PROGRAMS
in-tangible texts ed. 2
About in-tangible texts
in-tangible texts is an ongoing 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 about in-tangible texts’ focus, mission, and mentorship here.
Read texts at: medium.com/@in-tangible_texts
Edition 2 Texts
From Bhumibol Dam to Yuam Water Diversion: Exploring the Price of Development “That Cannot Yet Be Counted” Through the Voice of the Sor and the Work of Som Supaparinya
By Chonnicha Thapumin
Drawing on Thai folk song “Sor Nam Thuam Wang Lung” and Som Supaparinya’s exhibition, รู ป ระ ลึก (MO NUM EN TS), at the Jim Thompson Art Center in Bangkok, Chonnicha’s text examines disparities between official state narratives about the supposed benefits of development and the lived realities of communities impacted by these projects.
Edition 2 Writers
Chonnicha Thapumin (b. 1999, Nan) is an art project coordinator, filmmaker, and independent writer based in Chiang Mai, Thailand. She holds a bachelor’s degree in Journalism and New Media from the Faculty of Communication Arts, Chulalongkorn University. Chonnicha’s work engages with social, environmental, and cultural issues, particularly in Thailand’s northern region, her home, through both writing and documentary filmmaking. Her practice concerns spaces marked by social and geopolitical ambiguity like rivers, or land overlapping with reserved forest zones that are the areas in constant flux, both geographically and politically. She is interested in the community capital: the resources, knowledge, and relationships that sustain these contested spaces.
Kridpuj Dhansandors (b. 1994) is a family medicine physician at a public hospital in lower northeastern Thailand. He likes exploring latent pre-modern narratives and the relationships between them through objects such as artwork or spirit mediums. He often works interdisciplinarily as a curator of film and moving images, as well as as an art critic since 2015.
He was also selected as an artist for the exhibition “Shadow Dancing: Where Can We Find a Silver Lining in Challenging Times?” His work has been exhibited at the Jim Thompson Art Centre in Bangkok and the Hongka Museum, Taipei (2020). He was also selected as a co-artist with Nontawat Numbenchapol in the group exhibition “Uncountable Time” at the Jim Thompson Art Centre in Bangkok, curated by Arin Rungjang (2023). In 2025, he served as a judge for deCentral’s ‘Artwork Production Grants’ project.
Lalita Singkhamphuk (b. 1996) is an artist based in Chiang Mai, Thailand. Her early practice focused on observing states of abnormality within individuals, society, and place. Over time, her research has shifted toward the local histories of her hometown, exploring transformations of the landscape, folklore, myths, and oral narratives. Her work often draws from objects and materials embedded in her immediate surroundings, which she develops across a range of media, including installation and moving image.
In 2019, Lalita was selected for the BRANDNEW 2019 Art Project, where she presented her solo exhibition Misshapenat WTF Gallery, Bangkok. Her graduate thesis project, The Persistence of Disappearance in the State of Return, was selected for the Outstanding Thesis Exhibition 2021 at the Queen Sirikit Museum of Contemporary Art, Bangkok.
In 2023, she participated in MAIIAM Contemporary Art Museum’s Sala Project with The State of Returning, presented as part of Point of No Concern: Return to the Rhizomatic State during Thailand Biennale, Chiang Rai 2023. In 2024, she was selected for the Early Years Project 8, a professional development programme for emerging artists. In 2025, she received a Production Grant from deCentral to support the creation of new work.
Edition 2 Mentors
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)).
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.
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.
Jirat Prasertsup is a writer, translator, and editor whose works include short stories, novels, and nonfiction. His fiction writing often engages with political satire, critiques of propaganda, and the control of social memory. Most of his works have been published in Thai by Salmon Books. In addition to his literary work, Prasertsup contributes as an interviewer and columnist for online platforms such as The Cloud, The Momentum, and GroundControl. He also works to connect literature with contemporary art and has held two solo exhibitions: Our Daddy Always Looks Down on Us (2020) at Cartel Artspace and From Dawn Till Dust (2022) at VS Gallery-both developed from his own short stories.
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 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.