Dib Bangkok courtyard, January 2026. Photo: W Workspace. “Extending this trajectory of institutional growth is none other than Dib Bangkok—a lifelong dream of the late collector Petch Osathanugrah. Best known to the Thai public as a singer-songwriter (his “I’m Just a Man, Not a Wizard” was a 1987 megahit), Petch was also a businessman (his family spearheads […]
ARAYA RASDJARMREARNSOOK, Has Girl Lost Her Memory? , 1994/2025, corn husks, bed frame, dimensions variable. Courtesy the artist. “A quiet yet substantial figure in Thai contemporary art, Araya Rasdjarmrearnsook’s life and practice are marked by womanhood, longing, and the looming viscosity of death. For Araya, joy is borrowed, while suffering remains humming in the backdrop
View of “Chitti Kasemkitvatana: The Beauty of Time,” 2025. Photo: Wanchai Phutthawarin. “In “The Beauty of Time,” through a gathering of drawings, sculptures, and found-object installations, Chitti Kasemkitvatana explores temporal multiplicity and the sociocultural processes involved in the production of time, focusing on moments of historical and perceptual porosity. The exhibition asks whether the essence and
View of “Khvay Samnang: Forest Myth,” 2025. From left: Kapok Wood 1, 2025; Kapok Wood 2, 2025; Kapok Wood 3, 2025. “With the animal spirits assembled to ignite the jungle’s pralung, hidden narratives came to light, revealing imminent social and ecological threats that mar the livelihood of the Chong and other Indigenous communities in Cambodia. In the series “Dragon Farm,”
Installation view of In Absence, Presence. Image courtesy of Nguyen Art Foundation. “Out of Hằng’s breadth of artistic conveyances emerges an inter-referentialrelationship between her printed poetry and paper-based sculpture— mediated through the versatile medium of paper. “Similar to how I choose my canvas as a painter, or build my mould as a sculptor, I am sensitive
Som Supaparinya, MO NUM EN TS, 2025, film still. Courtesy: the artist and Jim Thompson Art Center, Bangkok “At first glance, Supaparinya’s video installation might give an impression of archive-validated celebration, even nationalist bravado. Yet her compositional decision to collage multiple views into a single screen fractures these archives’ historical certainty: while together the images form
Iris Ferrer, Kent Chan, and Julian Abraham “Togar,” Love Songs for Savages (Kundiman para sa mga salbahe), 2021. Performance view, July 6, 2021, De Appel, Amsterdam. Photo: Jimena Gabriella Gauna. “For Togar, sound is not only an artistic medium but also a public instrument—a way of signaling, convening, and shaping collective attention. In Indonesia, sound
Rocky Cajigan, A Temple for Those Who Have Never Seen the Sea, 2025, salt, soutane made from jusi fabric, human hair, fish hooks, dimensions variable. From “Gongs. Smoke. Blood. Earth.” Photo: Clefvan Pornela. ““Gongs. Smoke. Blood. Earth.” mapped the spiritual topography of Baguio—a major city in the Cordillera Administrative Region of the Philippines that began as a
“THE THAI WORD for spirit possession is ผีเข้า. Translating to “ghost enters,” it signifies the active claiming of a body or a space. Yet while some tend to see possession as an inherently violent occurrence, the word เข้า also means “to cooperate,” suggesting the host body’s willing fusion with its alien occupant. This spiritual double entendre encapsulates the ethos of
Trương Công Tùng. Across the forest. 2014 – present. 4-channel video installation. Photo courtesy of the artist. “A lacquer painting’s ending is in the final blink of an eye. Trương Công Tùng’s works desist from transparent finality. His body of mixed-media works cultivates nonlinearity across different sites. This forms a synergic ecosystem that can be activated against