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ANN : Art News Network, Bangkok (2025)

08/08/2025

Chumpon Apisuk, one of Thailand’s performance art pioneers, states “lecture performance” today August 8, 3pm at his new “Chumpon Apisuk’s Lifeworld: An Archival Exhibition” at Friends of Bacc Room on the 6th floor.

Curated by Kasamaponn Saengsuratham, the exhibition is part of the broader research-based initiative, Archiving the Performance Art and Lifeworld of Chumpon Apisuk, dedicated to preserving and activating the legacy of one of Thailand’s pioneering performance artists.

Chumpon has been introducing happening art to Thai contemporary art scene since the late 1980s. He uses body art to reflects socio-political and environmental issues. Chumpon and his wife Chantavipa co-founded alternative art space “Baan Tuek” in Nonthaburi in mid 1990s and then it became prominent international art hub for performance artists social activists around the globe. At his 77, Chumpon is still active. He co-founded Nan Art Fest in his hometown Nan and performs live at other art festivals throughout the kingdom.

The exhibition features his drawings, historical photographs, archival materials like exhibition posters and art objects used in his performances.

“The project aims to collect, classify, and create an archive of Chumpon Apisuk’s body of work while encouraging engagement with his art through a bilingual online database, a board game, and a variety of public programs. It seeks to promote knowledge exchange, learning, and the development of regional networks within the context of performance art. It also offers a model for creating archives of performance art and shared imagination in Southeast Asia. Moreover, the database contributes to building an art historical knowledge base that has never been compiled or made publicly accessible before.

In addition, Chumpon Apisuk’s archive reflects the broader landscape of performance art in Thailand, the the formation of artist collectives, the development of independent art spaces, and the establishment of performance art festivals, while also mapping regional and transnational networks particularly within Southeast Asia that have shaped performance art as a critical and socially engaged practice. Chumpon Apisuk’s archive further reflects this broader landscape, encompassing the networks and organizations of performance art in Thailand, Southeast Asia, and internationally,” notes curator.

The show runs through September 6, 2025.

Photos of exhibition courtesy of Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร

Photo of Chumpon Apisuk courtesy of Blurborders official

Photo of Chumpon and Chatavipa Apisuk courtesy of Chumpon Apisuk

07/08/2025

After launched its contemporary art festival debut PHIMAILONGWEEK in Nakhon Rachasima last year, the àt-sà-jan! Collective brights back its “Edition 2: Midnight Monsoon” from August 1-15, 2025.

The two-week festival features exhibition of site-specific installation art by six young Thai artists across various venues in historic town of Phimai including Phimai Historical Park, Phimai National Museum, Phimai Teachers’ Association, Wat Doem, Pond (Sra Bot), and Old Wooden House (No. 85).

Participating artists are Montika Kham-on, Chitpon Paengwiengjan, duo artists Plernvern comprising of Sutiphong Sudsang and Pongsak Wansri, Napat Roongrawewan, Pakapol Wannao and Possathorn Watcharapanit.

The festival is co-curated by Piyathida Inta and Podcharakrit To-im.

Alongside the exhibition, the festival hosts public programs including weekend Midnight Screening, live performances, academic dialogues, curatorial and artist tours, and community-engaged events.

Free film screenings are held on weekend. This long weekend August 8-10 has special screenings and series of discussions.

During 8-10 August, symposium on Prototyping Post-Tropical Cinema at Sand Stone meeting room in historic Pimai town of Nakhon Rachasima.

On August 9 from 9.30am to 10.30am, Asst Prof Palita Chunsaengchan and Asst Prof Chairat Polmuk discuss on the issue of “Back to the dream: reincanation of cinema and literature in Siam”.

On August 10 from 10am to noon, there is a p***c program on “Slow Panel: Looking Back to a Bright New Future” led by moving image artist Montika Kham-on. This program is part of her post-graduated paper under supervisor Prof Karina Griffith of Institute for Art in Context, University of the Arts Berlin.

When the sky become dark, head to Phimai Wittaya School’s Pajit Auditorium for watching Midnight Screening.

Programs are

Friday, August 8, 7pm to 5.15am
The program “Imagining How to Live with the Midnight Monsoon” invites audiences to engage with the question: How do we live with this present?—a question that extends beyond the physical into the spiritual, social, and narrative realms.

Through screenings of films and moving images, followed by a public discussion under the theme “The Legacy of Censorship and the Freedom to Create Cinema”, the night features: Tanwarin Sukkhapisit, filmmaker from Korat, Pisal Pattanapeeradech, actor from Shakespeare Must Die, Samanrat Kanjanavanit (Ing K.), Director of Shakespeare Must Die. Moderated by Warat Bureephakdee and Weerapat Sakolvaree.

In a society saturated with violence and violations of rights and freedom, the second night of the festival becomes a hidden realm—a space where every suppressed dream is invited to breathe through cinema. This evening reflects on creative freedom, reclaiming the right to imagine through film.

Together, we look beyond the scars left by Cold War cinema, questioning the inherited legacy of censorship, erasure, and political silencing. Through homage and resistance, we reclaim the right to voice, to create, and to challenge history—allowing film to become both a form of mourning and a call to freedom.

Friday, August 9, 6pm to 5.40am
The program: “From Local Conversations to Global (International and Regional)”

An all-night screening program that invites audiences to journey through the eyes of filmmakers across Southeast Asia—including Myanmar, Vietnam, Cambodia, Indonesia, the Philippines, and Malaysia—alongside selected international films.

The evening also features a live online conversation with Danech San, filmmaker and member of Cambodia’s independent film collective Anti-Archive. Together, we will explore how grassroots collaboration has become a vital force in shaping local film ecosystems and empowering new generations of filmmakers.

On this penultimate night of the festival, we turn our attention to questions of global and local cinema: How do we define “the international”? What happens when visual languages are adapted through localization?And how might Thai cinema forge meaningful paths toward international dialogue—not only in terms of industry, but also as a gesture of coexistence?

This program asks not only how films travel, but how they build community in times of conflict, nurturing shared futures across borders.

The festival runs through August 15. Check out film’s screenings and other activities at Phimailongweek พิมายฬองวีค

Photos courtesy of Phimailongweek.

02/08/2025

NOIR ROW ART SPACE in Udon Thani opens new group exhibition “Poor Archive: A prologue to Putrallel II” today, August 2 with a special talk by Prateep Suthathongthai at 2pm.

Artist and art lecturer Prateep, who works with historic archives, talks on “Object, achieve & artwork”.

The exhibition features objects, archives and artworks and moving images by 12 artists plus selected collections by Noir Row.

Participating artists includes Nipan Oranniwesna, Niwat Manatpiyalert, Supawich Weesapen, Thanawat Numcharoen, Marisa Srijunpleang, Surasit Mankhong, Supachai Suriyut, Shahar Dawn Shoham, Komtouch napattaloong, Chanasorn Chaikittiporn and Noir Row’s co-founders Panachai Chaijirarat and Punyisa Sinraparatsamee who also co-curate the show.

Accounting to exhibition statement wrote by Phiraya Ardwichai:

“Poor Archive refers to collections of documents, sounds, images, or objects that exist in a state of decay, fragmentation, or compression, and may lack originality. These materials have not undergone institutional validation processes but are rather stored and recorded in a vague and ambiguous manner, lacking clear historical certainty. However, this ambiguity grants them a life that travels farther, filled with the “power of survival” within contexts where remembrance is tied to rights and power.

The exhibition Poor Archive invites us to reconsider the meaning of “remembrance” in a world where power structures not only control the content of memory but also define the ways of archiving, transforming, and turning certain memories into “evidence.” Meanwhile, many other experiences are left to fall through the cracks, deteriorate, or quietly disappear, especially when archival systems are governed by institutional mechanisms such as museums or historiography.

This exhibition invites artists whose practices engage with archives to present their material collections or records, understood here as poor archives. These may include photographs, audio recordings, or objects that have yet to be formally systematized or transformed into completed artworks, but are full of tendencies and potentialities to become something.

Poor Archive does not aim to arrange documents in order or to present accurate information. Instead, it seeks to open a space for these incomplete records to “speak” and “tell” their stories in their own languages, whether sharp or ambiguous. The exhibition values the blurred, the decayed, and the overlapping layers of memory, conditions that prevent these archives from being controlled as a singular, linear narrative in mainstream history.”

The show runs through August 31, 2025.

Photos courtesy of NOIR ROW ART SPACE

26/07/2025

A lot of people and dogs at Thailand’s most famous artist Araya Rasdjarmrearnsook’s birthday party and opening reception of her retrospective “Araya Rasdjarmrearnsook:
The Bouquet and the Wreath” at MAIIAM Contemporary Art Museum in Chiang Mai tonight, July 26, 2025.

Araya’s retrospective show is co-curated by the museum curator Kittima Chareeprasit and Asst Prof Roger Nelson of Nanyang Technological University in Singapore.

According to the curatorial statement:

“The Bouquet and the Wreath is Araya Rasdjarmrearnsook’s first large-scale survey exhibition, and brings together artworks created over the past 45 years, as well as ambitious new commissions.

Flowers, beds, and words recur throughout the exhibition, reflecting the artist’s enduring preoccupations with desire and mortality, difference and curiosity.

In Araya’s playful yet somber artworks, she invites us to dwell on immense philosophical questions. What is the purpose of art? What does it mean to be human? She obliquely quips: “I don’t need to spell out everything that I feel, do I?”

The major show runs thoughts May 25, 2026.

A second chapter of the show takes place at Jameel Arts Centre in Dubai from November 5, 2025 to 15 March 15, 2026.

Photos courtesy of Parinot Kunakornwong

26/07/2025

Thailand’s most famous female artist Araya Rasdjarmrearnsook
celebrates her birthday with her dogs and opens her retrospective “Araya Rasdjarmrearnsook: The Bouquet and the Wreath” at Maiiam Contemporary Art Museum in Chiang Mai today, July 26, 2025 from 6pm onward.

Araya, founder of stray dog home “Ban Wang Hma” in Chiang Mai, politely declines gifts for herself, instead she kindly invite visitors to help support voluntary care for stray and abandoned dogs at individual and charity organizations.

Besides revealing her new commissioned artwork at the museum, visitors can also meet her dogs at Ban Wang Hma.

Araya’s retrospective show is co-curated by the museum’s chief curator Kittima Chareeprasit and Asst Prof Roger Nelson of Nanyang Technological University in Singapore.

The major exhibition launches at Maiiam from July 26 through May 25, 2026. The second chapter of the show takes place at Jameel Arts Centre in Dubai from November 5, 2025 to March 15, 2026.

According curatorial statement:

“The Bouquet and the Wreath is Araya Rasdjarmrearnsook’s first large-scale survey exhibition, and brings together artworks created over the past 45 years, as well as ambitious new commissions. Flowers, beds, and words recur throughout the exhibition, reflecting the artist’s enduring preoccupations with desire and mortality, difference and curiosity.

In Araya’s playful yet somber artworks, she invites us to dwell on immense philosophical questions. What is the purpose of art? What does it mean to be human? She obliquely quips: “I don’t need to spell out everything that I feel, do I?”

Among the highlights is Araya’s iconic installation “Dinner with Cancer” (1993) which first exhibited at the National Gallery of Bangkok. The work reflects her caring her father during his fatal illness.

The museum series of public programmes during the year-long exhibition. Late this year, the museum plans to launch the exhibition catalogue featuring articles contributed by artists, curators, and scholars based in Thailand, Southeast Asia, and beyond.

Photos courtesy of MAIIAM Contemporary Art Museum

24/07/2025

Myanmar Peace Museum opens a though-provoking exhibition “Constellation of Complicity: Visualising the Global Machinery of Authoritarian Solidarity” on July 24, 5pm on the 8th floor of Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร.

At 3,30pm, there’s a guild tour by artists Clara Cheung & Gum and Cheng with curators Sai ▇▇▇ and K.

The exhibition brings together works by artists in exile and migrant from Myanmar, Iran, Russia, Syria, Hong Kong, Tibet, and the Uyghur diaspora — regions too often framed as isolated crises.

The participating artists are Clara Cheung & Gum, Cheng Yee Man, Karla Mohtashemi , Khaled Dawwa, Mukaddas Mijit, SACCA, Sai ▇▇▇, Shahrzad Orang, Taisiya Krugovykh & Vasily Bogatov, Tenzin Mingyur Paldron and Toomaj Salehi.

According to curatorial statement:

“What binds regimes across geographies today is not ideology alone, but infrastructure — of arms, surveillance, trade, and silence. Constellation of Complicity interrogates these formal and informal alignments between authoritarian states through the lens of artists who have lived through — or in exile from — their consequences.

This exhibition brings together works from Myanmar, Iran, Russia, Syria, Hong Kong, Tibet, and the Uyghur diaspora — regions too often framed as isolated crises. Yet through these practices, we witness a re-mapping: a shared grammar of power made visible through diplomacy, economic exchange, and militarised suppression.

These regimes collaborate, affirm one another, and reproduce forms of violence under the guise of sovereignty and order.
Rather than illustrating trauma, the exhibition offers a counter-cartography: tracing how state violence mutates, circulates, and replicates — and how acts of resistance reverberate across borders.

The title, Constellation of Complicity, signals this dual gesture: the exposure of interconnected regimes and the imagining of new forms of cross-border solidarity. Here, aesthetics operate not as metaphor, but as method — evidentiary, ritual, forensic, and speculative.

The word “constellation” implies a way of seeing: connecting disparate points into meaning. In this context, it reminds us that authoritarianism is never isolated. Nor is resistance. These works speak across differences — polyphonic, regionally rooted, and globally entangled.

From lullabies restructured from arms treaties to rituals of prostration and paper-based sabotage of surveillance systems, these pieces form an archive of strategic refusal. They do not tell a singular story. Instead, they hold space for multiple, intersecting forms of grief, endurance, and revolt.

To map complicity is to name the actors who sustain oppression — not only through violence, but through exchange. To exhibit it is to disrupt its invisibility. Constellation of Complicity does not claim a universal truth.

It proposes a curatorial method: to constellate rather than isolate, to reveal power in its entanglements, and to insist that art remains one of the last ungovernable territories of resistance.”

The show runs though October 19, 2025.

Photos courtesy of

18/07/2025

Mythical creatures from Thailand’s northern plateau; Kala Face of Pa Sak Temple and Ayok mask of the Plang (Tai Luay or Lua) Ethnic Group meet Gargoyle of Notre-Dame de Paris and the lion of Porte Saint-Denis, one of Paris's former city walls in the 10th arrondissement, in “The Beauty of Time”, the premiere solo exhibition in the northern provinces by Chitti Kasemkitvatana at Hor Kaew of Mae Fah Luang Art and Cultural Park in Chiang Rai from 18 June 2025 to 18 July 2026.

“The Beauty of Time” is the second rendition of a three-part interdisciplinary project titled “Epilogue”. It was launched in Paris where the artist conducted his research and presentation “Coda” in early June during his artist’s residency program at Methone. The subsequent phases of the project takes place throughout 2025 and 2026 at the Mae Fah Luang Art and Cultural Park in Chiang Rai and at Gallery Seescape in Chiang Mai.

“Epilogue” explores the cultural variations and sociocultural processes involved in the production of time in society, with a particular focus on the northern provinces of Southeast Asia, including Tai Kra-Dai ethnic groups, Lua, and other indigenous communities living in mountainous villages and cities. This ongoing project is “driven by an enduring curiosity about the nature of (multi-layers of) space, time, and matter in the universe, [in which] the artist explores these questions through the lenses of philosophy, Buddhism, astronomy, and physics, responding with a fluid artistic language over the years.” (Esther Lu, “The Mountain Algorithms” exhibition handout, Kaohsiung Museum of Fine Arts, Taiwan, 2024). The project delves deep into the ghostly temporality of the entanglement of “what was / is / to come,” understood as a dynamism of forces in which all things are constantly diffracting, influencing, and acting inseparably.

Chitti Kasemkitvatana is a Bangkok based artist, independent curator and educator. His methodology relies on research-based art practice that relates to the use of archival fragments and spatial practice. Applying the new materialist lens, he focuses on entangled ideas in sociocultural history, especially on the moment in which various spheres become “porous”. His artistic operation involves transmission of collective memories via object-device and conversion of data that entails an active process of construction of time in society.

His recent exhibitions include, notably, “The Mountain Algorithms”, Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan, 2024), “The Spirits of Maritime Crossing”, a collateral event of 60th La Biennale di Venezia, Palazzo Smith Mangilli Valmarana (Italy, 2024), Thailand Biennale, Wat Pa Sak and National Museum Chiang Saen (Chiang Rai, 2023), Bangkok Art Biennale, The Prelude: One Bangkok (Bangkok, 2022), and “Stories We Tell To Scare Ourselves With”, MOCA Taipei (Taiwan, 2019).

“The Beauty of Time” is made possible with generous support from Association Phenomenon (Phenomenon, Anafi), Office of Contemporary Art and Culture, Ministry of Culture, Thailand and Mae Fah Luang Art and Cultural Park.

Educational program supported by Association Art Bridge Chiang Rai and Buddhist Art MFU.

Photos courtesy of ANN : Art News Network, Atikom Mukdaprakorn and Thakol KhaoSa-ard

18/07/2025

BANGKOK CITYCITY GALLERY celebrates its 10th anniversary with “A Solo Project” by critically acclaimed Thai artist Pratchaya Phinthong, opening on July 18, 2025.

Founded by Akapol “Op” Sudasna and Supamas Phahulo in 2015, the gallery aims to support both emerging and established artists working in a wide rage of practices from visual art, music, performance to publishing.

Recognized as one of the best contemporary art galleries in Thailand, Bangkok CityCity Gallery actively supports local art ecosystem by hosting various interesting projects including triennial moving image festival Ghost and Bangkok Art Book Fair.

The gallery represents nine leading Thai artists including Korakrit Arunanondchai, Orawan Anurak, Alex Face, Dusadee Huntrakul, Miti Runabkritya and Chulayarnnon Siriphol. The gallery promotes them at internationally art market like Art Basel Hong Kong and art institutions like Singapore Art Museum.

By project, the gallery has also presented remarkable exhibitions by Apichatpong Weerasethakul, Pratchya Phinthong, Ho Rui An, Tanatchai Bunyasak, Kornkrit Jianpinidnun and Puangsoi Aksornsawang.

For Prachya, this is his second project with the gallery. His critically acclaimed solo show “This page is internationally left blank” was curated by Thanavi Chodpradit in 2019.

“Known for his critical and conceptual approach, Pratchaya Phinthong’s practice often navigates systems of labor, value, and exchange. His new work continues this inquiry while responding to the gallery’s long-standing ethos of collectivity and care. Rather than imposing conclusions, his project creates a vacuum for thought—a suspension of expectation—signaling a shift into a new phase of collective and spatial consciousness.” notes the gallery.

The show runs through September 13, 2025.

© 2025 Courtesy of the Artist and Bangkok CityCity Gallery.

17/07/2025

Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร opens new group exhibition “LOCAL MYTHS: The Intrinsic Aesthetic” on July 17 at 5pm on the 7th floor.

The exhibition features works by regional artist collectives and artists from three regions: central, northeastern and southern.

The show is part of Local Networking Project initiated Bacc’s exhibition department led by chef curator Penwadee Nophaket Manont. The show offers a platform for selected regional collectives and artists to explore and narrate their own stories through contemporary art.

Participating artists include experienced Bangkok-based Speedy Grandma, emerging collective Mahasarakham Mid-filed Artspace and collective MALAYU LIVING from the south.

Others are duo artists Keeta Isran and Hayanee Malee, Khunnithi Roongreang, Napol Phatham, Nuriya Waji, Panachai Chaijirarat, Prach Pimarnman and Rozee Haree, Punyisa Sinraparatsamee and Surasit Mankhong.

Talks and walk tour by the artists and curator team starts from 2-4pm on July 17, 2025. Other tours and educational programs will be held during the 3-month show.

The show runs through
October 10, 2025.

Photos courtesy of Speedy Grandma, Mahasarakham Mid-filed Artspace, duo artists Keeta Isran & Hayanee Malee, Punyisa Sinraparatsamee, Panachai Chaijirarat and Surasit Mankhong

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

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