสายตาคมคายและเสียดสี ขณะที่บางชิ้นล่องลอยไปในห้วงคำนึงราวกับบทกวี นักทำหนังผู้หลงทาง จิ้งหรีดพเนจร แมลงสาบที่ไม่อาจหนีโชคชะตา – แต่ละเรื่องราวดำรงอยู่ ณ จุดเปลี่ยนผ่าน ที่ซึ่งกาลเวลาช้าลง เลือนหาย หรือย้อนกลับ
ด้วยการจัดเรียงเป็นสามจังหวะ การฉายครั้งนี้เชื้อเชิญให้คุณฟัง ล่องลอย และเฝ้ามองโลกที่เคลื่อนผ่านไปในภาพที่แสนเลือนราง

The world unfolds like scattered light – fleeting moments of presence and absence, rhythms of distance and connection. Time drifts, spring grasses brings together a selection of short films by friends, allowing me to step into their visual worlds without the need for words.
Diverse in visual language and personal perspective, these works capture fleeting encounters and offer reflections on both the external and internal worlds – told through camera-captured imagery as well as animation. Varying in tone, some gaze at the world with sharp, playful critique, while others drift into poetic contemplation. A lost filmmaker, a wandering cricket, a roach unable to escape its fate – each piece lingers at the threshold, where time slows, dissolves, or circles back on itself.
Arranged in three rhythms, this screening invites you to listen, drift, and watch as the world slips by in passing images.
*rhythm 1
Green Ball (2019), Lingxi Yuan, 01:48
Blue Light (2023), Lingxi Yuan, 02:54
Two experimental animations exploring the movements of small matter.
pure imagination (2025), Cao Việt Nga, 08:24
a girl wakes amidst a dream
a struggling actress, a lost filmmaker.
sound observation in a salt marsh (2025), Lananh Chu, 02:20
An experiment of listening with ears and eyes.
Démon de Laplace (2017), Lingxi Yuan, 06:11
A roach is discovered, captured through two perspectives: an old DV camera for the human view and a 16mm film for the roach’s journey. The work explores fate, destiny, and determinism, drawing from scientific theories like Laplace’s Demon. Observing dead insects, despite their resilience, reveals an inescapable fate—mirroring human existence. In the grand scheme, all beings are fleeting, yet our minds remain trapped in a microcosmic cycle.
** rhythm 2
dear… (2024), Lananh Chu, 01:16
The video using black-and-white scanning technology comments on how bureaucratic papers 'scan' our lives.
Motivation video for young artists (2019), Phạm Minh Thắng, 06:09
*** rhythm 3
Mèo (2025), Louise Lan, 05:23
For this film, Louise Lan worked with a class of children who live near a forest in the Yvelines, France. Mèo is a film where humans and the spirits of the forests meet. Flowers, trees, animals, and sounds become guides for humans. The stories give us hope and help create connections between worlds, between humans and animals, plants, but also between the world of the living and that of spirits and ghosts. Plants and animals are spirits capable of reaching us, of transforming us; they have a vital force that is not the same as that of humans but is constantly interacting with it.
Wandering / Toulky (2021), Phạm Minh Thắng, 02:11
The story of a little cricket wandering in a beautiful and impressive landscape. The cricket needs to camouflage because at any moment it can be caught by the scary mantis. Can the cricket escape the predator?
Mid-Autumn night (2024), Lê Xuân Tiến, 08:12
2024, Hanoi, Mid-Autumn festival, under the moonlight, Namo Ksitigarbha Bodhisattva.
About the filmmakers
Lingxi Yuan
From China. Lingxi is an artist and filmmaker.
Cao Việt Nga (b. 2002) is an emerging producer, art practitioner exploring intimacy, playfulness and micro/alternative narratives through cinema and performance. Since 2021, she works in ba-bau AIR and Hoa Quỳnh Cinema (ba-bau ’s film department, founded in 2022) as a space manager, programer and collective member.
Lananh Chu (she/they) is a filmmaker and writer interested in the entanglements between humans, nonhumans, plants, animals, stones, soil, air, and other media. Lananh stands in solidarity with the people of Palestine, Sudan, and Congo, who are resisting genocide and fighting for freedom from the river to the sea.
Louise Lan (born in 1993) is a photographer and filmmaker. She lives and works between Paris and Saigon. After completing a master’s degree in literature and studying at the École des Beaux-Arts in Paris, she co-founded Nabuzardan, an exhibition space in the Paris region for artist collectives. Her work has been shown at the Musée de la Chasse in Paris, Centquatre Paris, the Bangkok Contemporary Art Biennale, PhotoSaintGermain (Paris), and BEFF7. She has participated in several residencies, including at the Ateliers Medicis (France) and Villa Saigon (Đà Lạt), where she has worked on the colonization of the Vietnamese landscape by French flowers. She received funding from the CNC for her short film Rock Dragon (a film about her grandfather who lives in Hà Tiên) and a research grant from ADAGP for Hoa, anh ơi (a video about flowers that tell the transformation of the Đà Lạt landscape from their perspective).
Phạm Minh Thắng (b.1996) is graduating this year from the Academy of Fine Arts in Prague. He was born to Vietnamese parents who emigrated to Europe in the 1980s. Growing up in a bilingual environment created a cultural clash that became an immediate subject of exploration at the beginning of his studies. In his performative projects, in which he invited his father to participate, he examined intergenerational relationships, misunderstandings, and cultural barriers. In 2023, he undertook a year-long residency in Vietnam to study traditional lacquer painting. This technique became a means for him to physically engage with tradition, history, and cultural memory through craftsmanship.
Lê Xuân Tiến
In Hanoi, during the Hour of the Monkey on February 7, 1995, the Year of the Wood Pig, a man was born and named Lê Xuân Tiến. That man spends a part of his life on art practice, using video as his primary medium.