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อังคาร 11:00 - 19:00 พุธ 11:00 - 19:00 พฤหัสบดี 11:00 - 19:00 ศุกร์ 11:00 - 19:00 เสาร์ 11:00 - 19:00

Nova Contemporary

Since 2016, Nova has fostered a range of emerging and established artists.

Our programme is rooted in Thailand’s unique heritage, building upon its cultural and spiritual foundations.

31/07/2026

Kawita Vatanajyankur’s solo exhibition, “Tracing”, has now come to an end. Thank you all who came to the gallery to see the show!

The gallery will be closed for installation until 15 August, 2026.

Kawita Vatanajyankur
Carrier (Fish), 2017
Single-channel video
5:23 minutes
Edition of 4 plus 2 artist’s

31/07/2026

Final days to see works by Prae Pupityastaporn in “(In)visible Presence”, the grand opening show of Dib Bangkok. Feauturing over 81 works by 40 contemporary artists, the exhibition marks the launch of the museum as a new space for connection, reflection, and imagination through art.

“(In)visible Presence” will been on view until 3 August, 2026.

Prae Pupitytasraporn
Untitled, 2013
Acrylic on canvas

Prae Pupityastaporn
Dib Bangkok

30/07/2026

Nova Contemporary will be closed from 31 July - 14 August 2026 for installation. Our sincere thanks to everyone who visited and expressed their interest in Tracing, the exhibition by Kawita Vatanajyankur. See you next exhibition on 15 August 2026!

If you have any inquiries, kindly reach us via email at [email protected]. Thank you.

โนวา คอนเทมโพรารีจะปิดทำการตั้งแต่วันที่ 31 กรกฎาคม - 14 สิงหาคม 2569 เพื่อทำการติดตั้งนิทรรศการถัดไป ขอขอบคุณผู้ชมทุกท่านที่มาเยี่ยมชมและให้ความสนใจนิทรรศการ Tracing โดย Kawita Vatanajyankur แล้วพบกันในวันที่ 15 สิงหาคม 2569 ค่ะ

หากท่านต้องการติดต่อแกลเลอรี กรุณาส่งอีเมลมาที่ [email protected] ขอบคุณค่ะ

24/07/2026

Pam Virada is included in “New Currents”, part of ArtAsiaPacific’s July/August issue 149.

“Born in 1993 in Bangkok, Virada is a Thai Chinese multidisciplinary artist whose work circles the elusiveness of memory, both personal and diasporic. Her family relocated from southern China to Thailand in the mid-20th century; by her generation, the cultural inheritance had thinned to something more felt than known. Rather than narrate her origins directly, Virada works through intimate attunements—oblique gestures, ambient cues, objects steeped in ambiguous meaning. In Descendant (autumn notes) (2025), she strings together necklaces she had worn since childhood, suspending the chain from the ceiling down toward a pallet of tea glasses on the floor. Tea recurs across her practice: she frequently stages tea drinking gatherings as performance, or invites audiences to leave emptied cups within her installations, channeling warmth, ease, and fleeting forms of human connection.” – Yuqian Fan

Installation view of Descendant (autumn notes), 2025, necklaces, trinkets, tea, glasses, metal stand, dimensions variable. Courtesy the artist.

🎼
ArtAsiaPacific

16/07/2026

“Tracing”, Kawita Vatanajyankur’s solo exhibition at Nova Contemporary, has been extended until 30 July 2026.

Included in the exhibition is “The Scale” (2015), in which Vatanajyankur transforms her body into a human weighing scale, balancing a crate as heavy watermelons crash down upon her. Through an act of physical endurance, the work confronts the often invisible burden of women’s everyday labour, exposing the systems of value, consumption, and gender that shape it. Characteristic of the artist’s practice, “The Scale” turns the body into a site where labour, resilience, and social critique converge.
Kawita Vatanajyankur
 The Scale, 2015 Single-channel video 2:12 minutes Edition of 3 + 3 AP

07/07/2026

Kawita Vatanajyankur’s solo exhibition “Tracing” is on view this week until July 25.

The final room returns to Vatanajyankur’s earlier works, where she transforms herself into various objects and tools. Their vivid absurdity draws in the viewer, but repetition and strain quickly turn into discomfort, exposing the hidden physical costs of feminised labour. This tension is central to works such as The Scale (2015), The Egg Rack (2016), and Carrier II (2017), where the body is subjected to acts of calibration, support, and endurance. The Spinning Wheel (2018) extends this vocabulary into the histories of textile work, femininity, and mechanised repetition.

Praew Kawita Vatanajyankur

03/07/2026

Kawita Vatanajyankur’s solo exhibition “Tracing” is on view at the gallery until July 25.

The second room turns from memory to control, marking a formative moment in Vatanajyankur’s engagement with machine-guided systems. In “The Machine Ghost in the Human Shell” (2024), developed with Pat Pataranutaporn of MIT Media Lab, AI-powered electric muscle stimulation governs her movements as she struggles to retain agency. The work leaves human and machine locked together: the body is neither freed nor wholly overcome.

Kawita Vatanajyankur
The Machine Ghost in the Human Shell , 2024
Single-channel video with sound and holographic installation, 20:35 minutes (made in collaboration with Pat Pataranutaporn)
Edition of 4 plus 3 artist’s proofs

24/06/2026

Kawita Vatanajyankur’s solo exhibition “Tracing” continues at the gallery this week.

Inside, the first room gathers her most intimate works to date, using artificial intelligence to approach grief, family memory, and ritual. Both My Mother and (A)I (2025) and Echoes (2025) draw on a system trained through her late father’s writings. In the former, it guides her hand to paint in ash as her mother cradles her. The Buddhist death sutra is faintly chanted in the background, merging her mother’s recitation with a generated rendering of her father’s voice. In Echoes, the AI translates her father’s writings into Morse code, producing the rhythm that drives her body against a golden funerary bell. Between these two videos, a lightbox still from Flight (2025) reflects on the pull between holding onto memory and releasing it. Together, these works ask what it means to remember through a body increasingly entangled with machines.

Praew Kawita Vatanajyankur

19/06/2026

Supawich Weesapen is included in “Weaving Matter and Memory” at Bangkok Kunsthalle, a group exhibition curated by Somsuda Piamsumrit in patnership with Bottega Veneta. The exhibition features works by four Thai artists: Jakkai Siributr, Imhathai Suwattanasilp, Supawich Weesapen, and Teerapon Sisung.

Developed in close collaboration between Creative Director Louise Trotter and Bangkok Kunsthalle, the show draws inspiration from the house’s signature Intreccio leather weave, which has shaped its iconic bag silhouettes since its founding in Vicenza, Veneto, in 1966.

Weaving, as both technique and mode of thought, brings distinct elements into a cohesive whole, forming something more resilient and expressive. Across diverse materials, methods, and processes, the artists work with weaving, deconstruction, reassembly, and unfolding as artistic languages to explore the relationship between matter and memory.

The exhibition is on view until 5 July, 2026.

Installation images courtesy of the artist, Bangkok Kunsthalle and Bottega Venetta.

Supawich Weesapen
Bangkok Kunsthalle
Bottega Veneta

17/06/2026

Vacharanont Sinvaravatn is included in “Local Myths #2: Shifting Terrains” at Bangkok Art and Culture Centre, on view until 13 September 2026.

Amid a world still unsettled by the reverberations of economic, political, and environmental crises, a condition of constant shifting has become a new norm of existence. Spaces once perceived as peripheral now reveal their significance as sites where power, negotiation and adaptation converge.

This exhibition brings together nine bodies of work, each functioning as a tool for reading shifting contemporary landscapes through narratives embedded in land, water, the human body and collective memory.

Vacharanont Sinvaravatn
It’s not easy being green, 2026
Oil on canvs
200 x 300 cm