Kamol Phaosavasdi, Sweet Boundary: In the Light Tube, 2018, Plexiglas, acrylic paint, neon, sound. Installation view, Wat Prayurawongsawat Worawihan (Temple of the Iron Fence), Bangkok. From the Bangkok Art Biennale 2018.

LAST OCTOBER, Bangkok’s art scene was reinvigorated by two of its prodigal sons: veteran impresario Apinan Poshyananda and mercurial thirtysomething Korakrit Arunanondchai. Both are alumni of Ivy League institutions who returned to Thailand as bearers of new, foreign trends. But the resemblance ends there. A consummate iconoclast, Apinan had his first solo exhibition in 1985, a pastiche of video and performance art called “How to Explain Art to a Bangkok Cock.” Held at the now-defunct Bhirasri Institute of Modern Art, it shook up a parochial art scene short on experimentation and long dominated by an ossified national academy. A groundbreaking curator in the 1990s and an enterprising bureaucrat in the 2000s, Apinan has returned yet again, on what one local pundit compares to an aging rocker’s comeback tour, this time at the helm of “Beyond Bliss,” the inaugural Bangkok Art Biennale

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