If “Article 112” is the most “arbitrary” and “dangerous” law ever created, art meant to enrich the world should be the ultimate instrument that brings you closest to this problematic code. Confront the headache law by the artist who never stops giving you a headache, “Headache Stencil” and “112 The Exhibition”. It comprises of 14 stencil works made to respond to the execution of Article 112.

Project-PRY 01, a collaboration of curatorial practices emphasising the creation of a new platform to exhibit contemporary artwork that goes beyond the orthodox gallery space ― to address ecology, to embed curators and artists working within communities to define and enact social change.

Rook Floro creates his four alter egos to represent his wide range of identities, which then act as an inspirational source for his artistic practice. Yet the most personal and intimate, the Alpha/Omega, the foundation of who he is, is the one he has explored last. At the age of 25, he visited Philippines for the first time since he was a baby and found things felt familiar but unknown at the same time.

An unconventional performance that combines electronic music, visual design, poetry reading and a live performance of Dmitri Shostakovich’s String Quartet No 8. In C Minor, Op 110. At Sing Sing Theatre, Sukhumvit soi 45

STATUS IN STATU: is a group exhibition organised by the group of art practitioners behind the Khon Kaen Manifesto. Inaugurated in October 2018, this bi-annual event took place in the unorthodox location – a non-white cube gallery or museum that allowed artists to genuinely embed themselves with the oppressed and to present unique stories through the participation of ordinary citizen. The exhibition is curated specifically for the Bangkokians, who have little or no knowledge or interest in the history of the decades-long struggle between Isaan and central power in Bangkok. They were created for both the previous and upcoming Manifestos and Ubon Agenda between 2018 and 2020.

Old-fashioned repressive regimes are typically obsessed with regulating and micro-managing artistic expression, be they communist or fascist. In liberal democracies of various stripes, governments have long known that it benefits them to be seen as generous patrons of the arts, and to interfere as little as possible in the detail, not least because they have committed themselves to freedom of expression as one of the pillars on which their legitimacy rests.