Bangkok Art and Cultural Centre (BACC)

A contemporary art centre is having an impact when the Chinese government tries to shut down one of its exhibitions. This happened to the BACC after it opened an exhibition critical of authoritarianism in 2025.

The Bangkok Art and Culture Centre (BACC) is a contemporary arts center in Bangkok, Thailand.

In July 2025, following the opening of the “Constellation of Complicity: Visualising the Global Machinery of Authoritarian Solidarity” exhibition on authoritarian governments, the BACC was told by the Bangkok Metropolitan Administration (BMA) that in order for the exhibit to remain open, it had to remove or censor material considered offensive to China. These materials included references to China’s treatment of ethnic minorities, including the Uyghur Muslims.

On 24 July 2025, the exhibition opened. Three days later, officials from the Embassy of China in Bangkok and representatives of the BMA “entered the exhibition and demanded its shutdown”, according to Sai, the exhibition’s co-curator. Sai subsequently fled Thailand. Several works were described as “problematic”.

In a 30 July 2025 email, the BACC noted: “Due to pressure from the Chinese Embassy – transmitted through the Ministry of Foreign Affairs and particularly the Bangkok Metropolitan Administration, our main supporter – we have been warned that the exhibition may risk creating diplomatic tensions between Thailand and China.” The BACC subsequently obscured the names of Uyghur, Tibetan, and Hong Kong artists. Link to the full Wikipedia article below.

https://en.wikipedia.org/wiki/Bangkok_Art_and_Culture_Centre_censorship_incident

I visited the BACC today, and while there is a limited number of works on display, the quality of those works is mostly impressive. 

Bangkok Kunsthalle

Made it to the Bangkok Kunsthalle yesterday. A contemporary art centre with a German name. Three exhibitions on offer, but the one I liked most was ‘Spirits Melt to Flesh’, which is described as “Site-responsive moving image, sound, sculptural and photographic installations by eight Asian artists transform the raw spaces of the Bangkok Kunsthalle through variations of light and darkness, and reverberations of sound and voices in dialogue.”

I took some pictures but can’t process them until I get back to Sydney. Good start to my few weeks of Bangkok contemporary art, but if I were to comment, it would be that nothing there would be out of place in a high school art show. Someone whose name I can’t remember said the artist’s studio is like a social laboratory in which, armed with knowledge of the visual language, the artist creates a hypothesis and, presenting it to the public, asks, “What if?” Today, questioning groupthink is high-risk; the countercultural revolution ended decades ago. 

 

Tomorrow I’ll be at the Bangkok Art and Cultural Centre. I went there today, but found it is closed on Mondays. What I did find was a nearby street art site where, the last time I was in Bangkok, I took quite a few pictures. At the time, it was a vacant block surrounded by the crumbling walls of old buildings, whereas today it is hidden behind a high sheet-metal fence. Through a gap in the gate, I saw that the block had been cleared and levelled; on the walls of neighbouring old buildings, some faded, peeling remnants of street art remained. For sure a, skyscraper is about to go up, whereas being close to the Art and Cultural Centre, it could have been a major open-air art site. It’s a mistake made by cities all over the world when places where communities lived are replaced with out-of-human-scale boxes. Walls that will never have a story to tell. 

 

 

 

 

 

Sticky Bangkok day.

Overcast and sticky day in Bangkok; at midday, with a bottle of cold water and the point-and-shoot camera, I left the hotel to walk to the first contemporary art site on my list. I intended to take pictures along the way, but struggled to muster the needed motivation. I have days like that when I lose interest in breathing, when I observe people and my surroundings, as would a thing that doesn’t belong. Nothing feels real, and everything feels irrelevant—no use trying. Smile, exchange pleasantries with a stranger; a neurologist would call it derealisation. 

A tuk-tuk driver asks me where I’m going, and then where I came from, which is often just a way to gauge how big your bank account could be. A man who said he is a train driver tells me there’s a train I can take for free to where I’m headed. We chatted for half an hour. He told me there’s a beautiful island with few tourists, and a better use of time than the polluted streets of Bangkok. Maybe I could find a young woman in a bikini and take some cliched pictures of the beach at sunset. In photography, that’s called an ABS, an acronym for “Another Bloody Sunset.”

 

The platform where this free train stops was nearby; I found the waiting area and sat surrounded by locals doing their best to ignore me. I understand; no one likes a tourist, and that regardless of where you are. Tourists are a necessary evil, at best just walking cash machines. Close to an hour passes; a train arrives, but it’s heading in the wrong direction. Whether going into or out of the city, this particular locals-only train stops at that same platform. Alone and wondering when the next train going in the right direction might arrive, a young boy approaches and asks where I’m going. He spoke reasonable English, so I told him and asked when I could expect the next train. One hour, he replied, and then he disappeared. I stood there for a few minutes, and the boy reappeared. He asked how long I’d been in Thailand and how long I would stay. I answered, and he ran off again.

 

I went out on the street, took a few pictures, and then went back to the train stop where there are a few street food stalls. One sold Pad Thai for fifty Baht, lunch whilst waiting for the train. I stood at the counter, invisible to the woman on the other side. I got the message, walked over to a nearby convenience store, bought a high-protein banana drink and two cheese-and-ham toasted sandwiches, and sat outside on a concrete block. It began to rain. Decision taken, I lit a cigarette and headed back to the hotel where two young Canadian men I’d seen a few times were having a smoke outside. We joked about the sign saying police would be called if you were caught smoking dope, then we discussed hunting bison in British Columbia. 

 

The two young Canadians headed off on a mission to find cheap clothes. I went upstairs, where in the corridor a young Thai boy was cleaning the room opposite mine. My bins were full, so I grabbed them and asked the boy in sign language whether I could dump their contents into the rubbish bag attached to his trolley. He nodded, then said, “Thank you.” He was here yesterday, Friday, a school day, and doesn’t look old enough to work under Australian law. I’d read somewhere that every dollar invested in education is estimated to return seven in taxes. I asked myself what future awaits this boy, and his nation if it does not invest in his education? The kid works full-time and probably hands his entire paycheck to his mother. Sputnik caused panic in the United States: the Soviets were winning the technology race solely because they knew what ‘human resource’ actually means, and invested heavily in the education of their children. 

Will try to get to the contemporary art site tomorrow. 

 

No monastery. LOL

Reflections in Chiang Mai

I spoke a lot about spending time in a forest monastery in northern Thailand, a sort of follow on from the return to London where just over half-a-century ago I was one of the Piccadilly Circus street boys. I came away from that trip with someone. A teenager who for all those years had wandered the back streets of what we called “the Dilly.”

The search for him began about ten years ago. I learned a lot; the neurology of trauma, discovered Zen, and even wrote his story as a short novel. I thought time in a forest monastery would complete his journey home.

In the weeks ahead of leaving for Thailand, I felt a strange resistance. As though the street boy knew the monastery would be a gas chamber. I left anyway, asking myself why I didn’t just cancel, and waiting in Bangkok airport for the connecting flight to Chiang Mai, six Buddhist monks waiting for the same flight, gave me the horrors, and the street boy was right.

I sat watching them. One, a tall, skinny westerner. I guessed was still holding the hand of the lady boy he saw at a night market last week. He whispered something to the monk sitting beside him, who nodded his approval. Same haircut, same mind. Alone, and aside from the others, an elderly monk in a wheelchair sat with hands joined in his lap, eyes to the ground, and a slight smile of enlightened content. Men avoiding their humanity, rejecting the existence the Universe gave them, they hide from defilement, too weak to look evil in the eye and say, “I love you as my own child.” 

Human in body and mind the street boy is the coincidence of beauty and the inversion of beauty. Like Jean Genet’s “Our Lady of Flowers,” he is an angelic boy who seduces and who murders. I couldn’t embrace him, only to murder him in a Thai forest.

I was supposed to head for the monastery yesterday, but instead had booked a flight back to Bangkok. The street boy is a creature whose natural environment is a city block where scripture is sprayed on the walls of alleyways, where dangerous ideas linger like toxic smoke, where in doorways men ejaculate hatred into love’s body. In this cesspit, God chose to place the source of the artist’s inspiration. 

Yesterday I landed in Bangkok. Can I show the street boy that in art he can scream what he carried in silence for so many years? I have a list of contemporary art and street art sites to visit, and then street photography. Just maybe, us together, a few beers in a bar at the end of an alleyway.