A cartography of Bangkok and its parallel manifestations, BAB and its seventy-six artists strove not only to showcase its breadth of artistic creativity and engagement, but also to paint a complex portrait of its home city as a melting pot for the old and new, the local and the foreign. Yet fantasy is not all […]
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It has been a great honor to write, converse, and think alongside the artmakers of Southeast Asia for the last two years. This TOP TEN list, while shedding light on critical artistic practice and unconventional exhibitions, is nowhere near exhaustive. Wrapping up 2024 and preparing for 2025 with a heart filled with joy and gratitude.
Pinaree Sanpitak, Gathering Table, 2023, acrylic, drypoint, feathers, and gold leaf on canvas, 86 5/8 × 98 3/8”. “The title “Fragile Narratives” is a reflection on how precarious our world is, a contemplation on how we can keep balanced while still making the best out of this life. For me, this sense of fulfillment often
Screencap from Everyone is… Image courtesy of the artist and Artforum. “In a time when hypernyms such as “Anthropocene” and “nonhuman” are becoming desensitized in contemporary art, is it still worthwhile for artists to question our seemingly unsalvageable relationships with other species and explore potential modes of alternative communication with them? For Wantanee Siripattananuntakul, this
Taiki Sakpisit, Dark Was the Night, 2024, two-channel 4K video projection, color and black-and-white, sound, 15 minutes 30 seconds. “In this exhibition, sound functioned as an invisible compass, guiding Sakpisit’s video editing and eliciting moments of suspension and anticipation that further submerged viewers into his video pieces. Alternating between found sounds, dreamlike melodies, and other
This booklet accompanies artist Trương Công Tùng‘s exhibition The Disoriented Garden… A Breath of Dream and provides the curatorial essay written by curator Dương Mạnh Hùng, images and captions of the artworks, and information about every individual who has contributed their time, resources, and talents to bring this publication to prints. This publication can be
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Nipan Oranniwesna, Then, one morning, they were found dead and hanged, 2020, ink-jet print on floor, wooden text. Installation view. Photo: Surachet Wonghun. “On the far side of the room, opposite the teak boxes, he’d sprinkled azure pigment onto the floor in abstract forms and commingled them with two sentences in teakwood: THEN, ONE MORNING,
View of “Korakrit Arunanondchai: nostalgia for unity,” 2024, Bangkok Kunsthalle, Bangkok. Photo: Bangkok Kunsthalle. “… The space’s ground is covered in a tar-like mixture of soil and ash, crushed from the building’s burnt pieces, rendering it a cold and fissured desert—a sensation heightened by the old gray concrete walls. A hazy mist infiltrated the belly
Photo taken by Peerapat Wimolrungkarat (Add) “If you’re born in Southeast Asia, ghosts can be more real than people you can see and touch, even if their existence is made up entirely of stories. Let’s take Dao, the ghost-child in the novel. We get to know him through fragments of stories: ones that he heard
Wilawan Wiangthong’s first solo exhibition in Thailand, “Mom of Alterity” at MAIELIE, brings together a complex orchestration of seven chaptered live performances accompanied by surreal moving images, sculptures, and photography. Within this psychosomatic domain, subversive forms of bodily expression manifested, alternative connections between species flourished, and the interstices between humanity’s technosphere and nature’s ecosphere sporadically surfaced. As one might infer from the performance described above—appropriately titled Chapter 4: Eggs, 2024—the body as a mythical and provocative terra incognita emerged as the centerpiece to Wiangthong’s corporeal banquet.