KAWITA Vatanajyankur






Centre for Heritage Arts and Textiles, Hong Kong


Unconstrained Textiles: Stitching Methods, Crossing Ideas is an exhibition which proposes an alternative way of learning about textile(s) and art in the form of an open-ended patchwork. It aims to present a broader possibility of textile materials, subject matters and techniques through diverse practices by 7 prominent contemporary artists. The artists in the exhibition do not identify as textile artists whose works focus on the tactile materiality of textile(s), evolving colours, forms and patterns, rather, they discover textile materials, subject matters and techniques almost through their artistic experiments, deploying them for their respective artistic concerns and goals.

As a defined category or artistic genre, textile art has been discussed in relation to craft, design and gendered, often female, works, adding to the ongoing scholarship on interdisciplinary studies and  critical discourses in fine art. In the longstanding tradition of textile art, its rigid categorical classification is inevitable and which has sometimes hindered textile element from coming into prominence in non-textile art.

The intention of Unconstrained Textiles: Stitching Methods, Crossing Ideas is not to subvert the taxonomical classification of and the accumulated discussions on textile art, but to propose room for new ways of thinking about textile(s) and to broaden the discussion of textile’s contribution to art in general by examining contemporary artworks through a textile lens. To honour each of the 7 featured artists and their respective artistic practices, and to offer visitors the space to contemplate on their individual explorations of textile(s), this exhibition is designed to provide sufficient space for all artists so that they can present their body of works realised by their tireless artistic exercises.

Extracting diverse textile elements from the exhibited artworks, the whole exhibition forms a kind of patchwork, stitching together pieces of fabric with different colours and textures. The exhibited works show myriad artistic adaptations of textile(s) to accomplish aesthetic, experimental and political objectives. Byron Kim and Kato Izumi employ textile techniques such as dyeing and stitching to achieve their envisioned colours, forms and textual surfaces whilst Ham Kyungah commissioned fine embroidery made by North Korean artisans to show her political concerns, specifically on the broken communication between South and North Korea. Bi Rongrong plays with the resemblances between architectural features and textile patterns, applying them to her carpet, hanging and video works. David Medalla offers a scroll of fabric as a participatory platform, inviting visitors to either embroider or stitch their personal souvenirs or stories to the fabric to incorporate their microcosmic personal visions into the penultimate collective sculpture. Reflecting and responding to labourers’ painful experiences in factories and questioning the boundary between human and machine, Kawita Vatanajyankur transforms her body into machines, mimicking the mechanical movements that take place in textile industrial processes. Samson Young uses whimsical fabrics and custom-made costumes as a significant component to achieve his ideal aesthetic quality as well as a visual language to illustrate his artistic vision in his performances and installations.

Takahashi Mizuki










15 February 2020 - 28 June 2020

Dunedin Public Art Gallery, Dunedin, New Zealand

Additions + Alterations presents new work by Wellington-based artist Emily Hartley-Skudder, alongside a selection of works from the Dunedin Public Art Gallery’s contemporary collection. Using the notion of re-framing or re-positioning as a thematic tool, each collection work sits within an environment designed by Hartley-Skudder, conceived specifically for the work which inhabits it. Hartley-Skudder’s interventions subvert and reframe the gallery’s typical aesthetic, drawing on her interests in design language and the domestic, notions of representation, commodification and the artificial or constructed. 

The eight works drawn from the Gallery’s permanent or long-term loan collections represent acquisitions made over the recent period, reflecting key patrons and donations, as well as outcomes of the Gallery’s exhibition and residency programmes. These works, by Nick Austin, Kushana Bush, Steve Carr, Fiona Connor, Michael Parekowhai, Yvonne Todd, Erica van Zon and Kawita Vatanajyankur, all shift the framework of their subject matter in some way. From redefining the role of the human body, to providing an alternative representation of form, these works explore the impacts of context, reproduction, materiality and function within contemporary practice.   



Kawita Vatanajyankur

10 February 2020 - 5 April 2020


In her video-based performances Kawita Vatanajyankur uses her own body as a tool, exploring and exploiting her physical and psychological limits through repetitive actions and endurance. Her practice, underpinned by her position as a woman in Thailand, is predicated on an ongoing interest in issues surrounding everyday labour – both inside and outside of the home. This area of ongoing research has seen Vatanajyankur bring domestic chores and gender binaries, working conditions and social ideologies, and industrial processes to the fore. 

In late 2017, Vatanajyankur spent six weeks in Ōtepoti Dunedin as part of the Gallery’s Visiting Artist Programme. With earlier works examining textile industries and industrialised work processes within Thailand, her residency saw her expand this interest with research into wool production in Aotearoa New Zealand. The works produced during this time saw Vatanajyankur turn her body into the machines, objects and processes used within the manufacture of textiles, including a spinning wheel and a shuttle on a loom. In Dye, the artist’s body is a skein of fibres that are dipped into a bowl of red dye. Set in front of an eye-catchingly colourful backdrop, Vatanajyankur is suspended by her ankles as she is repeatedly lowered in and out of the dye – an action that aims to build up the opacity of the dyed fibres but also speaks to the often-confronting physicality that operates within the artist’s practice.

Previous Exhibitions of 2019 




Dip Contemporary Art

Lugano, Switzerland 

Opening: 21st September 2019

Dates: 21st September 2019 - 1st January 2020


To inaugurate its new premises, Dip Contemporary art is delighted to present Thai artist Kawita Vatanajyankur for her first solo show in Switzerland. Protagonist of the contemporary Asian, Australian and American art scene, Kawita investigates the vulnerable female condition, provoking questions surrounding the place of cultural identity, feminism, women's work, consumerism and lived experiences, classified through a lens of hypercoloured realism and the intensity of physical versus material composition and abandonment. Looping Paradoxes features works from three different series, developed since 2015 and ongoing: Performing Textile, Work and Splash. 




Albright Knox Art Gallery 

Gallery for New Media 

5th June - 7th November 2019

Since 2012, Kawita Vatanajyankur has produced silent videos in which she deploys her body to perform manual tasks that are normally accomplished using tools or other objects. In The Basket, from the series “Tools,” she tosses herself over and over again into a basket, like dirty laundry; in The Scale, from the series “Work,” her inverted body acts as a scale for chunks of falling watermelon; in Dye, from the series “Performing Textiles,” her head serves as a hook to submerge white yarn in a tub of dye repeatedly. Despite their brightly colored backdrops, Vatanajyankur’s absurd performances have dark undertones: her arduous acts of endurance, repeated on endless loops, dramatize work typically performed by women outside public view and to little acclaim, in spaces ranging from homes to textile factories. By pushing beyond her own physical limits to ridiculous ends, Vatanajyankur creates indelible images of the paradoxes of twenty-first-century labor: it is possible to be powerless but powerful, unequal but equal, and repressed but irrepresible.

Kawita Vatanajyankur: Foul Play is the largest museum exhibition of the artist’s work in the United States to date and features eight videos by the artist, running concurrently on separate monitors. 

his exhibition is organized by Assistant Curator Tina Rivers Ryan 





Project Fulfill Art Space

Taipei, Taiwan 


Collaborating partner in conjunction with Sunshower: Contemporary Art from Southeast Asia 1980s to Now, presented by Kaohsiung Museum of Fine Arts and Mori Art Museum.



Opening on Saturday 20th July 2019 at 4pm | Opening performance of 'Knit' 5pm
展覽開幕 2019.7.20 (六)4pm | 開幕表演 5pm

Project Fulfill Art Space is pleased to present Thai artist Kawita Vatanajyankur’s first solo exhibition in Taiwan titled The Repetitiveness of Work. Vatanajyankur was previously selected to represent the Thailand Pavilion exhibition at the 57th Venice Biennale. The exhibition will showcase video-based performances from her powerful Work series and her latest Performing Textiles series. For the exhibition opening Vatanajyankur will perform her work Knit, previously performed at the 2018 Bangkok Art Biennale and the 2019 Culture Summit in Abu Dhabi. The opening will be held on 20 July 2019 at 4pm with the performance at 5pm.
Vatanajyankur’s art practice examines the physical manifestation of manual labor processes often undertaken by women in Thailand. These actions are presented through the double-lens of a hyper-colored formal composition and a study into the physical abilities and vulnerabilities of the body, combining as works that provoke questions of labor, consumption, feminism and the artist's lived experience.

就在藝術空間很榮幸於七月份推出第57屆威尼斯雙年展泰國館的參展藝術家之一,行為錄像藝術家卡葳塔・瓦卡娜嫣恩(Kawita Vatanajyankur)在台灣首次個展「勞動動態」,展出《Work》與《Performing Textiles》兩個錄像系列作品。開幕當天藝術家將在畫廊現場呈現《Knit》行為表演。此表演曾於2018年曼谷藝術雙年展和2019年阿布札比文化高峰會演出的。展覽開幕訂於7月20日(週六)下午4點,行為表演於下午5點。



Art Basel Switzerland




HIDDEN BAR is a gathering place and an oasis, a meeting point for different perspectives and intentionally positioning itself apart from the rest of the fair (thus the name: Hidden bar). It will be simultaneously a bar, a café, a ravioli restaurant and working space: offering room for escape, for exchange and for events. Program The Hidden Bar is located directly behind the large clock – in this year’s edition highlighted as the only remaining window of the façade – a spot situated on the backside which signifies a kind of timelessness while also establishing a connection between the people in the Bar with the history of the building, the city of Basel and of course, with Art Basel. The Hidden Bar will be run exclusively by people working in both the visual and the applied arts. Judith Kakon, Hannah Weinberger, Alice Wilke and Team Milan (www.squadravioli.com/entermilan) are the maker behinf this project. Similar to the last year’s editionof Hidden Bar (2018) the project will remain mainly as a place of diversity, conversation, spirit and love. A place open to everyone. The Bar itself is not a work of art but yet full of art. In 2019 the Hidden Bar will be literally but mainly immaterially filled with a huge variety of artworks foremost consisting of a selection of films, video works and basically any kind of moving image.


The Hidden Bar is also about the negotiations and collaborations with a great network of creative friends and seeking further collaborations with people one has not yet met and therefore would like to create an inspiring and fleeting atmosphere for these exchanges during Art Basel. The “fountain” (this year located on the 2nd floor) remarks the spaciousness, generosity and munificence of its context. Much like the large clock on the façade of the Messehalle 2, it reminds of and point to the fleeting and ephemeral qualities of the event – and also serves as a source of drinking water for the visitors. After the successful and beautifully customized edition of furniture for Hidden Bar by artist René Levi last year, again the furniture of Hidden Bar will consist of specially made artworks by Edith Oderbolz, an artist based in Basel (http://www.editoderbolz.ch).


Most of the sculptural objects including the complete furniture will be an artistic contribution by her. The design of the Bar will be reshaped by the pragmatic hanging curtains and rugs covering the floor (for a dimmed light situation and acoustic isolation) – and of course the modular works and furniture. By this setting the Hidden Bar should even more become a hideout for the visitors: a place they can work, have a meeting or quick brainstorm. Hidden Bar aims to create a space to experience art, food and & drink and manifold dialogues.





Mosman Art Gallery, Sydney, Australia

Opening: 15th June 2019

Public Talk:  19th June 2019


Performing Textiles is the title of a suite of recent video works by Thai-Australian artist Kawita Vatanajyankur, in which the artist powerfully critiques the many challenges faced by Thai women (and more broadly Asian migrant women) in relation to the backbreaking physical manual labour processes of contemporary manufacturing industries. Mosman Art Gallery is proud to exhibit two artworks from this series including The Spinning Wheel, 2018 and the world premiere of the artwork Knit, 2019. The artist’s durational performative processes and hyper-coloured compositions create images that are captivating and seductive yet disquieting. They are a celebration of women’s strength, endurance and resilience in the face of burden. Using her own body in a series of machine-like scenarios, the artist highlights the vulnerabilities of the human body and its spirit, provoking questions surrounding consumption, labour, feminism and social justice.





During / Alongside the 58th Venice Biennale, Venice, Italy

InParadiso 3030, San Polo, Venice, Italy


The exhibition - curated by Concilio Europeo dell'Arte - explores, through the artist's extreme performances, the female world and the role of women in art and society, capturing the physicall manifestation of manual labour processes undertaken by women in Asia.




Bangkok Arts and Culture Centre (BACC)

9 May - 30 June 2019

Main Gallery, 8th Floor


The video exhibition entitled “Pioneer in Video Art from Thailand, Slovenia, Norway Since 1980" compares and contrasts art styles prevalent in South East Asia, Europe and Scandinavia using material produced by artists from Thailand, Slovenia and Norway. The works represent examples of single screen video and video installations.
The history of humankind can be chronicled by the Art they have produced. Art is basic to human existence. All man's creations showcase the Art of the period. The internet revolution has created a World awash in video art with people all over the planet daily bombarded by multimedia on both their desktop and mobile devices. The progression of technology, especially advances in speed and transmission of enormous files, has made a deep impact to people's daily life. A foundation of education is an important requirement towards developing a country.
This is the mission of the Fine Art Department, Architecture Faculty at King Mongkut’s institute of Technology Ladkrabang (KMITL). We strive to increase knowledge base through expansion of our curriculum. Joint programs conducted with international Art faculties will allow us to achieve this goal. The exhibition will highlight different cultural perceptions through a common medium of video art focusing on themes such as life, love and politics. After a run in Thailand, the exhibition will move to both Slovenia and Norway.
Curated by Komson Nookiew, Miha T. Horvat and David Rych

The exhibition organized by Exhibition Department, Bangkok Art and Culture Centre and Komson Nookiew, Fine Art Department, Architecture Faculty at King Mongkut’s institute of Technology Ladkrabang (KMITL) with support from Ustanova Fundacija Sonda, all the artists and the video works from the Video Art Collection - UGM Maribor Art Gallery





Culture Summit Abu Dhabi 2019

Abu Dhabi, United Arab Emirates

6th - 11th April 2019

Knit' is Vatanajyankur’s first live performance work. The performance component of this work is a part of her ongoing series of illuminating videos entitled ‘Performing Textiles’ which invokes a powerful sense of physicality, uncovering a world of often-invisible domestic labour by painfully testing the limits of her own body. Her dynamic video art is a springboard to explore the value and understanding of the performative body, and the role of gesture within that very performance.


As 'Performing Textiles' highlights the current world of consumption, consumerism and materialism; a world where we place higher value on objects rather than the workers and laborers behind the finished product -- the message of her work is clear. Human beings become undervalued and viewed as merely tools and even machines - that produce packages of food, clothes and other materials for us to consume. The work will bring together the ‘producer’ (the artist) and the ‘consumers’ (the audience) to present a microcosmic representation of society at large and will ask prescient questions about our complicity through inaction.


Culture Summit Abu Dhabi is a forum that convenes leaders from the fields of the arts, heritage, media, museums, public policy and technology, to identify ways in which culture can build bridges and promote positive change. In its 2018 edition, the Culture Summit was attended by 350 delegates from 85 countries.

The Summit is organised by the Department of Culture and Tourism – Abu Dhabi in collaboration with five global partners that will curate and lead on their specific area of expertise. These partners are the Royal Academy of Arts, UNESCO, Guggenheim, The Economist Events and Google.

How can cultural agents be more engaged in addressing global challenges?

Can creativity and technology be harnessed for positive change?

Culture Summit Abu Dhabi 2019 will address the theme of Cultural Responsibility and New Technology to reflect the urgency of our times. It brings together cultural leaders, practitioners and experts from art, museums, media, cultural heritage and technology to advocate a central and effective role for culture in global society. It will showcase creative solutions by key participants in the cultural and creative industries, and generate new strategies and thinking on topics including cultural diversity, heritage protection, artistic freedom, public art and digital activation.

We seek answers, policy recommendations and ideas on cultural responsibility and society in the 21st Century.




RMIT Gallery, Melbourne, Australia

12 Apr 2019-01 Jun 2019 

When it comes to ways in which artists address ecological issues, actions can be big or small – it's the action that is important however subtle.

In the face of complex environmental problems Bruised: Art Action and Ecology in Asia examines how artistic response combined with gentle activism can result in a rich legacy and empower further actions in the community.

Bruised: Art Action and Ecology in Asia is part of the Climarte Festival, 12 April – 1 June 2019 

Artists: Arahmaiani, Alfredo and Isabel Aquilizan, Marnie Badham, Made Bayak, Yu Fang Chi, Ryoko Kose, Pradyumna Kumar, Pushpa Kumari, Armin Linke, Ly Hoang Ly, James Nguyen, Elia Nurvista, Sherman Ong, Sarker Protick, Fitri Ranatarya, Mandy Ridley, Khvay Samnang, Lizzy Simpson, Manit Sriwanichpoom, Kawita Vatanajyankur, Tintin Wulia, Bo Zheng (Zheng Bo).




Horsham Regional Gallery, Horsham, Australia

2 March - 19 May 2019

In Her Words is a photographic exhibition focusing on women behind and in front of the camera. Women who are in control of their own story; whether they are speaking their own truth or re-enacting the accounts of others. In this exhibition we hear from women who are bold in the telling of their flaws, uncertainties and strengths; aiming to get to the core of the female experience, rights and challenges.

Horsham Regional Art Gallery brings together historical works from the Gallery’s Collection with key figures in contemporary Australian photographic practice, the exhibition explores migration, queer culture, Aboriginality, youth and childhood, the body, domesticity, place, identity and female repressions and expression. Through these images the photographers make bold statements about the societies in which they live and work.

Curated by Olivia Poloni

View the In Her Words Exhibition Catalogue here

This project has been assisted by NETS Victoria’s Exhibitions Development Fund, supported by the Victorian Government through Creative Victoria.













Artists (Thailand)
Arnont Nongyao
Kawita Vatanajyankur
Pan Pan Narkprasert
Pathompon Tesprateep
Preechaya Siripanich
Taiki Sakpisit
Tul Suwannakit
Ukrit Sa-nguanhai
Viriya Chotpanyavisut
- See more at: http://en.bacc.or.th/event/P-ROX-IMITY--An-art-exhibition-of-distance-and-relativity.html#sthash.7Q4Kfvm0.dpu

Artists (Thailand)
Arnont Nongyao
Kawita Vatanajyankur
Pan Pan Narkprasert
Pathompon Tesprateep
Preechaya Siripanich
Taiki Sakpisit
Tul Suwannakit
Ukrit Sa-nguanhai
Viriya Chotpanyavisut
- See more at: http://en.bacc.or.th/event/P-ROX-IMITY--An-art-exhibition-of-distance-and-relativity.html#sthash.7Q4Kfvm0.dpuf