The show brings together dispersed or missing memories of the changes the area has seen over the decades in the hope they will create a new collective memory that will remain in the minds of their local communities.

Three prominent Thai artists, namely Prof. Emeritus Pishnu Supanimit, Rush Pleansuk, and Nakrob Moonmana, were commissioned to create artworks for the show, which runs through November 30 at the Prelude One Bangkok. Their contributions interpret the memories of the land and refashion them into new and unique art pieces, celebrating Thai art and cultural heritage in a contemporary context.

The display also includes a rare collection of glass plate negatives from the Wachirayan Book Hall, the National Archives of Thailand. These glass plate negatives, part of 35,427 original negatives and 50,000 photographs in the Wachirayan Book Hall collection have been registered in Unesco’s “Memory of the World” since 2017.The priceless black-and-white glass plate negatives include portraits of key figures who shaped the area and Thai advances in general, among them the Saladaeng radiotelegraph station under the Royal Thai Navy. The station was the country’s first telegraph station and was located exactly in the area now known as Wireless road. The photo shows Krom Luang Chumphon Khet Udomsak, the father of the Royal Thai Navy, who played a significant role in advancing radiotelegraphy for use in marine life.

Another photo shows HRH Prince of Kamphaeng Phet, who laid a strong foundation for the radio business. The last image portrays the clock tower in Lumphini Park, evidence of King Mongkut, or Rama IV’s strong will to build this park for the international exposition ‘Siam Rath Museum’ as well to serve as a recreational space for city-dwellers. Moreover, the exhibition includes a 1910 map of Bangkok showing the Wireless, Lumphini, and Rama IV area as remote rice fields before the area was transformed and evolved over time following the emergence of the first radiotelegraph station.

The exhibition also showcases the first edition of a souvenir book from the Siam Rath Museum event in 1927. This art exhibition thus captures and brings to life the old-school charms captured in these glass plate negatives.

The centerpieces of the exhibition are the newly commissioned artworks by Prof Emeritus Pishnu Supanimit, Rush Pleansuk, and Nakrob Moonmanas.

“These prints draw on the legendary elements of Lumphini Park, a place full of memories. I intended to make it like a great volume of scripture laying out the history of the park,” says Pishnu of his work.

Rush, a contemporary artist and designer whose inspirations come from spiritual elements related to specific objects or places, and the winner of the ‘Designer of the year award 2019’ from the Department of International Trade Promotion, Ministry of Commerce, showcases a modern sculpture that embodies the richness of the land. His delicate weaving technique represents the transformation of the area, from golden rice fields to high-rise buildings.

A rising collage artist, Nakrob challenged himself to move away from his usual bi-dimensional pieces and create his first video art, re-creating several worlds happening in the same time through the collage technique. His main subject for the art exhibition is the construction workers at the site – the individuals who have direct contact with the land in transition. He intends to place them in the story of this area, so they are not left out of the realm of memory.

Digital devices that offer detailed descriptions of the artworks including historical facts, concept explanations and artist biographies are available. Moreover, visitors can see behind-the-scenes shots as well as access its AR (Augmented Reality) feature.

In-Betweenness Art Exhibition at Art Gallery at The Prelude, One Bangkok is open Monday to Saturday from 9am to 5pm. Admission is free.

Ekaterinburg Theatre’s first offering on September 11 is the two-act “Turandot”. Giacomo Puccini’s opera sung in Italian, is set in China. The story revolves around Prince Calaf who has fallen in love with the man-hating Princess Turandot of Peking. Her plan is to kill anyone wanting to marry her. This way she hopes to avenge the mistreatment of a female ancestor by a man. If anyone of noble blood dares propose to Turandot, the suitor must pass a test: he has to solve three riddles. But if he gets it wrong, he will be executed. Calaf passes the test, but Turandot still refuses to marry him. He tries to win her over so offers her a way out: if she is able to learn his name before dawn, then at daybreak she can order his execution.

This was Puccini’s final opera and unfinished at his death; it is also considered his most adventurous. Gongs and xylophones in the score give it an Asian touch.

Leading Italian tenor Paolo Lardinzzone plays Prince Calaf. A veteran of the stage, Lardinzzone has performed in leading opera theatres including La Scala of Milan and has been recognised with several awards. An extremely taxing role, Calaf demands a lot from the tenor: not only does he sing more than anyone else but the main duet “Nessun dorma” for which this opera is famous, comes much later in the story, and Lardinzzone pulls it off with aplomb. Singing Turandot is an accomplished soprano, Zoya Tsererina from St Petersburg.

Two nights later, on September 13, Ekaterinburg Theatre performs Antonin Dvorak’s “Rusalka”, an opera in three acts, sung in Czech, based on a Slavic fairy tale. Of Dvorak’s 10 operas “Rusalka” is the most popular. A reflection of the Little Mermaid, it tells the simple story of a mermaid who falls in love with a prince and yearns to become human. Dvorak’s score perfectly separates the human and the mythical worlds bringing into focus the essential differences between humans and mythical beings. It’s a dark, but romantic tale of love.

Rusalka is perfectly performed by Elena Pavlova while the prince is played by Ilgam Valiev, an Honoured Artist of the Republic of Tatarstan and winner of the Golden Mask jury Special Award. For both operas, the orchestra is conducted by Konstantin Chudovsky. A multiple award-winning opera, ballet and symphony conductor, Chudovsky was named by the UK’s Financial Times as one of 25 Russians to watch and as “one of the country’s movers and shakers”.

Both performances take place the Thailand Cultural Centre. Tickets cost from Bt1,500 to Bt5,000 and are now on sale at Thai Ticket Major counters, online at www.thaiticketmajor.com and by calling the hotline at(02) 262 3191. Find out more at www.bangkokfestivals.com

Supporting the Festival are Bangkok Bank (PCL), Bangkok Marriott Marquis Queen’s Park, BMW Thailand, B.Grimm Group, Indorama Ventures, Major Cineplex Group, Nation Group, PTT (PCL), PTT Global Chemical PCL, Singha Corporation, Thai Union Group, Thai Airways International, Tourism Authority of Thailand and Ministry of Culture

The storied Les Ballets Trockadero de Monte Carlo from New York will be in Bangkok on September 16 and 17 as a part of this city’s 21st International Festival of Dance and Music at the Thailand Cultural Centre.

Founded in 1974 by a group of ballet enthusiasts, the company, fondly referred to as The Trocks, first performed in off-Broadway lofts. By the ‘80s they were established as a ballet company.

The Trocks have delighted audiences of all ages to packed houses across the US, UK, Australia, New Zealand, France, Portugal, Italy, Canada, Japan, South America, South Africa, Germany, Austria, Finland, Sweden, Ireland, China and more. An evening with the Trocks as The New York Times put it, is all about “daft diva antics. … [The show is] brilliant, unsettling, riveting – the epitome of Trocks style!”

The Trocks take classical and modern ballets and change them by adding an entertaining aspect – all kinds of humour from subtle parody to outright slapstick. It is hard not to laugh when male dancers balance delicately en pointe among swan princesses, delicate sylphs, ethereal water sprites and Victorian ladies. Their impressive technical skills underline the traditions of classical ballet at their heart.

The dance company explains, “Basically we are very good ballet dancers and good comedians. We combine the two using drag as a vehicle to bring out the comedy. People who know the Trocks come because they want to have fun with ballet.”

In the early stages, they choreograph a ballet just like any other ballet company would.

After the work is completely choreographed, they start to improvise to see how it develops in a comedic way. Slowly they change the ballet to bring out the comedy. The company is greatly influenced by Russian ballet stars and comedians such as Lucille Ball, Bea Arthur, Gracie Allen and Dame Edna. One thing is for sure – The Trocks are the perfect introduction to ballet not just for the kids but the adults as well.

The Trocks have two separate programmes in store for Bangkok.

On September 16 – Swan Lake, Pas De Deux, NightCrawlers, Dying Swan & Paquita. And on September 17 – Swan Lake, Pas De Deux, Go for Barocco, Dying Swan and Walpurgis Night..

Find out more information: www.bangkokfestivals.com.

Tickets: Thai Ticket Major (www.thaiticketmajor.com), Hotline (02) 262 3191 and at the counters. Ticket prices are Bt3000 / 2,500 /2,000 / 1,700 / 1,200.

Supporting the Festival are Bangkok Bank (PCL), Bangkok Marriott Marquis Queen’s Park, BMW Thailand, B Grimm Group, Indorama Ventures, Major Cineplex Group, Nation Group, PTT (PCL), PTT Global Chemical PCL, Singha Corporation, Thai Union Group, Thai Airways International, Tourism Authority of Thailand and Ministry of Culture.

Her Royal Highness Princess Sirivannavari Narirattana graciously presided over the opening of the exhibition last week. The princess was among the Silpathorn recipients last year, and was welcomed by Ittipol Khumpleum, the minister, along with senior officials.

The Silpathorn Awards have been given each year since 2004 by the Ministry of Culture and cover the visual arts, literature, music, film, performing arts, design and architecture. The Ministry of Culture in May announced the winners of the 2019 awards. They included seven outstanding contemporary artists from seven categories: Natee Utarit in the visual arts category, Assoc Professor Boonserm Premthada in the architecture category, Worapoj Panpong in the literature category, Anan Nakkong in the music category, Damkeng Thitapiyasak in the performance art category, Sayombhu Mukdeeprom in the category of movies and motion media, and Assoc Professor Dr Singh Intrachooto in the design category.

Natee said he was honoured to receive the award as he has been actively involved in the field more than 25 years and intended to dedicate his artwork so that a younger generation could learn about it. Natee was recently awarded the Art Game Changer Award 2019 from the Asia Society Institute as one of the most notable contemporary artists.

Veteran Singh is considered among the country’s leading creative figures that have made notable contributions to Thai fine arts, design and culture. He said he was delighted and deeply honoured that his decades-long work in eco-conscious design had earned this prestigious Silpathorn Award. Singh added that designers can also communicate with creativity, wit and insight in order to safeguard and restore the environment. “We can reach out to people’s hearts with our works,” he said.

Anan discussed his international music, which draws on that of neighbouring countries to enable creative communication and delightful musical content that can be merged and conserved harmonically within Asean.

Titled “Art Brut: Figure of Unknown Beauty”, the exhibition showcases a variety of artworks by prison inmates, homeless persons, the physically impaired and the autistic. The paintings, sculptures, photographs, mixed media and graffiti by 51 Thai and Japanese people with no formal art training are described as raw, straightforward, sincere and authentic in contrast to tradition of fine art.

 Photo courtesy of Bangkok Art and Culture Centre

“Art brut”, a French term for raw art, was coined by French artist Jean Dubuffet in 1945 to identify works created by mentally and physically disabled individuals, eccentrics and social misfits in a naive, raw, free, unexplainable and ruleless form.

“Their works have taught me that an abundant knowledge of art theory doesn’t mean that we can create a good work of art. Sometimes, we have to unleash our hidden human side in order to create works that are executed with authentic emotion and spiritual value,” says Suebsang Sangwachirapiban, the Thai curator of the exhibition.

Preecha’s paintings/Nationphoto: Khetsirin Pholdhampalit

Continuing until November 3, the exhibition, a collaboration between Japanese and Thai institutes, is regarded as the largest-scale movement of Art Brut in Southeast Asia and is divided into five main themes.

The first theme “Repetition, dense and homogenous” highlights the expression of rawness through repetitive strokes of paintbrush and pen. Six inmates of Thonburi Remand Prison are the Thai representatives and their paintings and drawings express loneliness and a hunger for freedom through the use of dull shades and metaphoric images like candles, skulls, chains, stairs, and high walls separating their world from that outside.

Theerawat’s works/Nationphoto: Khetsirin Pholdhampalit

“I’m thankful that the prison allows the inmates to freely express their thoughts no matter how negative these might be,” says Suebsang. “Some works depict painful and tragic memories and confusion while several pieces reflect the yearning for freedom through simple and abstract forms.”

An inmate named Preecha offers a series of seven semi-abstract paintings illustrating an isolated and deserted land in gloomy darkness with freeform and strong brushstrokes while fellow inmate Theerawat uses brush rotations to give eerie dimensions to his seven paintings highlighting the candle image as a metaphor of his search of freedom.

Akane Kimura’s drawings/Nationphoto: Khetsirin Pholdhampalit

Akane Kimura from Japan uses oil marker pens in blue, red and black to create continuous repetition of strokes.

“The lines are drawn without hesitation and are repeated with a certain regularity. Each work takes about two to three minutes to complete. She enjoys the sound of her marker pen moving quickly and continuously up and down when drawing as well as the sound when the pen comes off the paper and hits the drawing board. For her, it a kind of exhilaration,” says the Japanese curator Seina Kimoto.

The Art Brut movement also celebrates the creators’ ability to use material freely available among existing resources and that forms the second theme of the exhibition, “Raw materials and creation in everyday life”.

Shota Katsube uses twisted metal wire to create miniature warriors./Nationphoto:Rachanon Intharaksa

Twisted metal wire that is normally used to tie bread bags is the main material used by Japanese creator Shota Katsube who skillfully twists them into an army of miniature warriors that look as if they have walked off the page of a comic book.

Thiti Kaowprathana’s caravan of paper vehicles./Nationphoto:Rachanon Intharaksa

Adjacent is Thailand’s Thiti Kaowprathana’s caravan of public transport vehicles from public buses, trucks and tour buses to taxis and sedans, each of them fashioned out of a single sheet of white cardboard. The components of each vehicle – both exteriors and interiors – like seats, consoles, air-conditioners – are replicated in fine detail.

Sakpong’s sawdust sculptures/Nationphoto:Rachanon Intharaksa

Sakpong, an inmate, has also created a series of animal sculptures from sawdust, confining them in cages, and chains and by stairs to represent his struggle for freedom.

“Desire, the source, what makes them create” theme is best described by the paintings of Madee Boonchuen, a familiar face to many Thai artists, and a reliable transporter of artworks. For more than a decade, Madee, or Choke as he is more familiarly known, has been the favoured driver of many artists when they need their works transported from one destination to another. Despite never attending art school, his experiences with art have inspired him to produce his own pieces.

Madee Boonchuen’s painting/Nationphoto:Rachanon Intharaksa 

His paintings are as playful and humorous as they are painfully satirical. He shows himself as the victim of a sick society by featuring his portrait in a rural setting. One picture shows him smiling happily while feeding a dog while in the background is a dead canine and two black-clad men killing the chickens in the coop.

The theme “Art which is born of a relationship” explores the background of the production and the relationship between the creators and people around them. Self-taught artist Peeraphat Aukkaraphat, the owner of the Art on Street Gallery at Chatuchak Weekend Market, brings the subject to life in his two works.

The painting featuring an image of Prof Silpa Bhirasri by Peeraphat Aukkaraphat /Nationphoto:Rachanon Intharaksa

Untramelled by convention, Peeraphat’s paintings revolving around the Buddhist theme are for his own pleasure and not for sale. His works come with the label saying “for free if we have a good talk” and his sincerity impressed the famous artist Kamin Lertchaiprasert, who after such a “talk” was eventually rewarded with two artworks for free.

The video of Samer Peerachai at work /Nationphoto:Rachanon Intharaksa

The final theme “For further creation” tackles collaboration. Samer Peerachai, a homeless person, likes to create graffiti art in public spaces such as the bus stop, walls, and foundation pillars. His works are done in a mind-mapping-like style with coded numbers and symbols and they are recorded in video format at exhibition together with one of his works with pen on canvas.

“He said he was a former Marine but his loss of family forced him to live on the streets. He doesn’t talk much and panics that some people will come to catch and harm him. Though he is mentally ill, his works imply orderly mind-mapping thoughts,” says Suebsang.

The collaborative work by Hideyuki Igarashi and Masanori Kurachi /Photo courtesty of Bangkok Art and Culture Centre

For more than 25 years, Japanese artist Hideyuki Igarashi has collaborated with Masanori Kurachi who suffers from autism to create some 10,000 drawings born out of the reciprocal approach method, which sees the two of them alternately drawing as a way of communication and to develop the possibility for new creations. On display at the exhibition is a collection of 100 postcard-size drawings on which the two have worked together.

>>> “Art Brut: Figure of Unknown Beauty” continues until November 3 at the main gallery on the eight floor of Bangkok Art and Culture Centre.

>>> The centre is located at Pathumwan Intersection, opposite MBK mall (BTS: National Stadium).

>>> It’s open daily except Monday from 10am to 9pm.

>>> Call (02) 214 6630-8 or visit http://www.Bacc.or.th.

Organised by Zense, Cat Radio and Get Live Management, “Pantomime in Bangkok”, Thailand’s largest annual showcase of pantomime by Japanese and Thai artists, was back in town last weekend at the M Theatre. Laughter was frequently heard, applause generally loud and smiles always on the faces of all the audience members.

The familiar strains of an accordion announced the presence of Ota Yumiko. And as those of us seated in the front section of the house turned towards the right middle door, we saw her partner Guri Guri Girl, the charming auntie character created and performed by Hatori Hisayo who later returned in-between scenes to introduce the artists and scene titles. The two walked down the centre aisle towards the stage and met with other performers who were carrying a large banner with the show’s title. And even though the number 16 might not suggest longevity — albeit perhaps sustainability — many of us were now recalling the good memories we have shared.

His costume notwithstanding, Japanese expatriate Yano Kazuki’s “Samurai Office Worker” commented on bureaucracy as his character needed to visit many rooms and climbing stairs to many floors in order to get all the necessary signatures and stamps. Some members of the audience couldn’t help wondering if this was actually based on his experience when renewing his Thai visa.

Next was “Hospital” by the duo Ayukoji, comprising Kojimaya Mansuke and Teruoka Ayumi who portrayed a patient and a nurse almost as weird as each other. The latter was actually the former’s student but her performance here proved that she could match her teacher’s every move.

The only Thai performer in the showcase was Nattapol “Ta” Kummatha, one third of the trio Babymime. His “Cameraman” was a smart take on the wedding photography craze, also involving a few members of the audience who filled this hilarious act with additional charm and freshness.

Making his Bangkok debut, Suzuki HIdeshiro showed sublime body work in both “Kiss of Fire” and “Egg”, each of which told a very different story.

After the 20-minute interval, the duo in white suits known as Sivouplait, Shibasaki Takeshi and Horie Nozomi, brought another audience member up on stage and cast him as a god of pantomime in “Do You Believe?” Interestingly, this act poked fun at this performance genre itself.

Kunii Miwako was also performing for the first time in Bangkok and her two solo works “A Cockroach Trip” and “Belly Meat” showed promise while also revealing that she needs a few more years to better hone her acts.

That was quite a contrast to “The End of Vampire” by Yamamoto Koyo who showed that characterisation work is as important as physical movement in pantomime performance.

Sivouplait was back again with “I’m Home” in which a salary man came home one evening and turned into an ape, as did his wife. It was example of how a seemingly simple story with an everyday situation at its core could convey a different message with a smart twist.

Even though it’s seen here before, Koyo’s “Memorial Photos” made for a strong closing act. This work reminded us of how time passes and in the end people we know will no longer be there. But of course these Japanese and Thai pantomime artists will return next July, and in the years to come.

At the end, I was thinking of how visually and aurally busy, if not overloaded, a Bangkokian’s life has become. Even while we’re taking Skytrain home after a long day at work, we cannot escape being bombarded by continuous advertising. Watching a pantomime show is not a meditation retreat of course, but it helps us relax, focus and exercise our imagination, certainly reminding us that sometimes silence can speak louder than words and that thanks to the art of theatre, audiences do not necessarily need to see and hear certain things to believe that they’re there.

Noticeably, the seats for the first show on Saturday afternoon were less than half filled. The almost yearly change of venue may be a reason. Even though the full lights and sound at the M Theatre, and last year’s Aksra Theatre King Power, made the show look grander, many audiences still miss the intimacy of Muang Thai Life Assurance auditorium where the early editions took place. A 20-minute intermission included, the whole show clocked in at a little more than three hours and that’s much better than some previous years when more complaints were voiced. Some wonder, though, if putting the acts into two different programmes, so that the whole show would be shorter and each artist could show more works, might be a solution. After all, we only get to watch most of these pantomime artists once a year.

– Keep track of the 17^th edition of “Pantomime in Bangkok” at “PantomimeInBangkok” on Facebook, Instagram and Twitter.

The “Long Live Our Beloved King” event, which opened on Friday (July 26), is being organised by Siam Piwat Group and Siam Paragon Development, inviting Thais to pay their respects to the beloved monarch.

The opening ceremony on Friday was attended by ambassadors U Myo Myint Than of Myanmar, Seng Soukhathivong of Laos, Emilio De Miguel Calabia of Spain, Ivo Sieber of Switzerland and Evgeny Tomikhinand of Russia, besides representatives from various countries. Also joining the inauguration were Siam Paragon executive Mayuree Chaipromprasith and socialites ML Chantaraladda Yugala Uboldejpracharak and Sopitnapa Chumpanee.

The exhibition of HM King Rama X’s portraits cover a wide range of his royal duties in different fields, including military, sport, agriculture, education, social, medical and healthcare.

Led by renowned artist Roengsak Boonyawanichkul, groups of volunteer artists from Silpakorn University’s Painting Department, both current and alumni, together created the King’s portraits.The exhibition runs until July 28 at Parc Paragon, Siam Paragon. The cultural performances will be held from 4 to 8.30pm.

A beautiful Guzheng performance, “Spring”, by Master Lee Yang from China, a Taiko drum performance from Japan, and classical Thai dance performances by actress Bella Ranee Campen marked the grand opening. Bella performed the “Gold and Silver Branch” dance wearing elaborate traditional Thai costumes and extravagant vintage gold accessories representing four regions of the country’s rich cultural heritage. They included drum performance Klong Sabatchai from the North, two from the Northeast – a spirit worship show Phi Ta Khon and a peacock dance Taree Bu-ngha, a Norah dance from the South, and the Gold and Silver Branch dance from the Central region. The free public event is a great opportunity for locals and visitors from around the world to celebrate this auspicious occasion and enjoy the rich cultural experience.

The candle blessing ceremony for the King’s birthday on July 28 will be held at 7.19pm, also at Parc Paragon.

The exhibition, “Lost and Found: The Elephant in the Room” by Millie Young at Neilson Hays Library runs August 2 to September 1. The August 4 opening night runs 5pm-8pm, while a workshop on August 3-4 is from 1pm-4pm.

The display includes a series of prints that echo a Victorian style of scientific studies through animation sequences in a series of 24 images per print, an homage to Eadweard Muybridge the photographer credited with developing photographic sequences of motion. The main feature is a 360-degree projection experience in the Rotunda room that will be screened during lunch hours, in the late afternoon after school on weekdays, and at weekends.

The artists will be available at the screenings for questions, and screenings can also be booked for groups at least two days in advance. The work is part of a study in 360-degree animation that Millie is developing for her research leading to a PhD in Design (International) at Silpakorn University.

Young started Millimation’s Animation Workshop in 1994 in Brighton, UK where created animation and films by, with, and for the community.

“Tally Bloody ho!” won the Arts Council 1999 Taped Up award. From 2000 she began to research about Thai elephants and mahouts while continuing to revisit and build a reputation as an elephant artist. In 2007, Millie transferred to live in Thailand. Her MA graduation animation “Mere Wife” was screened at the World Bangkok Film Festival 2008, becoming pivotal to her current animation lecturer position at Mahidol University International College. Her research work has explored various aspects of oral history, national identity, Thai animation history and independent animation.

Special events include workshops August 3 and 4 from 1pm-4pm exploring “Zoetropes, Phenakisoscopes and Thaumatropes – Animation from the very start!” It is sponsored by Mahidol University International College.

Also on August 11 from 10am-4pm there is an activity, “Let’s Animate Elephants in the Room!” In celebration of World Elephant Day on August 12, participants will help create animation for a special installation in the 360-degree setting. There will also be talks, screenings, and storytelling along with information about elephants in support of BLES. BLES is a sanctuary for elephants based near Sukhothai that is “passionately devoted to creating a safe home for Thai elephants”.

https://www.blesele.org

Blessed with an observant eye, Orawan is a self-described wayfarer who collects anecdotes from everyone she meets. Since 2016 her life has shifted between Bangkok and Berlin, and in each place, conversations and observations evolve into sketches.

“Unlike an arranged interview, an organic exchange between the artist and passers-by offers more room, a drift to wider observation of the surroundings – in other words, a social illustration of city dwellers,” the gallery says in its press release.

“Her artistic language manoeuvres in the careful lines, mellow colour and soft words, constructs multiples trails of reading, and slowly morphs into a silhouette of her own body.”

“Counting” features prefabricated concrete blocks that serve to delineate a “transitional space” holding stories ready to find and collect.

“The act of counting is a meditation, a slow discovery – from the artist to the viewer, from the footpath to the gallery. Her artwork is like a communication between softness of drawing and roughness of concrete. It also resembles how kids often play and draw on the street.”

The Bangkok City Gallery is on Sathorn Soi 1 near the MRT Lumpini station. It’s open Wednesday to Sunday, daily from 1 to 7pm.

Call (683) 087 2725.