Memory Threshold: Chaos Resonance transforms the exhibition space into a hybrid environment that draws on a souvenir shop, the pop-concert stage, and the scenography of Thai opera known as Likay. Silk-screened t-shirts, pins, hoodies, and keychains create an environment that speaks the visual language of tourism and cultural distribution. Teeradakorn weaves his research materials—including graphic scores, archival fragments, texts, and sonic references—into the installation, repackaging them as souvenir-like objects: compressed, flattened, and made consumable.

A sound installation, forming part of the work, unfolds in three acts. Each act is anchored by a song whose political life has extended far beyond its original time and place: The Internationale, March for the Beloved, and Into the New World. Together, these songs reveal how sound can be suppressed by those in power, used as a tool of state control, and at the same time become a medium for solidarity and resistance. Memory Threshold: Chaos Resonance asks what remains of a song's meaning after its repeated reproduction, and what continues to resonate in a world where narratives are constantly absorbed, circulated, and transformed into cultural resources.