Surasi Kusolwong (1965 - )

1965 Geboren in Ayutthaya, Thailand, lebt und arbeitet in Bangkok

 Surasi Kusolwong

11.12.04 - 20.01.05

Hoet Bekaert Gallery,Rodelijvekensstraat 28,B-9000 Gent, Belgien

fon +32 0 472 944 971 | gallery@iets.be


from 10.06 to 30.10.2011





The exhibition at HangarBicocca is dedicated to the Thai artist Surasi Kusolwong, whom realizes a spectacular site-specific installation in the Shed, the initial part of the big space of the Hangar. The installation plans five Ping-Pong tables that the visitors could use to play. On each table are placed different types of objects and materials dedicated to various aspects of Kusolwong’s work: everyday use, simple, domestic and sometimes kitsch objects, such as little plaster animals covered with shell pieces, or wooden carved animals and also typical objects of different cultures collected or made by the artist himself. In the installation these items will be mingled to materials and objects referring to the culture of the Arte Povera: cut mirrors and shapes linked to Alighiero Boetti’s symbols and manuscripts. Thus, playing in Kusolwong’s installation, the visitors go into the rhythm of the relationships participating to the complex and sometimes contradictory construction of contemporary society communication: a dialogue whose questions and answers very often create bouncing, complicating or accelerating, provoking again other questions and other answers… as in the Ping-Pong game, question and answer, on one side and on the other. In the installation there are also: a cube shaped aluminum sculpture linked to a smoke machine; a volcano-sculpture made of a salt mountain with a lamp at the center; a group of a tent-sculptures made of marble, iron sheets, wood and mirror pieces; a sculpture made of all the pages of the book Living in the End Times by Slavoj Zizek, Slovenian philosopher and psychoanalyst of Marxist background who concerns about the contemporary economic and social crisis; a soft sculpture made of sponges cut into rectangular blocks with a sign saying “Take your time to have a seat and think”; a series of hanging lamps realized by Kusolwong, among which one is laid down with a hand painted text by the Japanese sculptor naturalized American Isami Noguchi who died in 1988. A playful artwork and of great visual impact, yet profoundly serious in order to make us open once again our eyes on the miserable state in which our planet is today and on the way of living of millions of human beings.


Photos: © Agostino Osio

Surasi Kusolwong

Surasi Kusolwong is getting his inspiration in his habitat, the Asian culture. The artist’s work is continuously referring to the consumer society. In his installations and performances he is questioning the current economic and socio-cultural changes.

His installations are composed of industrialized objects, mostly kitschy coloured cliché-like objects. He prefers this kind of objects above objects with a certain value, conceived for their esthetics. His installation “ Everything at the same price” is an ironic challenge for the museum, bringing a merely commercial activity into a non-profit organization. The artist is transforming here the museum visitor into a consumer. Colourful common objects are for sale at 1 euro. The fact that everything is for sale at the same price is characterizing the central idea in Surasi Kusolwong’s work. So the hierarchies are removed, art and product markets are combined and turn out to consumption behaviour in the museum. This chaos of objects and colours is having a kind of harmony. His use of colour is referring to the modernism of Klee and Mondriaan. The autonomy of colour and forms is very present in Kusolwong’s work, just like in other abstract contemporary art works, having in mind Mangold, Knoebel or Umberg.

In his installations he is confronting the spectator not only conceptually, but also physically. The interaction between art and spectator is taking a central position in Kusolwong’s work. The “Relaxing Machine “ is an installation made of a 1965r Volkswagen on its roof. The visitor can take a seat in it and meanwhile see a Harry Potter –movie. In this work too the dialectics between spectator and art are most important.

Thomas Caron

BALTIC presents Surasi Kusolwong’s first solo exhibition in the UK. His work offers visitors the opportunity to become involved in an extraordinary experience. Kusolwong is a Thai artist who works in a unique way to create high-energy, lively and playful situations with a celebratory feel. He wants to encourage visitors to enjoy his exhibition by offering unexpected possibilities which break the boundaries between art and life.
Surasi Kusolwong, a young Thai artist who has been creating something of a stir at international exhibitions and art fairs over the last few years, splits the difference. The centerpiece of his New York debut, ''Chaos Minimal,'' started out as a gallery full of bright, cheap, mostly plastic goods (totes, bowls, baskets, slides, toys, raincoats, utensils) imported from Thailand and available for purchase. As the goods sell, the seven plexiglass-topped plywood boxes that are functioning as display pedestals come into view; they are intended to suggest the work of Donald Judd.So far the conceptually provocative contrast of street market and art market merely looks messy. Audience participation, that is, sales, seem to have been sluggish. It probably didn't help that every item was $5 at the opening, when Mr. Kusolwong's shows customarily ''sell out'' in a parody of collector frenzy, and later marked down to $2. In any event the show was at its best full, with the hot-colored objects in profusion. And covered or bare, the quasi-Judds are rudimentary appropriation art, as are the works parodying other artists in the second gallery. ROBERTA SMITH
Surasi Kusolwong’s work has been showing on the biennale circuit for the past six or seven years. ‘No Conclusion (Time is the Answer)’, at Rooseum, is his first solo show in Europe and serves as a retrospective of sorts. It consists of four interactive sculptural installations, each of them expanding on Kusolwong’s exploration of the viewer’s active relationship with the art work and a radical form of cultural tourism. He achieves this through a direct appropriation and referencing of the Western art-historical archive, formats and genres mixed with Eastern myth, social rituals and popular culture in an attempt to develop his own aesthetic and to produce meaning.

Kusolwong is best known for his touring work Market (1999-ongoing), which is describ-ed in the promotional material, fairly accurately, as ‘a retail performance with music action’. The work’s exact title and number vary according to location and currency - in Malmo it is 10 SEK Market (2004), in Milwaukee it’s 1$ Market and in Taipei it’s NT $20 Market, and so on - but always applies the same bargain basement principle of everything for sale at a fixed knock-down price. Kusolwong sets out primary-coloured tables supporting a diverse selection of goods bought in Bangkok street markets. The products range from the useful to the useless: washing baskets, soup ladles, footballs, space invader ma-chines; there are a lot of inflatable toys, weird decorative animals, cartoon kids and plastic. The overall effect is both desirable and undesirable, in a multi-coloured, kitschy-Poppy way.

At Rooseum, Kusolwong’s market place occupied one end of the exhibition space, and the live performance provided a focus for the opening night. An abstract wallpaper of shiny foil packaging, a video projection of Thai karaoke and a circular canopy of patterned sheets created a backdrop and shelter for the PA and compere module from which Kusolwong initiated the10 SEK Market performance. Dressed in jeans and a T-shirt but sporting an umbrella hat and waving a megaphone, he invited the audience to shop, while reminding them to put their money in the collection box. The elegant Swedish audience broke into a frenzy, encouraged by Kusolwong’s whooping and the repetitive karaoke music. Breathless and ecstatic, the crowd looked both delighted and stupid, waving flip-flops and comparing knick-knacks. Kusolwong himself looked like both a de-monic ringmaster and a pathetic clown. The spectacle was hideous, yet it was difficult to avoid the sheepish smiles and acknowledgement of personalities all around you.


The contradictions of 10 SEK Market are obvious: the tension between repulsion and desire, the cynical mimicking and critique of the market, particularly in contrast to the warmth and playfulness of the event itself. Set against a theoretical backdrop of relational aesthetics, there was little in the performance, however, that actually confounded expectation, apart from the disarming way in which the event cut through social reserve. Yet in its galvanizing, chaotic energy the piece was a success and as an actual experience it was not un-pleasant, segueing as it did into drinks, food and a DJ set that resulted in the friendliest of openings, with the audience lolling around the exhibition hall and lounging on Kusolwong’s other sculptures.


10 SEK Market is one of four works that together transformed Rooseum’s vast space into a theatrical film set. During the opening the installation seemed dramatic and alive, the sculptures serving as support structures for conversation and entertainment. The following day, with only a few people milling about, these interactive sculptures had a lonely, abandoned air emphasizing both the ingratiating nature of their need to be ‘played with’ and their sheer uselessness and redundancy as objects. Emotional Machine (VW with Fahlström) (2000-4) a hollowed out VW Beetle strung upside down from the ceiling, into which you can climb to lie down and watch a video of a sunset, although popular with visitors, seemed illustrative and sentimental - and induced motion sickness. No Conclusion (I Want to Play the Drums All Day Long) (2004) - a platform structure carrying a mirror ball, a drum set, a lounging area, computers, Dan Flavinesque lights, a Sigmar Polke print and a photograph of Thailand - was physically impressive, but the mix of cultural and art-historical references seemed clumsy and decorative, the mistranslations provoking confusion rather than successfully communicating mistranslation.


Only Electrical Playground (Baby Richard Serra) (2003-4), a hand-painted wooden sculpture resembling (in some distant memory) a monumental Serra ironwork, managed to confound expectation and linguistic analysis through its utter weirdness and self-contained assertion of its right to exist as both a provocative sculpture and a totally pointless ‘thing’. It is disappointing that Kusolwong undermined the power of the piece by using the interior of the sculpture as a parking space for electrical toy cars emblazoned with art-historical quotations, as there is something darkly ambitious in the conflating scope of Kusolwong’s simple sculptural gesture. There is an aesthetic and political charge to the reduction of Serra’s sculpture to a kitsch image of itself that, more than any of the exuberant performances and urging of audience participation, reveals a profoundly chaotic, uncool and genuine element in Kusolwong’s (and, in turn, our) relationship to objects and authority, filtering history and fumbling to make sense of the world around us.


Polly Staple


Surasi kusolwong interview at Hangar Bicocca

from videorize Plus 11 months ago


Ping—Pong, Panda, Povera, Pop—Punk, Planet, Politics and P—Art

this is the name of Susasi Kusolwong's show at Hangar Bicocca in october 2011.

In this interview the artist speaks about his work.

Thanx to HangarBicocca and Surasi Kusolwong.

Immersive, Interactive Performance Artist


Surasi ‘Tun’ Kusolwong is a Thai artist who has won critical acclaim internationally for his whimsical style of performance art that reflects on various aspects of modern life, particularly globalization and consumerism. Most art – paintings, sculptures and the like – is viewed or contemplated from a distance. Not so with the art of Surasi, whose work is immersive and interactive, getting members of the audience directly involved in his art ‘performances’.

Born in Ayutthaya in 1965, Surasi received his graduate education at Silpakorn University and then studied in Germany for many years before returning to live in Bangkok. His works and installations have featured at leading galleries around the world including London’s Tate Gallery. His important international exhibitions include “No Conclusion (Time is the Answer)” at the Rooseum Center for Contemporary Art, Malmo, Sweden (2004); “Energy Storage (When Objects Dream)” at the Palais de Tokyo, Paris France (2004); “If a Lion Could Talk” at the Kunsthalle Wien, Vienna, Austria (2005); “The Long Weekend” at the Turbine Hall, Tate Modern, London, England (2006); and “Bangmingham (Come as you are)” at the IKON Gallery, Birmingham, England (2006).

Perhaps Surasi’s best-known works have been his live, interactive marketplace installations, such as the One Pound Turbo Market (you’ll have a good time) held at London’s Tate. This installation featured a typical street market with cheap, garishly-coloured plastic products such as bags, dolls, hats, flip-flops and other made-in-Thailand items, all on sale for the price of one pound. Thai karaoke music blasted from a stereo while the artist himself worked a megaphone, inciting members of the audience to take whatever they wanted from the market, but to remember to pay a pound for each item collected.

Surasi’s immersive art performances appeal to the consumer instincts of the audience but in a fun and friendly way in which everyone is participating and enjoying themselves. His mock street markets have been exhibited in countries all over the world, with the price for the items on sale fixed at one dollar or one euro, depending on the location and currency. The markets encourage people to confront their own behaviour and habits in a fun and none-too-serious way, while the single low price makes the activity open to all.

Currently, Surasi is a lecturer in the Faculty of Painting, Sculpture and Graphic Arts of Silpakorn University, Bangkok.

50% OFF BOOKS (Never Mind Kapital = Never Mind Kunst), 2011

One Pound Turbo Market (You’ll have a good time), 2006

There already has been much discussion about art as a strategy to transform something worthless into something valuable. This statement is one of the most popular accusations leveled at modern and contemporary art. That a certain creative aspiration lies already in creating a social situation, in which goods and values are exchanged, is often overlooked. Over the past few years, Surasi Kusolwong has organized markets at various locations, where the event of buying and selling becomes a public performance. The cynical interpretation of this, that contemporary art is only ever thought about in terms of economics, is opposed by Surasi Kusolwong’s performance by foregrounding the character of the market as a spectacle, in which the artist as DJ and host entertainer sells the tawdry cheap wares at a flat price. The act of exchange is more than the sum of the parts that we take home from the market, and the participation of the audience, so often demanded by contemporary art, becomes ironically ambiguous. Whether Surasi Kusolwong’s markets point to the culture of globalized capitalism, which also turns museums into places for bargain hunting, or whether they rather celebrate the social event and its specific aesthetics, which we would hardly critically interrogate at our local flea markets, is a question that remains unanswered. Equally, it is not possible to ascertain whether the pretty arrangement of the objects follows the logic of shop displays or the artistic installation..


In addition to a documentation of the One Pound Turbo Market (You’ll have a good time) in the Tate Modern, Surasi Kusolwong will show the performance 50% OFF BOOKS (Never Mind Kapital = Never Mind Kunst) in the exhibition. On the opening evening he will sell catalogs by artists who are important for his own work at a discount price. (JB)





Surasi Kusolwong: Naked Machine

Van Abbemuseum, Eindhoven


SendeterminDienstag, 12. Juli 2011, 23.10 - 23.15 Uhr.


Video: Meisterwerke

Surasi Kusolwong: Naked Machine - Van Abbemuseum, Eindhoven (4:57)

Dienstag, 12. Juli 2011

23.10 - 23.15 Uhr

Surasi Kusolwong: Naked Machine

Einladung zum Spielen: Surasi Kusolwongs „Naked Machine“


Ein hellblauer VW-Käfer, vor kurzem noch ein Gebrauchsgegenstand. Nun hängt er, all seiner Innereien beraubt, kopfüber mit Drahtseilen an der Decke. Schlüssel, Pedale, Schaltknopf, die Räder und das Lenkrad liegen fein säuberlich sortiert um ihn herum, präsentiert wie auf dem Flohmarkt mit anderen Objekten, die scheinbar nichts mit dem Käfer zu tun haben.

Die Spaßmaschine


„Naked Machine“ nennt der thailändische Künstler Surasi Kusolwong seine Installation. 2011 hat er im niederländischen Van Abbemuseum einen ganzen Raum eingerichtet, der zu einer Entdeckungsreise einlädt. Sie führt uns durch Gefühl und Geschichte. Im Zentrum der Käfer, ein Transportmittel mit wandelnder Bedeutung: Volkswagen, Symbol des Wirtschaftswunders, Exportschlager und Komödienstar in Hollywood. Kusolwong fügt der Geschichte dieses zum Kultobjekt gewordenen Nutzfahrzeugs ein neues Kapitel hinzu. Darin wird der Käfer zu einem großen Spielzeug, umgeben von allerhand weiteren Gimmicks aus der modernen Warenwelt, vieles für den Besucher zur freien Nutzung.

Standort: WWWVan Abbemuseum, Eindhoven

Surasi Kusolwongs „Naked Machine“ ist eine Spaßmaschine, die Installation eine Spielwiese mit weichem Teppich und von Topfpflanzen umrahmt. Wer mag, kann sich zum Kind machen lassen, staunen, entdecken, probieren. Im funktionslosen Hohlraum des Käfers hat der Künstler mit ausgewählten Kissen und Tüchern eine Kuschellandschaft arrangiert. Wie in einer Wiege liegend, können wir auf einem Monitor einen alten Dokumentarfilm betrachten. Und eintauchen in das kleine rätselhafte Universum mitten im Van Abbemuseum.

Surasi Kusolwong, PS1 Moma, November 20, 2011—April 2, 2012

Surasi Kusolwong (Thai, b. 1965) makes installations and performances that reference consumer society and the economy. Through his participatory and interactive works the Bangkok-based artist encourages social interaction over economic exchange. His large-scale installation Golden Ghost (The Future Belongs To Ghosts) (2011), which was first presented in the Creative Time exhibition Living as Form, invites visitors to enter into the vast field of industrial thread waste to search for gold necklaces hidden in the piles of cotton. Visitors who are fortunate enough to find a necklace are welcome to keep it. The work suggests a sense of play in which visitors can climb the mounds of thread waste, comb through the material and explore. While the literal treasure hunt in a field of excess serves as a metaphor for consumption at the global and individual level, it also inverts standard systems of exchange—the expensive gold necklaces are not sold nor bartered, but generously given away.


2011- >Sickness< Bangkok Art and Culture Center : Acclaimed Thai artist Surasi Kusolwong is challenging art lovers to get down and dirty for the chance to get their hands on a real gold necklace. Kusolwong’s latest art installation, called Sickness, is one big pile of colorful wool and yearn, but it contains precious treasures in the shape of gold necklaces planted by the artist himself. Lucky visitors at the Bangkok Art and Culture Center have the chance to get down on all four and look for one of the ten gold necklaces hidden withing the sea of thread waste. There is no info on how long a person is allowed to search for the precious necklaces worth hundreds of dollars, but I’m thinking it’s not a lot of time, considering only one of the ten necklaces has been found since the Sickness exhibition opened, on August 21. If someone manages to find one of the small treasures they are allowed to keep it.

This isn’t the first time Surasi Kusolwong staged an artistic gold rush. He has filled museums and art centers with tonnes of of thread waste in 2009 and 2010, but only planted 1 gold necklace engraved with the Chinese symbol Fortune. I guess he just felt more generous this time around, and with the ever-growing price of gold, I’m pretty sure there’s a line outside the Bangkok Art and Culture Center right now.

Read more at http://www.odditycentral.com/news/thai-artist-stages-modern-day-gold-rush.html#yoP7dBa74y32zTBv.99

2010.04.18 – 05.20, Ullens Center for Contemporary Art (UCCA), Beijing, China. Made the obligatory visit to Beijing’s famed 798 Art District. As you will find in any huge collection of paintings, sculptures and installations by different artists, the works varied considerably in quality. I chose to comment on a particular installation by Thai artist, Surasi Kusolwong, Golden Ghost (A Ghost + a Host = a Chinese Ghost) because the experience of it still lingered on my mind many weeks later. As well as its inter-disciplinary approach which seamlessly merged art, product design and typography, resulting in a totally immersive experience and a sharp rebuke on society’s overconsumption, represented by 13.5 tons of discarded yarn from textile mills in Guangdong Province, the “meltdown of the world economy”.



At the entrance to the exhibition room was a poster with the following text:





12 Stück 90% pure gold necklaces with one of two “Golden Ghost” symbols designed and made by the artist are secretly hidden in this room. Amongst this thread waste landscape we invite you to search for the necklaces. What you find you can then take home.

The lucky visitors will receive a jewel box for their found treasure with the artist’s signature from the UCCA staff. Name, address and photo will be recorded for the artist’s own documentation.

Rummaging through the mess of tangled yarn looking for gold trinkets suddenly made me feel like the forager you remember in documentary photographs; scrawny, sweaty dark bodies searching for castaways that could be exchanged for some rupees in an Indian landfill wasteland, or malnutritioned kids in a mountain of refuse in Philippines. Or, to an Asian, the shocking sight of a destitute white man rummaging through the trashcan of a restaurant in Soho, London.

One could also interpret the experience metaphorically: scouring the internet for bits of useful information, or seeking clarity among the sticky cobwebs that clogs up one’s mind.

Surasi Kusolwong - Golden Ghost (A Guest + a Host = a Chinese Ghost) (solo) -Installation: Industrial thread waste, mirrors and gold necklaces

2010.04.18 – 05.20, Ullens Center for Contemporary Art (UCCA), Beijing, China.



A review of the artist’s work can be found at http://www.artlinkart.com/en/exhibition/overview/701ayzlo?x=s&a=ongoing&b=01



Postscript—the Experience (quoted from UCCA)


A group of young people rushed to rummage through the colorful yarn when Golden Ghost opened at the Ullens Center for Contemporary Art (UCCA) last Friday.


“It was really exhausting to dig through and turn over the thick yarn which were tightly tangled … [It was] like looking for a needle in a haystack,” said Ma Anning, 26, who spent an hour searching without success.


“Even if we don’t find a necklace, we can consider this aerobic exercise,” Zhang Li, a college student, said while clawing through the tangled yarn, perspiration streaming down her face.


Surasi said he designed the exhibition as a social activity. “Feelings like desire, hope, sadness, excitement and happiness that emerged during the treasure hunt completed my work. This is an approach to reveal the real world,” he said.


The first winner emerged an hour and a half into the hunt. “I was just lying on the mounds of yarn, taking a break and watching a friend who was furiously digging when, all of a sudden, I felt something between my fingers,” said Wang Chong, a 25-year-old salesman. He said he will give the gold necklace to his mother on May 9, Mother’s Day.


“People can touch and participate in the artwork in a way that normally never happens in exhibitions,” Jerome Sans, director of UCCA, said.

Posted 11th June 2010 by williamharaldwong

Labels: 798 China Thai Installations Art District Beijing


momaps1.org / Surasi Kuselwong



20.11.11 - 01.02.12

Surasi Kusolwong P.S.1 MoMA, Long Island

24.09.11 - 16.10.11

Living as Form CREATIVE TIME New York

17.09.11 - 05.02.12

The Global Contemporary. Kunstwelten nach 1989 ZKM, Karlsruhe

26.02.11 - 08.2011

Play Van Abbe - Part 4 Van Abbemuseum, Eindhoven

29.04.10 - 23.05.10

Double Infinity / Dutch Culture Centre in Shanghai Van Abbemuseum, Eindhoven

04.12.09 - 14.03.10

GAGARIN the Artists in their Own Words - The first Decade SMAK Gent

18.07.09 - 13.09.09

Hellwach gegenwärtig - Ausblicke auf die Sammlung Marta MARTa Herford

25.04.09 - 07.06.09

Surasi Kusolwong: Golden Fortune (Good News Is Coming) Para/Site, Hong Kong

06.09.08 - 15.11.08

Busan Biennale 2008 Busan Biennale

28.06.08 - 31.08.08

Far West Arnolfini, Bristol

03.06.08 - 08.06.08

Team 404 & John Armleder: Clinch/Cross/Cut NEW JERSEYY Basel

24.05.08 - 14.09.08

Be(com)ing Dutch Van Abbemuseum, Eindhoven

25.04.08 - 28.04.08

CALL + RESPONSE Musée d´Art Moderne Grand-Duc Jean, Luxemburg

19.04.08 - 27.07.08

Ad Absurdum MARTa Herford

14.03.08 - 13.04.08

EMERGENCY BIENNALE Chechnya / Bialystok EMERGENCY BIENNALE Chechnya / World Tour, Grozny

16.02.08 - 20.03.08


26.01.08 - 09.02.08

EMERGENCY BIENNALE Chechnya / San Francisco EMERGENCY BIENNALE Chechnya / World Tour, Grozny

08.05.07 - 11.05.07

SUITCASE ILLUMINATED#5 P74 Center and Gallery, Ljubljana

11.04.07 - 22.04.07

THE GO-BETWEEN De Appel, Amsterdam

12.08.06 - 03.10.06

Einmal Empire und zurück Westfälischer Kunstverein, Münster

08.07.06 - 19.08.06

EMERGENCY BIENNALE Chechnya / Vancouver EMERGENCY BIENNALE Chechnya / World Tour, Grozny

05.07.06 - 08.10.06

Surasi Kusolwong BALTIC Gateshead

18.11.05 - 15.01.06

Guangzhou Triennial 2005 Guangzhou Triennale

12.09.05 - 31.12.05

8. Biennale de Lyon 2005 Biennale Lyon

13.07.05 - 28.08.05

Surasi Kusolwong "If A Lion Could Talk" Kunsthalle Wien


Do it / Präsentation&Screening KW Berlin

20.06.05 - 11.07.05

Cork 2005: Cork Caucus National Sculpture Factory, Cork

14.06.05 - 11.09.05

Private View 1980-2000 Musée Cantonal des Beaux-Arts, Lausanne

11.12.04 - 20.01.05

Surasi Kusolwong Hoet Bekaert Gallery, Gent

16.10.04 - 25.11.04

Spread in Prato 2004 Dryphoto, Prato

17.01.04 - 21.03.04

Surasi Kusolwong - No Conclusion Rooseum, Malmö

22.11.03 - 27.01.04

Plastik Plüsch und Politik Städtische Galerie Nordhorn

15.11.03 - 11.01.04

Surasi Kusolwong Rooseum, Malmö

01.11.03 - 15.12.03

8. Biennale Havanna 2003 Biennale Havanna

18.10.03 - 18.01.04

Happiness - A Survival Guide for Art and Life Mori Art Museum, Tokyo

19.09.03 - 16.11.03

8. Istanbul Biennial Biennale Istanbul

20.07.03 - 07.09.03

Echigo-Tsumari Art Triennial 2003 Echigo-Tsumari Art Triennial, Tokamachi

15.06.03 - 02.11.03

50. Biennale Venedig 2003 Biennale Venedig

24.05.03 - 24.08.03

Göteborg International Biennial 2003 Biennale Göteborg

26.04.03 - 08.11.03

Spectacular I-V Museum Kunst Palast, Düsseldorf

26.04.03 - 13.07.03

Time After Time - Asia and Our Moment Yerba Buena Center for the Arts, San Francisco

17.01.02 - 03.03.02

Urgent Painting Musée d´Art Moderne de la Ville de Paris

21.06.01 - 20.08.01

Tutto Normale Villa Medici - Accademia di Francia, Rom

20.04.01 - 20.06.01

2. berlin biennale 2001 berlin biennale, Berlin

02.10.00 - 27.11.00

PICAF 2000 Busan Biennale

09.09.00 - 07.01.01

Taipei Biennial 2000 Biennale Taipeh

02.07.00 - 21.07.00

FUORIUSO 2000 Fuori Uso, Pescara

17.06.00 - 30.08.00

10. Schweizerische Plastikenausstellung Schweizerische Plastikenausstellung Biel/Bienne

18.09.98 - 08.11.98

Biennale of Sydney 1998 Biennale Sydney

26.11.97 - 18.01.98

Cities on the Move - Contemporary Asian Art Wiener Secession

31.07.90 - 31.10.90

6th International Biennial exhibition of Portrait, Drawings and Graphics ´90 International Gallery of Portrait, Tuzla

17.06.89 - 30.09.89

18th International Biennial of Graphic Arts Ljubljana Biennial of Graphic Arts Ljubljana



MARTa Herford




Hoet Bekaert Gallery, Gent


Einzelausstellungen (Auswahl)


"Private and Public", Bangkok University Art Gallery, Bangkok


"Smells like Art", About Studio / About Café, Bangkok


"Air de Paris with Thai music", Glassbox, Paris


"(((((((((chaos minimal)))))))))", Project Room, Ausgewählt von Jérôme Sans, Art Miami

"Everything 2 sFr. (Money-Minimal", Fri-Art Centre D'Art Contemporain Kunsthalle, Fribourg

"Everything the same price>>2.-sFr.<<", ART & PUBLIC, Genf

"New York Night Market (((((((((chaos minimal)))))))))", Lombard-Freid Fine Arts, New York

"Pay Less for the Best (1$)", Institution of Visual Arts (INOVA), Milwaukee

"1.000 Lire Market (La vita continua)", Arte all´Arte, Casole d´Elsa 2002

"Minimal Factory ($1 Market) / Red Bull Party (mit D.J.), ArtPace, San Antonio

"Floating Air Market (one Euro)", Museum Folkwang im RWE-Turm, Essen


"Minimal Factory ($1 Market) / Red Bull Party (mit D.J.), ArtPace, San Antonio

"Floating Air Market (one Euro)", Museum Folkwang im RWE-Turm, Essen


Baltic Art Centre, GatesHead, UK

Gruppenausstellung (Auswahl)


"Do It", Bangkok University Art Gallery, Bangkok

"Huay Kwang: Mega City", Kunst im Öffentlichen Raum, Rachadabhisek Area, Bangkok


"Cities on the Move", Wiener Secession, Wien


"Man+Space", Kwangju Biennale 2000, Kwangju

"Parallel WORLD", Project 304, Bangkok

"Transfert", Kunst im urbanen Raum, Biel

"Fri-Art@Liste2000 The Young Art Fair in Basel"

"La Ville, le Jardin, la Mémoire", Accademia di Francia/Villa Médicis, Rom

"Fuori Uso 2000 (The Bridges)", Art on the Highway, Pescara

"Glocal Scents of Thailand", Edsvik Art and Culture Center, Sollentuna

"Invisible Boundary: Metamorphosed Asian Art", Utsunomiya Museum of Art

"The Sky is the Limit", 2000 Taipei Biennial, Taipei Fine Arts Museum, Taipei

"Leaving the Island", The Pusan Metropolitan Museum of Art, Pusan

"My Home is Yours, Your Home is Mine", Rodin Gallery, Samsung Museum of Modern Art, Seoul

"The Gift of Hope", Museum of Contemporary Art, Tokyo


"Do It", Perth International Art's Festival, Perth