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ANN : Art News Network, Bangkok (2025)

05/07/2025

Vietnamese artist Phương Linh Nguyễn opens “Summer Breeze”, her first solo exhibition in Thailand, on July 5, 2025 from 4-8pm at Storage art space in Bangkok.

The exhibition features Linh Nguyễn’s works developed in collaboration with her longtime artistic partner Trương Quế Chi, and with contributions from guest artist Gabby Miller.

Storage notes about the show that:

“Conceived and shaped by Phương Linh, the exhibition brings together a series of video installations and sculptural forms that reflect on memory, illness, migration, and the endurance carried through bodies and across generations. Rather than presenting a single narrative, the works stay with fragments and residues. Some appear clearly, others remain distant or obscured.

Phương Linh’s practice draws from personal experience while attending to a wider social and historical context. Her work often touches on places shaped by movement, loss, and repetition, including the shifting landscape of the Red River Delta where parts of her family history are rooted.

Across the exhibition, there are recurring images and references: the spine, the breath, the tongue, the body in recovery, the body in motion. A series of videos move between observation and performance, presence and absence. A steel needle stands still amid the flow of air. These forms do not call attention to themselves, but they hold fragments that asks to be noticed slowly.

STORAGE presents Summer Breeze as a place to spend time with the works. It invites visitors to move slowly, to notice, and perhaps to think about how personal and shared histories continue to surface in quiet and unexpected ways.”

The show runs though August 31, 2025.

The Art space is located on the 3rd of rye shophouse No 469 on Phra Sumen Road. It opens from Thursday to Sunday from 2-7pm.

Photo courtesy of Phương Linh Nguyễn

04/07/2025

The Jim Thompson Art Center and the Bangkok Art and Culture Centre co-host final hard talks on post Cold War in Thailand, ASEAN and beyond on July 5, 2026 from 10am to 5pm at Bacc’s ground floor.

The public program is part of major exhibition “The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe” which is on display at Bacc and The art center until July 6, 2025.

The morning session “Zomia of the Cold War” kicks off at 10.30am to noon. The panelists includes Assist Prof Jiraporn Laocharoenwong, anthropology lecturer at Chulalongkorn University, Assist Prof Prateep Suthathongthai of Mahasarakam University and artist Vacharanont Sinvaravatn. The discussion is conducted by Assist Prof Sorayut Aiemueayut of Chiang Mai University’s School of Media Art.

Afternoon session starts at 1pm with the talk on “Hot ASEAN in a Cold War” by Assist Prof Morragotwong Phumplab.

The final discussion on “Exploring the Existence of the Cold War in the Future” takes place at 3pm.

Moderated by Sorayuth, panelists are Prof Tyrell Haberkorn of Wisconsin-Madison University and Assist Prof Thasnai Sethaseree of Chiang Mai University’s School of Media Art.

Admission is free. Register: https://forms.gle/FwBn37SuzhDB3eTF6

The exhibition is closes on July 6, 2025.

Photos courtesy of Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร and The Jim Thompson Art Center

28/06/2025

Chiang Mai-based Thai artists Paphonsak La-or and Pare Patcharapa turn abandoned shophouses in Bangkok into site-spacific exhibition “Memory Complex” reflecting both personal and collective memories of people, places and politic in various angles.

Meet the duo artists at the temporary gallery for the final three days show from 11am till late of June 30, 2025.

Located in old and abandoned three-storey shophouses in trendy Samyan area, the duo brings life to this broken architecture belong prestigious Chulalongkorn University founded by the late king.

Known for his socially critical paintings, Paphonsak strongly addresses injustice stories of a Thai political prisoner and questions on role of contemporary art in Thai society as well as art world through his native paintings, installations, graffiti and drawings on clothes and oil and acrylic on glasses.

Meanwhile Pare reacts directly with leftover traces on the walls, emptiness and soulless in her abstracts and realistic painting and installation. Her works resonances sense of place-and-displace of her own memoirs and of people once lived here like immigrant workers and local merchants.

It’s interesting exhibition. The duo echoes that “what we do not see does not mean it does exist”.

Memory Complex on view from June 7-30, 2025
At vacant building 314, 316, 318 Soi Chula 50 near Samyan Mitr Town in Patumwan.
https://maps.app.goo.gl/kTXbAggL7BLR6hpr6
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Photo by Preecha Pattara courtesy of Paphonsak La-or and Pare Patcharapa

21/06/2025

Geothe Institute Thailand hosts computer game exhibition and workshops on “Player 2 Has Entered The Server” during June 21-22, 2025.

Curated by Stack team led by Pathompong Manakitsomboon, the exhibition about games, co-presence, and the politics of play, features video game and moving images created by over 30 international and local artists.

The exhibition explores the grammar of gaming, from avatars to mechanics, environments, and interfaces, to investigate human relationships, digital labor, surveillance, identity, and resistance.

From machinima and modded worlds to custom-built engines and live performances inside game environments, the show is a reminder that every player enters a system already running.

During two days, the exhibition features a variety of activities, including film screenings, workshops, talks, installations, a party, and a live audiovisual performance.

Participating artists include 2Girls1Comp, Nanut Thanapornrapee, Pasuth, Le-Bac-Tan, Pongsakorn Yannanisorn, Total Refusal, Anon Chaisansook, Natthorn Tansurat, Aekasit Siriratanawit, To New Entities, Voranat Voraphitak, Nicolas Gebbe, Inhwa Yeom, George Hiraoka Cloke, Jo Ngo, Aekasit Siriratanawit, Pitiphong Piamprasong, Jackie Liu, Sahej Rahal, Stupidsh*ttttttttt, palindroma, Beam Wong + Bill, Tewprai Bualoi, Nawin Nuthong, Tanat Teeradakorn, Treerat, JiDJ, Myves, Daddy ronron, Karnpapon Boonput, NOCLIPSCRIPTS/ x ThirdVader, nona, pnine, Uglybarreleye, Takky, Varut Opaswatanakul and Napatz Singkarat.

Led by Pathompong, the team comprises of Wasawat Somno, Anon Chaisansook, Sahapol Chootinan, Pasuth Sa-ingthong and Nanut Thanapornrapee.

The team talks about their curatorial statement that:

“In a world increasingly shaped by code, competition, and co-op modes, Player 2 Has Entered The Server explores how contemporary artists engage with video games not just as media—but as metaphors, social arenas, and systems of meaning.

To “enter the server” is to arrive after a process has already begun, stepping into an ongoing loop that is already functioning according to established rules, algorithms, and architectures. This concept of “entering the server” suggests the experience of joining a space where the framework and the dynamics are already in motion, leaving the newcomer to navigate, adapt, and find their place within it.

It implies that we are entering an environment shaped by pre-existing conditions that we may not fully understand or control, but where we still possess the agency to interfere with, alter, or even disrupt the flow.

We might be able to glitch the system or rebuild it according to our own intentions. “Player Two” suggests presence, but also tension: the friend, the rival, the ghost in the multiplayer room.”

The programs

21 June 2025

1.30-3,30pm Workshop: Intro to UE Sound
3-10pm Installation
Installation
3-5pm Screening Programme 1: Play, Mod, Reimagine
6.30-10.30pm Party DJ/VJ & Opening Reception

22 June 2025

1-3pm Screening Programme 2: Sim Bodies, Soft Worlds
3-10pm Installation
3-4.30pm Workshop: Touchdesigner for game-like interactivity
4-5.30pm Panel Discussion: Meta Quests:
Game-Based Art and Its Futures in Southeast Asia
7.30-11pm Audio/Visual Performance

Free admission.

19/06/2025

Wantanee Siripattananuntakul reflects her personal memories, life-change and uncertain world through her new solo exhibition “Remnants of Fading Shadows” opening on June 19, 6.30pm at Silpakorn Art Centre.

The exhibition highlights Wantanee’s latest works created in her sentimental states contemplating to new shifts of her lost and life-change as independent artist while she attended residences in China’s Jingdezhen and Paris as well as working here in Bangkok.

On display are sculptures, video installation, archive materials and sound installation.

Curator Kritsada Duchsadeevanich notes in his curatorial statement that:

“Remnants of Fading Shadows by Wantanee Siripattananuntakul offers a contemplative space in which the drifting traces of memory unfold, from fragile personal narratives intricately woven into the fabric of society, politics, history, state, and nation, to meditations on the fate of nature amid collapsing ecosystems and disintegrating social structures that leave behind their lingering imprints.

Wantanee investigates and explores personal memories through material and living witnesses that substitute what has been lost. The shifting emotions of separation create traces of new historical narratives. Fragments of memory stir sediments of truth into fine dust that blankets conceptual thought, settling into fragile artifacts of memory. These fading remnants create a suspended state, a trance of transition that leaps into broader historical memory.

Overlapping past traces reveal interconnected narratives, whether directly or indirectly linked. Memory exists as settled sediment; when disturbed, these fragments rise as a mist, revealing themselves ambiguously as in history itself.

The memories presented here, through traces of various objects, allow us to glimpse the shadows of what once existed, passed, and transformed, generating a silent dialogue with time.

These traces, embedded in the histories of space, people, and time. This fragility, embedded in objects, creates a subtle yet powerful distance between themselves and the viewer.

The precariousness of disintegration brings forth forms that are tangible yet nameless. Light, shadow, and sound transform the space into a vessel that cradles the fading fragments of profound memory.

The representations of various creatures within the exhibition form a flowing narrative, guiding viewers to contemplate and absorb the meaning of life, beginning with intimate personal spaces and expanding into broader meditations on existence itself, both through the lens of ecology and the profound essence of being that defines us as human. Fragment manifests in the overlapping forms of memory objects.

A kingfisher perched on a cane embodies vulnerability through its ceramic form in Where Wings Remember (2024), transforming the object into more than just a memorial; it becomes a trembling, living mass standing quietly within the essence of nature.

In Gilded Silence (2025), natural materials like stones, pebbles, and feathers are delicately arranged at a tilt. Wantanee plays with the weight of truth and memory as tangible matter, as though balancing various memories that have permeated into these gathered objects.

They invite viewers to contemplate, reflect, and revisit small yet significant moments through mindfulness and introspection.

In Making Shadows Speak (2025), a site-specific video installation, viewers drift through layered historical narratives between Thailand (Bangkok) and France (Paris), where sediments of memory overlap across space and time. The images reveal the fragile, fractured remnants of history through collateral places, presenting an unconscious, illogical dialogue composed solely of fading shadows and lingering fragments of truth that continue to haunt society over time and return to the origin of the narrative within traces of memory.

Beuys Archive Room and Sound Installation (2025) creates a space for recording and preserving personal stories, the past embraced and transformed into care for another living being. This space serves as an archive for Beuys, an African Grey parrot who is both a pet and a witness to overlapping memories, bridging and communicating with the chaotic present world.

The exhibition Remnants of Fading Shadows unfolds as an exploration of the silent terrains of memory. From sediments long settled by the passage of time, fragments of memory are stirred by the tremors of existence and life’s continual transformations, rising as faint echoes of the past. These traces neither vanish with the past nor remain fixed, but shift and evolve alongside the ever-changing present.

While the past may be consumed in the immediacy of the present moment, what endures are its lingering ashes, thin veils of grey mist. This retrospective journey seeks not definitive conclusions, but rather gives rise to intimate internal dialogues that radiate outward, intertwining with the unfolding narratives of life.

The dialogues within Remnants of Fading Shadows guide viewers back to the seemingly trivial, forgotten, or unseen fragments surrounding them, fragments that may, in truth, be the sediments of countless intertwined narratives that have shaped both life and society. Shadows of the past whisper to the present, their voiceless phrases carrying the breath of memory. These traces do not vanish with the fragile passing of time, but linger, like ashes of shadows, drifting ever so gently through the currents of time.”

The show runs through August 31, 2025.

Photos courtesy of ART CENTRE, SILPAKORN UNIVERSITY

14/06/2025

ART CENTRE, SILPAKORN UNIVERSITY hosts special film screening “May All The Little Girls Win Film Screening” and artist talk with awarding Singaporean artist Charmaine Poh on June 14, 3pm.

Curated by Pathompong Manakitsomboon, the program shows Poh’s five current films created between 2021-2025. After screening, curator Pathompong discusses with the artist online.

Programme
3-4pm Film Screening (Running Time: 57:30 mins)
- Kin (2021, 3 mins)
- What’s softest in the world rushes and runs over what’s hardest in the world (2024, 14:30 mins)
- public solitude (2022, 4 mins)
- GOOD MORNING YOUNG BODY (2023, 6 mins)
- in the shadow of the cosmic (2023, 30 mins)
4-4.30pm Conversations with Charmaine Poh - online talk via zoom modulated by Pathompong. The program will be conducted in English

Born in 1990, Singaporean artist Charmaine Poh works across media, moving image, and performance to peel apart, interrogate, and hold ideas of agency, repair, and the body across worlds. She aligns herself with strategies of visibility, opacity, deviance, and futurity.
She has exhibited at the Singapore Art Museum, the Seoul Museum of Art, Blindspot Gallery, REDCAT LA, Huis Marseille, and the 60th Venice Biennale - Foreigners Everywhere, among others. In 2019, she was one of Forbes Asia’s 30 under 30 in the arts. Her work has been collected by Vega Foundation, Sunpride Foundation, and KADIST. She was recently named Deutsche Bank’s Artist of the Year for 2025.

Join film screening please register: https://forms.gle/WkwBWwGgpBr65F5r9

Join the conversation via zoom at https://shorturl.at/RroDD

Admission is free.

Photos courtesy of Charmaine Poh

13/06/2025

Emerging Yoonglai Collective opens its group exhibition “This page is intentionally left ___.” on June 13, 6pm at Bangkok Kunsthalle.

The collective transforms the former Thailand’s leading publishing house into site-specific art exhibition featuring works by three emerging Thai artists: Nat Setthana, Anusorn Tunyapalit and Theetat Thunkijjanukij who reflect on publishing through various mediums and contexts. At the heart of the exhibition, Yoonglai Collective collaborates with Krack! Printmaking Collective from Yogyakarta, Indonesia to explore publishing as both a socio-political and material practice.

The exhibition stems from Cultivating the Art of Working with Space, an open-call curatorial workshop held in 2024 by Chitti Kasemkitvatana in collaboration with BACC and the Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University. Following the workshop, Yoonglai Collective was selected by a jury to develop and present their exhibition at Bangkok Kunsthalle.

The show features site-specific installation, photographic situation and replica of text books once printed here.

“This page is intentionally left ___. did not begin with a concept. It began with a return to place—and the possibility of seeing it anew.” notes Yoonglai Collective comprising of Nisa Jewcharoen, Rinrada Na Chiangmai, Awika Samukrsaman and Parichat Tanapiwattanakul.

The collective explains about their curatorial practice as follow:

“We propose an exhibition for a historical building that once housed Thai Watana Panich, one of the most influential publishing houses in Thailand. Once a hub of centralized knowledge production—responsible for textbooks, manuals, and standard reference materials—this former publishing site now invites us to question the roles of language, knowledge, and power in shaping what gets published, and by whom.

Our inquiry began with questions: Who has the authority to publish? Who gets to define meaning? And whose voices remain silent, omitted, or forgotten?

Among the remaining artifacts and archival materials found in the building, one publication stood out: the English-Thai Dictionary by So Sethaputra—a book remembered across generations. More than a language tool, it stands as a subtle, layered act of writing that resists simplicity and standardization.

Written in part while Sethaputra was imprisoned, the dictionary embeds political critique, dreams, and personal reflections into otherwise ordinary example sentences. It is a work shaped under conditions of confinement, and at the same time, a quiet act of resistance—challenging the finality of state-sanctioned definitions in a time of strict censorship.

Still, this exhibition does not position Sethaputra or his dictionary as its central focus. Instead, it serves as a case study—one that opens a broader conversation on how language and publishing institutions evolve. Like the dictionary, the building itself has shifted from being a top-down mechanism of control to a space that can now host alternative voices, re-readings, and unfinished narratives.

Within the structure of this exhibition, Yoonglai Collective acts as Editor in Chief—not as the author of a singular narrative, but as a facilitator of space, questions, and collective meaning-making.
The three invited artists, Nat Setthana, Theetat Thunkijjanukij, Anusorn Tunyapalit and KRACK! Printmaking Collective take on the role of Contributors—not as gatekeepers of published content, but as agents of intervention, inserting new meanings into blank spaces and reconfiguring how language might circulate.

Ultimately, the exhibition itself becomes the Publisher—not to finalize knowledge, but to provide a site for divergent memories, unfinished definitions, and stories still in the making.

At its heart is the Editorial Room (Staff Only). Despite its signage, this space is open to all. It reclaims the institutional language of exclusivity, only to invert it—inviting visitors to read, write, and participate. Here, timelines, old footage, historical documents, and traces of the former TWP building are presented alongside an evolving “Contemporary Dictionary,” in which audiences are invited to co-author new meanings grounded in digital language, lived experience, and collective memory.

By revisiting a space of printed knowledge, the exhibition offers a meditation on memory, authorship, and the evolving nature of publishing. It asks: in an era of fragmented communication, what does it mean to write, edit, and share meaning—collectively?”

The exhibition runs through August 17, 2025.

Photos courtesy of Yoonglai Collective

Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร

23/05/2025

Hard talks on post-Cold War issues with film screening, art & design mart, art openings and auction highlights Bangkok art scene this weekend of May 24 and 25, 2025.

Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร and The Jim Thompson Art Center co-hosts series of talks and film screenings on Cold Wat and post-Cold War on May 24 and 25 at both institutions.

The public program is part of major exhibition “The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe” which is on display at Bacc and The art center until July 6, 2025.

JWD Art Space presents new group show “Where Are We Landing” opening on May 24 with curator tour on 5pm.
Curated by Phiraya Ardwichai, the exhibition features works by Indonesia artist Radni Thiemann Beelt, German Thuy-Han Nguyen-Chi, Thai Anurak Tanyapalit, Japanese Shiori Watanabe and Taipei-based Malaysian artist Au Sow Yee.

The Salil Hotel Riverside Bangkok hosts OBJ: Objects as Art 2025 from May 24-25 from 11am to 9pm.
Shop collectible objects, artworks and design projects at this hotel art fair. The fair also features talks and business matching sessions for artists, designers, collectors and art dealers.

The Shophouse 1527 opens new group exhibition “The Elevator is About to Close” on May 24 with live performance by Sikarnt Skoolisariyaporn stating at 7pm.
The self-organized show features contemporary art works by 30 leading and emerging Thai artists with supportive installation team Paraform Studio.

The Art Auction Center Thailand hosts art auction “WWW” this Sunday May 25, 2 pm at the Museum Pier.
Paintings by Thai masters like late Thawan Duchamp, late Tawee Nanthakwang, late Chalood Nimsmer along with living artists like Chatchai Puipai Alex Face are among the highlights at the auction.
There’re 136 works of art - mostly paintings - are under the hammer.
Preview takes place from 10am to 6pm on May 24 and from 10am to 2pm on May 25. Admission is free.

Click each photo for more details

02/05/2025

Thailand Biennale Phuket 2015’s co-artistic directors Devid Teh and Arin Rungjang today, May 2, 2025 announce the second batch of 15 Thai and international artists and collectives for the upcoming of Thailand Biennale, Phuket 2025.

The participating artists include:

1. Alex Monteith & Maree Sheehan – Auckland (artist collective)
2. Ayoung Kim – Seoul
3. Koneksi Tamalanrea – Tamalan
4. Maline Yim – Siem Reap
5. Oat Montien (Pattanapong Muntheun) – Bangkok
6. Oliver Laric – Berlin
7. Pauline Curnier Jardin & Feel Good Cooperative – Marseille (artist collective)
8. Saroot Supasuthivech – Bangkok
9. Serene Hui – Netherlands and Hong Kong SAR
10. Supapong Laodheerasiri – Bangkok
11. Supitcha Tovivich – Bangkok
12. Thuy Tien Nguyen – Hanoi and Frankfurt
13. Wilawan Wiangthong – Loei Province
14. Wu Chi-Yu – Taipei
15. Zhao Yao – Beijing

The curatorial team includes co-artistic directors Arin Rungjang David Teh with co-curators Marisa Phandharakrajadej and Hera Chan.

The major international contemporary art festival will highlight artworks by 60 artists from over 30 countries across Phuket island in the south from November 2025 to April 2026.

The city will be colored with plenty of newly commissioned site-specific works under the theme “Eternal [Kalpa]” created in relation to context of this diverse island.

Photo by ANN : Art News Network

Graphic courtesy of สำนักศิลปวัฒนธรรมร่วมสมัย

26/04/2025

After eight-year promoting Asian contemporary artists at its commercial gallery in Rajdamri area, Nova Contemporary opens its new art space in business area of Bangrak near Hua Lumpong Temple on April 26, 5pm.

Launching today, the new gallery is located in newly renovated 5-stores shophouse with bigger art space spending about 400 square meters. The debut exhibition “Affinities” features contemporary artworks by 28 artists. On display are paintings, sculptures, video works and installations. Many works previously were exhibited at the gallery, while there are fews of newly created works. Some of them are on loan from private collectors.

“Our gallery is developing by relocating into the bigger space that the gallery and our artists can present new challenging projects and exhibitions. Located in the business area in Bangrak, we hope to connects closely our collectors,” reveals young gallerist Sutima “Junko” Sucharitkul.

“The group exhibition spanning three decades of experimentation and evolution in Thai contemporary art. Featuring twenty-eight artists, the show uses kinship as a central lens and celebrates the creative community that has flourished around Nova over the last eight years.” Nova notes in press release.

“At the core of the show is the iconic pairing of Araya Rasdjarmrearnsook and the late Montien Boonma, close friends and artistic peers who represented Thailand in the 2005 Venice Biennale. Their practices embody the conceptual ethos of Nova’s programme and foundational themes in contemporary Thai art, including notions of cosmology, healing, cycles of time, Thai identity and historical narrative.”

Besides the late Montien and Araya, other participanting artists include Inson Wongsam, Mit Jai Inn, Pinaree Sanpitak. Nipan Oranniwesna, Chatchai Puipia, Udomsak Krisanamis, Jakkai Siributr, Tawatchai Puntusawasdi, Jedsada Tangtrakulwong, Arin Rungjang, Prae Pupityastaporn, Moe Satt, Korakrit Arunanondchai, Tada Hengsapkul, Kawita Vatanajyankur, Latthapon Korkiatarkul, Saroot Supasuthivech, Channatip Chanvipava, Pam Virada, Dhanut Tungsuwan, James Prapaithong, Vacharanont Sinvaravatn, Supawich Weesapen, Natalie Sasi Organ, Apichaya Wannakit and Chetsada Phuwiang.

The show runs through July 5, 2025.

The gallery is located at 86 Si Phrya Road in Bangrak district near Hua Lampong Temple. Just 450 meters from MRT Samyan Mitrtown ext 1. Park at Wat Hua Lampong or Samyan Mitrtown mall.

26/04/2025

Thai artist Chulayarnnon Siriphol opens his new solo exhibition “I a Pixel, We the People” at BANGKOK CITYCITY GALLERY on April 26, 2025.

Unveiling his new 24-hour video-based work, the marathon opening ceremony unveiling his new 24-hour-video work takes place from 1pm on April 26 til 1pm on April 27.

“‘I a Pixel, We the People’ exhibition features new 24-episode video work and installation expanding his two decades of artistic practices creating short films and video art that merged the digitised VHS, Mini-DV footage, and Thai film archive material.

“The work reconfigures personal and collective histories through speculative narratives, archival assemblages, and digital transformation. Presented in the midst of hoarded objects amassed over decades, it explores digital transformation as resistance, critiquing authoritarianism, the circumstances of cultural labour, and the shifting role of contemporary art,” notes in the press release.

Singaporean curator John Savage writes about Chulayarnnon’s new work that:

“‘I a Pixel, We the People” is an ambitious 24-episode video-based work that expands upon Chulayarnnon Siriphol’s existing practice, archives, and political commentary. Rooted in a body of work spanning two decades, the project draws from the artist’s extensive history of short films and video art since 2004, reconfiguring past narratives into a new, episodic structure. This work employs old and new footage, digitised VHS and Mini-DV home videos, and material from the Thai film archive, constructing speculative narratives that align personal histories with collective memories. The exhibition presents the videos in an overwhelming display of family objects reflecting on digital transformation, mass mobilisation, and the evolving structures of contemporary art.

At its core, I a Pixel, We the People envisions digital transformation as a new frontier for resistance, solidarity, and artistic expression in the face of state oppression. The artist frames the pixel as both a symbol of individual insignificance and collective power, mirroring the way marginalised voices unite in movements against authoritarian structures. By migrating from the physical realm into the digital, the work imagines an alternative space—an ethereal realm—where artistic and political agency can persist beyond state control. Archiving, memory, and cultural labour are central to this struggle, as the work reconfigures historical narratives through found footage, digitised materials, and speculative storytelling. Ultimately, it argues that art, สeven in its most intangible forms, remains a vital weapon of resistance and a means of shaping new worlds.

A single pixel, the smallest digital element, carries the potential for radical transformation—an allegory for the power of the people to shift oppressive structures. This relationship between the individual and the collective underscores the artist’s critique of global political landscapes. We the people, an echo of the American Constitution, is recontextualised to examine how technology renders everything into data, blurring the boundaries between private and public, memory and erasure.

The videos unfold within a terrain of hoarded objects, amassed within the artist’s house over decades, forming an archaeological site of memory and materiality. These possessions, moved from private spaces into the gallery, reveal layers of time and history, transforming into found compositions that blur the boundaries between personal archive and artistic speculation. Their presence evokes an alien landscape, reminiscent of the artist’s dystopian sci-fi influences, reinforcing a sense of estrangement and historical excavation. This interplay between archaeology and speculative futures parallels the notion of the bunker—a symbol rooted in underground bomb shelters from the Second World War. In the darkened space of the film and video room, the bunker emerges as both a site of protection and confinement, where images and narratives unfold in a speculative domain—another realm where the past and future collide, and where isolated stories are collectively witnessed.

Beyond its digital and archival dimensions, I a Pixel, We the People is an incisive commentary on culture and cultural labour. The artist raises pressing questions about the role of contemporary art in society—how it is sustained, supported, and structured. The work underscores tensions between state-sanctioned aesthetics and independent artistic movements, positioning contemporary art as both a site of resistance and precarious labour. Through its integration of diverse elements, the work parallels the ideological structures of communism, interrogating the mechanics of cultural production, its sustainability, and its impact on collective memory.

For the launch of the exhibition, a non-stop screening of all 24 episodes echoes the perpetual flow of data in the digital age—information that continues to accumulate, process, and circulate regardless of human wakefulness or rest. The moving image, no longer bound by the temporal constraints of traditional cinema, operates as an unceasing archive, resisting linear consumption. In this format, the work defies the expectation of completion, emphasising an overwhelming, immersive experience that mirrors the excess of contemporary digital culture. The durational aspect reinforces the exhibition’s interrogation of time, memory, and the limits of perception, challenging viewers to engage with the work in fragments, acknowledging that full comprehension remains elusive.

I a Pixel, We the People stands as both an artistic statement and a provocation, challenging viewers to reconsider the ever-shifting dynamics of power, technology, and collective agency in a digitised world.”

The show runs June 26, 2025.

Photo courtesy of the artist

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