RP Newsletter on the road - Pt. 1 Bangkok
When pictures punch you awake, how royalty uses photography, and pictures as indicators of aesthetic and identity.
Feb. 5, 2025 — Motuga Hostel, Bangkok
That red-eye flight was a bad idea. As a viewer of images, your physical and mental state affects how you look at pictures. So when you arrive from a red-eye flight lacking sleep, stomach hurting from an allegedly not-so-spicy kra-pao (it was spicy as hell), and cheap coffee not hitting, it might not be the best condition to look at images.
This isn’t my first time in Bangkok, but it’s the first time I get to experience the city on my terms. With only two days to explore Bangkok’s photoland, my only choice was to commit.
So I powered through to BACC (Bangkok Art and Culture Centre) to see what photo-related things they had.
Shwe Wutt Hmon’s exhibition, Myanmar Odyssey, shook me awake.
It presents three facets of Myanmar’s ongoing conflict. Forever Young focuses on Generation Z and how they navigate the unrest. Portraits of the Anonymous highlights lens-based practitioners in Myanmar documenting the conflict, risking vulnerability to tell the stories that must be shown. And Permission to Stay is Shwe’s reflection on holding one of the world’s weakest passports and the constant limbo of navigating life in Thailand.
Shwe takes an active approach by creating space for others to express their experiences. Her work not only protects their identities but also centers the conflict on them.
After viewing the images, I sat on one of the upstairs benches to let it all sink in. It achieves photography’s fundamental aim: to document and inform.
I doomscrolled for a bit. Looked up more news about Myanmar. Dropped my phone. Drafted a few words for this newsletter and IG. I thought I was familiar with the conflict, but this gave it a new dimension.
I couldn’t help thinking about the Philippines about our current situation.
Yes we have weak passports but it’s not that bad. Sure we have a dictator’s son as a president and he’s tanking the economy but we still have an economy. What would I do if there were a military takeover? Wait a minute, the Lumad peoples are already getting bombed too! We are not doing enough! How would I act? Would I resist? I know I’m a coward, but I would try. Can we really trust the younger gen? Is there a way to stop all of this?!?!?!
I had to pull myself back and stop catastrophizing. I placed my bag in the free lockers and told myself to check out the rest of the exhibitions. I can only control what is in front of me. I can feel sad about the world, and at the same time, I can fix it by taking care of my well-being. I will face it when it comes. For now, my heart will go out to the Burmese people.
My therapist would’ve been proud of my train of thought.
I went upstairs to wander around. Admittedly, my mind wasn’t paying much attention to the rest of the Bangkok Art Biennale. Thoughts about Myanmar, home, and sleeplessness lingered.
It was only upon seeing the familiar work of Amanda Heng that I snapped back into focus. I had the chance to meet and photograph Amanda a few years back during an exhibition at the Vargas Museum.
Her work, Always by My Side, spans three life stages leading up to her mother’s passing—capturing care, femininity, and familial bonds. When I photographed her, what stood out was her warmth and lightness. These qualities radiate through the images as they confront mortality and the roles we inherit.
Another standout wasn’t part of the Biennale itself: Dow Wasiksiri’s portraits of exhibiting artists. Not the usual plain backgrounds or dramatic black-and-white headshots bordering on LinkedIn safe, but quirky, contextual portraits that carry the full history and vibe of each artist.
Honestly, I spent more time on these portraits than some Biennale works. I keep telling myself to be more open to other forms of art, but I’m biased. Pictures are still my home.
Then there was Princess Maha Chakri Sirindhorn’s exhibition, Finally Free.
Her photographic reflections on the lifting of lockdown restrictions. And I love it.
I remember a college conversation about tiers of opulence: social media flexing is probably B tier. Everybody does it. Hiring a photographer to photograph your vacation or even is A tier. Then… using billboards as your personal Instagram is probably S tier. Exhibiting your photos in this manner falls in that tier for me.
One of photography’s tenets is that your images reflect your lived experience. So, of course, a monarch photographs the world of a monarch. The trick is to understand it not by comparing it to the typical work you see online, but by considering her access, position, and how she uses photography.
Her images hold humor, banality, and affection for her country. Oddly, they also hold authorship. She might be one of the few monarchs publicly sharing her photography. If there’s a chance, I’d love to own one of her photobooks someday.
I was really beat by this point. Grabbed lunch at Som Tam Nua and made my way to the hostel in Talad Noi.
I was smitten by this neighborhood the first time I visited. It reminds me of the best parts of Manila, mixed with what makes Bangkok charming: An eye for the past while embracing eccentricities of the future.
What sold me was the Charoenkrung walk—photographic prints hung on the walls. These aren’t the types of images I usually seek out, but I appreciate them. They’re a love letter to the neighborhood, and a way for tourists like me to engage with it. I hope they preserve or refresh the prints.
As soon as I checked in, took a quick bath, and then crashed in my hostel bunk, 11 glorious hours of sleep.
The next day was more touristy. Not as photography-heavy, but it was nice to do things at my own pace.
I had breakfast at Hugs Songwat. What pulled me in were the gravel bikes parked outside. Inside, I found a piece by a Thai artist that reminded me of my friend Sean Olalo aka @MyNegativeFeelings. Zines and photos were tucked all around—exactly the kind of “bikes, pictures, and meaningful trinkets” setup I love.
Another cycling-related stop was Bicycle Boys, featuring images of NYC bike culture. They even stock Calling in Sick, a bike culture zine I follow.
People criticize photography as decoration, but I don’t mind, depending on the context. A photo of someone’s grief shouldn’t become decor, sure (or maybe as a form of subversion, why not?) But for these particular prints? They’re cultural identifiers. They mean something to the community that owns them.
One final photo encounter: a wall I saw while walking.
Why do Thai monarchs seem cool? Maybe it’s because I’m looking from a Filipino perspective, where we don’t have monarchs but have politicians who act like royalty.
This wall wasn’t a state-mandated display. Someone chose to put it up. Why those images? Reverence? Parasocial relationship? It left me curious and will be at the back of my head every time I look at Thai photography.
Two days aren’t enough for Bangkok’s photoland. I missed the photography museum, barely visited Fotoclub BKK, and still haven’t been to Vacilando bookstore. Based on what I’ve seen, the Thais’ use of photography has similarities with the Philippines, particularly its use case as a form of expression. I wish we could have the same level of institutional support. Then again, it doesn’t hurt that one of the most prominent figures of the country has a relationship with photography. I’m pretty sure I have much to learn about Thailand anyway. I’ll surely be back or at least find a reason to be.
For the trip, I’ll probably skip the red-eye flight.
Onwards to the main event of this trip— Angkor Photo Festival and Workshops, Siem Reap.
Speaking of Bangkok
My friends from Bad Eyes Collective will be conducting an intensive 5-day photography workshop. Why not explore and understand your photography while being in one of the best cities for it.
Here’s the full info:
Death and Rebirth: A 5-Day Photography Workshop
Organized by @badeyes.collective
This workshop challenges you to question, reflect, and push your practice through intensive critique sessions and discussions. Over five days, engage deeply with your work, explore new perspectives, and refine your visual language through learning, unlearning, and critical exploration.
Special Guest: @kamonlak.sukchai
Kamonlak Sukchai will share her process and approach, offering insights into how she navigates her practice.
Workshop Details:
Dates: 2nd-6th June 2025
Fee: 12,000 Baht per participant
Limited to 6 participants
Language: English & Thai
Mentors:
Harit Srikhao @haritsrikhao
Natthaya Thaidecha @maiheartnandsoul
Daniel Huete @danielhuete
Application Period:
Open: May 12 – Close: May 24, 23:59 PM (Bangkok Time)
Location: Bangkok, Thailand
Venue: TBA
How to Apply:
Portfolio: 20 images representing your current work or direction
Email us replying to this question(English or Thai)
Why is photography important to you?
Submission: Send all materials to badeyes.collective@gmail.com
Announcement of selected participants: May 28th
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This is a fantastic opportunity. Feel free to contact Bad Eyes on their Facebook or Instagram for more info.
See you in Part 2 of my SEA on the road series.
A.g.