Theerawat Klangjareonchai
Theerawat K. (b. 1989, Bangkok) is a media artist and educator whose work explores the intersection of digital and physical realities. Through immersive installations and time-based media, he investigates how emerging technologies redefine perception, memory, and experiential space. Working internationally, he also teaches digital media and spatial design, mentoring the next generation of artists.
Title: Das Gedächtnis
Country of Origin: Thailand
Medium: Video
Concept/Idea:
The core of the piece is a simulated memory-processing system caught in a state of perpetual conflict. There are two primary entities in this system: The Origin Node ('Home'): This represents the legacy identity, the ancestral homeland, or the past. It is programmed with an immutable, rigid logic a set of cultural, social, and personal. The Diasporic Fork ('The Self'): This is the evolved identity, which has adapted, mutated, and developed new protocols through its experiences in isolation from the origin.
Inspiration / Context:
The inspiration for this project is rooted in the personal and profound experience of living abroad the process by which a foreign land slowly transforms into a second home. It comes from the specific, paradoxical feeling of looking back on that period not with a simple sense of nostalgia for a place, but with a deep longing for the version of oneself that existed in that time and space. That chapter of life, though formative, is now closed. The person I was then their motivations, their daily rhythms, their unique perspective forged by that environment now feels like a distant memory, an archived self. This artwork is an attempt to bridge that temporal distance.
Artist Statement:
This generative video piece explores the condition of diaspora through the simulation of a memory-processing algorithm. The system's core conflict is the protocol incompatibility between a legacy identity ('home') and its evolved, diasporic fork ('the self'). The haunting is the system's recursive loop, endlessly querying its own corrupted past. The primary aesthetic is the system crash, triggered upon attempting to reconcile with the origin node. This failure state poses the work's central thesis: that the diasporic self is a coherent entity only in isolation, and becomes a mere specter—a cascade of pixelated noise—when its code is validated against the immutable logic of its source. The work concludes by performing a final act of data forensics. It unearths an identity erased by its own origin point; an archive that flags its returning data-stream as a corrupt and irrecoverable anomaly.
