Contemporary art meets rich history in Suphan Buri’s rare group exhibition

At two of Suphan Buri’s most significant historical sites—Wat Phra Si Rattana Mahathat and Wat Phra Rup—contemporary Thai art is quietly transforming sacred ground into a living cultural landscape.

“Asannakaya”, a group exhibition under the Sacred Spaces Project, offers a rare opportunity for the public to encounter works by some of Thailand’s most respected modern and contemporary artists outside the capital, in a setting where history, belief, and contemporary life converge.

The two temples, located less than a ten-minute drive apart, are both over 600 years old and were once at the heart of the ancient town of Suphannaphum.

Swatchrokorn Wannasorn’s installation “The Capsule” at Wat Phra Si Rattana Mahathat, Suphan Buri. //Photo by Warunee Maneekum

Moving between the sites is part of the exhibition experience itself—inviting visitors to travel not only across physical space, but through layers of Thai history embedded in architecture, ritual, and memory.

Presented within ancient temple compounds, "Asannakaya” (from the Pali term meaning “the body without perception”) invites viewers to reconsider long-held ideas about sacredness, meaning, and permanence.

Rather than isolating artworks within white-walled galleries, the exhibition integrates installations, drawings and paintings into brick ruins, courtyards, meditation halls, the ubosot (ordination hall), museum and open-air spaces—allowing art to respond directly to its surroundings and to centuries of accumulated belief.

The exhibition brings together works by 16 artists across generations, including the late Montien Boonma, widely regarded as a pioneer of Thai contemporary art whose practice bridged Buddhist philosophy and conceptual installation, and National Artist Chuang Moolpinit.

Seeing a comprehensive presentation of Montien Boonma’s work alongside nationally acclaimed artists such as Sakarin Krue-On, Tawan Wattuya, Panpannee Yongmanee and Nakrob Moonmanas—within a single exhibition and in a provincial context—is a rare opportunity for Thai art audiences.

GALLAAXXY (2025)” by Tawan Wattuya, in collaboration with students from Suphan Buri College of Fine Arts, on display inside Viharn Luang at Wat Phra Is Rattana Mahathat Suphan Buri.//Photo by Warunee Maneekum

With the exhibition concluding on 21 January, the chance to encounter these works together is rapidly drawing to a close.

Beyond the artworks themselves, the exhibition offers a rich historical context—particularly at Wat Phra Rup, where several key installations, including Montien Boonma’s sketch of artwork development and photo archive, are located.

“Sign of the Times (2025)” by Vacharanont Sinvaravatn , installed at the stupa at Wat Phra Is Rattana Mahathat Suphan Buri.//Photo by Warunee Maneekum

Here, visitors can also explore displays detailing the former glory of Suphannaphum and the history of the art, Buddha amulets and antiques of the U-thong era, deepening the connection between contemporary artistic interpretations and longstanding spiritual traditions.

Visitors can easily navigate the exhibition by following clearly marked signage throughout both temple grounds. Artworks are dispersed across the sites, encouraging slow walking and attentive observation, blending knowledge, history and art.

National Artist Chuang Moolpinit’s drawing entitled “Prang Thong (2025)”, on display inside the Ubosot (main chapel) at Wat Phra Is Rattana Mahathat Suphan Buri.//Photo by Warunee Maneekum

Each piece is accompanied by a wooden-style information panel, thoughtfully designed to introduce the artist, the concept, and the relationship between the work and its sacred surroundings—making contemporary art accessible without diminishing its complexity.

Late Montien Boonma’s drawings and sketches on display at Wat Phra Rub Museum.//Photo by Veena Thoopkrajae

Late Montien Boonma’s drawings and sketches on display at Wat Phra Rub Museum. //Photo by Veena Thoopkrajae

Supported by Thailand’s Office of Contemporary Art and Culture, “Asannakaya” stands as a compelling example of cultural decentralisation—bringing museum-calibre contemporary art into provincial public spaces and opening it freely to all.

Just two hours or less from Bangkok, visitors can immerse themselves in Thailand’s historical legacy while engaging with contemporary artistic visions—an experience that remains both rare and timely.

“Asannakaya” is on view daily from 10am to 4pm, with free admission, until 21 January at Wat Phra Si Rattana Mahathat and Wat Phra Rup, Suphan Buri.

Phattamon Khumsaeng’s knitted work on a replica of an antique wooden embroidery hoop, entitled “Ambiguous Rurality (2025)”, on display on the second floor of Wat Phra Rup Museum. //Photo by Warunee Maneekum

“The Blood of Suphan”paintings by Sirawit Chatu, on display on the second floor of Wat Phra Rup Museum. //Photo by Warunee Maneekum

A wooden information stand introducing the artist, artwork, and concept on site.//Photo by Warunee Maneekum

Nakrob Moonmanas’s silkscreen work on a folding book manuscript, on display at the Reclining Buddha Hall at Wat Phra Rup.///Photo by Warunee Maneekum