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Tang Contemporary Art Bangkok Presents SKIRUA’s Hell of Love,a Solo Exhibition by Skirua
Poster credit: Tang Contemporary Art Bangkok Tang Contemporary Art Bangkok is proud to present the newest solo show by Skirua, the exhibition title is “SKIRUA’S Hell of Love”, a concept key to interpreting all the most recent works realized by the artist.
In SKIRUA’s work, reality and the virtual do not oppose one another; rather, they dissolve into each other until they become indistinguishable. Prolonged immersion in digital environments produces a perceptual shift in which the boundary between lived experience and imagined construction becomes porous. Within this space, interiority is no longer separate from the world, but is constantly externalized: what the subconscious generates takes form and becomes reality.
This process lies at the core of the artist’s research. Already in earlier projects, from Future Paradise to Abyssal Enchantress’s Box, a fluid subjectivity emerges, where identity, memory, and emotion operate as an open system. Recurring figures: dolls, enchantresses, and hybrid creatures are not characters but fragments of the self, projections of an identity in continuous formation. This imagination is rooted in otaku culture and in new forms of digital affectivity, where emotional attachment may develop toward fictional entities rather than real individuals. In such contexts, love is not grounded in reciprocity, but in projection, identification, and imaginative continuity.
For Skirua, love is not contingent but necessary to existence. It functions as an internal generative force, a condition for living itself. This takes shape in a relationship that began in adolescence with an anime character and has extended for over eight years. What initially emerged as an attraction gradually became a process of deep internalization, dissolving the boundary between self and other: the beloved is no longer external, but incorporated.
The Hell of Love This relationship has profoundly shaped the artist’s identity, transforming her from a disciplined and reserved individual into a more expressive and extreme subjectivity. Love acts here as a force of self-transformation. At the same time, identity becomes unstable, oscillating between self and other, suggesting a form of fusion. A similar ambivalence characterizes her relationship with her own creations, dolls and paintings, which function as emotionally charged presences. They evoke love, tenderness, and devotion, but also destructive impulses and a desire for annihilation. Love is sustained through fantasy, understood as an operative space in which the relationship extends beyond reality, unfolding across multiple worlds and temporalities. This relationship also takes concrete form: the artist collects objects related to the character, creates dolls in her likeness, and has staged a symbolic wedding in real life. A full-back tattoo further inscribes this bond. Here, pain and ecstasy coexist as inseparable elements of love. Love becomes a closed yet expanding system in which imagination, identification, and incorporation coincide, an experience where living, loving, and creating are indistinguishable.
Across these works, love is not stable or reciprocal, but unfolds as a shifting structure that encompasses devotion, violence, care, loss, and reconstruction. It operates across multiple worlds and identities, continuously redefining the boundaries between self and other, reality and imagination.
Venue
Tang Contemporary Art Bangkok, Room 201 – 206, River City Bangkok, 23 Soi Charoenkrung 24, Talad Noi, Sampantawong, Bangkok, 10100Artists
SkiruaExhibition Dates
25 April – 31 May 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.com/Instagram
https://www.instagram.com/tangcontemporaryartbangkok/Contact
bkk@tangcontemporary.comAbout the Artist
Skirua
b. 2003Her artistic practice encompasses painting, installation, and film, with a focus on the cultural shifts and conflicts inspired by the internet, social media, and other products of the information age. In particular, she is interested in how the generation born after the year 2000 understand and envision life, the future, and popular culture.
SKIRUA is a contradiction between reality, society, internet, and fantasy. “SKIRUA” is the name of Guo Yuheng’s imaginary self, who travels through the timeline to become a mimic of different social phenomena, anime characters with different identities, and finally gets lost in herself.
“The internet changed me.” Skirua is part of a new generation that grew up alongside the rise of the internet and social media. She was just 17 when she held her first solo exhibition, teaching herself to paint through online video tutorials on her iPad. But the internet was more than just an educational tool—it revealed a new world of fantasy, where her various avatars could create intimate connections with others. Her multi- faceted self-portrait is an ode to these myriad identities that exist both online and offline.
Guo Yu Heng has always aspired to become a fictional character, fall in love with a fictional anime character, get married to the dolls he incarnates, and finally divide her emotions, preferences, and soul into countless dolls. Each doll is its own “doppelganger”, turning itself into a doll to wander and play in the fantasy world. Beauty, scars, and happiness are intertwined. Her imaginary world is a shelter of witches, sealing a myriad of intertwined feelings.
(Text and images courtesy of Tang Contemporary Art Bangkok)
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Tang Contemporary Art Presents The Garden of Humans: Gao Hang Solo Exhibition
Poster credit: Tang Contemporary Art Bangkok In Christian art and literature, the garden is a sacred space. From the Garden of Eden in Genesis, it serves as a complex symbol concerning the origin of human existence, the awakening of knowledge, moral choice, eternal loss, and spiritual return. In the modern era, the garden motif continues to embody the enduring pursuit of beauty while also becoming intertwined with critiques of social class. However, as Yi-Fu Tuan argues, the garden is by no means a gift of nature or divine providence, but rather a man-made creation. Its seemingly harmless, playful atmosphere, exquisite aesthetics, and religious connotations successfully conceal its reliance on power.
Gao Hang creates paintings using an airbrush, blending visual styles such as 3D-rendered models, low-pixel aesthetics, and vector polygons. On fluorescent, solid-colored canvases reminiscent of system default backgrounds, he simulates the aesthetic texture of early digital screens. Titled The Garden of Humans, the exhibition literally showcases Gao Hang’s observations of contemporary humanity: a vibrant collection of self-presentations in which people on social media compete for attention like flowers vying to outshine one another. It is also a virtual garden, a hybrid space interweaving diverse cultural objects and specimens from art history. The gallery itself becomes a simulator that emphasizes the garden’s artificiality, attempting to alert viewers to the underlying power structures within the digital realm while prompting reflection on propositions of authenticity and truth in the construction of civilization and technological development.
Within the exhibition space, Gao Hang’s figure paintings each occupy their own territory on the walls, displaying their postures to the fullest extent. From the fashionable fusion of traditional Asian medical treatment and modern mental illness within a Western social context depicted in Acupuncture Cures Depression, to the sexualized display of the body in Angel of the Day, the gallery embodies the artist’s abstract insights into mass behavior on social media: “In this infinitely expanding network volume, radiant personalities with ‘fluorescent colors’ compete for attention, using exaggerated and peculiar postures to retain fleeting traffic.” This phenomenon corresponds to what Byung-Chul Han calls a “carnival of display”: in a display society driven by traffic, individuals who appear to be freely expressing themselves are, in reality, engaged in voluntary self-exploitation and compulsive performances of “authenticity.” When people constantly require recognition from others to validate their own existence and value, display itself becomes alienated into a form of performance and labor. The stiff, sharply defined figures in Gao Hang’s works are products of this “compulsion for authenticity.” The incongruity and affectation revealed in their movements stem from the distortion caused by friction between individual vitality and digital discipline. This garden of humans thus becomes a microcosm of contemporary meritocracy: seemingly vibrant flowers bloom, yet each is invisibly pruned by the shears of an algorithmic gardener, forming a lifeless, plastic flowerbed. As the boundary between displayed life and real life becomes increasingly blurred, the very concept of reality itself grows ever more suspect.
Gao Hang’s Garden of Humans is also a site where time and space intermingle. Different historical periods intersect with fragments of contemporary life, assembled and displayed within imagined scenes. Continuing his core concept of “Digital Primitivism,” the artist employs the visual language of the early stages of virtual civilization. Through a process that resembles archaeological excavation and parody within art history, the visual archive of human emotions, thoughts, beliefs, and desires, he attempts to unearth obscured clues about the human condition in contemporary life. Viewers navigate hybrid samples from different stages of civilization from a perspective akin to a 3D game: Picasso’s Les Demoiselles d’Avignon transformed into Les Demoiselles d’Playstationtwo; ancient sculptures unearthed in early modern Italy reappearing in So Ancient Romans Don’t Have Noses; and microcosms of contemporary culture concerning youth, race, and sociality interwoven throughout. This approach reminds us that art history itself is a constructed and critiqued artifact, one that systematically integrates continuity within change and difference, while also attempting to explain change through continuity.
An Ancient OX offers a direct representation of Gao Hang’s “cave painting for internet civilization.” The hunting scenes on the walls of the Lascaux caves mirror humanity’s primal impulse for new modes of expression. It is precisely during moments of technological rupture or transformation in painting methods that humanity’s most authentic needs and responses are revealed. Here, art history and the history of technological development intertwine, compelling viewers to return to Gao Hang’s civilizational self-awareness, termed “Digital Primitivism”: how do new technological media shape our ways of seeing, understanding, and representing the world? Can the legacy of early digital culture become a vessel for reflecting on contemporary technological alienation? In today’s era of rapidly evolving AI technology, Gao Hang endows the history of digital civilization with a cultural-anthropological dimension, attempting to preserve the pioneering spirit and primal passion of early technological development within the broader understanding of civilizational progress.
In his new work Head Study, Gao Hang introduces the act of drawing, juxtaposing rough, multi-angle 3D-rendered heads with blurred handwritten marks. The former is generated by algorithms, while the latter constitutes the physical trace left by the artist’s repeated contemplation and experimentation. This contrast gives rise to a sharper existential inquiry concerning our credence in the world we inhabit. As the very existence of truth has been challenged by thinkers such as Jean Baudrillard and Nick Bostrom, viewers are confronted with a fundamental question: is the reality we perceive, and the life we live, merely part of a grander simulation? As the world on screen evolves from crude representation to verisimilitude, Gao Hang perceives that both technology and painting, in this context, become tools, or byproducts, of self-exploration. Even if our world were merely a virtual construct created by a higher life form, this paradoxically renders “the world before our eyes” sufficiently real: it is the only world accessible to us, and therefore deserving of deep study and understanding. Through this lens, we may recalibrate our credence in the nature of reality itself. Gao Hang’s virtual garden of spectacle, a hybrid space of cultural codes, is inherently absurd and playful, like a glitch flashing within consistency and continuity. By deliberately creating these subtle ruptures, the artist allows viewers to glimpse a space closer to the harsh truths underlying the development of technological civilization.
Venue
Room 201 – 206, River City Bangkok, 23 Soi Charoenkrung 24, Talad Noi, Sampantawong, Bangkok, 10100Artists
Gao HangExhibition Dates
7 March – 19 April, 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.comInstagram
https://www.instagram.com/tangcontemporaryartbangkokContact
bkk@tangcontemporary.comAbout the Artist
Gao Hang
b. 1991, Bao Ding, ChinaGao Hang (Born in 1991) is a Chinese artist now living and working in Houston, TX. Gao illustrates modern human online behaviors with a sense of humor and absurdity while ironically commenting on people’s need for constant gratification on digital screens. His recent solo exhibitions were shown in major galleries in America, Asia, and Europe, including The Hole Gallery in New York, US; Waluso Gallery in London, UK; Tang Contemporary Art in Beijing, China; Pulpo Gallery in Murnau, Germany; and L21 Gallery in Palma, Spain. Gao’s artworks and articles were covered in global publications such as L’Officiel, Art Forum, The Art News, Art in America, Hypebeast, VICE and RADII.
About Tang Contemporary Art
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 28 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
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Tang Contemporary Art Presents Group Exhibition: Tracing Places, Weaving Times
Poster credit: Tang Contemporary Art Tang Contemporary Art presents Tracing Places, Weaving Times, curated by Cynthia Liu and Terry Chong, on exhibit from 17 January 2026 – 1 March 2026, in Bangkok. This group exhibition brings together three Thai artists—Sornchai Pongsa, Butsapasila Wanjing, and Amalapon Robinson—whose practices explore how identity is formed at the intersection of place, culture, and memory.
Whether bridging rural borderlands and urban density or myth and lived reality, the exhibition offers a multilayered portrait of Thailand as experienced through the next generation of artists born between the 1990s and 2000s. Moving between the past and the present, between the personal and the collective, the exhibition invites viewers to consider how Thailand’s many stories are carried, reshaped, and reimagined across generations.
Across Thailand’s diverse regions, cultural identities emerge not only from formal histories but from the intimate details of daily life—traditions passed on quietly, stories shared casually, materials handled out of habit and necessity. These nuances, often invisible from the outside, form the true texture of the Thai identity. Grounded in this idea, the featured artists draw from the spaces they grew up in—mountainous borders, northern villages, Bangkok’s layered urban sprawl—yet render their memories through contemporary visual languages. Each distinct, yet interconnected, their practices echo, diverge, and intersect, forming an open-ended narrative about belonging, change, and continuity. Together, they present Thailand not as a single story but as a complex and evolving constellation of histories, ethnicities, and lived realities.
Sornchai Pongsa, Ritual Laborers, 2026, Stainless steel sheet, transparent nylon line, stainless steel objects, 120 x 120 cm Sornchai Pongsa: Diaspora, Displacement, Becoming
Hailing from a Mon community along Thailand’s Western border, Sornchai Pongsa’s work emerges from a lived experience shaped by cultural inheritance, displacement, and adaptation. His conceptual practice draws on the intertwined history of his family and people—stories marked by movement, negotiation, and survival. Drawing from familial stories, local histories, and the complexities of modern existence, Sornchai’s pieces evoke a sense of loss and adaptation, yet also resilience and redefinition. Through powerful visual forms and mixed media artworks, he captures the simultaneous ache for what is left behind and the urgency to forge new identities and preservation of traditions in unfamiliar landscapes. His pieces become vessels for memory—at once fragile and forceful—inviting viewers to witness the multi-layered experience of diaspora within the Thai context.
Building on his earlier work Mon Spirits Totem (2016), Pongsa presents a technologically infused meditation on “statelessness,” conceptualizing the body and territory as absent hardware and the spirit as enduring software. Through ethereal installations of suspended structures and volumes of light, he visualizes the migration of identity from the physical to the metaphysical, raising profound questions about the persistence of ritual and belief in a digitized era. His work emphasizes both loss and adaptation, showing how cultural memory endures even when physical borders are absent.
Butsapasila Wanjing, Welcome Drink, 2026, Oil on canvas, 40 x 60 cm Butsapasila Wanjing: Memory, Myth, and the Remaking of History
Butsapasila Wanjing approaches memory as something formed not only through official histories but through the informal stories embedded in everyday life. His practice draws from Lanna culture, folkloric and mystical beliefs, childhood memories of Chiang Mai, and raw materials collected from the northern landscapes he grew up in. His works—textured, layered, and enigmatic—entice viewers to look closer, searching for traces of narratives that have been transformed, suppressed, or forgotten.
A central focus of his recent work is the rewriting of historical memory spaces. Butsapasila’s exploration extends beyond Thailand’s borders. His exploration of overland trade routes examines the longstanding cultural and economic relationships between Thailand and mainland China. From ancient exchanges of goods and knowledge along the Tea Horse Road—glazed ceramics, tea-making traditions, the role of horses—to their later integration into the vast Silk Road network, he traces how these routes shaped communal life in the borderlands.
In the present, he observes how the Belt and Road Initiative has reshaped these ancient corridors into pathways of capital, cross-border investment, and sometimes illicit or informal economies. What were once routes of cultural circulation have become sites where geopolitical power is contested and negotiated. Through paintings and mixed-media presentations, Butsapasila renders these overlapping histories visible—revealing the delicate interplay between memory, state power, regional identity, and the shifting forces that continue to shape northern Thailand.
Amalapon Robinson, Chinatown, 2026, Oil on canvas, 100 x 100 cm Amalapon Robinson: Urban Light, Inner Loneliness
In contrast to the northern landscapes and border narratives of Sornchai and Butsapasila, Amalapon Robinson turns her gaze toward the dense urban rhythms of Bangkok—a city of constant illumination. Growing up between two cultures, Amalapon investigates identity and belonging within a metropolis defined by artificial light. Her hauntingly beautiful oil paintings capture intimate domestic scenes and everyday urban moments, using the interplay of radiance and shadow to reflect the emotional undercurrents of city life.
In her work, light becomes both a physical necessity and a metaphor for searching—searching for connection, clarity, or simply a sense of place amid the city’s overwhelming glare. While there is always light in darkness, Amalapon reveals how urban brightness can coexist with profound loneliness. Her paintings resonate with quiet intensity, suggesting that in a world saturated with illumination, the most meaningful forms of luminosity may be internal.
Together, these three artists illustrate the many ways Thai identity is shaped—by geography, by memory, by generations of cultural inheritance, and by the changing landscapes of modern life. Their works bridge past and present, local and national, rural and urban, inviting viewers to consider how individual stories intersect to form a broader cultural tapestry.
Tracing Places, Weaving Times does not offer a singular definition of Thai identity. Instead, it opens a space for reflection—on where we come from, what we carry, and how our surroundings continually shape who we are becoming. Through the perspectives of the next generation of Thai artists, the exhibition presents the Thai experience as a place of layered histories, evolving cultures, and rich, interconnected experiences.
Venue
Tang Contemporary Art BangkokArtists
Sornchai Phongsa, Butsapasila Wanjing, Amalapon RobinsonExhibtion Dates
17 January – 1 March, 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.comInstagram
https://www.instagram.com/tangcontemporaryart/Contact
bkk@tangcontemporary.comAbout the Artists
SORNCHAI PHONGSA
b. 1991, Thailand
Sornchai Phongsa was born and raised within the Mon ethnic community in Thailand, an upbringing that shaped his engagement with migration, displacement, and hybrid identities in Southeast Asia. Drawing on his heritage and academic training and having graduated from Silpakorn University with a BFA in 2015 and an MFA in 2017, Phongsa develops a visual language that interweaves personal memory, collective history, and socio-political narratives.
Working across installation and mixed-media, he employs vernacular materials and performative spatial strategies to recontextualize spiritual traditions and interrogate the politics of belonging and territory. Key projects include Mon’s Spirits Totem (Bangkok Art and Culture Centre, 2017), Montopia (Cité Internationale des Arts, Paris, 2018), Le Flash (École nationale supérieure des Beaux-Arts, Paris, 2018), and Alien Capital for the Bangkok Art Biennale (2018).
Phongsa has participated in residencies at Tokyo Arts and Space and Cité Internationale des Arts, with works presented in exhibitions including Dogma Yard (Gallery Seescape, Chiang Mai) and MythMakers—Spectrosynthesis III 神話製造者——光.合作用 III (Tai Kwun Contemporary, Hong Kong, 2023).
In 2025, he presented his solo exhibition Diaspora at River City Bangkok, investigating displacement and hybrid identities among marginalized communities. He continues to develop research-driven projects exploring memory, migration, and the shifting cartographies of place and identity, extending his critical engagement with contemporary social and cultural transformations.
BUTSAPASILA WANJING
b. 2000, Chiang Mai, Thailand
Butsapasila Wanjing graduated from Silpakorn University in 2022 with a Bachelor’s of Fine Arts. His work delves into the historical and cultural landscapes of Thailand, addressing political, social, and environmental themes.
Butsapasila is interested in the processes through which collective memory of the past transforms over time, leaving traces and effects that persist into the present. His practice draws on diverse sources, including historical narratives shaped by conspiracy theories found in blogs and online media, supernatural beliefs transmitted through oral traditions, and local myths and fragmented histories that cannot be fully integrated into dominant, centralized historical narratives.
By also examining personal memory, he seeks to connect individual experience with broader social and cultural dynamics, reflecting on how the past is continually reinterpreted from multiple perspectives in the present and how these shifting understandings shape contemporary perceptions of history and identity.
AMALAPON ROBINSON
b. 1995, USA
Born 1995, Thai-American artist, Amalapon Robinson graduated from Silpakorn University in 2019. She has exhibited in group exhibitions in Thailand, at VS Gallery, Bangkok Art and Culture Centre, and Silapakorn University. Working primarily in oil painting, her practice explores quiet emotional landscapes within urban night scenes, with a focus on artificial light from windows, street lamps, and interior spaces.
Raised in an apartment in Bangkok, Amalapon draws from long-term observation of dense urban environments. Her paintings often emerge from moments of looking at the city from a distance, through windows or during night-time travel where artificial light becomes a symbol of living and working, carrying traces of life, hope, and dreams within the city. Through muted palettes and softened contrasts, her work captures a sense of calm and stillness embedded in ordinary, often overlooked urban spaces.
Amalapon explores the interactions between light and darkness – investigating how we use and engage with artificial lights in our everyday lives, and how urban society is dependent on this use of light. Though there is light in darkness physically, living in a city can result in a feeling of loneliness and isolation. This juxtaposition between the physical use of light and its metaphorical meaning is represented in her works, as she seeks more luminosity within the city.
About Tang Contemporary Art
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 28 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
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Tang Contemporary Art Presents The Wayfarer in Motion, a Group Exhibition by Five Artists
Poster credit: Tang Contemporary Art Tang Contemporary Art is pleased to announce the group exhibition The Wayfarer in Motion, in Bangkok, from 29 November 2025 to 11 January 2026. The exhibition features works by five artists: Pocono Zhao Yu (China), Gabriel Cheah (Malaysia), Duairak Padungvichean (Thailand), Verapat Sitipol (Thailand), and Aphisit Sidsunthia (Thailand).
Humanity today resides within a torrent of information, capital, and digital currents. Familiar coordinates dissolve, stable forms are reconstructed, and individuals are cast into an ever-shifting, boundless field. It is as if we are in the midst of a vast and invisible migration, where the ground beneath us is no longer solid, but a quicksand of trends, fragmented identities, and fleeting points of attention. As the weight of existence lightens, what replaces it is a heightened sense of presence, one that signals a silent yet profound transformation in our connection to the real world.
This exhibition invites viewers on a journey of self-exploration that traverses both time and space. The five artists use images as vehicles for spiritual migration, attempting to reveal resilient forms of existence within the fluid and alienating landscapes of change. The nomadic subject has no fixed coordinates; in the ceaseless movement of the body and the constant breaking of boundaries, the subject must confront vulnerability and clarify its authentic self. The exhibition seeks to explore the question of “how to be in the world”: how can individuals, through artistic practice, find orientation and affirm their existence amid alienating internal and external terrains?
Pocono Zhao Yu employs the method of “archaeological notes,” juxtaposing symbolic images and text. Different cultural genes “hybridize,” generating new identities at the “interstices” and “boundaries.” Zhao Yu has long researched the “Sun God” as a core symbol carrying the cultural evolution of both East and West, sun worship represents humanity’s most primal impulse to journey: where the sun rises, humans explore the world and pursue inner desire. Its significance, evolving from a collective totem to a reflection of individual spirit, illustrates how humanity’s outward exploration ultimately returns to the self.
Aphisit Sidsunthia’s works question the notion of “completeness” by embracing the inevitable imperfections and ambiguities of existence. By challenging color theory and employing both manual and digital techniques to collage, remove, and distort images, the artist emphasizes “love” as an event that reshapes being. Fragments of subconscious memory are retrieved and overlapped with geometric forms, opening windows to alternate realities. These fragments become ghosts of resurrected past events, crossing through societal norms and time, suspended between the virtual and the real.
Gabriel Cheah’s Still Kind series highlights active choice within given environments, never abandoning the pursuit of inner light even during moments of heaviness or self-doubt. The artist embraces vulnerability and transforms it into an attitude of “self-will” and gentle resistance, thus defining the essence of selfhood and freedom.
Verapat Sitipol and Duairak Padungvichean’s works present natural landscapes brimming with joy and vitality. Sitipol’s paintings attempt to capture the energy of nature rather than merely its appearance, absorbing and transforming the external world to explore a more authentic and poetic mode of “dwelling.” Forest and mountain scenes, depicted with vibrant brushstrokes, resemble musical scores of natural symphonies, opening possibilities for interpreting musicality beyond painting. These lines recreate both the existence and disappearance of the landscape, capturing the fleeting reality and fragility of dynamic scenery.
Padungvichean’s dreamlike desert landscapes serve as metaphors for both external and internal worlds. The wondrous creatures in her works embark on unknown journeys in search of meaning. This non-purposeful migratory poetics evokes a nomadic attitude toward the land, not to possess, but to continually seek direction in unfamiliar environments, an “in-the-world” experience that redraws the map of the self through movement.
“On this desperate land returned to its primordial innocence, he, the traveler lost in an ancient world, rediscovered his connections.” From the symbol of the Sun God to the ghosts of hidden memories, from inner seekers to shifting terrains, the five artists reassemble memories in the gaps between history and the present, reconstructing narratives where nature and civilization converge. The “self” is shaped, tested, and deepened through encounters with different cultural symbols, others, and predicaments, within this nomadic journey of interwoven inner and outer worlds.
Venue
Tang Contemporary Art Bangkok, Room 201 – 206, River City Bangkok, 23 Soi Charoenkrung 24, Talad Noi, Sampantawong, Bangkok, 10100Artists
Pocono Zhao Yu, Verapat Sitipol, Aphisit Sidsunthia, Duairak Padungvichean and Gabriel CheahExhibtion Dates
29 November, 2025 – 11 January, 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.com/Instagram
https://www.instagram.com/tangcontemporaryartbangkok/Contact
bkk@tangcontemporary.com
About GallerySince its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 28 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du, Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
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Tang Contemporary Art Presents Seeking in the Interstices, a Solo Exhibition by Tos Suntos
Poster credit: Tang Contemporary Art Identity, culture, belief, and faith do not always emerge at once. They take shape gradually, eventually becoming the foundation of lives through traditions, art, language, and everyday practices. Over time, these layers form the basis of how we come to understand ourselves and others. Belief often marks the beginning of this process; when it becomes unwavering, it transforms into faith, a deeper conviction that shapes values, attitudes, and ways of living. Culture, therefore, is more than an external form. It is a reservoir of belief and faith that operates beneath consciousness. It is within this terrain that Tos Suntos turns to the visual, as a means to reflect on questions of identity, faith, and freedom.
Raised in a Thai family, Tos Suntos was immersed from childhood in an environment where Buddhism intertwined with folk traditions. Over the years, these beliefs became invisible codes of conduct, quietly shaping his earliest sense of morality and value. Temples, architectural spaces, and ritual objects were once seen as protective “shields,” offering safety in daily life while also defining subtle boundaries of thought. With adolescence, however, came the influence of the digital age and increasingly diverse social interactions, which placed his inherited system of faith in sharp conflict with the demands of modern society. To adapt into society, one often cultivates an “artificial self.” For Tos Suntos, this inner dissonance went beyond personal identity. It raised a larger question: how might one navigate the structures of faith and society without being confined by them? This has since become the central aesthetic and philosophical pursuit of his practice.
Tos Suntos, Trapped in the Structure of Belief, 2025, Acrylic on canvas, 200 x 180 cm Much of his work is driven by this pursuit. At its core, is Enimous, a symbolic alter ego that embodies the artist’s negotiation with these tensions. Enimous appears trapped within rigid architectural frames or distorted by geometric grids, visible yet obstructed, as if caught behind transparent walls. Tos Suntos describes this state as being “imprisoned within the system of faith.” The phrase extends beyond religion to include the norms, values, and languages that society internalizes in us. In his writings, he asks: “Can we have faith without being stuck or buried in it? Can we have our own identity without merging with the one that is defined by society?” In works such as Trapped in the Structure of Belief and Layers of Class, Enimous is elongated, repeated, or twisted, producing a visual instability that resonates with the identity anxieties of contemporary life.
Tos Suntos, Bound Freedom, 2025, Acrylic on canvas, 120 x 150 cm Visually, Tos Suntos has developed a distinctive language. He weaves together traditional Thai motifs, mythological figures, and symbols from popular culture, merging them into compositions that feel both familiar yet new and estranged. Rather than denouncing adaptation or imitation, he presents them with quiet clarity, acknowledging their underlying existence in daily life. The exhibition does not claim to offer solutions for freedom. Instead, it creates a space of reflection through its visual propositions. As the artist notes: “This series of works does not judge right or wrong but invites viewers to reconsider themselves within these invisible structures.” In this openness, his work transcends personal narrative and becomes a site for audiences to project their own experiences.
Ultimately, Tos Suntos’ practice unfolds as both an intimate dialogue with the self and a structural probing of the collective subconscious. While rooted in the cultural soil of Thailand, his art speaks to dilemmas that resonate more broadly today: the tension between faith and doubt, structure and freedom, the individual and the system. By opening up the very frameworks we often take as fixed—such as faith, culture, and class— Tos Suntos reveals what lies beneath them, not certainties, but the unexamined unknowns.
Venue
Tang Contemporary Art Bangkok, Room 201 – 206, River City Bangkok, 23 Soi Charoenkrung 24, Talad Noi, Sampantawong, Bangkok, 10100Artist
Tos SuntosExhibition Dates
October 18 – November 23, 2025Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.com/Instagram
https://www.instagram.com/tangcontemporaryartbangkok/Contact
bkk@tangcontemporary.com
About Artist
Tos Suntos (Panyawat Phitaksawan) (b. 1992, Bangkok, Thailand) is a Thai Artist and Designer known for his unconventional style applied to both his 2D and 3D creations, expressed in a variety of forms such as painting, digital art, collages and sculptures. His works have evolved through time, but consistently combine elements of Thai culture or traditions, with more contemporary and universal elements of monsters and pop culture.
The artist first gained increased recognition when he was commissioned to create works for the Adidas Headquarters, as a representative of Thailand. His work has always reflected modern culture and lifestyle, combined with his experience and childhood memories. When he was young, Tos Suntos was interested in sci-fi films and other worldly creatures, bringing him to incorporate these elements in his work, combined with observations of pop culture and retro styles.
About Gallery
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 28 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
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Tang Contemporary Art Presents Imprints of Time
Poster credit: Tang Contemporary Art Imprints of Time is more than an exhibition—it is a living dialogue that transcends time, dissolving the boundaries between past and future to weave Hong Kong’s collective memory into an unfolding, flowing narrative. Featuring ten artists spanning from the post-80s generation to Gen-Z, this show explores the intimate resonance between personal identity and the city’s soul. Their works rise beyond individual expression to form a rich cultural polyphony—layered histories, constant reinventions, and the resilient core of selfhood amidst relentless change.
Installation View, Courtesy of Tang Contemporary Art In this ever-shifting metropolis, transformation itself becomes the central theme. Each artwork acts as a temporal amber—preserving vanished moments and crystallizing fragile poetry that lingers before dissolution. Through varied media—drawing, painting, sculpture, and installation—the artists decode Hong Kong’s cultural alchemy, translating its hybrid heritage into a vivid visual poetry.
Chow Chun Fai, Chungking Express 1994 at Graham Street Central, 2025, Acrylic on canvas, 100 x 150 cm Ling Wai Shan’s meditative canvases pause the urban clamor, creating serene breathing spaces on each frame; Kwong Man Chun reinterprets cityscapes through classical East Asian aesthetics, bridging centuries-old brushwork with the steel lattice of contemporary skylines. The dialogue between Chow Chun Fai’s vanishing street corners and Lewis Lee’s cross-border urban reflections echoes the tension between preservation and innovation, whispering of nature’s subtle reclamation. Angela Yuen’s radiant light installations capture the city’s fleeting iridescence, while Kila Cheung’s bold sculptures joyfully defy artistic conventions. Diasporic voices emerge in Peter Hong-Tsun Chan and Jade Ching-yuk Ng’s surreal homages, shaped by transatlantic longing; Tam Kwan Yuen reflects the city through a warm lens of Singaporean cultural intimacy. Pak Sheung Chuen’s conceptual works choreograph serendipitous encounters with time itself, transforming everyday moments into cosmic theaters. His oeuvre tenderly excavates memory’s strata, revealing invisible tensions between concrete and sky, steel and soil.
Angela Yuen, The Dreamer V, 2025, Plastic Toys, Made in Hong Kong plastic toys, resin, motor, gear, beads, LED lights, 39 x 41x 34 cm To wander through Imprints of Time is to traverse a palimpsest of eras—a layered manuscript where images echo across decades. The exhibition composes a multi-voiced symphony, harmonizing Hong Kong’s past, present, and future. From hushed brushstrokes to pulsating installations, these works unravel the metaphysics of place—exploring how time sculpts identity and space nurtures belonging.
Peter Hong-Tsun Chan, Skyline in Flux (Kai Tak), 2025, Oil on linen, 60 x 75 cm Each artwork functions as a cultural prism, reflecting not only the city’s transformations but inviting viewers to inscribe their own stories onto Hong Kong’s evolving canvas. These imprints are more than records; they are participatory rituals, urging us to trace the grooves of time with our fingertips and discover, amid constant flux, something enduringly our own.
Kila Cheung, Young Bird, 2025, 60 x 150 x 52 cm, Bronze Venue
2003-2008, 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang, Hong KongArtist
Peter Hong-Tsun Chan, Kila Cheung, Chow Chun Fai, Kwong Man Chun, Lewis Lee, Ling Wai Shan, Jade Ching-yuk Ng, Pak Sheung Chuen, Tam Kwan Yuen, Angela YuenExhibition Dates
16 August – 23 September, 2025Gallery Hours
Tuesday – Saturday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.comInstagram
https://www.instagram.com/tangcontemporaryart/Contact
info@tangcontemporary.com.hkAbout Artists
Peter Hong-Tsun Chan
b. 1985, Hong Kong, China
Lives and works in Toronto, CanadaPeter Hong-Tsun Chan received his BAA from Sheridan College Institute of Technology in Toronto, Canada.
Chan’s current practice is centred on the dissection of the probabilistic concept of chance in both social and visual culture. Defined as operating outside the purview of oneself, chance and its many manifestations such as accident and luck, when incorporated into artistic processes, speak directly to questions of aesthetic and social philosophy. Through his newest work, Chan explores anew the concept of chance within the larger framework of socioculturalism.
His recent exhibitions include Opening Sequence, Long Story Short, Los Angeles (2023, solo); Teach Me How to Fish, Art Intelligence Global, Hong Kong (2024); Crescent Heights, Harper’s, Los Angeles (2024); Threshold, New Image Art, Los Angeles (2024); Focal Point 2, Long Story Short, New York (2023).
Kila Cheung
b. 1986, Hong Kong, China
Lives and works in Hong Kong, ChinaKila Cheung graduated from the Hong Kong Polytechnic University. He is a full-time artist specialized in painting and sculpture. Kila values childishness, curiosity, and the courage to break rules and dreams.
In 2016, he received the Hong Kong Young Design Talent Award. In 2017, he took up an internship in Japan and started his creating with wooden sculptures. In 2018, he travelled to Taiwan for an artist residency in Taipei.
His first solo exhibition, “Twinkle Twinkle Little Guy” (2018) was held in Gallery by the Harbour, Hong Kong. “Teens in Sunroom” (2019), his second solo exhibition, was held in The Little Hut Gallery, Taipei. Kila was the planner for the book “Art Toy Story” (2018). In 2020, his solo exhibition “Moving Utopia” was held in Dot Dot Dot Gallery, Hong Kong. In 2021, his works were exhibited in N’s YARD, Japan and his solo exhibition “Best Before” was held in JPS Gallery, Tokyo. In 2022, he had a solo exhibition “Oh! My Young God” in INVINCIBLE SP, an art space in Taipei. In 2023, his first solo exhibition in Europe “Peace of Freedom” was held in Ojiri Gallery, London. His solo exhibition “AS LIGHT AS COPPER, AS HEAVY AS PAPER” was held in Quiet Gallery, Tokyo. He exhibited a 6-meter-high sculpture “Home No.9 Taste of The Lost Memory Home” and an installation of 100 warning lights “Twinkle Twinkle Little Square” at Tsuen Wan Town Hall Plaza. Also, held a solo exhibition “Still” at Gallery by the Harbour, along with showcasing a 4-meter-high installation “Twinkle Twinkle Little Giant—Little Jizo” near Victoria Harbour. In 2024, he held a dual exhibition “Home” with Japanese artist Moe Nakamura at GALLERY TSUBAKI in Tokyo and his first solo exhibition in the United States “Little Fires Everyone” at GR gallery in New York. In 2025, his solo exhibition “In The Old Home” was held in otherthings by THE SHOPHOUSE, Hong Kong.
Chow Chun Fai
b. 1980, Hong Kong, China
Lives and works in Hong Kong, ChinaChow Chun Fai graduated from the Chinese University of Hong Kong, the Department of Fine Arts (BA and MFA). In 2012 he ran in the Hong Kong Legislative Council elections, for the Sports, Performing Arts, Culture and Publication constituency. Most recently his work has been featured in the following exhibitions: “Chow Chun Fai Solo Exhibition: Map of Amnesia”(Tang Contemporary Art, Hong Kong, 2024); “Chow Chun Fai Solo Exhibition: Interview the Interviewer” (SC Gallery, Hong Kong, 2023); “Chow Chun Fai & Stephen Wong Chun Hei Duo Exhibition – A Mirage of a Shining City” (Tang Contemporary Art, Hong Kong, 2023); “Portrait From Behind” (Gallery Exit, Hong Kong, 2020); “Chow Chun Fai” (Eli Klein Gallery, New York, 2018); “Everything Comes With an Expiry Date” (Klein Sun Gallery, New York, 2016); “Venice Meeting Point” (Venice Biennale, 2015); “Hong Kong Eye” (Saatchi Gallery, London, 2012), the “Liverpool Biennial” (Liverpool, 2012).
Chow is the recipient of the Grand Prize of the Hong Kong Arts Centre 30th Anniversary Awards, and the Sovereign Asian Art Prize.
Kwong Man Chun
b. 1989, Hunan Province, China
Lives and works in Hong Kong, ChinaDistilling Kwong Man Chun’s studies of China Southern Culture and Chinese notions of void and emptiness, Kwong Man Chun found his own singular vehicle through which to pronounce his own worldview: that of the lake that is pure and reflected. Through perspective, environment, mirroring and weathering, he diligently examines a metaphysical, human sense of being. In “Huang Cen Ling and Tenemen House”, existing within Kwong Man Chun’s aesthetics and thinking, the perspective of Chinese Genre Painting and brings them together with splash ink and colour. Attempt to deconstruct the texture and elegance of water, stones, flowers, furniture. a fantasy volume composed of scenery and shapes his presentation: the previous generation established what they thought of eternity for us. Kwong holds a Bachelor of Arts in Visual Arts from Hong Kong Baptist University. He has participated in exhibitions in Hong Kong, China, Japan, Australia and USA since 2013.
Lee Kam Ching, Lewis
b. 1998, Hong Kong, China
Lives and works in Hong Kong, ChinaLee Kam Ching, Lewis graduated from The Chinese University of Hong Kong in 2023, majored in fine arts. He grew up between Hong Kong and Shenzhen. He then uses landscape painting to express his personal experiences of his family and his ancestry.Through his work, he responds to the scars left by previous generations, exploring identity and constructing his own worldview in a playful yet surreal manner. His past works have encompassed painting, photography, installation and artificial landscape. His works have been exhibited in Hong Kong, Mainland, Taiwan and Japan before.
Ling Wai Shan, Heidi
b. 2001, Hong Kong, China
Lives and works in Hong Kong, ChinaLing Wai Shan, Heidi graduated with the degree of Bachelor of Visual Arts, Academy of Visual Arts, Hong Kong Baptist University in 2023. She focuses on contemporary social issues, exploring complex relationships between humans, nature, culture, and interactions between the body and the city. She uses symbolism and metaphor to express thoughts and emotions on these topics. Her artwork is rich in poetic and subtle expressions, utilising symbolic meanings to convey emotions and provide insights into contemporary social issues. By transforming symbols and combining objects, viewers are prompted to interpret and imagine. The artwork through meticulous color and brushwork, revealing the relationship between space, light, and objects, employs the use of transparency to explore the relationship between the visible and the invisible, while contemplating the connection between the truth of things and their appearances.
She held her solo exhibition “The Moon Wanes As It Waxes” at Touch Gallery in 2024. Her group exhibitions include “The Weight of Stillness,” Contemporary by Angela Li, Hong Kong (China, 2024); “Patients Not Eligible for Sick Leave,” Hui Gallery, New Asia College, The Chinese University of Hong Kong, Hong Kong (China, 2024); “Virtual Scenery,” a.m. space, Hong Kong (China, 2024); “Evergreen,” Odds and Ends, Hong Kong (China, 2024); “Being Something,” Contemporary by Angela Li, Hong Kong (China, 2023); “The Blossoms in the Flowerless,” Koo Ming Kown Exhibition Gallery, Hong Kong (China, 2023); “and still they move,” AVA BA Grad Show 2023, Hong Kong Baptist University, Hong Kong (China, 2023); “Sorry, I want to leave the archipelago,” Cattle Depot Artist Village, Hong Kong (China, 2023).
Jade Ching-Yuk Ng
b. 1992, Hong Kong, China
Lives and works in London, UKJade Ching-Yuk Ng exemplifies life experience as the main material, combined with different symbolic visual vocabularies, so as to find the gap between reality and virtuality. She has worked on various mediums to challenge the possibilities of creating paintings beyond paints. She depicts the fragility of a physical intimate relationship between herself and others. She is drawn to the sensibility of constant touches and separation among us. By reinterpreting traditional forms of symbolism, her work creates a new, ambiguous and obscure fiction. Ng’s work craves attention of our loneliness, intimacy and emptiness in today’s hyper-realistic world.
Her soft, intricate works emboss the fragility of a physical intimate relationship between herself and others. Jade is interested in quoting the essence of touch and separation at a moment in time to depict a notion of loneliness, intimacy and emptiness. By exploring the possibilities of forms in painting, Jade conceives of her paintings as an assembly of her and others’ body puzzles. Often revolving around personal travel experience, classical myth, alchemy, religious rituals and anatomy as references, Jade deconstructs their symbolism by attaching her own interpretation, and her symbols seem to depart from their literal connotations into an obscure and ambiguous fiction. The agency of framing becomes a gesture of embracing, defining actual and pictorial surrealistic space. The essence of modernist architecture influences how she constructs and adds odds to her composition in the picture. She develops them into printmaking, painting, sculptural painting and the most recent cut-outs and wood reliefs. Its theatricality encourages visitors to consider characters that are depicted in dialogue with themselves, whilst also considering the fine edge of collision in reality and imagination.
Ng obtained her BA at Slade School of Fine Art in 2016 and MA at Royal College of Art in 2018. She is a recipient of Cass Art Painting Prize in 2016 and Travers Smith Art Award in 2018. She was awarded the Abbey Major Painting Scholarship by the British School at Rome in 2018. Her work was commented on and published by art historians Katy Hessel and Kate Mothes respectively. She worked at Bezalel Academy of Arts and Design in 2014. Her work has exhibited internationally, such as Arusha Gallery (London; Edinburgh, UK), Matt’s Gallery (London, UK), San Mei Gallery (London, UK), Cornucopia Gallery (London, UK), Whitechapel 46 (London, UK), Siegfried Contemporary (London, UK), Assembly Point (London, UK), Horse Hospital (London, UK), CGP Gallery (London, UK), Canal Mills Armley (Leeds, UK), Video Pub (Jerusalem, Israel), Academia di Romania a Roma (Rome, Italy) . Part of her work has been collected by Penguin Random House.
Her solo exhibitions include “Echo of Silhouettes,” Tang Contemporary Art (Beijing, 2024); Comfort in Discomfort,” Ronchini (London, 2023); “GUSH,” Tang Contemporary Art (Hong Kong, 2022); “It’s (kind of) a love story,” Natasha Arselan (London, 2022); “I is another,” Cornucopia Gallery (London, 2021)
Pak Sheung Chuen
b. 1977, Fujian, China
Lives and works in Hong KongPak Sheung Cheun’s works primarily focus on conceptual art and painting. He excels at incorporating everyday life situations into his creations, sparking contemplation about current circumstances. He has been a columnist for the Sunday edition of Ming Pao newspaper since 2003. Pak has authored books such as ODD ONE IN: Hong Kong Diary, ODD ONE IN II: Invisible Travel and Nightmare Wallpaper.
He has represented Hong Kong in various significant international exhibitions, including the Venice Biennale (2009), Liverpool Biennial, Yokohama Triennale, and Taipei Biennial. In 2011, he was selected as one of the five outstanding artists in the Asia-Pacific region by AAP art magazine and has been featured on the covers of LEAP and Contemporary Art and Investment magazines. He is acclaimed as one of the twelve important Chinese artists. In 2012, Pak received the HKADC Best Artist Award, the China Contemporary Art Award (CCAA) Best Artist Award, and the Best Booth Award at Frieze London. His works are held in collections at institutions such as M+, Tate Modern, and the New York Public Library. In recent years, he has been involved in teaching and has served as a resident artist and lecturer at institutions like York University in Toronto and Tokyo University of the Arts. He delivers art lectures annually at various colleges and universities. From 2023-2024, he hold the position of Assistant Professor at Tainan National University of the Arts. From 2019 to 2022, he served as the art consultant for the Jockey Club BGCA “Arts make SENse” programme. Later, he co-founded the HASS Lab team with Cherry Chan, engaging in art interventions in the community, social welfare services, and education.
Tam Kwan Yuen
b. 1986, Hong Kong, China
Lives and works in SingaporeTam Kwan Yuen’s works have been regularly selected into international juried shows and have won several awards. In April 2016, his painting, “Good Morning, NYC!” has won the JAN GARY and WILLIAM D. GORMAN MEMORIAL AWARD in the prestigious 149th Annual International Exhibition of American Watercolor Society (AWS). In 2020, he is the third Singaporean to be conferred Signature Membership in the AWS. His works have been featured in art publications, including the 17th Issue of the Art of Watercolor Magazine and selected as Winner in North Light Books’ Splash 18: Value | Light + Dark Issue edited by Rachel Rubin Wolf. He has also been recently awarded the Nanyang Outstanding Young Alumni Award by his alma mater, Nanyang Technological University, for his outstanding achievements in art.
Tam has been active in both the local and international art scene. In January 2025, he participated in ART SG, Southeast Asia’s leading international art fair held in Marina Bay Sands, Singapore. His work, Evening View from Victoria Peak, Hong Kong, was exhibited at the fair. He currently paints scenes both locally and abroad, with a modern approach to his painting technique. He is represented by Artcommune Gallery in Singapore.
Angela Yuen
b. 1991, Hong Kong, China
Lives and works in Hong Kong, ChinaAngela Yuen graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2014. She went to Linfield College in the U.S. for an exchange program in 2013 to develop her installation art and received the Dean’s List Honours. In 2016, she had her artist in residency at Red Gate Gallery, Beijing. In 2019, she had her artist in residency at HART Haus, Hong Kong.
About Gallery
Tang Contemporary Art was founded in Bangkok in 1997 with the entirety of supporting artists with creative and critical art projects. Over the last 27 years, curated exhibitions were based on promoting contemporary art in favor of a more sustainable and solidary ground for art creation and collective learning with the aim to foster more dynamic trans-cultural relationships between the Asian and the International art scenes. Tang Contemporary Art also tailors art projectors for patrons and collectors to engage with art in their respective eco-system.
Tang Contemporary Art has recently added an 8th gallery space in the vibrating city of Singapore, alongside Bangkok, Beijing, Hong Kong, and Seoul, coupled with active participation in annual art fairs like Art Basel Hong Kong, KIAF, Frieze New York, Expo Chicago, The Armory Show, Art Geneve, Taipei Dangdai, Art SG and Masterpiece London.
Acting as one of the most progressive galleries in Asia, Tang Contemporary Art represents both the internationally renowned and the emerging. With an unparalleled contribution to the Asian and Chinese contemporary arts and its inclusion in the global art scenes, Tang Contemporary Art aims to create the best conditions for initiating dialogues between artists, curators, collectors, and institutions, as well as for nurturing new methodologies of making of contemporary art histories, promoting emerging young artists, and providing a platform for arts and cultural exchange both locally and internationally.
(Text and images courtesy of Tang Contemporary Art)
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Tang Contemporary Art Presents Everything Is Where It Wasn’t, A Solo Exhibition by Artist TRNZ
Poster credit: Tang Contemporary Art Tang Contemporary Art Bangkok is proud to present Everything Was Where It Wasn’t, a solo exhibition by Filipino artist TRNZ, curated by Michela Sena. In this new body of work, TRNZ deepens his investigation into the fragile architecture of everyday life, revealing a world in quiet disarray where logic loosens, time folds in on itself, and the familiar slips gently into the unfamiliar.
In Everything Was Where It Wasn’t, TRNZ unveils a series of new paintings that radiate a subtle, dreamlike sense of displacement. This is not a violent dislocation, but a delicate, suspended condition, one that mirrors the peculiar sensation of dreaming, where meaning drifts, memory fractures, and emotional coherence dissolves. Each canvas seems to hover just outside the frame of narrative time, inviting viewers into a dimension that is both deeply intimate and quietly disoriented, a space where objects repeat with slight variations, moments occur out of sequence, and nothing ever fully resolves.
At first glance, TRNZ’s visual language, drawn from Japanese animation and graphic storytelling, appears accessible, even playful. Often identified with the new wave of Filipino artists, TRNZ has developed a style rooted in clean lines and visual clarity. But beneath this approachable surface lies a far more elusive and poetic exploration. TRNZ uses the familiar vocabulary of popular visual culture not to simplify, but to complicate. Through this recognizable and stylized lens, he evokes highly nuanced states of being: solitude, displacement, introspection, and emotional ambiguity.
Arranged Alphabetically, Not by Affection | 150 x 200 cm | Acrylic on canvas | 2025 His characters often appear suspended in states of quiet hesitation, caught in the spaces between action and reflection. They do not speak; they do not act. They simply are, isolated yet universal, contained within their own atmospheres. In this way, TRNZ masterfully expresses a main condition of contemporary life: the shared isolation that paradoxically connects us all. We are alone and in that aloneness, profoundly together.
Through subtle distortion and deliberate misplacement, TRNZ destabilizes not only physical environments but also psychological landscapes. Repetition, here, is not used to create rhythm, but to suggest dysfunction, a looping of gestures and forms that once made sense, but no longer do. This is the fatigue of the procedural world, rendered in soft hues and silent composition. Domestic scenes are revisited with slight shifts, introducing an uncanny discomfort. These are not scenes of spectacle, but of suggestion. The rupture is not loud, but internal.
Low-Maintenance Vertical Garden | 120 x 100 cm | Acrylic on canvas | 2025 The emotional tone of the work is not explosive, but restrained; and it is in this very restraint that TRNZ achieves his most profound effects. His paintings do not ask for attention, but they hold it. They do not confess, but behave with a quiet persistence that draws the viewer inward. The stillness in his work is never passive; it is charged with suspension, with waiting, with a sense that something unspoken lies just beneath the surface.
TRNZ does not offer conclusions. Instead, he creates space, intimate, reflective, and deeply human. Through a poetic misordering of time, space, and emotion, he blurs the boundary between the structural and the sentimental. In the gaps between the two, something flickers: vulnerable, displaced, but unmistakably present.
Studio View of TRNZ With Everything Was Where It Wasn’t, TRNZ offers a vision of contemporary life that is both gentle and unflinching. It is a portrait of our emotional terrain, quiet, subtle, disjointed, rendered with remarkable clarity and sensitivity. He does not impose meaning, but allows it to emerge softly, like a memory. In doing so, TRNZ shows us a mirror of ourselves: not as fixed identities, but as fleeting presences, each navigating our own suspended interiors, always close, always apart.
This exhibition invites viewers into that shared inner landscape, a space without linear time, where forms repeat and meanings slide, where everything is just slightly out of place. A space where, paradoxically, everything is exactly where it wasn’t and yet where we recognize ourselves most clearly.
Venue
Tang Contemporary Art Bangkok
Room. 201 – 206
River City Bangkok
23 Soi Charoenkrung 24,
Talad noi, Sampantawong, Bangkok, 10100, ThailandArtist
TRNZExhibition Dates
19 July – 24 August 2025Opening Reception
Saturday, 19 July at 4:00 PMContact
Tel: +662 000 1541
Email: bkk@tangcontemporary.com
About the Artist
TRNZ
b. 1992, based in the PhilippinesTerence Eduarte, better known as TRNZ, is a Filipino visual artist, who holds a BFA in Advertising from the University of Santo Tomas, and began his career as an art director at TBWA/SMP. He was introduced to art through locally dubbed Japanese animation that aired daily on 90s television. From 2017, he began focusing more on visual artwork with a perspective shaped by his advertising experience, expanding his work to a multimedia approach, and turned to focus more on Fine Arts.
TRNZ is an artist with a penchant for mis-arrangement – the past, concepts, emotions, and the intangible. He recontextualizes tangible elements, placing them in unconventional settings where their absurdity defies conventional logic, yet somehow feels as though they belong. His work explores the instability hidden within the everyday. Through misarrangement, repetition, and subtle shifts, he reconstructs the familiar into scenes where logic falters and meaning bends.
Working with restrained color and stillness, TRNZ creates images that hold tension quietly, drawing viewers into spaces where memory, control, and contradiction blur. In his hands, dislocation is not rupture, but a quiet, inevitable realignment of how things are seen and held.
About Tang Contemporary Art
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 28 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
