Notes from an Art Worker: Everyone wants culture, but nobody wants to feel uncomfortable

The writer is the Director of Bangkok Art and Culture Centre and a curator-historian.

I have been thinking recently about how much contemporary culture enjoys the idea of “discomfort” while remaining slightly unwilling to experience it actively. Actively in this sense meaning with accountability, which should make people feel contemplative about their own engagement with discomfort. But it seems contemporary culture no longer merely tolerates “discomfort,” but it actually enjoys it. In fact, one could argue that “discomfort” has become one of the defining aesthetics of our time. To be uncomfortable now signals a kind of awareness, proof that one is intellectually awake, politically conscious, and, most of all, emotionally literate. Comfort, meanwhile, has become suspicious. Too much ease implies detachment, and too much pleasure risks you appearing naïve.

We are increasingly trusting things that disturb us more than things that reassure us. You see this everywhere. Imagine being at museums, as an audience, the exhibition must challenge us. The film you are watching must leave us unsettled. The artwork must somehow implicate the viewer. Even branding has learned to aestheticise vulnerability, anxiety, imperfection, and exhaustion so that we stay in this zone to keep generating the routine behaviour of outrage and therefore a level of sanitised engagement.

The entire economies now revolve around anxious emotional friction, and here we consume not only objects or images, but also atmospheres of tension. The discomfort is no longer the interruption of experience; it has become the experience itself.

There is almost a performative aspect to this criticality, where understanding the problem and visibly feeling affected serve as social signals rather than genuine engagement. This “discomfort”, therefore, becomes social evidence of one's moral engagement with the world, raising questions about its sincerity and impact. The danger, of course, is that once discomfort becomes culturally valuable, it also becomes marketable. Systems are remarkably capable of absorbing critique when critique itself generates attention, prestige, or economic value. Under these conditions, discomfort risks functioning less as a catalyst for structural change and more as a consumable emotional posture. Because we can perform awareness rather than redistributing power. The problem is not that people care too much, but that contemporary culture increasingly rewards the appearance of caring in ways that can leave the underlying conditions almost perfectly untouched.

Of course, this creates a paradox. As an audience, we encounter difficult artworks in beautifully designed museums, complete with appropriate lighting, slogan-emblazoned tote bags, and vibey cafés where we can buy our single-origin coffees. Radicality has become spatially managed, and crisis is now curatorial material. Yet, despite these curated environments, the structures that produce discomfort often remain intact, raising questions about whether the commodification of discomfort dilutes its potential for critique and change.

I think this is partly why contemporary audiences are so drawn to emotionally charged experiences. We live within systems of endless mediation, endless scrolling, and endless consumption of images and information, and numbness has become the default condition. Discomfort then reassures us that we are still capable of feeling something authentic; this outrage, the melancholy, the consumed guilt and crippling anxiety from political social media reposts on your feed. These emotions cut through the anaesthetic haze of contemporary life. The algorithms may have understood this perfectly because friction sustains attention better than serenity ever could.

But attention alone is not transformation. To witness suffering, inequality, or crisis aesthetically is not the same as materially confronting it. Contemporary culture often collapses these two experiences together and it is confusing your emotional reaction with ethical consequence. Feeling affected can become strangely self-sufficient, as though the sensation itself completes the political task. Yet genuine social change has always demanded something far less glamorous than curated discomfort: sustained responsibility, redistribution, risk, compromise, and often the deeply unphotogenic labour of remaining engaged after the emotional intensity and trended posts has faded.

Perhaps the challenge, then, is not to reject discomfort altogether, but to become more suspicious of how elegantly contemporary culture packages it back to us. What would it mean to encounter difficulty without immediately aestheticising it? What would it mean for institutions, audiences, and even artists to sit with discomfort not as atmosphere or identity, but as something capable of demanding actual change?

Contemporary culture may eventually have to rediscover forms of engagement that move beyond the performance of awareness and toward the far messier reality of responsibility itself. Of course, this does not mean difficult art is rendered meaningless, nor that public feeling is inherently false. Sometimes discomfort genuinely does rearrange a person. But contemporary culture has become remarkably efficient at turning even that possibility into ambience. And perhaps that is the real masterpiece of our era: not that we are disturbed by the state of the world, but that we have learned how to make the disturbance look incredibly cultured.