If the world could be undone, where would we begin?
While there may be no single right answer as to how we can repair our planet, art offers a unique lens to provoke reflection and imagine gentler ways of easing human impact on the environment.
Photo by Warunee Maneekum
This philosophical inquiry takes center stage at “Undo Planet Part 2: Land Art and Non-Human Beings,” a major international exhibition now showing on the 7th floor of the Bangkok Art and Culture Centre (BACC).
Running through February 22, 2026, the show is a high-profile collaboration between the BACC, the Bangkok Metropolitan Administration, the Space for Contemporary Art, and the Korean Foundation for International Cultural Exchange (KOFICE).
The project is structured in two chapters, building on the success of the initial Undo DMZ phase.
While the first chapter examined the self-regenerating ecosystem of the Korean Demilitarized Zone, Undo Planet Part 2 expands this vision to a global scale.
It shifts focus from a specific political border to a broader ecological perspective, asking how humans might reimagine their relationship with land, plants, and animals—not as masters, but as cohabitants.
Photo by Warunee Maneekum
A landscape of mixed media
Photo by Warunee Maneekum
The galleries have been transformed into a spatial journey of video works, sculptures, and large-scale installations that provide a rare bridge between historical foundations and contemporary voices.
The exhibition features landmark films by pioneers Robert Smithson (Spiral Jetty, 1970) and Nancy Holt (Sun Tunnels, 1978), framing land art not as a domination of nature but as a dialogue between human gestures and geological time.
At the conceptual heart of the show is Tuan Mami’s Borderless Garden (no.2), which uses the resilient white mugwort plant—common to Korea, China, and Thailand—as a metaphor for life that remains adaptive and interdependent across national borders.
Local wisdoms, global echoes
Several artists look to ancestral traditions to navigate the modern climate crisis.
Hashel Al Lamki’s Orphalese (2024) reinterprets Bedouin tent structures designed for desert survival, while Asunción Molinos Gordo’s Barruntaremos explores ancient weather-forecasting methods.
These pieces suggest that indigenous knowledge, once dismissed as obsolete, may offer crucial insights for our environmental future.
This theme of resilience is echoed in Simon Boudvin’s Vulpes Vulpes Bruxellae, which documents foxes thriving in European cities, and Jane Jin Kaisen’s Invocation, where the human body appears to dissolve into the volcanic soil of Jeju Island.
Undo Planet Part 2 does not offer a romantic “return to nature” or a quick fix for global warming.
Photo by Veena Thoopkrajae
Instead, it proposes a shift in attention—from control to listening. By loosening entrenched hierarchies, the exhibition encourages visitors to reimagine how we might live with the non-human world with greater care and humility.
If the world could be undone, perhaps the best place to begin is by learning how to see differently.
If you go:
Undo Planet Part II
Now until February 22, 2026.
Open Tuesday to Sunday. Free Admission.
