All posts by cw

Conflicted Visions AGAIN

June 24th, 2020
2 July – 23 August 2020
Opening Reception: 2 July 2020, 6pm 
Prakit Kobkijwattana 
Sutee Kunavichayanont 
Manit Sriwanichpoom
Pisitakun Kuantalaeng 
Jakapan Vilasineekul 
Miti Ruangkritya
Curator: Somrak Sila

For the 10th anniversary of WTF Gallery, we have invited 6 artists to re-visit their ideas presented in Conflicted Visions exhibition at WTF gallery back in 2014. The six artists have been asked to exhibit new artworks that best reflected their views of the current social and political climate in Thailand in 2020 in Conflicted Visions AGAIN’. 

When the exhibition Conflicted Visions appeared in 2014, there was despite intractable differences on the political scene a certain accepted reality for each side of the conflict. The exhibition raised the question whether we can ever have disagreements over fundamental beliefs and ideologies without becoming overwrought. Conflicted Visions was about reaching beyond prejudice.
Not long after the exhibition in 2014, however, the military staged the coup led by General Prayuth Chan-o-cha, with the ostensible aim of bringing the country back to order and peace. Since then Thailand has witnessed drastic changes across its social fabric. Questions have been raised whether the junta has created more conflict than it has solved; or whether it has created confusion both within and among groups who may have felt they had a stake in bringing this change about. The chief purpose was to reduce the country once again to a single vision, but by doing that, the junta has limited human rights and freedom of speech, and this approach has spilt over even into areas that have nothing to do with the political conflict at hand, such as simple natural justice or compassion. 
In March 2019, the fiendishly complex electoral system designed to thwart the country’s powerful opposition parties still resulted in a general election result that was questionable. The government was formed, once again, under the leadership of General Prayuth Chan-o-cha. We witnessed several political scandals, the tanking of country’s economy, government mishandling of natural disasters and resources being squandered on promoting national and institutional stability. While Thailand did return to some form of peace and order despite increasingly polarised political views, the government placed its priority on heavy-handed attacks on those who dared to criticise its performance, while allowing the military to gain more influence in all areas of governance. 
‘Conflicted Visions AGAIN’ consists of works made between 2014-2020 by six Thai artists whose work actively criticizes and questions social and political issues in Thailand from different or perhaps opposing ideologies.
Prakit Kobkijwattana re-visits the media he used in the first Conflicted Vision exhibition by mocking the country and its mentality using paint on woodcut. Thailand New Normal concept derives from the Thai government’s COVID-19 measures PR jargon and his observation of what the new normal for post COVID-19 actually means under the current military-democratic regime. 
Both Pisitakun Kuantalaeng and Miti Ruangkrityai’s works are documentations of Thai political events. Miti’s work is part of an ongoing series called Thai Politics (since 2006), exploring the different political views and behaviours of Thai people by using a new expressive language – ‘emoticon’ stickers. Pisitakun’s installation is selected works from from ICONOCLASTOR – a brand created by the artist using drawing, stickers, comics and fashion as accessible tools for documenting and telling stories of the major Thai political events in the past 10 years, from the 2010 riots to the dissolutions of the Future Forward Party as well as the government’s current imposition of emergency decree as a measure to control COVID-19.
Renowned photographer and filmmaker Manit Sriwanichpoom presents new installation Program Will Resume Shortly which allows the audience to speculate about the ‘untouchable’ content and question the rationale behind the censorship of some international news broadcasts despite the country’s return to ‘democratic’ society after the election in 2019.
Sutee Kunavichayanont’s latest work FREEHATESPEECH uses his signature medium neon tubes to highlight the debatable land between free speech and hate speech. While many could argue that freedom of speech does not exist in Thailand, the internet allows people to hurl abuse and insults at others — and even send death threats. This new reality shines a light on human weakness and creates a climate of fear and polarization.
Jakapan Vilasineekul’s installation In The Tension is the metaphoric articulation of the increasing tension and the unbearable anxiety across the Thai social fabric due to conflicting ideologies and the imbalance of power structures. 
The exhibition is an attempt to examine the evolving political attitudes of a polarized society and the artistic community with a new or revised perspective on our realities six years on.
About Conflicted Visions exhibition in 2014
Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila 
Tel: (66) 2 662 6246, (66) 89 926 5474


Requiem Without Words: In Memories of Vanished Souls

June 24th, 2020


In memory of vanished souls
Arrangement for string quartet by Peter Lichtenthal (1780-1853)
Pro Musica Quartet:
Tasana Nagavajara, Ruaychai Saengow Violins  
Omporn Kowintha Viola
Panyaphat Wongwechwiwat Violoncello
Visual design by Jirawut Ueasungkomsate 
from the exhibition ‘This is Not A Political Act’, 2016
Thursday June 25th at WTF Gallery, Bangkok
T: 02 662 6246
Tickets 250 Baht with one drink
Limited & distance seats available by email reservation only
Requiem in D Minor, K 626 by Wolfgang Amadeus Mozart, left incomplete at his death on December 5, 1791. Until the late 20th century the work was most often heard as it had been completed by Mozart’s student Franz Xaver Süssmayr.
Since Mozart’s Requiem was unfinished at the time of his death, it went down in history surrounded by an aura of legends. But aside from all the myths, its beauty remains. A gravely solemn and transcendent piece.
This fascinating arrangement for string quartet, one of many of its kind made in the early 19th century so that amateurs could re-create at home works they admired, is by Peter Lichtenthal, a doctor and writer on music who worked in Milan, where he knew one of Mozart’s sons. 
About Forced Disappearance in Thailand:
In Thailand, the truth could cost you everything. Freedom of expression is curtailed and those who were brave enough to speak out are silenced with violence. There are at least 86 confirmed cases of forced disappearances.
‘If our own freedom was taken away, what would be the righteous jurisdiction that can arbitrate “the absolute truth” when I see THIS but you see THAT?’ – Jirawut Ueasungkomsate 
Supported by 
SCG Foundation
Boon Rawd Brewery Co., Ltd
WTF Cafe & Gallery
Faculty of Music Silpakorn University 

Wine Specials

January 23rd, 2020

We’ve always had great cocktails, but now wine specials. Good value, great taste and some natural wines too!


#naturalwine #drinkwine

Other Worldly: Top Changtrakul

January 23rd, 2020

Drawing exhibition 
17 January – 25 February 2020


Inspired by his childhood drawings that combined dramatic scenes from science fiction movies and books. Other Worldly is the latest solo exhibition by Bangkok-based Top Changtrakul. Other Worldly draws from the artist’s vivid imaginations of a planet in crisis with graphic tensions and dramas between its natives and newcomers. In contrast to the linear predictability of standard narratives, Changtrakul offers decision junctures where viewers can control and jumble the storyboard segments for personalised novel and strange scenarios and plots with twisting and unexpected conclusions. Curated by Koan Jeff Baysa.

Visitor information WTF Café & Gallery  7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110 BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm  Free Admission
For further information please contact: Somrak Sila, Christopher Wise Tel: +66 (0)2 662 6246, +66 (0)89 926 5474 Email:


everyday TAPAS everyday

November 26th, 2019

 A variety of tasty bites inspired by small plates of Europe. Cured olives, aged Manchego cheese, chorizo sausage, Mortadella and olive cream Bocadillo!


Olá – A Rugs exhibition by GUR

November 26th, 2019
 28 November 2019 – 12 January 2020
Opening reception: Thursday 28 November 2019, 19.00h 
The Embassy of Portugal in Thailand, the Portuguese Cultural Center – Instituto Camões in Bangkok in partnership with WTF Gallery are delighted to invite you to A Rugs Exhibition “Olá“ by GUR at WTF Gallery. The opening reception will be held on Thursday 28 November 2019, 7pm at WTF Gallery.

"Olá" is hello in Portuguese. 
“Olá” is also the title for an exhibition where Célia Esteves from GUR, and Somrak Sila from WTF Bangkok Gallery, conjoined ideas to show all the Portuguese collaborations made in the pass and new GURs with Thailand’s artists challenging themselves into the rough but still delicate rag rugs technique from the Portuguese handcrafts.
The exhibition aims to promote an expressive relationship between the hand drawing and the hand loom, the free approach to the paper against the limitations process and material of the handloom. The original art converted to the limitations of the handloom are translated into simple designs, like dots or pixels, enhancing multiple possibilities from the free hand drawings.
Still full of possibilities “Olá” is the presentation of those results and how the translation of complex designs can be converted by this medium.
Within the rugs the exhibition will also present original art work from the 4 Thai/Thailand based artists including Lee Anantawat, Marc Stuart, Parvit Tae Pichienrangsan and Saran Yen Panya as well as 20 Portuguese design rugs.

About Célia Esteves & GUR
Célia is form Viana do Castelo, a small town in the north of Portugal that is very rich in traditional handcraft. Célia always remember having hand woven rugs in her house and in their friends and family’s homes too. They are very typical in Portugal and they have always been more or less the same; beautiful in their own way but very simple, using randomly chosen recycled materials form textile factories.
After some years working at an artist’s print studio in Porto, Célia was invited to an exhibition in her hometown, where the intention was to make a bridge between artisans of traditional handcrafts and young designers. It was here that she worked on a design for the handloom with the weaver Cláudia Vilas  Boas and they made the first GUR. Célia was so happy with the result and found it so exciting that she wanted to share the experience. She asked some of her illustrator friends to design on too, and GUR started.
The essence of GUR is making these typical Portuguese rugs more fun. We use the same technique with carefully select materials. The rugs are very authentic to what they have always been but now they involve a design factor working with artists and illustrators, translating their ideas into rugs.

Visitor information
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission

For further information please contact:
Somrak Sila, Christopher Wise
Tel: +66 (0)2 662 6246, +66 (0)89 926 5474, +66 (0)89 926 5159


Rohini Devasher & Sung Tieu: The Ghost War

September 19th, 2019
25 September – 23 October 2019
Curator: Abhijan Toto
Opening Reception: Wednesday 25 September 2019, 7pm
The Ghost War brings together video, print and sound works by Rohini Devasher and Sung Tieu. How have the infrastructures of war in the 20th Century produced the contours of the worlds we inhabit today? And how do these layered histories of war continue to haunt geographies and landscapes? The show engages with the particular position of Thailand in Southeast Asia, particularly during the Cold War, and the pivotal role it played during the American War in Vietnam. 
Vietnamese-German artist Sung Tieu’s work unpacks often-ignored histories of the War in Vietnam, layering personal narratives, archival material and poetic interjections. In ‘The Ghost War’, she engages with the history of the PSYOPS’s ‘Operation Wandering Ghost’, where sound was used as a tool of warfare against the Viet Cong. The CIA, who used the Ramasum Complex in Udon Thani as their base, developed a haunting soundtrack which was blasted into the forest by US soldiers in an attempt to force the Viet Cong to surrender. Through sound and video installation, Sung Tieu appropriates this form, and attempts to unpack the capacity of sound to alter and to haunt landscape, and the long-term effects of war on communities.
Speculating further on this relationship between landscapes and war is the Rohini Devasher. Devasher’s practice looks into the construction of scientific discourses, often focusing on Deep Time and the climactic. In this exhibition, she presents a work of speculative fiction entitled ‘Shivering Sands’, and an associated series of prints. Beginning from the ruins of sea forts off the coast of the UK built during WW II, Devasher uses this peculiar geography to unpack the layers of time haunting these strange ruins. She intersperses the video with a text by Laura Raicovich on the land artist Walter de Maria’s ‘Lightning Fields’, poetically weaving the two contexts together, and imaging a larger history of the masculinist reshapings of landscapes, and their long durée effects. 
The Ghost War invites the viewer to re-imagine the frameworks through which we have hitherto understood the histories of war in the region, unpacking specific histories, and their latent effects, and through this, to begin to imagine their relationship to cosmic and to other scales of history. 
Sung Tieu, born 1987 in Hai Duong, Vietnam is an artist based between Berlin and London. Her artistic practice spans installations, performances and public interventions. Forthcoming institutional solo exhibitions include Haus der Kunst and Nottingham Contemporary (both 2020), forthcoming group exhibitions include the David Roberts Foundation (2019) and Prague Biennale (2020), forthcoming performances include Tate Modern. She is part of several art collectives, among them TROI OI, Asia Art Activism, The Forest Curriculum and East London Cable.
Rohini Devasher works in a variety of media, including sound, video, prints, and large site-specific drawing. Her current body of work is a collection of “strange” terrains, constructed by observing, recording, fictionalizing, and reimagining objects and spaces that exist at the interface between science, nature, culture, perception, and production. Her work has been shown at the 7th Moscow Biennale; Spencer Museum of Art, Lawrence, Kansas; Museum of Art, Architecture and Technology, Lisbon; ZKM Karlsruhe; and Singapore ArtScience Museum, among others. She has had solo exhibitions at the Dr Bhau Daji Lad Mumbai City Museum and vis à vis Experience Centre, New Delhi. She has been an artist-in-residence at the Spencer Museum of Art, Fukuoka Asian Art Museum, and Max Planck Institute for the History of Science, Berlin.
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila, Christopher Wise
Tel: +66 (0)2 662 6246, +66 (0)89 926 5474, +66 (0)89 926 5159


Christopher Wise: Affliction

July 10th, 2019
19 July – 18 August 2019
Opening Reception: Friday19 July 2019, 7pm


“O what has come over us? Where are the violent fates pushing us back to? I see passing by, in headlong flight, time which makes the world a fleeting place. There seems to be no defense and no understanding of the cause of the afflictions. Was it the operation of the heavenly bodies or of our own iniquitous doings, being sent down upon mankind for our correction by the wrath of an almighty power? Our distraction by entertainments and devices, ignorant of seeing the almighty in the infinitesimal. We are absorbed in pleasure with song and revel, sparing to satisfy no appetite, and to laugh and mock at no event. A plague of ecstatic despair echoes throughout the East and West, persons are distraught and almost without feeling. Little by little, from town to town, from village to village, from house to house, and finally from person to person the connective tissue of the affliction-ridden society has come undone and in its place a cruel, surreal rapport. The afflictions have made us more avaricious and grasping, even though we have far greater possessions. More covetous and disturbed by each other more frequently with suits, brawls, disputes, and pleas.

As we recognize our own afflictions, not to speak of many others of a similar or even graver complexion, diverse apprehensions and imaginations we view each other with harsh resolution, to shun and abhor all contact with the sick thinking, thereby to make our own health secure. Sound judgment, perhaps, as it affirmed that there was no medicine for the affliction superior or equal in efficacy to flight. But to where? Our need to have the freedom sufficient to satisfy our appetites not as recluses, but free to enviously regard those things particularly to our taste or liking.

Lamenting our misery, we fear to remain, yet dare not flee.”
* * * * * * 
The sculptures in Christopher Wise’s exhibition Affliction reveal the power in the infinitesimal. Microscopic specimens: spores, bacteria, viruses are recreated on a grand scale. The prosaic materials, common to Thailand, hint at the dark roots of materialism, industry and policy whose banality make us ill.  Yet the bold primary colors have a simple beauty that echoes the seductive qualities of the “entertainments and devices” we are addicted to, things we know are unhealthy but can’t put away.  Reminiscent of enlarged toys, the specimens symbolize an immature curiosity that never learns. Objects are multiplied to be come a new object, as cells divide and grow to become organisms. With the addition of other surfaces or other objects, they evolve to become more beautiful, addictive and irresistible. 

In “Le desert, Albert Camus speaks of a “repugnant materialism” where everything we do and pursue in a capitalist age ravages our very existence — where we voluntarily swap dead ideas for living realities, another type of contagion. The Plague of Camus’ novel, the critic John Cruikshank insists, is also a reflection on “man’s metaphysical dereliction in the world.” We are powerless to resist, no vaccines or antibodies can stop us spreading the affliction. We “share” and “like” our phantasmagoria across the world.
The pieces are named in Latin, referring to a resemblance to events and things occurring during our own time of affliction.
WTF Café & Gallery 
7 Sukhumvit Soi 51, Wattana, Klongton-Nua, Bangkok 10110
BTS: Thonglor Opening times: Tuesday – Sunday, 4-10pm 
Free Admission
For further information please contact:
Somrak Sila,
Christopher Wise,
Tel: +66 (0)2 662 6246


Christopher Wise: AFFLICTION [Coming Soon]

June 25th, 2019

Opening July 19th 7pm
Art installations
 by Christopher Wise


B-Floor: What’s left: Resonance from the Discarded

June 25th, 2019

19 June – 7 July
(no show on Mon & tue)

 “What’s left: Resonance from the Discarded”

A double bill performance

1. “Coherence”
By TAMJAI (Surat Kaewseekram)

2. “Soapernatural”
By Kwin Bhichitkul



19 June – 7 July  (no show on Mon & tue)
7.30 pm
At WTF Gallery, Soi Sukhumvit51, BTS thonglor exit 1

Ticket 550 .-
Student price 500.-
Group promotion (5 tickets) 2400.- (480.- each)
(for 2 performances)

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