2023-Present

BERNG NANG CLUB (2024-Present)
BERNG NANG CLUB is a micro cinema initiative based in Khon Kaen, dedicated to creating an intimate and alternative space for film lovers. The name itself, “Berng Nang,” is rooted in the Isaan dialect for “Watch Movie,” reflecting the club’s grassroots, informal, and community-focused spirit. As a projectionist, Sina Wittayawiroj contributes to the club’s mission of enriching Khon Kaen’s cultural landscape. BERNG NANG CLUB moves beyond the mainstream cinematic experience, offering creatively curated screenings that aim to provoke thought, inspire dialogue, and connect diverse audiences.
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The club’s primary mission is to showcase a diverse range of films rarely seen in Northeast Thailand, moving beyond passive viewing to create communal events that foster dialogue and critical thinking. The programming is thoughtfully curated, featuring acclaimed independent and documentary films from one of Thailand’s best distributors, Documentary Club, as well as thought-provoking selections from Thai short film curators like Wildtype. As passionate advocates for independent cinema culture, BERNG NANG CLUB is also proud to be an active part of the #SaveMicroCinema movement in 2025, working to ensure that small, community-focused cinema spaces can thrive.
BERNG NANG CLUB is a collaborative effort by a group of cinephiles and cultural practitioners, creating a welcoming space for artists, students, and anyone in the Khon Kaen community to explore the world through a different cinematic lens. This commitment to collaboration is exemplified by the club being chosen by the Japan Foundation as the local organizer for the Japanese Film Festival 2025 in Khon Kaen, with screenings held at the Maielie venue. Screenings are also held at various other partner locations throughout the city. For the latest schedule, film announcements, and special events, please follow our social media channels.



ALIEN Artspace (2023-Present)
Founded in Khon Kaen in 2023 by artist Sina Wittayawiroj, ALIEN Artspace is an independent art initiative located above his coffee shop, “Ready for the Weekend. Coffee and Art.” Its genesis is deeply connected to Sina’s personal journey as a “cultural refugee” from Bangkok and his self-identification as an “alien,” stemming from a long-held feeling of not quite belonging. Observing a lack of accessible spaces for artistic expression in Khon Kaen, Sina established ALIEN Artspace to present art and ideas that might be considered “other” or unconventional, true to its name and its founder’s ethos of embracing perspectives outside the mainstream.
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ALIEN Artspace operates fundamentally as an ongoing “experiment” rather than a commercial gallery, driven by a philosophy that prioritizes “cultural profit”—the invaluable gains of building community, fostering meaningful dialogue, and cultivating new knowledge and creative methods—over direct monetary returns. This approach guides its engagement with artists and the public, navigating financial realities while challenging centralized definitions of “Thai art and culture” and restrictive notions of beauty. It aims to be a platform where art is understood broadly, encouraging diverse cultural forms and experimentation, and functions as a grassroots “institution of critique” offering alternatives to mainstream art systems.

Currently, ALIEN Artspace serves as a dynamic platform for contemporary artistic voices in Khon Kaen and the wider Isaan region, with approximately 80% of its exhibiting artists being local. It is committed to showcasing a “contemporary Isaan voice” that moves beyond stereotypes and provides a sanctuary for artists who identify with “otherness” or whose work challenges norms. Exhibitions frequently engage with critical social and community issues, such as “รางรถไฟสีเทา” (Between the Railway) by Pitchayate Borriboon on railway development impacts, “น้ำจะท่วมฟ้า ปลาจะกินดาว” (When Floods High as Skies, Fish Feast on the Stars) by Puvamin Indee and Nattapon Innoo concerning Mekong River issues, and “Rifted Drift” by artworms exploring changes to the Hueang River. Sina also curates shows featuring local contemporary artists such as “How Eating Tokay Tails Made Me Into an Alien.” by Pichit Sonkom, “This Too Shall Pass” by Boyz, and “LOOK MOM, NOW I’M FALLING” by Accident 2000.

Furthermore, ALIEN Artspace hosts Open Call exhibitions, providing an uncurated platform for any local artists, designers, and creators to participate and showcase their work. The space also actively participates in collaborative events, such as “ใช้ได้” (Chai Dai), an event in collaboration with Namkhuen Collective and Inappropriate Book Club.
Beyond exhibitions, ALIEN Artspace is a venue for social and political seminars, talks, workshops, and other activities aimed at fostering critical thinking, community building, and dialogue on pressing contemporary issues, further broadening its engagement and impact.
Through these activities, ALIEN Artspace actively supports local artists and fosters critical dialogue. It aims to contribute significantly to a more decentralized and diverse art scene in Thailand, embodying a spirit of independent, community-focused cultural engagement. Looking forward, informed by Sina’s view of the space as part of his “‘rebirth’ in Khon Kaen,” the initiative is poised to continue its experimental and adaptive trajectory, championing regional artistic identities and serving as a model for art spaces that operate outside conventional capitalist frameworks.

A New Chapter with Old Echoes: Thailand 2023-2025
The period from 2023 to mid-2025 in Thailand was dominated by the aftermath of the May 2023 general election, which saw the progressive Move Forward Party (MFP) win the most seats, signaling a strong desire for change. However, MFP leader Pita Limjaroenrat was blocked from becoming Prime Minister by the military-appointed Senate. This led to the Pheu Thai Party, which came in second, forming a controversial coalition government with conservative, military-aligned parties it had previously opposed, installing Srettha Thavisin, a real estate tycoon, as Prime Minister in August 2023. This period also saw the return of former Prime Minister Thaksin Shinawatra after 15 years in exile, who then received a reduced sentence. The political landscape remained turbulent, with the Constitutional Court playing a significant role; in August 2024, it dissolved the MFP for its campaign to amend the lèse-majesté law and later, in the same month, removed PM Srettha Thavisin from office over an alleged ethics violation in a cabinet appointment. Paetongtarn Shinawatra, Thaksin’s youngest daughter, then became Prime Minister in September 2024, leading the same coalition. Throughout this time, concerns persisted regarding restrictions on freedom of expression, the use of the lèse-majesté law, and the influence of unelected institutions on the democratic process, even as local elections, such as the Provincial Administrative Organisation (PAO) elections in early 2025, showed continued competition between major political forces. A significant legislative development was the legalization of same-sex marriage, set to take effect in early 2025.
2019-2022

Political Illustration (2020-2022)
Following his impactful return through online platforms and merchandise under the “Sina Wittayawiroj®” brand, Sina’s role as a political illustrator became even more pronounced and direct with the surge of pro-democracy protests in Thailand from 2020 to 2022. This period of intense political activism served as a powerful catalyst, compelling him to channel his creative energies into a prolific stream of illustrations. Characterized by the use of strong and saturated colors, his artwork was created to directly record and reflect the unfolding movement and pressing political issues. These initial pieces from this era immediately established a tone of direct confrontation with dictatorial or tyrannical powers, capturing the zeitgeist of resistance.
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The illustrations produced during this critical time delved deep into political critique. Sina masterfully parodied historical paintings and iconic images, recontextualizing them to comment on contemporary events and figures. His work was known for its sharp satire, mocking those in power and consistently highlighting the problems and hypocrisy associated with the elite. These potent visual statements became a backbone for the movement, widely disseminated through social media, thereby amplifying protesters’ messages and providing a powerful, accessible form of political commentary.
His commitment was further demonstrated by bringing his art directly to the frontlines, most notably with his “I'(m) HERE TOO” exhibition, which he daringly staged at the Democracy Monument amidst an ongoing protest, embodying his belief in art as an active participant in social struggle.
Subsequent to this period of heightened activity as a prominent political illustrator, which included the direct action of the “I'(m) HERE TOO” exhibition and creating a significant body of work that challenged authoritarianism, Sina Wittayawiroj further extended his reach. For a time, he took on the role of an illustrator for VoiceTV Online, a platform known for its critical stance and pro-democracy reporting. This engagement, occurring after his impactful presence in the protest scenes, allowed his distinctive visual critiques and political insights to reach an even broader audience through an established media channel. Working with VoiceTV signified a new phase where his independent artistic activism converged with mainstream media, further cementing his position as a significant visual voice in Thailand’s ongoing political discourse and underscoring the power of illustration as a tool for journalistic commentary and public engagement.







I(‘m) HERE TOO (2020)
Sina Wittayawiroj’s “I(‘M) HERE TOO” was a potent flash solo exhibition staged directly within a key pro-democracy protest site at the Democracy Monument in Bangkok on November 8, 2020. This act of artistic intervention was a direct statement of solidarity and presence, bringing art immediately to the frontlines of ongoing social and political engagement. The exhibition’s title itself, “I(‘M) HERE TOO,” underscored a collective assertion, resonating with the voices of the demonstrators and the artist’s own commitment to being part of the unfolding events. The exhibition was characterized by its dynamic and participatory presentation: the artworks were physically brought into the protest space and displayed by a group of individuals. As depicted in photographs from the event, approximately five people each carried and held up two pieces, collectively presenting the ten artworks to the assembled crowd and passersby.
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The exhibition featured this curated selection of 10 drawings by Sina, each a visual commentary on pivotal and often contentious political events primarily from 2020 and earlier. These works included depictions of powerful protest symbols like the three-finger salute directed at a royal motorcade, portrayals of key figures such as activist Rung delivering speeches, and references to King Rama X’s public statements like “We Love Them All The Same” and “Thailand Is The Land Of Compromise.” The selection also courageously touched upon historical acts of resistance and alleged state violence, with images referencing Praiwan Navamthong’s 2006 taxi protest and the grim discovery of activist Comrade Kasalong’s body.

The act of individuals physically carrying and presenting these images turned them into mobile banners or placards, integrating them directly into the visual language and energy of the protest itself.

By displaying these specific, politically charged drawings through this active, human-supported presentation in such a volatile and significant public space, “I(‘M) HERE TOO” moved beyond traditional gallery confines to directly reflect and amplify the concerns, historical consciousness, and defiant spirit of the protest movement. The ephemeral, “flash” nature of the exhibition, combined with this performative act of carrying and showing the works by a group, further highlighted its guerilla-style intervention. It made a bold and immediate artistic statement that asserted not only the artist’s and the people’s presence and voice but also a collective ownership and dissemination of the critical messages embedded in the artworks within a contested democratic space.
2014-2018

The Last Exhibition (Temporary Name) (2017)
This pivotal 2017 exhibition by Sina Wittayawiroj, held at Cartel Artspace from August 6-24, served as a dramatic culmination of the events surrounding his previously censored show, “Beat Around the Bush” (2016), and its immediate aftermath, “This Show Is Canceled” (2016). The journey to “The Last Exhibition” was marked by Sina’s profound disillusionment.
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After “Beat Around the Bush,” which dealt with a sensitive piece of Thai contemporary history unmentionable in public for over 70 years , was asked to be put on hold due to the passing of King Rama IX , Sina negotiated to instead exhibit the cancellation conversation itself in “This Show Is Canceled”. He initially anticipated re-exhibiting the original “Beat Around the Bush” artworks at Cartel Artspace the following year. However, as months passed, his feelings towards these unexhibited works transformed drastically. He stated, “The long wait had a total opposite effect. The artworks that sat waiting to be re-exhibited, they felt foreign to me. Every time I looked at them, I no longer had any passion or desire left for these works. I wanted to tear them to pieces, I did not want anyone to witness or possess them, even myself. I hated them.”

This intense aversion led to the core act of “The Last Exhibition”: the deliberate destruction by burning of all the artworks originally intended for “Beat Around the Bush“. The exhibition, therefore, showcased not the original pieces, but “the scrap and ash of what is left of pieces of art”. The visitor’s review details the specific remnants displayed: a “ปิ๊บขนมขาไก่” (a metal biscuit tin often used for snacks like “chicken leg” biscuits) placed on a stand at eye level, containing ashes; a corner of the room with more debris from the burnt art objects; a framed canvas on the wall with its central part cut out; a video installation placed near the floor, showing the actual process of Sina burning his artworks; a neon sign across another wall stating, “thereisonlyonetruth”; and a small zine with a gloomy sky image on its cover, hung from the ceiling at eye level, containing Sina’s written explanation of his feelings. The review also notes a performative act on the opening night (Saturday, September 9th, 2017, reportedly at 9:09 pm), where Sina cut a frame that was part of the exhibition and burned it in the biscuit tin, the ashes of which then became part of the display.
Conceptually, the exhibition was a profound statement on multiple levels. Sina himself declared it as “my last exhibition as an artist” and signed off his statement as “Sina Wittayawiroj (no longer an artist)”. This act of “retiring” was a form of ultimate self-censorship, as described by Kamollaka Jittrutha, the project manager, who noted, “Sina also censors his own work on another level through ‘destruction’” and “has censored himself as an artist as well”. The exhibition explored the question, “If something exists but is not seen or acknowledged, how is its existence different from non-existence?”. The “traces”—the scraps and ashes—became new artworks, verifying the existence of the originals while embodying a complex and intense story of their destruction. The review suggests these remnants powerfully communicated “hatred, furious emotions, and concealed secrets” from the destroyed pieces.

Kamollaka Jittrutha also highlighted the significance of “(Temporary Name)” in the exhibition title, suggesting it left open the possibility of Sina’s return: “It is about leaving a trace that, if not forever removed from within, we could perhaps see Sina Wittayawiroj as an artist once again…”. Thus, “The Last Exhibition (Temporary Name)” was not just an endpoint but a deeply layered commentary on censorship, artistic agency, the value and existence of art, and the artist’s own fraught relationship with his creations and his role in the art world, all set against a backdrop of societal mourning and constraint.

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2008-2013

Art (&) Auntie (2013)
Sina Wittayawiroj’s 2013 solo exhibition, “Art (&) Auntie,” was a thoughtfully structured exploration into the diverse perceptions and definitions of art and aesthetics, specifically by creating a dialogue between the formal art institution and the surrounding everyday community. The exhibition was designed to probe who has the authority to define art and where artistic value resides, effectively blurring established boundaries. It was divided into three distinct yet interconnected parts:
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First, the experimental documentary “Auntist & Unclerator,” which juxtaposed views from within Silpakorn University with those of local shop owners and vendors. Second, a pop-up t-shirt shop, “Art is T-shi(r)t,” featured designs with direct quotes from these vendors about their understanding of art, such as “My stall is an art exhibition.” and “Life needs art.”. Finally, the “Thai Footpath Art Competition 2013” democratized art evaluation by having these same local vendors serve as judges for public submissions. Collectively, “Art & Auntie” initiated a dialogue on who defines art and where it resides, effectively blurring institutional boundaries and amplifying community voices on aesthetics.
Together, these three facets of “Art & Auntie” fostered a rich and critical dialogue about the fundamental nature of art: who creates it, who defines it, where it is found, and whose perspectives are valued. The exhibition successfully blurred the lines between the institutional art world and the everyday creativity of the community, championing a more inclusive and diverse understanding of aesthetics and artistic practice.

Love Scene (2013)

Sina Wittayawiroj’s “Love Scene” (2013) was an installation created by repurposing common objects found near the exhibition space—like decorative items, brooms, traffic cones, dildo and plastic flowers—into a new sculptural arrangement. This transformed collection of the mundane then became the canvas for a dynamic projection mapping display, overlaying it with constantly shifting lights, colors, and sounds.
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The projected content was a deliberate collage of disparate and evocative imagery. It included abstract colored lines, close-ups of human eyes and physiques, and video clips that jarringly juxtaposed serene meadows with violent explosions, alongside “18+” adult content and animations of cosmic events like an expanding universe.
This chaotic yet orchestrated visual sequence would culminate in the entire scene being bathed in red light, then plunging into darkness, only to restart in an endless loop. The title “Love Scene,” in conjunction with this intense and often contradictory imagery, seemed to challenge or expand conventional notions of love, suggesting a complex, multifaceted, and perhaps unsettling view of human experience and relationships.
Fables (2012)

“Fables” combined illegible wall texts with a looped black-and-white animation inspired by Pok Stylish Nonsense’s song “I Sing All The Time.” The animation poignantly depicted a line-drawn character sewing its own eyes shut, then walking and singing “All The Time” until meeting a sorrowful fate. This striking visual of self-inflicted blindness serves as a direct and powerful metaphor for willful ignorance or an individual’s refusal to acknowledge reality.
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The title “Fables” itself critiques misleading societal narratives that can perpetuate such ignorance, while the unreadable texts symbolize obscured truths or failed communication. The character’s persistent, sightless actions leading to a tragic outcome highlight the detrimental consequences of living under illusions or a lack of awareness. For Sina, this piece can be viewed as an early, allegorical exploration of how societal blindness and unquestioned “fables” impact individual lives, a theme that prefigured his later, more overt social and political critiques.

It’s Ma Land (2012)
“It’s Ma Land” was developed by Sina Wittayawiroj during his participation in the 6th Tropical Lab in Singapore, which centered on the theme of “Land”. Inspired by diverse perspectives on land within the Singaporean context—as the territory of a new nation, a finite resource, and an economic, cultural, and political asset—the work took the form of an interactive installation. It featured a workshop table where participants, guided by an instructional video, could create their own paper-craft elements.
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These individual creations were then assembled collaboratively, forming an interconnected landscape of land and water, symbolizing collective engagement with and construction of shared space and territory. The piece emphasized participation and the relational aspects of art, exploring how individuals contribute to a larger, evolving whole.


Nation, Religion, King and Art (2011)

Displayed on WTF Gallery’s facade, this light installation deconstructed the words “Nation,” “Religion,” “King,” and “Art” into blinking, triangular segments, obscuring their immediate legibility. This fragmentation directly questioned art’s hierarchical status against Thailand’s core institutions, reflecting the societal difficulty in openly scrutinizing these powerful concepts and art’s contested place among them. The piece serves as an early example of Sina’s enduring use of art to critically engage with power structures and provoke dialogue.
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The installation served as a poignant critique of established hierarchies and the societal reluctance to openly scrutinize these core institutions. The obscured words mirrored the often indirect or coded ways these sensitive topics are discussed, while the blinking lights could suggest the inherent instability or contested interpretations of such grand narratives. “Nation, Religion, King and Art” thereby highlighted art’s contested place—whether as a reinforcing, subservient, or critical entity—and stands as an early example of Sina’s enduring use of art to critically engage with power structures and provoke dialogue on fundamental societal concepts.

Playtable (2011)
Developed during Sina Wittayawiroj’s month-long Asia Artist Residence in Gwangju, South Korea, in 2011, “Playtable” was an installation born from his fascination with the novel colors observed in the city’s urban landscape, such as those on shop signs, painted building and cityscape decorations.
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Sina translated these observations into a series of collages, which were then presented within his studio space.This body of work was further integrated with projection mapping techniques applied directly onto the physical environment, creating an immersive experience. Notably, “Playtable” incorporated an interactive element, empowering viewers to personally control the sequence of the projected animations, thereby fostering a dynamic dialogue between the audience, the artwork, and the artist’s interpretation of Gwangju’s visual identity.

Play Politics (2008-2010)
“Play Politics,” Sina Wittayawiroj’s B.F.A. thesis project, was an installation featuring paper toys designed to be folded into figures of various Thai politicians. The work aimed to reflect on the public’s often complex and varied interactions with political figures by allowing audiences to engage with these “toys” in multiple ways.
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Through the physical acts of constructing, manipulating, or even symbolically adoring or defacing these paper effigies, the installation invited a tangible exploration of the spectrum of sentiments—from reverence and playful engagement to critique and rejection—that characterize the public’s relationship with the political establishment. The transformation of influential figures into fragile, mutable paper objects itself served as a commentary on power, perception, and public agency.

Thai Political Unrest: The 2008 Crisis to the 2013 Anti-Yingluck Protests
The period between 2008 and 2013 in Thailand was marked by intense and recurring political instability, largely a continuation of the conflict between supporters and opponents of former Prime Minister Thaksin Shinawatra. The 2008 crisis saw “Yellow Shirt” protesters (People’s Alliance for Democracy or PAD) escalating actions against Thaksin-aligned governments, leading to the ousting of two prime ministers and the disruptive seizure of Bangkok’s airports. This was followed by counter-protests by the pro-Thaksin “Red Shirts” (United Front for Democracy Against Dictatorship or UDD), notably in 2010, which resulted in a deadly military crackdown. Despite this turmoil, Thaksin’s sister, Yingluck Shinawatra, led the Pheu Thai Party to a decisive victory in the 2011 elections. However, by late 2013, massive street protests erupted again, this time against Yingluck’s government, primarily triggered by a controversial amnesty bill that opponents feared would allow Thaksin’s return without facing corruption charges and pave the way for his continued influence, ultimately leading to another period of significant political deadlock and societal division.
Bio
Sina Wittayawiroj
1986. Thailand.
Sina Wittayawiroj is a Thai artist and creator whose career has been defined by a direct confrontation with institutional power and censorship. After graduating from Silpakorn University, his early work explored sensitive socio-political topics, culminating in the 2016 censorship of his exhibition Beat Around the Bush. This pivotal event triggered a profound artistic response:
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first, by exhibiting the act of censorship itself in This Show Is Cancelled, and finally, by burning all the original artworks and displaying the ashes in 2017’s The Last Exhibition (Temporary Name). With this act, he symbolically retired his role as a traditional “artist,” protesting the very systems meant to support artistic expression.
This disillusionment, however, paved the way for a powerful re-emergence. Galvanized by the 2020 pro-democracy protests, Sina embraced the identity of a “creator” and political illustrator, using digital platforms to disseminate sharp, satirical, and widely-shared critiques of authoritarianism. He became a key visual voice for the movement,
bringing his art to the frontlines in the flash exhibition I(‘M) HERE TOO and co-founding collectives like “FreeArts” and the “Democratic Illustrators.” His work during this period championed the idea of art as a common, accessible tool for social change, challenging the sanctity of the gallery and the artist.
Today, this journey of critique and resilience has led him to Khon Kaen, where he identifies as a “cultural refugee” from the centralized Bangkok scene. Here, he founded ALIEN Artspace, an independent initiative dedicated to platforming “other” voices and fostering a contemporary Isaan art community beyond romanticized stereotypes. Driven by a philosophy of “cultural profit” over monetary gain, his current work focuses on building alternative, community-focused systems for art and dialogue. Through ALIEN Artspace and his continued creative practice, Sina Wittayawiroj actively explores new models for what art can be and for whom it is made.
CV
Project | Space | Network
Year | Project | City |
coming soon | TAPs (The Alliance Project Space) | Khon Kaen |
2024-present | BERN NANG CLUB | Khon Kaen |
2023-present | ALIEN Artspace | Khon Kaen |
2020-present | Sina Wittayawiroj® | N/A |
Solo | Duo
Year | Exhibition | Location | City |
2020 | I(‘M) HERE TOO | Democracy Monument | Bangkok |
2017 | The Last Exhibition (Temporary Name) | Cartel Artspace | Bangkok |
2016 | This Show Is Cancelled | Bridge Cafe & Art Space | Bangkok |
2015 | โดนัทนมสดคลุกน้ำตาล แท้จริงเป็นไฉน? | Doughnut Street Stall, Maha Rat Road | Bangkok |
2015 | Overlap – ลด ซ้อน ทอน ลวง | P1/P2, Phannarai Bulding, Silpakorn University | Bangkok |
2014 | ART (&) AUNTIE | WTF CAFÉ & GALLERY | Bangkok |
Group | Collective | Collaborative
Year | Exhibition | Location | City |
2024 | Praise to The Rhapsody | Thua Category | Khon Kaen |
2022 | Save Point Exhibition | Kinjai Contemporary | Bangkok |
2018-current | Bangkok Through Poster | Kinjai Contemporary | Bangkok |
2017 | TO WHOM IT MAY CONCERN | Bangkok CityCity Gallery | Bangkok |
2014 | (-)1 : “The great artist of tomorrow will go underground” – Marcel Duchamp | Bangkok Art Culture and Centre | Bangkok |
2014 | Kuandu Biennale 2014 | Kuandu Museum of Fine Arts (KMOFA) | Taipei |
2013 | Oscillation | Speedy Grandma | Bangkok |
2012 | Tropical Lab 6 | LASALLE College of the Arts | Singapore |
2012 | A Part of You, A Part of Me | WTF CAFÉ & GALLERY | Bangkok |
2011 | Residence Project for Asian Artists | N/A | Gwangju |
Contact
Sina Wittayawiroj
+6682 022 4420
sina.wittayawiroj@gmail.com
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