Namkheun Manifesto

Field NotesArt direction | publication design | Exhibition design





Thai, English

2025
Bangkok, Thailand

13.5 x 30 cm, b/w and color, offset, metal prong-fastener binding, folder style soft cover


As a publication initiative accompanying Eternal [Kalpa] and created alongside the Guidebook and the wall texts of the Thailand Biennale, Field Notes is conceived as something between a field notebook and a travel diary. Field Notes gathers fragments—images, notes, sketches, annotations, and conversations—that reveal the processes, collaborations, and local histories behind the artworks and sites of the Biennale. Many of this edition’s projects were conceived on the island of Phuket, in close dialogue with the artist support team and local communities. Field Notes extends this spirit of collaboration, offering glimpses into how ideas and encounters unfolded on the ground. Presented both at the Pearl Theater—the Biennale’s information centre—and as a folded assemblage that visitors can collect across Phuket, Field Notes invites readers to trace the Biennale through the eyes of its participants. Together, these contributions form a collective portrait of the exhibition in motion: a record not only of artworks, but of the shared gestures and intuitions that brought them into being.

Curatorial and English Editors
Hera Chan, Daniel Szehin Ho

Exhibition and Publication Design
Lita Chala-Adisai

Thai Editor
Kamolkarn Kosolkarn

Translators
Kamolkarn Kosolkarn, Theerawat Thanitnetsiri

Graphic Designer
Palapong Asvapathanagul

Producer
Nararat Yungyuentrakoon

𝙿𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚊𝚝𝚒𝚗𝚐 𝙰𝚛𝚝𝚒𝚜𝚝𝚜
Anuwat Apimukmongkon, bani haykal, Chatpong Chuenrudeemol & Eakapob Huangthanapan, Doloh Chetae, Kite, Nathalie Muchamad, Nolan Oswald Dennis, Oat Montien, Pratchaya Phinthong, Robert Zhao Renhui, Saroot Supasuthivech , Speedy Grandma, Supitcha Tovich, TOQA (Isabel Sicat), Zheng Mahler

Printing
Parbpim Printing

This project is supported by the Office of Contemporary Art and Culture, with additional funding from the Goethe-Institut Thailand.
Field Notes, Thailand Biennale Phuket PDF ↓



In Nobody’s Service
Publication design  

In Nobody’s Service
ที่นี่ไม่เปิดให้บริการ
In Niemandes Diensten
Sa Serbisyo sa Walang Sinuman


English, with selected contents in German, Thai, and Tagalog
2025
Berlin, Germany

ISBN: 978-3-96436-093-9
20 x 13 cm, b/w and color, offset, thread sewn-Glued Binding, soft cover

The publication documents and expands the group exhibition IN NOBODY’S SERVICE, curated by Sarnt Utamachote in collaboration with un.thai.tled collective as part of the POLY program at Galerie Wedding–Space for Contemporary Art, in Berlin, in 2024. By providing nuanced research and context to the works of the participating artists, the book creates a critical space to archive the exhibition and event program as part of diasporic artistic practice in Berlin and beyond. It addresses historical entanglements, transnational histories of migration and the relationships between the artists and communities surrounding them. Commissioned writers contribute essays thinking with and about the individual artistic positions. The project critically examines how migration, labour, and care are entangled with the economies of sex work, domestic labour, and the reproductive sector, shaping bodies, identities, and modes of resistance.


Editors
Sarnt Utamachote, Rosalia Namsai Engchuan, Malte Pieper

Texts
un.thai.tled,
Sarnt Utamachote, Rosalia Namsai Engchuan, Malte Pieper, Rosa Cordillera A. Castillo, Philipp Lange, Mon Sisu Satrawaha, Estelle Araya, Lola Abrera, Sorayut Aiem-UeaYut, Raksa Seelapan, Analie Gepulani Neiteler

Cover design
Lita Chala-adisai

Designer
Lita Chala-adisai, Palapong Asvapathanagul

Publishing editor
Elena Malzew

Artists
Analie Gepulani Neiteler, Anika Baluran Schäfer, Bussaraporn Thongchai, Jasmin Werner, Krisanta Caguioa-Mönnich, Liad Hussein Kantorowicz, Mon Sisu Satrawaha, Natthapong Samakkaw, Passion Asasu, Raksa Seelapan, Rosalia Namsai Engchuan, Sarnt Utamachote, un.thai.tled, Wisanu Phu-artdun





Sukun สาเก Uru Breadfruit, Mntiny and  Planetarity, Fruit à Pain
Publication design  

English, French

2025

14.5 x 22.5 cm, color, offset, metal prong-fastener binding, soft cover


Artist
Nathalie Muchamad

Authors
Madeleine Collie with Edible Archives and Sour Grass Collective
Grace Gloria Denis
Posak Jodian
Gilda Gonfier
Olivier Marboeuf
Nathalie Muchamad

Translator        
Liz Young
Olivier Marboeuf

Design
Lita Chala-adisai

Editing and proofreading    
Nathalie Muchamad





The Temple of Venus and Cosmic Serpent
Publication design  


The Temple of Venus and Cosmic Serpent
비너스와 우주뱀의 집
Catalog from solo exhibition by Yujin Lee at
Gallery Ver, Bangkok

Thai, English

2024
Bangkok, Thailand
Published Namkheun Collective

21 x 7 cm, color, offset, Single hole binding with hand tied cotton cord, hard cover

Designed by Lita Chala-adisai

Translator
Wirunwan Pitaktong
Kritti Tantasith
from Namkheun Collective






I Suppose It Is Frost On the Ground

Joyful Militancy:
Building Thriving Resistance in Toxic Times
by carla bergman and Nick Montgomery
Graphic designer | Published by Namkheun Collective



สู้ไปกราบใคร: ยืนหยัดขัดขืนในยุคแห่งพิษภัย (เล่มที่ ๑)
Thai

2023
Bangkok, Thailand
Published Namkheun Collective

11 x 21 cm, B/W on K-color #17 Pink 120 gsm.,
PANTONE 7588c + PANTONE 804c on White Card paper 350 gsm., Offset, thread sewn-Glued Binding, and french fold cover
Designed by Lita Chala-adisai

Translator
Wirunwan Pitaktong
Kritti Tantasith
from Namkheun Collective


Arcane Plateau by Thanawat Numcharoen
Graphic designer | Published by Namkheun Collective



English

2023
Bangkok, Thailand
Published Namkheun Collective 

11 x 18 cm, B/W, Color silk screen, Digital,
thread sewn perfect bound, softcover
Designed by Lita Chala-adisai

Writer
Thanawat Numcharoen 

Concept and Editing
Wirunwan Pitaktong
Kritti Tantasith
from Namkheun Collective 

This fiction book is written by Thanawat Numcharoen and features collaborative efforts from manuscript readers, editors, and the book layout concept design by Namkheun Collective. Anantawat serves as a special consultant, providing advice on various aspects, from design to print management. This book represents the 1st edition, with 200 copies printed and published by Parbpim Printing. Throughout the journey, many fellow human beings have contributed their energy, reading, and providing comments.


🎀  by Kamolros Wonguthum

English

2023
Bangkok, Thailand
Published Gallery VER

21 x 26 cm, color, Digital, thread sewn perfect bound, Hardcover
Designed by Lita Chala-adisai

Writer
Gaby Wilson

Concept and Editing
Kamolros Wonguthum

This publication serves as a catalog showcasing Kamolros's artwork featured in the exhibition which invites viewers into a world where cute rhizome structures intertwine with glossy compositions and recognisable topographical forms.

Inbetweeners

Blessing

Indulgence photo zine

Self-publishing

GHOST2565: Live Without Dead Time

    Ghost 2565 features moving-image works by Meriem Bennani, Revital Cohen and Tuur Van Balen, Özgür Kar, Lap-See Lam, Li Shuang, Diane Severin Nguyen, James Richards, Shen Xin, Natasha Tontey, Wu Tsang with Tosh Basco, and Emily Wardill and two new film installations by Chantana Tiprachart and Tulapop Saenjaroen.

Ghost2565: Live Without Dead Time weekly schedule

    A variety of live events happen throughout the month-long festival. They include a joint lecture performance by Rabih Mroué and Hito Steyerl, and commissioned pieces that respond to Bangkok’s historical and urban framework, namely a series of audio walk s by Orawan Arunrak, a sonic, architectural intervention by Pan Daijing, and a nighttime gathering around collective dreaming and eating devised by Koki Tanaka.

GHOST2565: Intermission

What Cannot Be Forgotten, Must Be Celebrated
Key visual designer



What Cannot Be Forgotted, Must Be Celebrated exhibition
Key Visual design


Artist: Martin Constable
Curator: Pojai Akratanakul

Exhibition date: 14 Octorber - 29 November 2025
Venue: Bangkok University, Main gallery




Nirat New York
Key visual designer



Nirat New York
Key Visual design


Artist: Kamin Lertchaiprasert
Curator: Vipash Purichanont

Exhibition date: 30 May - 26 July 2026
Venue: JWD Art space





Ramavania: Lord of Shadows Exhibition
Visual and publication designer



Ramavania1868: Lord of Shadows exhibition
Key Visual and publication design


Artist:
Anon Chaisansook [TH]
Nanut Thanapornrapee [TH]
Theerapat Wongpaisarnkit [TH]
Tomoko Sato [JP]
Kosuke Nagata [JP]
Curator: Pongsakorn Yananissorn [TH]

Exhibition date: 3 July - 4 August 2024
Venue: The Fifth Floor gallery at Tokyo

Common belief tells us that a vampire’s image cannot appear
in mirrors. Be it because they have no souls or a more interesting theory says that mirrors back then are made from polished silver, a holy substance that deters evil. Perhaps that is why they can appear on film. How ironic when one considers that vampires are a form of time-based medium, or rather one that resists time itself. They often occupy the position of a stranger, they look like us, even think like us yet they are foreign. However, one cannot forget that a vampire cannot enter unless it is allowed, invited.  

A specter is haunting us — the specter of colonialism. All the lands of the world have unknowingly entered into this haunting, whether they have directly been colonized or not, such is the case with Thailand and Japan. Some say the specter has long left us, that we are past that age. Some say that we are in the midst of it, regardless one cannot deny how the specter lingers.  It has evolved to make itself less distinguishable but no matter how many garments it has changed, it still stalks. Modes of governance thought long since dead have merely adapted to fit in with the times, a secular veneer to once obvious forms of mythical violence, from brutal persecution to parasitic exploitation.

Modern vampires (Bram Stoker’s and John William Polidori’s) appeared in the popular conception during the late early modern era (1800s) as manifested anxieties of state centralization and new notions of exploited labor through industrialization. The prey is no longer dead but sucked dry, a continual and persistent violence to a regime which proposes

modernity yet retains the character of the predatory noble aristocrat now turned bourgeois. One could’v almost mistaken them for a force, an inherently conservative one. An essence of a vampire is one of timelessness  — a resistence to change.  

It prides itself in its history and those it has turned. The unrelenting desire of immortality and the abandonment of the ceaseless march of time has left them as mere forms for the undead but the image.

Ramavania: Lord of Shadows is a foray into the creation of such entities through geopolitical forces in Asian history during the age of colonization and industrialization. Thailand and Japan’s response to encroaching Western powers through attempts at modernization runs parallel to one another. Both hinging their consolidation of a nation not only through technological advancements but through reconfiguring their relationships with their own supernatural entities, deities and in this case vampires. The bargain for  presumed independence
is paid with an auto-imperialistic turn, a self-colonization and re-identification of nationhood, where individuals become Gods and some men never die.

Ramavania1868: Lord of Shadows exhibition leaflet PDF ↓
Art IT Asia Press
Instagram: ramavania1868





M / M Curatorial Summer Camp 2025
Visual designer

M / M Curatorial Summer Camp 2025
Key Visual design


M / M Curatorial Summer Campis a platform that fosters collaboration and experimentation in curatorial andpedagogical practices. The program brings together emerging curators to share ideas, perspectives, and build an international network while expanding their curatorial practice through collaborative learning. The program involvesa series of visits, workshops, seminars, and
collaborative projects.

Instagram: mm_curatorialsummercamp




CHAI-DAI project (ใช้-ได้)
Visual and publication designer

CHAI-DAI (ใช้ได้)
In collaboration with inappropriate BOOK CLUB X Namkheun Collective

Workshop venue:
inappropriate BOOK CLUB (Bangkok)
Book re:public (Chaingmai)
ALien Art space (KhonKaen)
P.ART.Y Gallery Pattani (Pattani)





Echoed Tranquility exhibition
Project by Surin Pitsuwan Foundation
Graphic designer



Echoed Tranquility exhibition
Key Visual design
Artist: Dinh Q. Lê, Pratchaya Phinthong, and Toshiko Tanaka
Exhibition date: 6 - 20 December 2023
Venue: Event Space at Jim Thompson Art Center

The Sasakawa Peace Foundation and the Surin Pitsuwan Foundation are pleased to extend an invitation to the art exhibition titled "Echoed Tranquillity" at the Jim Thompson Art Center in Bangkok. This exhibition is the result of a collaborative effort among the Sasakawa Peace Foundation in Japan and the Surin Pitsuwan Foundation in Thailand with support from the Jim Thompson Art Center, the Embassy of Japan in Thailand and the Hiroshima Peace Memorial Museu

Echoed Tranquility is an art exhibition that delicately captures the essence of tranquility that emerges after conflicts. Through subtle and introspective artworks, the exhibition explores the journey of understanding and resilience in the aftermath of strife. It portrays the intricate interplay between brokenness and renewal. With its nuanced approach, Echoed Tranquility illuminates the subtle conversation and hopeful whispers that arise when shattered landscapes and souls find solace and serenity, embodying the delicate essence of lives after conflicts. The exhibition features a notable artwork by Dinh Q. Lê, 'South China Sea Pishkun' (2009), a new iteration of Pratchaya Phinthong's 'The Organ of Destiny' series, and a collection of enamel paintings by Toshiko Tanaka, who, as a survivor of the Hiroshima atomic bombing, transitioned into an artist.More information about the exhibition



Arcane Plateau by Thanawat Numcharoen
Graphic designer

Arcane Plateau | คำสาปที่ราบสูง
Key Visual design
for a Solo Exhibition by Thanawat Numcharoen
Curated by Wirunwan Victoria Pitaktong

Runs from 12 August – 13 October 2023
at Prachachee library, Bangkok.

Key Visual Design: Lita Chala-adisai
Consist of the Namkheun Collective, Speedy Grandma and Prachachee library

🎀 by Kamolros Wonguthum

Golem by Ruangsak Anuwatwimon

A House in Many Parts

Almost Nature

Visual Designer

Zing

    Zing (ซิ่ง), a term used by a sub-cultural group of Thai teenagers to define anything that exceeds or is an exaggeration of the norm, the default. Commonly used to refer to engines customized to go faster and harder.

    ZingVDO then is a video, a moving image, a film that is rad. Ones that exceed the normal definition of a video. With this ethos, our team comes together with a spirit of resistance against all that is factory setting, of the default. Bringing together a community with a commitment to innovating moving images.

ZingVDO Key Visual

    ZingVDO is an exhibition platform for all those interested in the subject, no matter the practice. We welcome those from all fields, whether it be an animator, designer, vlogger, and etc.

    Our first project, ‘Fish tank’ originates from our interest in a contained ecosystem that serves as decor like those in a restaurant.
A glass cage for entertainment that exists in various public places, existing only to be observed.

    We have created an ecosystem of a fish tank and installed a screen within it. Situated on the second-floor dining area of a restaurant.

Namkheun Collective

First Project: Namkheun Manifesto

   
    Namkheun Manifesto began with a simple and personal question: ‘Why do I find this manifesto I’m reading so moving?’. Six manifestos were selected, and translated into Thai, based on our own affinity and allegiance to the urgencies raised by each manifesto. Regarding these manifestos as points of departure for further reading of proposed modes of resistance, the project aims to interrogate our own engagement with the texts, and form a conversation with the reader by teasing out resonances among contexts.

6 manifestos include:

1. The Digital Humanities Manifesto
2. The Queer Nation Manifesto (1990)
3. A Killjoy Manifesto (2016)
4. A Cyberfeminist Manifesto for the 21st Century (1991)
5. Trans Health Manifesto
6. Guerilla Open Access Manifesto (2008)
   

               

Pan-Southeast Asia Triennial Serial Research Exhibition

Project at Guangzhou Academy of Fine Arts, Guangzhou city, China



BULLET TEXT is a chapter in the exhibition Does It Matter That We’ve Just Met, If Our Hearts Understand: Two Responses to Social Practice as part of the first Trans-Southeast Asia Triennial. The exhibition is held at the Art Museum of Guangzhou Academy of Fine Arts,  from 21 Nov 2021 to 20 March 2022.

One of the five participating collectives from Southeast Asia, Namkheun worked on the publication called I suppose it is frost on the ground.

A part of I suppose it is frost on the ground. publications

    I suppose it is frost on the ground is a collection of excerpts and textual products that emerge from the hostile climate of Thai politics. These are texts taken from prison letters and visitation notes. These are texts written as everyday utterances which do not necessarily evoke the rhetoric of democracy. It is from these utterances that we are able to sail across the international waters of sentiments and sensibilities.

    In the context of this exhibition, we aim to use these letters not as display objects in themselves, but rather as an entry point into a network of textual references across overlapping temporal, sociocultural,

    linguistic, or sensorial regimes. We aim to interrogate our engagement with the letters, either through our translating or possible dialogue with other activists (i.e. Black Window). We expect that this engagement will leave textual traces, and it is these traces that the exhibition will feature.

I suppose it is frost screen, 2021
still image on digital screen, 16:9  

BLACK BOOK ASSEMBLY:
MORE-THAN-HALF-A-YEAR-REVIEW issue 04