The art world loves a good Art Biennale. And with more countries coming up with their own, the scene is getting increasingly crowded, to the extent one can plan an entire world tour hopping from one Biennale to another as the circuit only continues to grow. But the Biennale has never been solely for the art world – such events are also crucial for a city’s tourism and culture, bringing in both art aficionados and curious visitors to see what the hype’s all about, and how the city has become transformed by art. And if it’s one city that’s certainly raised its profile by having an Art Biennale, it’s Bangkok.

Founded in 2017, with its first edition in 2018, the Bangkok Art Biennale (BAB) has become a much-lauded event in the Thai capital each time it rolls around, elevating Bangkok’s status from fun and shopping destination, to one that positions itself as a leader in Southeast Asian contemporary arts. Over the course of four months, the city becomes filled with art, where public spaces from temples and heritage sites, arts centres to modern buildings, are taken over. Now in its fourth edition, the next BAB takes place from October 2024 to February 2025, and boasts multiple stakeholders and collaborators, among which include the Bangkok Metropolitan Administration (BMA), The Fine Arts Department (FAD), Thailand Convention and Exhibition Bureau (TCEB), Tourism Authority of Thailand (TAT), Thai Beverage Public Company Limited (ThaiBev) and One Bangkok.

“BAB has been through plenty of obstacles since 2018, from the pandemics to politics, along with how the expectations and demands just keep increasing. But that’s the nature of the job, where we try to improve each time,” says Prof. Dr Apinan Poshyananda, Chief Executive and Artistic Director of BAB. “The exposure of BAB internationally and locally means we not only compete with ourselves but also build rapport and align our standards and goals to other biennales, such as the Singapore Biennale, which has set a high benchmark for us. It has taught us how to survive and make things sustainable, how to navigate relations between private and government entities, and ultimately, how to position Thailand as a destination for art events. As we move into the 4th edition, we are still raising the bar higher, especially for those who support us, both the corporate and government, and it’s exciting to do this year on year.”

Each time the Biennale has rolled around, it has adopted a specific theme responding to world events, delving into relevant socio-political and environmental issues on a global scale, and seeks to question through art, what it means to be contemporary. This year’s theme, Nurture Gaia, stems from the Greek goddess of the Earth, Gaia, often seen as a mother, nurturer and giver of life. Extending beyond her Greek roots, Gaia has even deeper origins as a prehistoric earth mother related to fertility and agriculture, and takes on the form of Phra Mae Thorani found frequently in Buddhist scriptures and temples. With the Earth’s health being thrust back into the spotlight, worsened by climate change, pandemics, war and the destruction of the environment caused by man, it often feels like we’re in an extinction era the more nature is defiled. With that in mind, the artists of BAB will be responding to this phenomena, and considering vital contemporary themes such as anthropology, collectivism, ecology, feminism, and the politics of time and place. 

“We have around 76 leading artists this year, many of which are also part of collectives that have been a part of BAB since 2022, with strong diversity in both gender and their country of origin. Much of the work goes beyond environmental issues, some dealing with personifications of Gaia and feminism, while others tackle very local environmental and social issues, or for me, focusing on the idea of care as a counter to all the destruction,” says curator Pojai Akratanakul. “There’s even an artist based in Chiang Rai who was initially going to present some works, but a flood ended up damaging it. But rather than pulling out, he’s instead decided to incorporate the experience into it, drawing from his beliefs in ancestral connections between the spirit world and human relationships.”

Pojai is leading the curation of the Biennale alongside Dr. Brian Curtin, art critic and educator; Akiko Miki, International Artistic Director of Benesse Art Site Naoshima and curator; and Dr. Paramaporn Sirikulchayanont, lecturer and former Director of the Art Centre of Silpakorn University, Bangkok. Together, they have curated a selection that will feature a constellation of artworks, many of which will be on display for the first time, including drawings, paintings, sculptures, videos, and installations from established and emerging artists and collectives. The additional 31 participating artists include: Busui Ajaw (Thailand), Bruce Asbestos (UK), Lena Bui (Vietnam), Kanya Charoensupkul (Thailand), Viriya Chotpanyavisut (Thailand), Daniela Comani (Italy), Tony Cragg (UK), Rob Crosse (UK), Lello Esposito (Italy), Gimhongsok (South Korea), Agi Haines (UK), Mella Jaarsma (The Netherlands / Indonesia), George K. (India), Anish Kapoor (UK), Chitti Kasemkitvatana (Thailand), Cole Lu (Taiwan), Maria Madeira (Timor-Leste), Zul Mahmod (Singapore), Nakrob Moonmanas (Thailand), Sophirat Muangkum (Thailand), Mutmee Pimdao Panichsamai (Thailand), Deneth Piumakshi Veda Arachchige (Sri Lanka), Moe Satt (Myanmar), Thavika Savangwongsakul (Thailand), Latai Taumoepeau (Australia), Komkrit Tepthian (Thailand), Tian Xiaolei (China), Aleksandar Timotic (Serbia), Jasmine Togo-Brisby (Australia), Wang Xiyao (China), and Pokchat Worasub (Thailand).

Beyond artwork, BAB also promises a multitude of programmes that includes performance and costume installation by Mella Jaarsma (The Netherlands / Indonesia), that explores the urgency of disappearing knowledge and the tension between contemporary art and tradition; Pokchat Worasub (Thailand) explores ethnic identity and marginality through photography; Agi Haines (UK) offers a provocative glimpse into the future of human adaptation, exploring the profound implications of potential body modifications designed to tackle emerging challenges; Adel Abdessemed (Algeria / France) will showcase a large-scale installation exploring the interconnectedness of mother and child; Mutmee Pimdao Panichsamai (Thailand) creates a new video work exploring the human mind and society using movement, lighting, and theatricality; Gimhongsok (South Korea) presents a new body of work, that consists of sculptural installations addressing the subject of labour conditions; Furthermore, major sculptures by renowned artists Anish Kapoor (UK) and Tony Cragg (UK) will be displayed at One Bangkok as a part of Bangkok Art Biennale 2024, and where they will remain permanently.

But beyond these at times esoteric forms of art, BAB understands that their audience needs to be more widespread, and make art more accessible. And rather than dumbing down the curation, they’ve instead decided to focus on education instead, with the BAB Academy project, which aims to build a stronger appreciation and understanding of the arts in the community and to provide an opportunity for art lovers and art professionals to enhance their studies and experience. Furthermore, every edition, BAB hosts a Dek BAB program, which gives opportunities for students and people interested in art to work at the major biennale with renowned Thai and international artists as artist crews, liaisons, docents and art guides. Curators and art gurus organize the workshops and training activities to help bridge artists and spectators.

“We do want growth of the ecosystem as well, and so we need to cater to a general audience, not just the art scene, which is why we also have focus on art education for younger audiences,” says Pojai. “It’s sometimes a challenge to balance conceptual, introspective work with pieces that have background and contextual references to art history versus pop art and colourful sculptures, which we had a lot more of back in 2018. We face the same balance with sponsors, as we need to cater to and meet KPIs. We’re definitely not against curating work that appeal to the younger generation either – and sometimes it leads to work that happens to be Instagram-friendly as well, helping raise our profile and popularity. And perhaps there will be that as well with this year’s edition – how often do local audiences get to see works in a temple? I hope it creates dialogue between the public and the artists, between members of the public, and between local and international artists.”

“One of the big challenges we face is really how we can get people interested in contemporary art when there are so many other attractions, from films to performances to other galleries competing?” says Prof. Dr Apinan. “Hitting our KPI is important because we need to be accountable to our stakeholders, but we’ve learnt how to be smart about our budget, and mindful about how we spend on commissions, mixing in both veteran artists as well as young artists who are excited to get exposure from such a huge opportunity.”

Beyond BAB, Thailand also organises the Thailand Biennale, which takes place on alternate years from BAB. But what differentiates the two is also how the Thailand Biennale moves around the provinces of Thailand with each edition (the last one in 2023 was in Chiang Rai), having a very different scope and goal from BAB. “When the government realized Bangkok Art Biennale was happening, it happened to fit very nicely with the Thailand Biennale’s schedule, and now comfortably alternates every year so there’s always a reason to come to Thailand,” says Prof. Dr Apinan. “There’s some competition, but that only makes us better as we push ourselves, proving the potential of the artists and organizers, and having two biennales produces many job opportunities for young curators and other working in the arts scene as well. Our challenge lies in working with our own venues, both the galleries and site-specific spaces, such as the National Museum and the temples, which require us to pick the appropriate artworks and set it up properly.”

A total of 11 venues have been confirmed for this edition of BAB, namely: Wat Arun, Wat Pho, Wat Prayoon, Wat Bowon (The Museum & Library of Abbots), Bangkok Art and Culture Centre (BACC), Central World, National Gallery of Thailand, National Museum Bangkok (Siwamokkhaphiman Hall), One Bangkok, BAB BOX, and Queen Sirikit National Convention Center (QSNCC) BAB BOX. At this point, it does indeed feel like everything has been set-up for success once again, and all that’s left is for the team to prepare for a successful opening. “The institution has overcome many obstacles, challenges, and political barriers over the last few editions years. We don’t rely heavily on the national budget, so we can have our own goals. Whoever replaces me will inherit enormous returns, with many international representatives involved too,” says Prof. Dr Apinan. “We continue to give back to society and the world, and this will carry on with future editions. It’s about human resources and helping the region, platforming artists and bringing attention to Southeast Asian art, each edition reflecting the zeitgeist or vision of Bangkok.”

“I’m glad we’ve put all the foundations in place, like having committed sponsors who will support us all the way to the 2026 and even 2028 editions, whether hotels or restaurants even,” concludes Prof. Dr Apinan. “We’re working with organisations to be more sustainable, using recycled materials, and aligning our own practices with our theme too. We’ve developed strong bonds and rapport with younger artists to build their partnership with us and watch them grow as they continue with us. I’m very happy to take a step back and let the younger curators take centrestage now, showing off their creativity and allow them to be the ones to take charge and sustain future editions.”

Photo Credit: Bangkok Art Biennale

Bangkok Art Biennale 2024 runs from 24th October 2024, to 25th February 2025. More information available here