A ROCKING ROAD TO THE MOON

A Solo Exhibition By Tada Hengsapkul

Opening reception date : 17 May 2025, 5 PM Onwards

🗓 17 May  – 13 July 2025

📍At HOP Photo Gallery, MMAD 2 Floor., at MunMun Srinakarin (Open for visiting every day. 11.00 am – 07.00 pm)

The hpargotohp reflects and teases the image of a strangely mundane appearance. Capturing happenings

that invite questioning within an almost monochrome scene, these images transform into photographs that

narrate the story of the friendship road. Like a postcard, a different face invites you to travel, experience

together, to exist and be outside - within- between this artificial image.

‘A ROCKING ROAD TO THE MOON,’ a solo exhibition by Tada Hengsapkul, presents an artificial image of inequality stemming from the deeply decaying administrative structure. The works are initiated by Hengsapkul’s personal experience during his journey back to his residence on the rough roads of Bangkok, Thailand. Encountering events that defy normalcy, Hengsapkul accumulates, reflects on, and connects to a set of memories he has repeatedly witnessed while traveling back and forth to his hometown on the Friendship Highway, Mittraphap Road, an expanded development from the capital to the northeastern region of Thailand – an important diplomatic gift that Thailand received from United State during the Cold War.

Tada parodies the road’s relationships’s to propaganda, which continues to be reproduced under the guise of expanding and distributing prosperity within the region. Through scenes fabricated from found objects, photographic installations, and a slit-scan video that merge into a single moving image, he forms a distorted landscape by freezing time in panoramas - scenes of the road that remain perpetually incomplete - emphasising the différance through the arrangement of torn up asphalt fragments collected from the roadside while heading to Khao Yai District, Nakhon Ratchasima. By simulating a road alongside ‘image-objects’, potholes are cast and merged with photographs of reflections of the magnificent architecture of public buildings, including government and private sector buildings in the capital. With a tone of irony and sarcastic humour, these objects become imitations or irrational movement.

Within this unity of a photographic phenomenon scene, which aims to communicate through a series of events that may seem ordinary, these reveal themselves as the hidden consequences of the relentless pursuit of profit, while simultaneously being driven by some impetus—perhaps emotional. Although it appears to be just an ordinary scene, it stimulates a silent, violent action in a puzzling way, as if this photograph of the scene were tied to a shared emotional moment and the memory of endless struggle.