Exhibitions / Jim Thompson Art Center
EN THAnd Still, Another After
A group Exhibition by six thai artists
Curated by Rinrada Na Chiangmai
Featuring Artists: Bhumikorn Kongtaveelert collaboration with Anna Golubkova, Pitchada Poolsawad, Piyatida Piyamassakul, Pakapat Limlertphonboon, Sareena Sattapon, Nat Setthana, Marisa Srijunpleang, and PLERN VERN
The Jim Thompson Art Center presents And Still, Another After, a group exhibition bringing together six emerging artists to consider how a younger generation in Thailand encounters social, economic, and ecological conditions inherited from the recent past.
For artists born between the mid-1990s and early 2000s, the 1997 Asian Financial Crisis and subsequent periods of political instability, migration, border conflict, and ecological transformation are not necessarily events they remember firsthand. Yet their consequences persist, shaping labor, debt, institutions, landscapes, and everyday life. The past, for this generation, is encountered less as memory than as an inherited condition.
Bhumikorn Kongtaveelert in collaboration with Anna Golubkova, Pitchada Poolsawad and Piyatida Piyamassakul, Migration of Clouds, 2026, Multi-channel video installation; dimensions variable. Courtesy of the artists
Rather than treating crisis as a singular rupture followed by recovery, And Still, Another After considers the “after” as something recurring. One aftermath gives way to another: financial crisis, political instability, ecological uncertainty, technological transformation, and new forms of precarity overlap rather than disappear. The exhibition turns toward what persists beneath narratives of resilience and progress: fragile infrastructures, invisible labor, uneven development, and the continuous work of sustaining everyday life.
Across video, photography, sound, installation, and spatial interventions, the artists approach these conditions through everyday materials and gestures. Loan flyers reveal economies of debt and persuasion; books turned spine-inward unsettle space clouds carry histories of weather modification and geopolitical control; while migrant histories, construction materials, sound, and ordinary objects trace relationships between labor, belonging, landscape, and survival.
Sareena Sattapon, Balen(ciaga) I Belong: All That Glitter, 2025, Video installation; dimensions variable. Courtesy of the artist.
Unfolding across the Jim Thompson Art Center and William Warren Library, And Still, Another After asks what it means to inherit a world already shaped by multiple aftermaths, and what might already be taking shape within them.
The exhibition is supported by the James H.W. Thompson Foundation, SAC Gallery, DC Collection, and Mardi Craft Brewing Co., in collaboration with BAB Plus, and in partnership with Bloomberg Connects.
Bhumikorn Kongtaveelert
California/USA
Artist
Bhumikorn is a multidisciplinary artist and researcher who create immersive installations of moving images projected on soft and sometimes translucent surfaces, stretched taut across rigid frames. He constructs spaces that investigate questions too large to contain on a page: How might archives be portals to access intergenerational resilience and interspecific kinship? How do we acknowledge historical violence of systems while cultivating empathy to look forward to collective futures? What does the practice of care and belonging look like in uncertain times?
Pakapat Limlertphonboon
Bangkok/Thailand
Artist
Pakapat Limlertphonboon is ready-made artist, focused on conceptual approaches that emphasizes audience interaction with the work through ideas and creating dialogues between individuals and society in public spaces, he was also interested in ant-aesthetic which antidote enriched art. His core idea based in the Object Oriented Ontology (OOO) theory, which deals with the relationships between objects. He uses neglected objects that are ignored by general public, as his medium.
Limlertphonboon is exploring the application of conceptual thinking to drive the community art projects, aiming to transcend some limitations of mainstream art, typically confined to the white cube setting. He advocates the artist-run approach where individuals have distinct roles but collaborate as an artist collective to advance community and societal development with a global-local perspective.
Sareena Sattapon
Tokyo/Japan
Artist
Sareena Sattapon is a visual artist who has completed a PhD in Global Art Practice at Tokyo University of the Arts. Sattapon works with various mediums such as performance, installation and painting. She gets her artistic inspiration from her experiences and ordinary life. Sattapon’s currently interest in performative spatial dynamics, related to human’s connection and dislocation. She has had exhibitions internationally: in Thailand, Taiwan, Singapore, Korea, China, Indonesia, Germany, Poland, Ukraine, Slovakia, Norway, Sweden and Japan.
Nat Setthana
Bangkok/Thailand
Artist
Nat Setthana is an art practitioner. His practice involves experimenting with photographic and moving image installations, focusing on the "situationness" of the medium. His work inquires into the relationship between site-specificity, light, and remnants, through conceptual speculation and situational supposition.
Setthana has exhibited extensively; recent highlights include the solo exhibitions An Aperture Ago (2026) at Lair Space and Photopsia (2024–25) at 100 Tonson Foundation—both curated by Suphon Niamkamnoet—as well as the group exhibition This Page is Intentionally Left ___. (2025) at Bangkok Kunsthalle, curated by Yoonglai Collective. Setthana also curates exhibitions for the Thai Film Archive—notably Real time, Really? (2025) and After the Incident (2025–2026)—and organizes independent projects in alternative spaces including Open (2026), Moving Out (2025), and Mutual Silence (2023).
Marisa Srijunpleang
Surin, Thailand
Artist
Marisa Srijunpleang explores the Thai–Cambodian border through family histories and the lingering legacies of war. Her practice draws on field research, oral histories, plants, local knowledge, rituals, found objects, and the movement of plants across borders. Through photography, sculpture, video, and installation, she examines the relationships between history, memory, and transformations of the landscape, bringing together people, living beings, knowledge, and place.
In 2023, Srijunpleang received the Granted Award from Early Year Project #6, an incubation and networking program for emerging artists organized by the Bangkok Art and Culture Centre (BACC). In 2026, she was selected for SAM Residency (Cycle 3), organized by the Singapore Art Museum (SAM).
Her solo exhibitions Bloom with Wind Blows (2024), curated by Nutdanai Songsriwilai at HOP – Hub Of Photography, Bangkok. Her work has also been presented in group exhibitions including PARALLEL II: INTERZONE (2025) in Udon Thani, A PART, a part (2025) at Khon Kaen University, Melting Map (2025) at BACC Pop Up, Bangkok, Humid Traces (2026) at Ford Foundation Gallery, New York. and Paths to Peace (2026-2027) at Nobel Peace Center, Oslo.
PLERN VERN
Thailand
Artist
Formed in 2021 through the musical experimentation of Pongsasak Wansri and Sutiphong Sudsang, PLERN VERN is a collaboration between two Thai artists sharing a deep interest in Isan folk music, synthesized sound, and electronic music. Having studied together at the same music institution, Pongsasak has a background as a Khen (bamboo mouth organ) player who performed in traditional faith-based rituals across Isan since high school, while Sutiphong specializes in visual arts with a strong focus on media art.
Later, they came together to form an experimental music project named PLERN VERN, aimed at exploring musical creations grounded in traditional Isan music combined with contemporary artistic approaches. Their featured works include "Kwan Oei Kwan Ma" at the 2nd edition of Phimai Longweek Art Festival (2025) in Nakhon Ratchasima, as well as musical tracks such as "Ho La" the soundtrack for the exhibition The moment of Molam at Seacon Square Srinakarin, Bangkok, and "Lhong", the soundtrack for the film Possessed (2026) produced by Thibaan Studio.
Rinrada Na Chiangmai
Bangkok/Thailand
Curator
Rinrada is an in-house curator at the Jim Thompson Art Center (JTAC) and a full-time art worker. Her curatorial practice examines the lived afterlives of political and economic histories. Drawing on regional and transnational legacies, she brings unofficial voices, vernacular histories, and everyday material traces into dialogue with official narratives and the structures that shape how people remember, work, move, and belong, which shape cultural memory and mentality transformation.
She is a member of the YOONGLAI Collective, which focuses on community-based, site-specific projects, and co-curated This page is intentionally left_____. Exhibition (Bangkok Kunsthalle, 2025). That same year, she co-curated The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe (Bangkok Art and Culture Center & JTAC), and assisted on Almagul Menlibayeva: I Understand Everything curated by Gridthiya Gaweewong (Almaty Museum of Arts, Kazakhstan). She is also a member of the This Useful Time Machine.
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