Against a backdrop of towering national pavilions and shifting global alliances, the 61st Venice Biennale has once again transformed this historic canal city into a battleground of contemporary thought. While traditional superpowers grab headlines with political friction, a deeper, quieter resonance emanates from the 13th-century Gothic walls of Palazzo Rocca Contarini Corfù. Here, the Bangkok Art Biennale (BAB) Foundation, in partnership with leading Thai corporates, presents the second iteration of “The Spirits of Maritime Crossing”.
Curated by Prof. Dr. Apinan Poshyananda, Artistic Director of the Bangkok Art Biennale, this official Collateral Event brings together 30 evocative works by 20 acclaimed and emerging artists from across Southeast Asia and beyond. The exhibition probes poignant narratives of displacement, colonial histories and cultural fluidity, using the metaphor of ocean voyages to bridge the gap between East and West.
In an exclusive interview with Thai PBS World, Prof. Dr. Apinan discusses navigating global turmoil, challenging the traditional “White Cube” format, and why the soft power of smaller nations can shout louder than the financial might of superpowers.
Q: The overarching theme of this year's Venice Biennale focuses on “In Minor Keys”, highlighting marginalized voices. How does The Spirits of Maritime Crossing 2026 align with this global conversation?
It fits seamlessly. “In Minor Keys” amplifies the echoes of minorities—those who rarely get a platform. We view ourselves as a small but resonant voice coming from Southeast Asia. This year, the world faces profound shaking, including energy wars, political conflict and power struggles. We gave our 20 artists this core brief, and each expanded it uniquely.
Many national pavilions dictate art within sterile “white boxes”, whether because of budget limitations or rigid government mandates. We intentionally broke out of that box. We secured a historic 13th-century Palazzo right on the Grand Canal. The antiquity of the space allows our artists to host a direct dialogue with Gothic architecture. When visitors walk in, they don't feel like they are entering a restrictive national space that requires a metaphorical visa. They enter a fluid landscape of shared histories, contradictions and spiritual journeys.
Q: The exhibition features a fascinating mix of established figures and fresh talent. Could you share how some of the Thai artists interpret this maritime journey?
The artists play with memory and geography beautifully. Take Wasinburee Supanichvoraparch as an example. Coming from a family of ceramicists in Thailand’s Ratchaburi province, he cleverly weaves the journey of Marco Polo into his work. He visualizes ceramic vessels originating in Ayutthaya, travelling across oceans, and shipwrecking right here in the Grand Canal, only to be excavated centuries later. It implies that spirits travel within these clay vessels, waiting to be released in Venice.
Then you have Torlarp Larpjaroensook with his Spiritual Spaceship Orbit. Growing up in Ayutthaya, dubbed the Venice of the East by the Europeans, a historical capital of Siam, he scales up childhood imaginations of space travel into a massive spaceship, linking his grandmother’s lore of old Siam to Venice. On the activist side, Ruangsak Anuwatwimon addresses the environmental degradation of the Mekong River due to pollution and damming. He shows that artists must also act as environmental protectors.
Q: You also brought back legendary performance artist Marina Abramović for a continuation of your film project. What does her presence symbolize in this narrative?
Marina represents the ultimate displacement. Her home country, Yugoslavia, fractured under the weight of war. We began this film project before COVID-19, exploring maritime routes, but when the pandemic hit, Venice became a ghost town—recalling the historic plagues that inspired the construction of the Santa Maria della Salute church nearby.
In our film, Marina’s spirit rises from San Michele, the cemetery island of Venice, and drifts toward Bangkok seeking peace. In the sequel, her journey intertwines with legendary Thai choreographer Pichet Klunchun, who embodies the Monkey King—a symbol of raw spiritual energy and the duality of good and evil. The narrative forms a cyclical loop of birth, decay, and karmic retribution. It’s a deep critique of displacement that resonates strongly today.
Q: You mentioned that the global art scene is currently being heavily shaken by politics. How is that playing out on the ground in Venice right now?
Venice has always been a political arena, but this year is exceptionally tense. We saw massive protests. The American Pavilion is subdued, facing domestic political friction and budget cuts. The Russian Pavilion faced immense backlash, announcing it would open for just three days before shutting down. The Israeli Pavilion sees daily protests. Venice has become a major protest ground for years because all the major press outlets are here.
This environment proves that art is not just a luxury item or a commodity for trade; it reflects human survival. Governments often throw money at festivals hoping to boost GDP and call it “Soft Power”. But true soft power isn't about throwing cash into a box; it’s about speaking the truth at the right moment. The formula of big budgets and absolute power is failing. It sends a powerful signal: small countries can scream quietly, but their voices can echo much louder than those of superpowers.
Q: Looking ahead, how will the insights gained from this Venice exhibition feed back into the upcoming Bangkok Art Biennale (BAB)?
We are constantly observing and discovering. Some emerging artists showcasing here who have never hit the global stage before might find their way to Bangkok. The logistics in Venice were brutal this year: we faced transport delays and local labor strikes, but our Thai and Italian teams pulled off a miracle, finishing four days ahead of schedule. That resilience gives me immense pride.
When we return to Thailand, the preparation (of the BAB) begins immediately. We aren't expanding the number of temple venues this time, but we are activating incredible new venues like Silpakorn University and the historic Issara Winitchai Throne Hall at the National Museum Bangkok. We have been cultivating this ecosystem for 10 years now through the BAB Foundation, backed firmly by the private sector like ThaiBev (Thai Beverage Plc). It’s a long-term cultivation, and we are finally seeing the fruits of connecting global academic dialogue with local heritage.
Q: The film The Spirit of Maritime Crossing II has just premiered here at the Venice Biennale. Is there a chance audiences back home in Thailand will get to see it soon?
Yes, absolutely. Just like its predecessor, we definitely plan to screen Part II in Thailand, though the exact timeline is still not finalized. The first film was shown at House Samyan, and my goal now is to find the perfect opportunity to screen both Part I and Part II together as a complete experience in the near future.
"The Spirits of Maritime Crossing: วิญญาณข้ามมหาสมุทร 2026" is being held until August 2, 2026 at Palazzo Rocca Contarini Corfù, Venice, Italy. Admission is free.
