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ANN : Art News Network, Bangkok (2026)

16/05/2026

Having conducted artistic researches from Chiang Mai to India, Thai artist Chitti Kasemkitvatana
presents new studies in his solo exhibition “Epilogue: A Diffraction Grating”. The show opens today, May 16 at 6.30pm at Gallery Seescape in Chiang Mai.

“Epilogue: A Diffraction Grating” marks the final chapter of Epilogue: A Three-part Interdisciplinary Art Project on Time (2025–2026).

Chitti takes audiences on a journey from the sacred Wat Phra Phutthabat Si Roi in Chiang Mai to the freezing cold mountains of Spiti Valley in India’s Himalayas and into an unknown universe inspired by the artist’s personal experiences. The exhibition conveys new insights about our relationship to the world.

The exhibition is highlighted by a 17 minute moving image installation accompanied by a series of mixed media paintings and photographs.

“The exhibition opens the world as something still in the process of formation through the diffraction of light, narrative, and perception. Time here unfolds across multiple directions—scattering, overlapping, and looping back to reconnect—remaining in constant motion and open to ongoing interpretation. - the excerpt of the argallery notes in the press release.

“Epilogue: A Three-part Interdisciplinary Art Project on Time” was launched in Paris where the artist conducted his research and presentation “Coda” in June 2025 during his artist’s residency program at Methone. The subsequent exhibition “The Beauty of Time” took place throughout 2025 and 2026 at the Mae Fah Luang Art and Cultural Park in Chiang Rai, before concluding with “Epilogue: A Diffraction Granting” at Gallery Seescape in Chiang Mai. In each edition, time is related to space and sociology.

“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,” Taiwanese curator Esther Lu wrote in “The Mountain Algorithms” exhibition handout held in Kaohsiung Museum of Fine Arts in Taiwan in 2024.

In the final chapter, producer Pathompong Manakitsomboon reflects on Chitti’s new show though his article reads;

“If Chitti Kasemkitvatana’s previous exhibition unfolded as an exploration of overlapping temporal layers, bringing into relation scientific instruments from the Enlightenment with cultural artifacts and local mythologies, then Epilogue: A Diffraction Grating can be understood as a return to that excavated ground. It is now seen through a lens that refracts, overlays, and reconstitutes it. The artist thus moves beyond presenting static objects or fixed narratives, opening instead a condition of reality that exists across multiple states.

At the core of the exhibition lies the concept of superposition, which suggests that particles can exist in multiple states simultaneously until they are observed. Chitti adopts this logic as a working method, allowing religious mythologies, histories, personal memories, and scientific imaginaries to entangle without hierarchical ordering. At the same time, light operates as more than a medium, becoming the condition through which these possibilities emerge via processes of dispersion and overlap. What unfolds is a field of potentiality, where contradictions are able to coexist...
Epilogue: A Diffraction Grating opens the world as something still in the process of formation through the diffraction of light, narrative, and perception. Time here unfolds across multiple directions, scattering, overlapping, and looping back to reconnect—remaining in constant motion and open to ongoing interpretation.”

The exhibition runs through July 30, 2026.

Read e-catalog at https://heyzine.com/flip-book/4223f94dc4.html

Photo courtesy of Torlarp Larpjaroensook

30/04/2026

The Jim Thompson Art Center is hosting “Living in an Elastic Time, a travelling exhibition from the Cheongju Craft Biennale 2025 in the Republic of Korea in Bangkok. The opening is tonight, April 30 at 6.30pm. The center’s artistic director will give a welcome speech and followed by Seonmi Kim, Commissioner of the Living in an Elastic Time at the Cheongju Craft Biennale 2025. Co-curator Angkrit Ajchariyasophon will then speak about the show, followed by an opening speech by Kesorn Kamnerdpetch, Director of the Office of Contemporary Art and Culture.

Living in an Elastic Time was originally conceived as the Thailand Pavilion exhibition for the invited country at the Cheongju Craft Biennale in South Korea, in September 2025.

Co-curated by Gridthiya and Angkrit, the Bangkok version reinterprets the exhibition within the context of its site through the history of the Jim Thompson House Museum, the art center and its library.

The exhibition showcases contemporary artworks enriched with aesthetically crafted sensibility by 26 Thai contemporary artists and their artisan collaborators. Participating artists are Rirkrit Tiravanija collaborated with Korat-based pottery master Baeng Sonmai, Somluk Pantiboon, Mit Jai Inn, Pinaree Sanpitak, architect collective allzone, Wit Pimkanchanapong, Pleonchan Vinyaratn, Kris Yensudchai, Pim Sudhikam, Jakrawal Nilthamrong, Songdej Thipthong and more.

The exhibition views craft as a form of social practice, and considers “time” in Thai and Southeast Asian societies as elastic. Craft is seen as a space for philosophical reflection, and a space to question the acceleration of industrial temporality and the erosion of culture in a rapidly changing world.

Living in an Elastic Tim is organized into three sections. The first, Creating Without a Time Limit, explores the concept of long-term accumulation where master artisans transmit ancestral techniques and spiritual dimensions through continuous repetition, from wood carving, weaving, and bronze casting to puppetry and ceramics, and is extended by contemporary artists in works such as the large-scale labyrinth by Wit Pimkanchanapong.

The second section, Techno Craft, combines traditional techniques with contemporary technology, revisiting textile traditions through film, design, and material experimentation presented within and around the labyrinth, positioning craft as a space of memory, adaptation, and material reimagination.

The third section, Time Is the True Home of the Mind, recreates domestic spaces to reveal their closeness to everyday life, reflecting the coexistence of art and craft in the Thai context, while questioning structures that have historically pushed artisanal practices to the margins of art history.

Extending the intellectual legacy of the Jim Thompson House Museum and the Art Center, both grounded in an interest in craft traditions and contemporary innovation, Living in an Elastic Time reflects on the relationship between time, memory, labor, and identity through cross-generational collaboration that invites reflection on existing within or resisting time. At the same time, it reflects both the fragility and resilience of traditions amid rapid social change, proposing craft as both an anchor and a bridge in an ever-moving world.

This exhibition is supported by the Contemporary Art Promotion Fund, Office of Contemporary Art and Culture, Ministry of Culture, Thailand, ; Cheongju Craft Biennale 2025; the James H.W. Thompson Foundation, Bangkok, with special thanks to DC Collection, La Lanta Fine Art, and paper support from Kozo Studio.

The exhibition is on view from April 30 to May 30, 2026 at the Jim Thompson Art Center, Jim Thompson House Museum and William Warren Library.

Photos courtesy of The Jim Thompson Art Center

24/04/2026

Sepake Angiama, the Artistic Director of Institute for International Visual Art in London will be the keynote speaker at the discussion series Practicing Practice (s): Event #1 titled ‘How do we learn to practice?’ on April 25, 2026 from 10.30am to 5pm at Silpakorn University in Bangkok.

Organized by DeCentral , the event examines ‘practice’, questioning its definition and role in contemporary art contexts. Practicing Practice (s) is conceived and led by curator Ariane Sutthavong, with contributions by DeCentral’s Artistic Director Zoe Butt. It is part of the outreach programs of this new art organization aiming to nourish the Thai art ecosystem. Established by Central Group, DeCentral will soon open its doors in Bangkok and Chiang Mai.

Starting at 10.30am, the morning keynote speaker Sepake Angiama, who also served as the Head of Education for Documenta 14 (2017) in Kassel and Athens, will consider what it means to practice, respond and support as an institution in relation to the shifting landscape of artistic, education, community and social practices.

The afternoon round-table will gather local artists, curators, and educators to collectively reflect on how ‘practice’ is shaped, taught, and valued within Thailand’s rapidly evolving art ecology. This is an
open-format conversation. The audience is invited to actively join and guide the discussion.

Afternoon session features a cross-generational round-table discussion, exploring the relationship between art, labour, and education with Assistant Professor Thanavi Chotpradit of Critical and Curatorial Studies of Contemporary Art (CCSCA) at the National Taiwan University of Education. Panelists include independent artist Nipan Oranniwesna, Jim Thompson Art Center’s curator Rinrada Na Chiangmai and Sina Wittayawiroj, artist and co-founder Alien Art Space in Khon Khan.

The discussion takes place at Phra Phrombhichitr Architecture and Art Gallery, Silpakorn University from 10.30am to 5pm. Admission is free, but seating is limited.
Registration is required at https://forms.gle/FbDs1bjbgFiHTGsMA

Photo courtesy DeCentral

23/04/2026

The Estate of Montien (Montien Atelier) is hosing a special one-day event “As if he were here” to commemorate the legacy of late Thai conceptual art pioneer Montien Boonma on April 26, 2026 at Bangkok Kunsthalle.

The fund raising event will feature series of talks about Montien’s work and life as well as his influence on the next generation of artists by his artist fellows, collaborators, curators and academics from different generations. There will be also a pop-up art exhibition curated by Mark Chearavanont of Bangkok Kunsthalle and a fine dining dinner created by Chef Care project.

“This event aims to pay tribute to my dad and my mom. The fund from the activity will also go toward conserving his works and manages the estate,” CEO of the Estate of Montien, Jumpong Boonma, reveals to ANN : Art News Network

“We also plan to organize more events as the estate plans to expand our new space for storage and exhibit Montien’s works,” explains Sabaiprae Mukdaprakorn, Managing Director of the Estate of Montien.

Curator Mark also explains the concept of the show that thoughout Montien Boonma’s artistic career, the circle—expressed both as form and as movement—emerged as a recurring motif. As a symbol, circularity is conceptually charged, collapsing and evoking various philosophical and Buddhist references at once—notions of samsara, unity, meditation and continuity.

“Presented on the occasion of “As if he were here”, a one-day event celebrating the lives of Montien and Chancham Boonma, a pop-up exhibition of six archival works brings this motif to the fore. The exhibition proposes an understanding of life not as a linear trajectory with a fixed beginning and end, but as a perpetual, cyclical process of becoming. The exhibition reflects on how life endures—carried forward through the memories, relationships, and enduring influence shared among family, friends, peers, teachers, students, and admirers across generations,” Mark adds.

The event begins at 2.30pm with a talk by art lecturer and curator Vipash Purichanont of Silpakorn University and Asst Prof Chanon Kenji Praepipatmongkol of McGill University, Montreal.
The talk will be moderated by curator Kittima Chareeprasit of Maiiam Contemporary Art Museum.

The second discussion begins at 3.45pm. Montien’s artist fellow Somsak Chowtadapong, Gridthiya Gaweewong, Jim Thompson Art Centre’s Artistic Director, Assoc Prof Kitti Maleephan of Chiang Mai University and Montien’s collaborator and independent artist Thawatchai Pantusawasdi will share their experiences working with Montien and reflects on his artistic practices and life. Luckana Kunavichayanont, Khaoyai Art Forest’s consultant will moderate the discussion.

At 5pm, Jumpong and Sabaiprae along with curator Mark talk about the project and exhibition.

Tickets for attending the exhibition and talks are at priced Bt350. Tickets for the whole event including dinner with special gifts are priced at Bt1,700.
Book tickets at https://www.ticketmelon.com/Estateofmontien/Asifhewerehere

Students can join with free admission, but the there are limited seat available, so they must register online at https://docs.google.com/forms/d/e/1FAIpQLSdoGkkDZQ0htJhnslQnnjqdGT7xgFSEzfD__aIGrTsz1HzorQ/viewform?usp=sharing&ouid=115947991037071517944

The talks will be recorded and can be viewed at Montien Atelier later.

Some of Montien’s works can be viewed at Dib Bangkok.

Montien’s archive works are on view at Montien Atelier.

Photos courtesy of Montien Atelier

25/02/2026

Internationally acclaimed Israeli artist and filmmaker Omer Fast is in town to open his first solo exhibition in Thailand “Omer Fast – Human Subjects". The exhibition will open on February 28, 2026 at 6pm at Misiem’s/Next Door (formerly Photography Bar) on Maitri Chit Road in Wongwien 22.

The exhibition is curated by French curator Nathalie Boutin known for her internationally acclaimed contemporary art exhibition “Here and Now” (2004) at four sites around Maitrijit Road including About Studio/About Cafe (now Misiem’s/Bangkok) and Photography Bar (now Misiem’s/Next Door).
For Fast’s solo show, Nathalie Boutin brings together Fast’s four major pieces in a multi-floor installation.

As part of the show, the
artist will also screen his new film Abendland (2024) at Geothe Institue on March 6, 6pm and followed by director’s talk session with Omer Fast and Thai curator and researcher Pathompong Manakitsomboon.
On March 7 at 3pm, there will be another screening of “Continuity and 5000 Feet is the Best Saturday” at Bangkok Kunsthalle followed by a Q & A session by Fast and with Pathompong.

The “Omer Fast – Human Subjects" project is curated and presented by 16 avril, Paris.

“This event will showcase a selection of Fast’s video installations, films and multimedia works, offering Thai audiences an opportunity to experience his innovative storytelling and layered narratives.
Human Subjects brings together four major pieces in a multi-floor installation, with each room focusing on an individual haunted by outside forces,” notes curator Nathalie Boutin.

“Karla, 2020, An uncanny holographic head floats in a disordered bedroom, speaks to the visitor, channeling the story of a young German woman who worked as a content moderator for the world’s largest online video sharing platform: The highly-controlled working routine becomes a nightmare of endlessly labeling and removing ever more numerous and unbearable content from the internet.

The Invisible Hand 5000 Feet is the Best, 2011, is based on conversations with a U.S. military drone operator in a hotel in Las Vegas. The film fluidly moves from documentary to reenactment and fiction, weaving together the drone operator’s increasingly surreal recollections, along with scenes depicting crimes in and around Las Vegas.

August (3D projection, 2016) is loosely inspired by German photographer August Sander’s life and work. The historic photographer is shown at the end of his life, alone, nearly blind and unable to sleep. As he roams his house late at night, figures from the past briefly appear, frozen and ghostlike

In the Invisible Hand, the final protagonist is an eight-year-old Cantonese girl who appears in virtual reality. Both witness and heiress to epochal transformations in her family and society, the young girl recalls how a chance encounter with a ghost brought both shame and fortune to succeeding generations.

The four characters of these works seem to be endlessly trapped by their own narratives and the larger forces of the past. With the artist’s reconfiguration of audiovisual material, the fragmented, illusional and seductive nature of our mediated world is reflected. Whether in the form of a journalistic interview, a fairy tale or an endless loop, each story is strongly rooted in socio-political reality while alluding to the very human desire to transcend and escape. Taken together, the four works playfully exploit diverse cinematic techniques in an intimate dialogue with domestic space.”

Omer Fast has been exhibited in major institutions worldwide, including solo shows at Whitney Museum of American Art in New York, the Pinakotek der Moderne Munich in Munich, the Martin Gropius Bau in Berlin, the Jeu de Paume in Paris and the Baltic Art Centre in Newcastle.

Group exhibitions include the Whitney Biennial (2002 and 2008), the 54th Venice Biennale (2011), documenta 13 (2012) , the Berlin Biennale (2022) and the Lyon Biennale (2024).

In Asia, Fast has recently had solo shows at the Times Museum in Guangzhou, the National Museum of Korea in Seoul, M+, Parasite and Tai Kwun in Hong Kong.

The exhibition “Omer Fast – Human Subjects" is part of the re-opening of About Studio/About Cafe as Misiem’s/Bangkok after closing its doors for years. To mark the re-opening, Misiem’s/Bangkok displays “Misiem Yipintsoi’s Sculpture” exhibition.

Both exhibitions are on view from February 28 to March 29, 2026.

The opening hours are Thursday to Saturday from 1-7pm with the opening reception scheduled is on February 28 from 6-9pm.

20/12/2025

Thailand’s first international contemporary art museum Dib Bangkok officially opens today December 20, 2025 in the capital with the surprised happenings by Australia artist Marco Fusinato and live performance directed by Thai artist Dujdao Vadhanapakorn.

Over 500 guests including leading global and local artists, curators, critics, gallerists, collectors and art researchers are expected to visit the long-awaited museum initiated by the late prominent Thai collector and musician Petch Osathanugrah.

“We are honor to launch Thailand’s first international contemporary art museum Dib Bangkok at the heart of energetic Bangkok which is full of many malls. We would love to share our passion for art to the general public. We hope the museum will become a new landmark of Bangkok and becomes a new art destination in town,” said Petch’s son and founding chairman Parut Osathanugrah said at the recently press review.

The stunning architecture of Dib Bangkok has been converted from a huge 1980s warehouse redesigned by the critically acclaimed Thai architect Kulaphat Yantrasast of WHY Architecture in collaboration with the Thailand-based international architectural design firm Architects 49 (A49). The three-storey museum has 7,000 sqm of exhibition space plus 14,000 sqm of outdoor courtyards.

The museum’s debut exhibition “(In)visible Presence” honors to the museum’s mastermind Petch and the late Thailand’s conceptual art pioneer Montien Boonma whose dozen of his masterworks stored here.

“Our grand opening exhibition is presented
selections of highlighted pieces of over 1,000 collections by over 200 contemporary artists from around the world,” revealed Japanese director Miwako Tezuka.

Drawing from a collection shaped over three decades and expanded through new collaborations, the exhibition brings together 81 works by 40 contemporary artists, many showing in Thailand for the first time.

“Through sound, scent, light, and unconventional materials, the artworks enable viewers to sense what cannot be seen,” added Thai Ariana Chaivaranon.

Among the highlights include a dozen of Montien Boonma’s multi-sensory masterworks, Anselm Kiefer’s 2013 monumental installation “Die Ungeborenen” (“Reborn”), James Turrell’s iconic colored light tower “Straight Up”, Marco Fusinato’s interactive massive installation “Constellations”, Alicja Kwade’s gigantic marble sculptural installation “Pars pro Toto”, Somboon Horntienthong’s 1995 spiritual installation “Unheard Voices” and Surari Kusolwong’s well-known participatory installation “Emotional Machine” (2002) which is being showing in Thailand for first time.

Spanning the museum’s three floors, the exhibition follows shifting relationships between material, memory, and the unseen. Level 1 introduces artworks that transform commonplace materials into surprising forms, echoing the experimental legacy of 1960–80s movements like arte povera and their enduring influence.

Level 2 brings together works that drift between memory and imagination, with altered diaries and salvaged objects evoking the stories we hold but rarely speak.

The third floor highlights a dozen of Montien Boonma’s masterworks including monumental installations using scent and negative space offer a path toward healing.

Shared the same floor with Montien is Anselm Kiefer’s 2013 monumental installation “Die Ungeborenen” (“Reborn”).

The museum opens to the public in December 21, 2025 with series of Artist’s talks by Alicja Kwade, Marco Fusinato, Paloma Varga Weisz, Pinaree Sanpitak, and Sho Shibuya.

The “In (visible) Presence” exhibition runs through August 21, 2026.

Visit more information visit dibbangkok.org.

Photo by ANN : Art News Network

04/12/2025

Prominent Thai artist Som Supaparinya opens her new solo exhibition “MO NUM EN TS” today, December 4, 2025 at 6pm at Jim Thompson Art Center in Bangkok.

Curated by Gridthiya Gaweewong, this exhibition is presented as part of the Han Nefkens Foundation – Southeast Asian Video Art Production Grant 2024 In memory of Dinh Q. Lê, and in collaboration with Jim Thompson Art Center; Outpost Art Organisation, Vietnam; Museion, Italy; Hiroshima City Museum of Contemporary Art, Japan; Kunsthal Charlottenborg, Denmark; and Rockbund Art Museum, China.

The exhibition showcases her newly commissioned video installation “MO NUM EN TS” (2025) and a revised version of her previous installation, “Paradise of the Blind” (2016/2025), which is part of her ongoing Banned Book Project.

Gridthiya wrote in her curatorial statement that:

“Supapinya’s new video installation reconsiders the monument—intentionally destabilizing and expanding its meaning within contemporary contexts. Spelled as MO NUM EN TS, the title signals both fragmentation and reconfiguration. Traditionally, monuments are fixed structures commemorating people, events, or ideals that societies choose to remember. They anchor memory and reinforce official narratives while also exposing what has been forgotten or erased. For Supaparinya, the notion of the monument fundamentally shifted during the Cold War, when dams, highways, and energy grids emerged as symbols of national progress. These large-scale infrastructures reshaped landscapes, displaced communities, and embedded geopolitical agendas, becoming ideological monuments defined not by representation but by their ability to transform life, memory, and territory.
Her long-term research into media, hydropower, road networks, and state-driven development.”

The press release also explains more details about her new show that:

“Continuing her long-term research-based artistic practice into the entanglements between history, the environment, and political ideology, Som Supaparinya’s new body of work investigates how the destruction of nature is not merely a byproduct of “progress” but a direct consequence of ideological and discursive forces. These include propaganda disseminated by both the Free World and the Communist bloc, each seeking to legitimize large-scale development projects across the region.

In her newly commissioned video work, MO NUM EN TS (2025), Supaparinya examines the cultural dimensions of Cold War propaganda through media materials produced by the United States Information Service (USIS). Juxtaposing these archival images and sounds with contemporary landscapes in Thailand, the artist evokes what she calls a “post-propaganda era” inviting viewers to reflect on how Cold War ideologies persist within everyday life. Central to the work is the question of “symbols of progress” such as the Bhumibol and Pak Mun Dams—structures that, despite their environmental costs and inefficiency in power production, continue to stand as monuments to the ideology of development.

This new commissioned work displays alongside a reworked version of her earlier installation, Paradise of the Blind (2016/2025), part of her ongoing Banned Book Project, which addresses censorship across Asia and Oceania. By presenting both banned and “non-banned” books together, Supaparinya exposes how mechanisms of control operate not only through prohibition but also through selective permission, revealing how power shapes knowledge and public understanding under the guise of freedom.

Together, these works create a space for audiences to reflect on the layers of power, knowledge, and invisibility within history, particularly the ways in which ideology, memory, and the landscape of nature intertwine and continue to echo in the present.”

The show runs through March 29, 2026.

Photos courtesy of The Jim Thompson Art Center and Som Supaparinya.

23/10/2025

Sriwan Janehuttakarnkit: 1953-2025

The Thai art community mourns the loses of respected Thai artist Sriwan Janehuttakarnkit, who passed away on October 23, 2025 at Mar Fah Luang Medical Centre in Chiang Rai at the age of 72.

As Thailand’s foremost female artist, Sriwan delicates five decades to create her art.

She graduated from Silpakorn University in 1976 and balanced her life between art practice and teaching.
Upon retiring from academic institutions, she focused on creating art at her Sridonmoon Art Space in Chiang Rai.

“Don’t stop painting,” Sriwan would always encourage her fellow artists.
Even she was ill, her hands and heart remained active, as she painted from her bed.

At the age of 72, Sriwan held a solo exhibition “Life is Ordinary” at Jing Jai Gallery in Chiang Mai. Running until February 15, 2026, the exhibition showcases new series of stupa installations and ceramics inspired by Buddhist teachings.

Her works had been exhibited and acquired by galleries and museums in Thailand and internationally.

Most recently, she participated in the Thailand Biennale Chiang Rai 2023. Sriwan opened her studio to reveal her latest work in “Dharma, Nature and Normality”, series featuring skeleton and black shadow paintings that explore the theme of non-existence and non-suffering.

Sriwan believed that human beings are inherently selfish and constantly seeks endless happiness which ultimately leads to suffering.
She viewed emptiness and death as the path to the true peace and happiness.

Photo of
Sriwan Janehuttakarnkit by ANN : Art News Network

Photo of Sriwan’s works courtesy of Jing Jai Gallery and Sridonmoon Art Space

15/10/2025

The critically acclaimed performance and video festival Ghost2568 returns to haunt Bangkok with many interesting works by over 30 international and Thai artists opening on October15 at 6pm at Bangkok CityCity Gallery.

The third and final edition of Ghost, a video and performance art series— “Ghost2568: Wish We Were Here” is curated by Amal Khalaf who is famed for her critically acclaimed curation of Sharjah Biennial 16.

The festival takes place from October 15 to November 16, 2025, across 8 venues in Bangkok. The curators of the first two editions, Christina Li and Korakrit Arunanondchai, return to “haunt” Ghost:2568 with special projects and Host returns, an alternative pedagogical platform by Pongsakorn Yananissorn.

The festival features live performances, video installations, music, fashion, film screenings and lots of participatory activities. The works explore the multi-layered respects of cities both spiritual and physical aspects, the history of places, collective memories, untold stories of human and non-humans and the hopes of living in a better future together.

Eight exhibition venues:

CITYCITY

The white cube is converted into a time-based spiritual installation by Berlin-based Korean artist Dan Lie.
The library is transformed into a video game playground where festival-goers can play the game SEXY ARCADE exploring the life of the Alien Goddess. The games and slot machines are the brainchild of Thai fashion brand IWANNABANGKOK.
At the reception night on October 15, Indonesian band Senyawa performs their haunted experimental sound Vajranala while Bangkok-based multi-talented artist/Dj Nuh Peace spins SOUNDing.

, Sukhumvit 26

The huge storage of the soon-to-open Dib Bangkok Museum hosts though-provoking video installations by three international artists.
Ho Tze Nyen’s four channel-video installation about ghosts “Phantom of Endless Day (Ghost loops)” is set in the centerpiece of this high-ceiling warehouse.
Berlin-based Filipino artist Stephanie Comilang showcases the video installation “Search for Life II” in another room. The second episode of Search for Life continues themes of migration, labor, diaspora, and technology through the histories of pearl diving and the industrialization of pearl production between the Persian Gulf, the Philippines, and China.
Meanwhile Paris-based Swiss artist Shahryar Nashat presents a three-channel-video installation “Boyfriend / Lover / Hustler (A Trilogy for Ghost)”.

Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร
In front of Bacc, there is a huge white banner reading “Do Not Return to Your Body” on one side and reads “I Am Dead I Am A Ghost” on the other by Rirkrit Tiravanija. Let’s scan QR code with your mobile phone to explore the metaphor behind his messages.
Tanat Teeradakorn reinterprets hidden history of Thai politic into his new sound installation “Capital Complex”. Hearing louder in the air is Thanat’s new thought-provoking composition in which he remixed the rebellious voices of protesters, mor lam songs, the rhythm of national ceremonials and absence ambiences.

Cultural and Contemporary Art Space

Site-specific artworks at the renovated film production studio and art space are curated by Christina Li under the concept “Ghost:Bodies Dispossessed”.
The show features a video and sound installation “Activating Archive: Eating an Apple While Lucid Dreaming” by Japanese artist Koki Tanaka with Thai collaborators and the festival’s docents ‘Host2568’, video installation and live performance “Norat of Parallel Rails by artist Orawan Anurak.

@ Alliance Franchise

Curated by Christina Li, New Delhi–based Raqs Media Collective stages “Ghostly Intermittance” on October 22.

Tawes

Located along Chao Phraya River, the old palace displays the works addressing disappearance, inheritance, the feminine, intimacy, home and shelter. and the spectral afterlives of political and intimate histories.
Visiting by night offers the haunted experiences. The project entitled “holding the world between is a collective offering rooted in Midwife Ontologies” take over the ground floor of the house. The works feature historical photographs of Tarini Graham giving birth her daughter by a midwife, replica of small ashram she once stay and archival materials on Siamese Midwife history. This is a collaborative project by Tarini, Rosalia Namsai Engchuan, EMJA, Saeng-Fah, The Sound Nutritionist, Thairat Lim and Chao Mai Community.
In the restroom, the long-haired with white-painted lady awaits to haunt the visitors. It’s Montika Kham-on’s video “Prophecy”. Stepping up, her new video installation “Afterlives” imagines a post-tropical future where light carries memory, where it bends and fractures, holding histories too delicate to survive unspoken.
Another room features installation “Non-Visitor Center” by Don’t Follow the Wind with Chim↑Pom from Smappa!Group, Aiko Miyanaga and Kota Takeuchi. The work features a video depicting an abandoned house in the Fukushima radioactive evacuated area in Japan. The broken frame from the incident is hung on the wall. Looking though the windows, visitors will see the display of a sculpture installation depicting a roped glass with the exhalation.

The Jim Thompson Art Center

Video installation, sound and films are presented by participating artists: John Clang, Komtouch Napattaloong with Kaisa Saarinen and Bart Seng Wen Long, Mekh Limbu and Noor Abed.

@ A shophouse on 469 Phra Sumeru Road near Storage

Jeanne Penjan Lassus’s new commissioned installation “a jewel in the mud” images the Chao Phraya River as a mirror and subconscious of the city.

Alongside participating artists, Ghost:2568 has a variety of collaborators to engage in special programming with multi-disciplinary practitioners ranging from individuals to collectives and institutions including but not limited to May Adadol Ingawanij, Thai Labour Museum and Thai Film Archive.

More information and schedules of live performances visit www.ghost2568.com

Photos: ANN : Art News Network
Photos courtesy of BANGKOK CITYCITY GALLERY
Photo of work by Jeanne Penjan Lassus courtesy the artist

ANN : Art News Network

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