Bringing together more than 80 works created over two decades, the exhibition includes paintings, sculptures, electric guitars, and custom motorcycles. It traces the development of the artist’s practice, from Doodle drawing to works that bring his lines and ideas into a wide range of forms. 

Kreetha Phromwo says, “Art is not only something to be seen, but a story of life recorded through every line.”

“Chang of Art: 20 Years of Artistic Journey” brings together works from across the artist’s career, allowing viewers to see how his experiences, memories, and personal interests have gradually developed into a distinctive visual language over more than twenty years.

Opening : August 8, 2026 | 15:00 – 19:00
August 8 – 30, 2026
Temporary Exhibition 1 and 2, G Floor, MOCA BANGKOK

For centuries, waterfalls have appeared in paintings as more than part of a landscape. Religious and cultural traditions have associated them with virtue, spiritual power, and the natural order. In certain Japanese religious traditions, waterfalls are considered sacred, with water descending continuously as though moving between heaven and earth. A waterfall is also never still. Its form changes from one moment to the next as water falls, strikes rocks, breaks apart, gathers, and continues along a new path.

The works are created through Atjima’s distinctive process of pouring liquid oil paint directly onto a surface without using a brush. She guides the paint by tilting and moving the surface, working with gravity, the rhythm of each pour, and the physical conditions of the materials. The paint flows, gathers, separates, and changes direction as the work develops. This process brings control and uncertainty into the same act of creation, reflecting how life is shaped by both personal decisions and circumstances beyond individual control.

Opening : 4 July, 2026 ( 14:30 onwards)
5 – 30 July, 2026
Temporary Exhibition 1 and 2, G Floor, MOCA BANGKOK

The central iconostasis wall embodies this philosophy. Visitors will pass through this monumental gateway to encounter the exhibition beyond, a journey that mirrors the artist’s own path from imitation to innovation. The 56 student works displayed above symbolize both aspiration and continuity: young talents following in the footsteps of sacred tradition. 

The Artists
International Masters:
• Mu Pan (USA/China)
• Alessandro Sicioldr (Italy)
• Stéphane Blanquet (France)
• Guy Slabbinck (Belgium)
Thai Masters:
• Kittisak Thapkoa 
• Phadungsak Kheawpong 
• Arnont Lertpullpol 
• Suwat Boontam 
Plus 56 emerging artists selected through national competition. 

Exhibition Details
Title: ICONOSTASIS: No Masters, No Icons

Venue: Museum of Contemporary Art (MOCA BANGKOK)

Address: 499 Kamphaeng Phet 6, Ladyao, Chatuchak, Bangkok 10900
Exhibition Period: 8 March – 31 May 2026
Opening Reception: 7 March 2026 at 02:30 pm
Public Hours: 10.00 am – 06.00 pm
(Closed on Mondays)
Admission: Free 

Later, Golden Teardrop (2025) was recreated within the context of MOCA BANGKOK to explore the relationship between art and institutions. The work finds new meaning through the perspective of a private museum founded upon Boonchai Bencharongkul’s faith and devotion to art, inspired by the vision of Professor Silpa Bhirasri, who laid the foundation for modern Thai art. Its return is not merely a repetition but an opening of new dialogue, reflecting how contemporary Thai art continues to grow, move, and define itself within the structures of art institutions today.

The exhibition unfolds across four main sections, weaving together the story of Golden Teardrop into a single experience that connects past, present, and future.

Atrium
Presents Golden Teardrop (2025), newly created for MOCA BANGKOK as a site-specific installation of 2,774 brass drops suspended in air. The rhythmic composition evokes a sense of order, craftsmanship, and contemplation, inviting viewers to reflect on the role of the museum as a space of perception and interpretation.

Temporary Exhibition  1
Features The Making of Golden Teardrop, revealing the creative process during the Venice Biennale through behind-the-scenes documentation and voices of those involved in the making of the work.

Temporary Exhibition  2
Displays the original Golden Teardrop (2013), supported by the Office of Contemporary Art and Culture, presenting the conceptual roots and narrative structure that remain central to the work today.

Temporary Exhibition 3
Presents a video interview in which the artist shares his ideas and inspiration, reflecting on how art connects with life, belief, and memory.

Golden Teardrop is an exhibition that opens a space for art and audience to meet once more, where the past and the present converge in quiet resonance.

This collection of new paintings celebrates humanity’s desire to find meaning in a cacophony of shapes and symbols. Vernizzi believes that creative expression is inherently individualistic and resonates differently with everyone based on their own “frequency and chemistry.” Artistic appreciation thrives in subjectivity—the ephemeral nature of an individual’s relationship to a work of art is where patterns and affinities originate.

1NTRAVERS8 is a linguistic fusion of the words “introvert” and “universe,” and a wordplay on “1 Universe to the Power of Infinity.”

On view from October 17 to December 16, 2025 at Temporary Exhibition 4 (5th Floor) – MOCA BANGKOK

“The 3rd Art for Refugees” exhibition with the theme of “Hope”.

You are cordially invited to the opening of the exhibition on 1 October 2025, 13.30 at MOCA BANGKOK.

Part of the proceeds go to Aiming Higher campaign to fund talented refugee scholars through UNHCR’s Refugee Scholarships Programme.

For the first time in Thailand, artworks created by 50 artists with Down syndrome are gathered together, expressed through pure hearts, unique perspectives, emotions, and individuality.

Each piece serves as an inner dialogue, a reflection of self that seeks no interpretation ,only asking you to open your heart and let the art speak for itself.

This is not just an exhibition, but a heartfelt expression from 50 artists with Down syndrome, who spent meaningful time together at 21/3 Art Studio before presenting their works in “JUST LET ME BE.”

Boonsuan begins with ordinary subjects—such as flowers or landscapes—but never aims for realism. These forms are merely starting points, used to evoke a personal state in which color becomes a silent force of emotion, memory, and experience. In his work, color is inseparable from the artist, coexisting with nature and inner sensation—resonating with affective perception, a concept proposed by Maurice Merleau-Ponty, which views perception as a bodily experience embedded in the world (being-in-the-world).

He discovered that even the tone of a base layer could shift the emotional tone of the entire painting. A yellow underpainting makes flowers appear more vivid and enhances the presence of brushstrokes. Thus, his approach to color is not merely technical—it is an emotional language imbued with calm, aligning with Josef Albers’ Interaction of Color, which proposes that color has no fixed meaning but emerges through context and relationships.

From the structured compositions and subdued tones of his early works to the confident embrace of vivid color, Boonsuan’s later paintings reflect a shift—from “painting quickly to leave brush traces” to “painting slowly to be with what appears.” Flowers in his paintings are no longer just living forms—they embody states of serenity, contentment, and an open-hearted view of the world.

This exhibition does not seek to be “understood,” but rather invites the viewer to pause—with color, with emotion, and with themselves—through the rhythm of the eyes and the heart.

Spanning more than 60,000 hours of dedicated artistic practice, this exhibition embodies a profound meditation on time, craftsmanship, and the pursuit of mastery. Rooted in the Japanese philosophy of Takumi (匠)—which emphasizes patience, precision, and integrity—Barrington-Binns’s work explores the quiet transformation that comes from lifelong devotion to one’s craft.

Each piece in the exhibition is a visual embodiment of discipline and intention, akin to the graceful, deliberate flight of a crane. Using a refined fusion of photography and digital media, the artist invites viewers into a space where art transcends its physical form—becoming an experience of contemplation, ritual, and discovery.

At the heart of (匠) TAKUMI IN TIME is the Japanese idiom “Ichi-go ichi-e” translated as “for this time only,” “once in a lifetime,” or “one encounter, one opportunity.” The phrase serves as a reminder to cherish the unrepeatable nature of each moment and encounter.

This exhibition offers more than just a visual experience—it is a philosophical reflection on the nature of excellence, presence, and the enduring spirit of craftsmanship

Each artist presents a personal chapter from their own “season,” culminating in 44 photographs, each paired with a life lesson. These works are not merely visually striking—they embody experiences that speak to the human condition with honesty and depth. Whether it’s navigating change, finding beauty in grief, or embracing the unknown, each photograph offers a window into emotional landscapes we all traverse.

Beyond the images, the exhibition features Talk Sessions where artists engage in intimate conversations with the audience. These sessions create meaningful exchanges across generations and life paths, cultivating a space for shared reflection and emotional growth.