Nawin Nuthong

    artist & curator
    memder of
    Speedy grandma


︎ Aleaf (2022). 

︎ A room, where they are COEVALs (2021)






_Collab in



  • To whom it may concern. (2018)
  • Intimate politics(2016)




  • Threshold of the Moonkin(2018)




  • The conjunction of self, History & Love of simulation(2019)
  • SUNDUKDIK (2019)
  • BOOOSEUM (2019)
  • Why can’t we talk to magic tree(2018)
  • The Mountain Climber(2018)
  • Brift LORE 2 begin(2)
  • Wrold Wordl World(2016)


︎.     ︎


  • Speedy grandma (2019+)
  • Booseum (2019+)
  • Wrold Wordl World(2016)




︎︎︎exibhition view


30.01-21.03.2021 / BANGKOK CITYCITY GALLER

    THE IMMORTALS ARE QUITE BUSY THESE DAYS represents Nawin Nuthong’s most significant endeavor to disambiguate ideas of the “Threshold” since his conceptu alization and engagement with the notion thus far. Such a Threshold, as postulated by Nawin, exists as a boundary demarcating the liminal space between experiences, thought, ideologies, histories, and narratives where these various fields coalesce. The Threshold further represents a limit that can be surpassed through ardent undertakings, and their coordinates of access are marked by “Threshold Guardians” that simultaneously serve as barriers to entry. Within the exhibition, the computer game serves as metaphor, illustration, and tool for the re-inscription of the operating mechanics of the human condition of existence. In his re-worlding of lived experience within the digital realm of the hyperreal, Nawin reveals reality as one mired by the weight of history and characterized by the simultaneous subversion and diminishment of its symbolic value simply by its writing. (An Essay on the Margins by John Tung)

“A child walked in and asked the Tree Council about history.
All the trees in the council just looked at each other, they didn’t answer the boy’s question.
Then, they pointed to two trees from a game, bustling about to return to their game world.
The child then followed the two trees.

Whilst they traveled to the virtual world.
Along the way, the boy saw questions on history.
He was well aware that the questions were not complete sentences.
Yet, the frequency of ambiguity seemed clearer in the messy space.

The boy stopped following the two trees.
And just like that, the expedition began!”

︎︎︎ is the website create for the research that parallel the process of this exhibition. This part I got help by Kritti Tantasit as practice of decoding in the method of Sociologist to re-understand the constellation of each object

︎︎︎object work preview

︎︎︎video work preview

︎︎︎Sketch of the objects placement.
Which some objects are grouped
by their kind, context of production and their own storyline.

︎︎︎installation element

︎︎︎object work preview