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Art Lovers Movie Club: Tulapop Saenjaroen, ‘People on Sunday’

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Welcome to the Art Lovers Movie Club, where you’ll find a selection of artists’ videos available exclusively online at artreview.com for a fortnight.

Tulapop Saenjaroen’s People On Sunday (2019) is a tribute and response to Robert Siodmak and Edgar G. Ulmer’s Menschen Am Sonntag (1930). The latter piece of docu-fiction follows a group of Berliners – non actors playing themselves – as they spend a lazy summer day off, flirting in parks and over picnics. But Saenjaroen’s reinterpretation updates the pioneering silent film for our new age of hyper-productivity.

‘While the Berliners of the 1930s knew how to play at being at leisure in the wholly uncommodified and unmediated sense […] Saenjaroen’s compulsively busy Bangkokians are too far gone,’ Max Crosbie-Jones writes in his review of the film. ‘Real, replenishing downtime is so alien to these gig-economy workers that, for them to pass as the titular people on Sunday, they need to be manhandled like props, given stock phrases or plonked in front of colour meditation videos.’

Tulapop Saenjaroen is an artist and filmmaker based in Bangkok. His recent works ‘interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism.’ His work has been shown in exhibitions and screenings internationally including the Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, Images Festival Toronto, Image Forum Tokyo, Curtas Villa do Conde, Asia Culture Center Gwangju, 25FPS Zagreb, Kasseler DokFest, Vancouver International Film Festival, Harvard Film Archive, BACC Bangkok, 100 Tonson Gallery, Display Gallery Prague, Seoul International New Media Festival and Moscow International Biennale for Young Art.

Screening dates: 16–30 October 2020

Previous films in the Art Lovers Movie Club include Luis Roque’s Heaven, screened 18–25 March 2020; Wong Ping’s An Emo Nose (2015), screened 26–31 March 2020; Laure Prouvost’s Shed A Light (2018), screened 2–9 April 2020; Alex Da Corte’s TRUƎ LIFƎ and BAD LAND (2017), screened 9–15 April 2020; Stine Deja’s 4K ZEN (2017), screened 17–23 April 2020; Daniel Steegmann Mangrané’s Fog Dog, screened 24–30 April 2020; Ivens Machado’s Versus (1974), screened 11–19 May 2020; Roger Hiorns’s BENIGN (2005), screened 15–21 May 2020; Jennet Thomas’s ANIMAL CONDENSED>>ANIMAL EXPANDED#2 (2018), screened 5–12 June 2020; Larry Achiampong’s The Expulsion (2019), screened 12-22 June 2020; Shezad Dawood’s Leviathan Cycle (2017-2018), screened 21 May–26 June 2020; Heman Chong’s Changi Airport Terminal 3 (Singapore Circuit Breaker Day 10, 16 April 2020) 4K 60 Binaural Walk 263 (2020), screened 26 June–3 July 2020; Berwick Street Film Collective’s Nightcleaners (1975), screened 3–17 July 2020; Tuan Andrew Nguyen’s We Were Lost in Our Country (2019), screened 17–31 July 2020; Grace Schwindt, Only a Free Individual Can Create a Free Society (2014), screened 721 August 2020; Hayoun Kwon, 489 Years (2016), screened 2–16 October 2020.

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