Program
in-tangible texts
About in-tangible texts
Launched in February 2026, in-tangible texts is a digital publication in Thai and English featuring commissioned texts by emerging writers from across Southeast Asia, critically engaging contemporary art of this region and their sites of production and display. With close mentorship from established writers, teachers, and editors, invited authors will be invited to produce texts—essays, poems, personal reflections, interviews and other modes of critical writing—that draw from authors’ lived experiences and embodied encounters with select artists, artworks, or collections. Written works will be published on in-tangible texts’ online platform.
Invited authors critically interrogate the experience and validity of art, giving focus to ideas that address three main areas of concern: art and its relationship to the human and non-human world; challenging assumptions in socio-political histories; and the innovation of traditional practices and aesthetics. Commissioned texts will be exploratory, accessible works that invite new audiences and supporters to engage with Southeast Asian contemporary art and its development.
in-tangible texts publications are developed through a sustained process of focused mentorship, in which emerging writers are given guidance throughout all stages of text development, from pitch proposal to editorial review. New texts are launched at a monthly cadence that prioritizes the full development of high quality work over strict publishing deadlines. Writers are encouraged to work in their preferred language, with final texts published in both Thai and English whenever possible.
Through this program, in-tangible texts aims to offer critical, creative, and historically-grounded discussions on Southeast Asian contemporary art, towards a more robust and rigorous landscape of exhibition and collecting practices in this region.
If you are an emerging writer in Southeast Asia and interested in contributing to in-tangible texts, please contact info@in-tangible.org. Please note, acceptance of pitch submissions is at the sole discretion of the editorial team of in-tangible texts.
Visit the in-tangible texts platform to read more.
Published Texts
18 February 2026
When the Dream Breathes Again: Rituals of Dreaming in Montika Kham-on’s Works
By Piyathida Inta
Piyathida contemplates dreaming as a collective ritual in moving image works by Montika Kham-on. She weaves poetic exploration with historical and political context to reflect on shared dreams of possible futures.
17 February 2026
Reimagine the Land: Rethinking Toward the Future of the land foundation
By Kamonpan Tivawong
Kamonpan unpacks the history of the land foundation, exploring the ethos shaped its beginnings and mapping possiblities for the land‘s future as a space to cultivate genuine social and ecological relations.
Contributing Writers
Fahmui Pimpakaporn Pornpeng (b. 1996) is a Thai curator, interested in focusing on how contemporary art engages with both human and non-human societies through a planetary and multisensory lens. Furthermore, she is fostering sustainable platforms for knowledge exchange within ecosystems through workshops and experimental programs.
She co-curated the exhibition The Supersensible (2023) at Taipei Digital Art Centre, the Ancestors (2024) at MAIIAM Contemporary Art Museum, and curated Apart a part exhibition (2025) at FAG Gallery, Khonkaen University and ALIEN Artspace. She earned an M.A. in Critical and Curatorial Studies of Contemporary Art from the National Taipei University of Education (NTUE) Taiwan, B.A. in Art History from Silpakorn University in Thailand. Fahmui is now an assistant curator at Dib Bangkok.
Pearamon Tulavardhana (b. 1994) is a writer and independent curator based in Bangkok with a research interest in mythology, spirituality, and indigenous folklore as well as the relationship between technology and culture, mainly image-making and community-building. She graduated with a Master of Arts in Museum Studies and Curatorial Practice from Nanyang Technological University, Singapore. Formerly a gallery manager at Gallery VER, Bangkok, from 2018-2024, she currently works independently as a curator, editor, writer, and critic. Her alias, memeseumofcontemporaryartbkk, is an internet meme account that criticizes the art world, especially in Thailand. Her writings are published in Thai and English including in media such as Artreview Asia, The Momentum, Way Magazine, and Thairath Newspaper.
Bongkochakron Kampuk is an art writer who utilizes writing as a means to make contemporary art more accessible. By viewing art through the lenses of history, mythology, and popular culture, she weaves profound concepts into the fabric of everyday life, inviting new interpretations unbound by conventional explanations.
Extending her practice to art archiving, she contributes to databases for the Thai contemporary art scene by collecting, documenting, and organizing information on exhibitions as well as the career paths of individual artists. Currently, as an art and culture content creator at GROUNDCONTROL, she has published over 300 pieces of content—including articles and video podcasts—that bridge the academic world with popular culture.
Kamonpan Tivawong (b. 1995, Sukhothai) is a photographer and independent curator. She is interested in the interconnectedness between human and non-human agency, examining how these relationships shape cultural identities and social histories. Through critical exploration with social contexts and environmental change, her work questions their impact on land, communities, and local belief systems. Kamonpan holds a Bachelor’s degree in Photographic Arts from the Faculty of Fine Arts, Chiang Mai University. Her curatorial projects include Just like heaven (if it doesn’t feel like hell), in-tangible institute, Chiang Mai (2024); curatorial contributor for LIVING ANOTHER FUTURE, MAIIAM Contemporary Art Museum, Chiang Mai (2024); and A History of…, co-curated at The Goodcery, Chiang Mai (2023). She lives and works in Chiang Mai, Thailand.
Piyathida Inta was born in 1998 in Chiang Mai, Thailand. Working across artistic practice, curatorial work, and writing, her practice spans conceptual art, artistic research, and creative writing. She investigates indigenous identity and womanhood, exploring the sense of home as place, memory, and the interweaving of personal and collective relationships. Her work begins with personal and familial stories examining how experiences pass between generations before expanding outward to engage with wider cultural questions. Grounded in critical thinking and contextual analysis, her curatorial approach focuses on creating dialogues between artworks, artists, and spaces.
She is currently curator and manager at the Museum of Broken Relationships, Chiang Mai, and co-curator for Phimailongweek (2024–2025), a self-organized art collective called àt-sà-jan! creating site-specific exhibitions in Phimai, Nakhon Ratchasima. In 2023, she presented her solo exhibition Transition of Thoughts Through Existing Relations. She received a scholarship as teaching and research assistant during her MA at Chiang Mai University (2021–2022).
Techin Rungwattanasophol (b. 2003, Bangkok) is currently pursuing a Bachelor’s degree in Multidisciplinary Art at the Faculty of Fine Arts, Chiang Mai University. His practice moves fluidly between writing, artistic practice, and curation, viewing these not as separate disciplines but as an integrated process of inquiry. Through these interconnected methods, he explores and critiques the contemporary world.
Mentors
Thanavi Chotpradit is an art historian, independent curator, and member of the editorial collective of Southeast of Now: Directions in Contemporary and Modern Art in Asia, a peer-reviewed journal focusing on Southeast Asian modern and contemporary art. She currently serves as a lecturer at the MA in Critical and Curatorial Studies of Contemporary Art (CCSCA), National Taipei University of Education (NTUE), Taipei, Taiwan. She co-organized writing workshops such as “Writing Modern and Contemporary Art in Southeast Asia: Transnational Approaches and Local Ecologies” (2021) and “Art Writing and Publishing in Southeast Asia: Sustainable Ecosystems and Infrastructures” (2024) with British Academy funding. In 2024, she was a Connecting Art Histories (CAH) Scholar at the Getty Research Institute, Los Angeles, and Scholar in Residence in the Sydney Asian Art Series, co-presented by the Power Institute and the Art Gallery of New South Wales.
Katherine C. M. Adams is a curator and writer based in New York. She is currently Associate Curator, Time-Based Visual Art, at EMPAC, where she works on commissions across visual arts and performance, curates public programs and develops discursive projects. Her recent and forthcoming curatorial projects at EMPAC have featured artists including Suneil Sazngiri, Ligia Lewis, Thuy-Han Nguyen-Chi, Korakrit Arunanondchai, Marina Rosenfeld, Claudia Pagès, and many others. Adams’s articles and art criticism have been published in e-flux Journal, Afterimage, e-flux Notes, e-flux Criticism, Journal of Curatorial Studies, UCLA’s FLAT Journal, and BOMB Magazine, among others. She was the First Prize recipient of the 2022 International Awards for Art Criticism. Other recent curated exhibitions and programs include projects at the New Museum’s NEW INC, Berrie Center for Performing and Visual Arts, the Hessel Museum of Art, KW Institute for Contemporary Art, and Miriam Gallery.
Cassie Packard is a New York-based art writer and an editor at frieze. Her writing is featured in publications including Aperture, Art in America, Artforum, ArtReview, BOMB, The Brooklyn Rail, Cultured, e-flux, Financial Times, frieze, and Los Angeles Review of Books. She is a recipient of the 2024 Rabkin Prize for art writing and the author of Art Rules (Frances Lincoln, 2023 (UK); Eyrolles, 2024 (FR); China Textile Publishing House Co., 2024 (CN)).
Phanu Boonpipattanapong is a writer, columnist and father of two daughters, who is interested in the intersection of art, design, film, popular culture, and ordinary life. He lives in Bangkok and has written for Magazines Matichon Weekly, GQ Thailand, and websites The MATTER and iameverything.co.
Editorial Team
Zoe Butt is a curator, writer and educator focusing on critically thinking and historically conscious artistic communities, fostering dialogue among cultures of the globalizing souths. In 2025, she was appointed Artistic Director of ‘deCentral’, a forthcoming social enterprise for the arts, opening in Thailand in 2027. Zoe is also the founder of ‘in-tangible institute’.
Zoe holds a PhD by Published Works, Center for Research and Education in Art and Media, University of Westminster, London and is currently also Lead Advisor, Kadist Art Foundation. Previously she was Artistic Director, Factory Contemporary Arts Centre, Ho Chi Minh City (2017-2021), Executive Director, Sàn Art, Ho Chi Minh City (2009–2016); Director, International Programs, Long March Project, Beijing (2007–2009); Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane (2001–2007).
Possessing an extensive exhibition, publishing and public-speaking history globally, she has been published by Hatje Cantz; JRP-Ringier; Routledge; Sternberg Press, among others.
Blake Palmer is a writer and cultural critic based in Chiang Mai, Thailand, working primarily on Southeast Asian contemporary art. He is interested in the intersection of culture, power, and art as a vector of sociopolitical critique. His academic work as an independent researcher and graduate student at Chiang Mai University focuses on ecology and indigenous foodways in the Southeast Asian context.
His recent work includes contemporary art analysis for Art Monthly Australasia, Southeast of Now: Directions in Contemporary and Modern Art in Asia, Aura Asia Art Project, and Art & Market, as well as multispecies ethnographic work for e-flux Journal and Ecological Indicators.
Blake is the Program Director of in-tangible institute.
Lee Weng-Choy is an art critic based in Kuala Lumpur. For over twenty years, Lee lived and worked in Singapore, during which time he was Artistic Co-Director of The Substation arts centre for nearly ten years. He has taught at institutions such as the Chinese University of Hong Kong and the School of the Art Institute of Chicago, and in recent years, has focused on facilitating writing workshops in cities including Brisbane, Hong Kong, Kuala Lumpur, London, Manila, and Saigon. His essays have appeared in journals such as Afterall and American Historical Review, and in anthologies such as Modern and Contemporary Southeast Asian Art, Theory in Contemporary Art since 1985 and the Routledge Handbook of Contemporary Art in Global Asia.
Sponsors
Initiated and organized by in-tangible institute.
Special thanks to our anonymous donors for their support of this platform.
Should you be interested in supporting this initiative, we would love to hear from you! Please contact: info@in-tangible.org.
in-tangible texts is a digital publication in Thai and English featuring commissioned texts by emerging writers from across Southeast Asia, critically engaging contemporary art of this region and their sites of production and display.
Read texts at: medium.com/@in-tangible_texts
Contributing Writers
Fahmui Pimpakaporn Pornpeng, Pearamon Tulavardhana, Techin Rungwattanasophol, Piyathida Inta, Bongkochakron Kampuk, Kamonpan Tivawong
Mentors
Thanavi Chotpradit, Phanu Boonpipattanapong, Cassie Packard, Katherine C. M. Adams, Lee Weng-Choy, Blake Palmer
Editorial Team
Zoe Butt, Lee Weng-Choy, Blake Palmer