Bangkok-based curator Mary Pansanga is visiting Aotearoa to present Space-Body Entanglement, a programme of Thai artists' video that explores the interplay between the body and the spatial environment. CIRCUIT director Mark Williams caught up with Mary ahead of her trip.

Mark Williams: Kia ora Mary! Looking forward to welcoming you to Aotearoa and to seeing Space-Body Entanglement. Could you tell us a little about the theme and why you chose these works to show us? 

Mary Pansanga: Hi from Bangkok! First of all, I would like to thank you and everyone involved who made this trip and event happen. I’m really excited as it will be my first time in New Zealand. Space-Body Entanglement is a programme featuring six Thai artists who mainly work with moving images. The works are all connected through the idea of the relationship between the body and space. I’m interested in how each of the artists depicts the body in different forms, inviting us to explore various issues and narratives. Each of them also presents their various artistic practices. I also want to share with the audience how they perceive and work with this medium. But of course, this program cannot represent all Thai artists; there are many more artists left for you to explore.

MW: What kind of art and film history have these artists grown up with? Is it the standard Western canon, something much more local, or both?

MP: Yes, they all have diverse backgrounds. Some of them grew up in Western countries, while others pursued their higher education there, and some are based locally in Thailand. I believe their different experiences as Thais and the perspectives they've gained from various places create a unique approach.

MW: You’re visiting with Tanatchai Bandasak, an artist who will be staging an intervention in each of the galleries we’re presenting the work. What can you tell us about Tanatchai’s practice? 

MP: Tanatchai started his artistic practice with moving image work and has since expanded to working with other mediums, particularly objects. When gathering objects, Tanatchai often uses unconventional artistic methods to create structures and narratives that hint at tensions and transformative possibilities. His work continues to reflect on how he engages with both objects and moving images. He often explores transitional states, the blurred boundaries of events, and the shifting boundaries between things.

MW: Thailand has a very complex political situation. How does this affect what art gets made? How do the artists in the programme address themes which sometimes can’t be spoken? 

MP: Thailand has a complex political situation, which is similar to many other parts of the world. As someone who observes how things are done, I believe that politics is an integral part of our lives and that everything is connected and has an impact on each other. The way people perceive and respond to political issues varies, and some artists choose to directly address these issues in their work, while there are other subjects waiting to be explored and shared for further discussion. I see art as a road that will lead you somewhere, but along the way, there are exits to different directions, providing opportunities to see and think about it.

MW: There doesn't seem to be much state funding for the arts in Thailand. How do artists make work? 

MP: Yes, and state funding often comes with difficult-to-meet terms and conditions, especially for projects related to contemporary art. I think sometimes the budget is not set as the first step before they start working, which creates a different approach. Sometimes, artists are able to collaborate with galleries or art festivals that can provide support, funding, or commission their work. Seeking support from international sources is another option. However, the process of securing funding remains an ongoing and challenging issue in the art community.

MW: You’re the co-director of a gallery in Bangkok called STORAGE. How long has it been running? Why did you start it and what does it show?

MP: It's now our second year. The space was founded by Atit and Prae, an artist couple. Atit's family owned the building, which used to be a former printing house. Their initial plan was to create a storage space for their artworks on an empty floor of the building, which had previously been an un-renovated, open platform for art events and exhibitions. After collaborating with an architect (SPIN design), they decided to expand the storage room and establish a proper art space. They then invited Sathit and me to run and oversee the space's programmes. STORAGE is an art space where we focus on presenting a broader spectrum of artistic practices and curatorial approaches. We work and collaborate with both local and international artists. In addition to supporting the artists here, we aim to also support the audience by presenting international artists and scenes that are not often seen here. I believe that the audience is an important part that needs to grow together with the art practitioner.

MW: When I was in Bangkok in 2023, we showed Legacies at STORAGE. Afterwards, the audience spoke about the works for about 90 minutes. When we showed other screenings in the city it was the same. Are all Thai audiences this passionate about art? Or just art from New Zealand?!?

MP: Maybe because it’s from New Zealand! But, of course, I would love to see this excitement happen every time with everyone.

Space-Body Entanglement is presented by CIRCUIT, The Physics Room, Enjoy Contemporary Art Space, The Pyramid Club and soft shell in association with the exhibition Homing Instinct. The visit of Mary Pansanga and Tanatchai Bandasak is supported by the Asia New Zealand Foundation Te Whītau Tūhono.

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