Pam Virada
– info

installations –

1Window: To See a Parallel Place, 2015
2Three-Cornered World, 2016
3Consultation Only, 2017
4Memory Palace, 2018
5Memory Palace (sections), 2018
6the space is altered, 2018
7clouded, 2018
8engineered ruin, 2019
9find me a house, 2019
10Props, 2019
11Of Mice & Men, 2019
12dragonfly, peppermint, autumn sky, 2020
13Jade, Sea, Room, 2020
14The Mirror, 2021
15We’ll meet in a Clearing by the Magic Mountain, 2021
16Passing Through, 2021
17Descendant (spine 1), 2021
18No Transcendance, Only Immanence, 2022

publications —

1Dwelling on Emptiness Part 1: A Catalogue of Ideal Houses
2Archive of Collective Archetypal Reflections
3Instant Realities
4Dialogues with Memory Objects
5appearing unannounced: catalogue
6Possessed Architecture: Ancestral Hauntings in Confucianism

films —

1Casting a Spell to Alter Reality, 2020
2Clouds Obscure then Blow Away, 2021
3Prelude: Points of Departure, 2022

4นิราศสีชัง / Sonnet for Si Chang, 2022


p. 5 

appearing unannounced: catalogue
14 x 21cm, 170 pages

companion artwork cards
8 x 12cm, 28 cards
Published in 2021
Printing is supported by Parbpim Ltd.
Photographs by Atelier 247 and Pam Virada

ISBN 978-616-586-322-3

expensive to be poor (special edition)


Text by the curator:

It is a companion booklet of the exhibition that happened three years ago. The exhibition was held in Chiangmai, do you remember, the location was pretty faraway.? The building was hiding behind the trees; it was open and huge. As huge as an ideal artist’s studio could be. At the exhibition entrance, a sign made of mirror-like stainless steel reads ‘appearing unannounced’ blending itself into one of the pillars.

Inside the building, there were many objects, from the painting of faded wooden sign, images of artwork-eating bugs in a German museum, a shiny puddle, an inflatable pretzel, a stone soup bowl with a miniature white sand garden inside, to unwanted weeds in plant pots. The exhibition lasted half a year, and later things changed, the white sand garden became reddish, the inflatable lost some air, the shiny puddle became dusty, the weeds grew.

Objects in the exhibition were able to be moved around freely, according to the usage of the building. This booklet tends to reflect how the presentation was, and it works similarly.

This is the mirror object and the booklet of the exhibition together. The booklet was designed by Pam Virada. The booklet consists of the texts, Oblivion by Tunyaporn Hongtong and Light in Time of Crisis by Nil Paksnavin.

The exhibition was a part of Painale, 2018Artists: Tanatchai Bandasak, Lars Karl Becker, Viriya Chotpanyavisut, Danaya Chulphuthiphong, Edi Danartono/Niwat Manatpiyalert, Andreas Gloël, Siri Hagberg, Kittitorn Kasemkitwatana, Yuki Kishino, Yasuaki Kitagawa, Cheonghye Sophia Lee, Yong Xiang Li, Jieun Lim, Olan Netrangsi, Nontawat Numbenchapol, Prae Pupityastaporn, Julia Schwadron, Atit Sornsongkram, Nolico Taki, Pathompon Mont Tesprateep, Daniela Kneip Velescu, Pam Virada, and Mark Walker

The exhibition was initiated by Paphonsak La-or and put together by Sathit Sattarasart.