Southeast of Now, ‘Ontological Performativity of an Animistic World: Reflecting on Animistic Apparatus in Udon Thani,’ Annie Jael Kwan, 2022
Art Review Power 100 2021
NANG Magazine 8 ‘The Grandfather Spirit: an Interview with May Adadol Ingawanij and Julian Ross.’ Loud Mess issue edited by Shai Heredia & Oliver Husain, 2020, pp. 96-100
Art Monthly ’15th Berwick Film & Media Arts Festival,’ Vera Mey
Sight & Sound ‘Animistic Apparatus: Cinema for the Spirits,’ Matt Turner
Hyperallergic, ‘Reimagining Cinema from Nature’s Perspective,’ Ben R. Nicholson
“One of the most enjoyable things about the festival is its installations, placed around the town, often in spaces that are not otherwise open to the public. This was particularly effective in the case of films in the Animistic Apparatus program, such as Apichatpong Weerasethakul’s Fireworks (Archives), Tanatchai Bandasak’s Central Region, and Chris Chong Chan Fui’s Camera Trap, which were all screened in subterranean spaces that suited their subjects.”
Brooklyn Rail, ‘Notes on Berwick: “Why this passion for pictures, why this passion for darkness?“‘, Marius Hrdy
“.. Fireworks (Archives) (2014) by Apichatpong Weerasethakul stands out in particular. I had previously seen the film as part of a group exhibition in an abandoned high-rise in Rotterdam, but the seven-minute film is exhibited here at the Bankhill Ice House, which is ever more effective. To reach the screening space you walk up a tunnel on a slight incline and the climate changes immediately: The temperature drops and through the cool and damp air and a pair of curtains you enter a pitch-black space. The crackling sound of fireworks welcomes you while images of flickering light make flashes of animal sculptures appear on the massive screen set against the rock wall. Dogs, skeletons, and other creatures cut in stone are animated, reminiscing the revolt against oppression, of ghosts and dreams that serve as memory of a destructed land. In between real-life humans sit and spend their evening there and the scene ultimately expands into the spectator’s space.”
MAP Magazine, ‘Against Dialogue, or, We Need to Sing to Mountains,’ Marcus Jack
La Nación, ‘Reporte desde el festival de Berwick: cines en last fronteras,’ Fernando Chaves Espinach
Art4d, ‘Ban Chiang Animism,’ Kridpuj Dhansandors, in Thai and English