Contemporary independent curatorial practices as contested ground: tracing exhibition histories in Thailand from court, to state, to curating for the people

Abstract

This essay traces and reappraises the curatorial practices in Thailand from the late nineteenth century to the present. It seeks to situate the curatorial practice under the notion of nationalism and cryptocolonisation in relation to its social history. It explores three main parts: first the birth of curatorial practices in relation to the museum and exhibition in Siam since the late nineteenth century showing how, during the colonial period, Siam used these as cultural diplomacy tools, to present herself as independent from the colonial West and to engage with the world. Second, it asks what role the state played in using exhibitions and fairs to promote and introduce the modern concept of ‘constitution’ after the radical shift from absolute monarchy to constitutional monarchy in 1932, and the making of public art in the early twentieth century. Third, it looks at how the art institutions and curatorial practices emerged yet became absent in the context of local and regional modern and contemporary art scene. How did contemporary art curatorial practices reconnect and engage with the global art scene during the period of globalisation, which seemed to be progressive and transnational? It also explains how Thailand’s ongoing political turbulence and the lack of freedom of expression has unfortunately hindered the local contemporary art scene, despite the increasing amount of public and private support.