ONE of the joys of going to a show at a venue you don’t frequent is that you leave enough time before the curtain to make sure you get there on time. Thanks to the notorious evening traffic that forced me to make a U-turn back to the office and take the Skytrain, my enough time last Thursday meant a couple of drinks and some snacks at WTF’s bar. I spent that quiet time getting excited about the fact that Dee-Ng’s Kwin Bhichitkul and B-Floor Theatre’s Surat Kaewseekram are performing in each other’s work in this new double-bill “What’s Left: Resonance from the Discarded”. I was also thinking of how many works by other senior artists I’d seen them perform in in the past five years.

Kwin’s “Soapernatural” was staged on the second floor and saw performer Surat trapped in a living room that could well be a crime scene. Kwin did his photographic research on carcasses of animals who had died prematurely – and we got to see these photos only when we were about to go home. He deftly turned it into a performance that also included a Thai-dubbed “Ultraman” TV clip, an Ultraman suit, a number of red and pink women’s underpants, a vacuum cleaner and a portable washing machine – all of which as well as Surat’s interaction with them inspired the audience to think beyond what we were seeing and link them to our current socio-political situation.

One floor up in extremely bright light was Surat’s “Coherence” and saw Kwin moving among the many plastic bags of trash, mostly plastic water bottles, Surat had collected in his research over the past year.

The movements, music and actions were repetitive at times and occasionally grotesque and comical, although I wish there had been some quiet moments when the audience was allowed to look at this intriguing environment and respond to it. Also, the trash might have been more meaningful had it been more diverse in terms of content.

While both works were well connected, thematically and stylistically, I also wish they had worked with another veteran director who would have added more coherence and perhaps even more surprise to the staging.

But for now and the foreseeable future, the audience can rest assured that once physical theatre trailblazers like Silpathorn artists JarununPhantachat and Teerawat Mulvilai retire, we will still get to see engaging movement-based performances and “hear” messages that may not be possible in other media.

Ten Shows Left

“What’s Left: Resonance from the Discarded” continues from Wednesday to Sunday and July 3 to 7 at 7.30pm, at WTF Gallery in Soi Sukhumvit 51 (BTS Thong Lo’s Exit 4).

There’s no spoken dialogue.

Tickets are Bt550, Bt2,400 for a pack of five, and Bt500 for students, at (094) 494 5104 and (092) 463-9569.

Find out more at Facebook.com/BFloor.Theatre.Group.

MANNEQUINS display inflatable, white airbag dresses created to protect women from workplace harassment, while nearby details of the alleged sexual misdeeds of 170 public figures cover four long walls, splashed in red.

The #MeToo movement that exploded on the global stage in late 2017 has inspired several works exhibited at this year’s Art Basel, the world’s biggest contemporary art fair, which opens to the public on Thursday.

Women artists have taken centre stage at the show’s 50th edition, with in-your-face installations expressing disgust and exasperation at persisting gender inequalities and culturally condoned abuse and harassment of women.

Spanish artist Alicia Framis has filled a room with delicate, white mannequins wearing different styles of dresses made from airbag material, which inflate to protect different parts of the female body.

The artwork “Life Dress” (2018) by Barcelonaborn and Amsterdam based artist Alicia Framis. /EPA-EFE

The piece called “Life Dress” consists of dresses “to protect women in all work situations where there is some kind of abuse,” Framis says.

The 52-year-old artist says she spoke with victims of harassment and abuse and allowed their stories to inspire the dress designs, using “fashion to demonstrate against violence.”.

Where Framis uses humour to spotlight abuse, Los Angeles-based artist Andrea Bowers’s massive archival project “Open Secrets” radiates rage.

It consists of reams of photographic prints on red backgrounds, each listing the name and occupation of a public figure accused of sexual harassment or abuse, their public response to the accusations and details of the case.

Disgraced film mogul Harvey Weinstein, whose misconduct first sparked the #MeToo movement, has two full panels dedicated to his long list of alleged misdeeds.

US President Donald Trump also figures in the piece, as do his predecessors Bill Clinton and George Bush Senior, two Supreme Court justices, as well as actors, journalists, musicians and other public figures.

“I just felt like the #MeToo movement is perhaps one of the most important feminist movements of my lifetime,” Bowers says of her inspiration for the piece.

The 54-year-old self-described feminist activist artist says she was been shocked to realise “what it was like for me growing up, that it was rape culture, where … young men were given permission to sexually violate me and my friends.”

With the #MeToo movement, such behaviour is finally “being acknowledged,” she says. “I hope that it’s a historic shift.”

During a preview earlier this week, men in particular lingered in front of the piece which covers two long walls, back and front, in the middle of the fair’s Unlimited exhibition space.

“You can see a lot of men standing here and being a bit unsure how to react,” notes Vanja Oberhoff, a young German art investor standing among some dozen men gazing at the articles.

“It’s a very strong piece,” he adds.

Not all reactions have been positive.

A visitor sits facing an artwork by Andrea Bowers entitled “Open Secret” at Art Basel.

Helen Donahue, who in 2017 tweeted out photographs of herself bearing the marks of alleged abuse by freelance columnist Michael Hafford, voiced outrage that Bowers had used one of the pictures.

Bowers, who insists on the importance of trusting survivors, quickly issued an apology for not seeking Donahue’s consent before using the picture and removed the panel from the exhibit.

The artist says showing her piece at Art Basel had been more challenging than she had expected.

The VIP opening of the show drew “some of the richest people in the world, and they actually know many of the people on the walls, because these are also some of the most powerful people in the world,” Bowers points out.

“This is an emotional piece for a lot of people here because it is very personal.”

The piece shows “we have to change our thinking, and not everybody is ready to do that… There is still a lot more work to be done.”

This year’s Art Basel is also abuzz with discussion about disparities between the prices raked in for pieces made by male and female artists, as well as access to gallery representation.

Clare McAndrew, a cultural economist who writes the annual Art Market Report released each year ahead of Art Basel, says that women still face “stark under-representation” in the art world.

“Only five per cent of the work sold last year at auction were by female artists, and the higher up the price point you go, the worse that gets,” she says, adding that even at galleries only showing contemporary art, women account for about a third of the represented artists.

Marc Glimcher, who heads Pace Gallery, a global leader in contemporary art, acknowledges that the most talented women artists have long made only about a 10th of the amount made by contemporary male artists, if they were lucky.

But he adds that “an equalisation is taking place”.

“The market recognises that there was an arbitrary depression of value, and a possible opportunity.”

CHARLES M Schulz’s much-loved characters Snoopy, Charlie Brown, Lucy and other friends are enjoying life in Bangkok this weekend as part of the Peanuts Global Artist Collective exhibition showing at Siam Paragon, Siam Center and Siam Discovery until Tuesday.

The Fashion Gallery of Siam Paragon is almost unrecognisable having morphed into Snoopy’s Red Dog House. Inside, fans can experience a new adventure with their favourite characters through a wide range of striking artworks and interactive games. Among the fun activities are the Balloon Catcher game, a photo booth, tattoo corner, painting workshop and the Peanuts Global Artist Collective pop-up store, boasting exclusive designed tote bags, stationery and lifestyle products.

Launched last year, this collective project features seven internationally-acclaimed contemporary artists, namely Tomokazu Matsuyama, Rob Pruitt, Nina Chanel Abney, Kenny Scharf, Friendwithyou, Andre’ Saraiva x Mr A and AVASeven. After travelling to London, Berlin, Paris, Mexico, Tokyo, San Paolo and around the US, this is its first showcase in Southeast Asia and after its Bangkok stop will continue to Seoul.

“The Peanuts or Snoopy family is well known all over the world. It’s a good chance for us to bring our work to the public. All the artists have their own stories attached to Peanuts and we are delighted to be able to share them,” artist Matsuyama says.

“I have created 10 to 13 artworks for this project and drew from what I saw at the Peanuts museum in Santa Roca, America. The staff there was great: anything we wanted, they would give us. It’s home to the entire history of the original comic strips. We want everybody to enjoy the different eras.”

His works can be seen in the walkway that connects Siam Center with Siam Discovery and include an adorable Snoopy suspended from the ceiling, while the floor and walls are painted all the colours of the rainbow. He also introduces a painting that depicts Peanuts drawing Woodstock in abstract Japanese style.

“I’ve worked with many brands and companies in creating several products. But the challenge is to keep the uniqueness of each character and original drawings while putting my own style into the work,” he says,

Matsuyama was a former professional snowboarder who turned to art when he was injured at the age of 22. No longer able to take part in sports, he headed to New York in 2000 and made a name for himself as an artist.

“I started from street art. The graffiti artists mostly come up with their own names on the streets but my name is Japanese, which made it hard for people to understand. I created my visual vocabulary instead.

“Today, my works are displayed in many countries. My masterpiece is a seven-metre-tall steel sculpture created in Hong Kong that’s now on show in Melbourne, Australia.”

Until June 30, Siam Center is hosting a playground on its ground floor. Featuring Peanuts and his friends in different actions created by AVAF, the Flasma Interactive Floor Piano allows you to rearrange your own music, with your favourite characters popping out when you step along with the tunes.

Alongside, the thrilling Skateboard interactive game invites you to explore outer space with the Peanuts characters adapted from Kenny Scharf’s artworks. Rob Pruitt has built the Bamboo Forest, where Snoopy lives happily with pandas, while the life-like figures of Peanuts and Woodstock created by FriendWithYou and Nina Chanel Abney stand at the entrance to welcome customers.

The exhibition, which continues through September 15, opens the museum’s Season of Chinese Art, which will explore the best of the genre presented for a contemporary, international audience. With 20 Chinese art masterpieces from the Museum’s collection and 29 dresses by Guo Pei, this blockbuster exhibition spans two galleries and is part of the Museum’s commitment to examining the diverse cultural heritage of Asia.

“The exhibition is significant to our visitors for two reasons. It is our first special exhibition dedicated to fashion and is representative of our shift to the contemporary domain. Our aim is to make the point that heritage and tradition are very much relevant to the contemporary; and that heritage and tradition can be remarkably sexy and alluring. Every masterpiece in the exhibition is a unique blend of contemporary and traditional design, material and craft. Second, the exhibition has been designed to give visitors a simple and visually arresting overview of Chinese art history – imperial art, export art, and folk art. We wanted a show that would introduce visitors to aspects of Chinese art – materials like silk and porcelain, the craft of embroidery, motifs like peonies and phoenixes – in a completely unexpected and, hopefully, very memorable fashion,” said Kennie Ting, director of Asian Civilisations Museum and Peranakan Museum.

The exhibition begins with a dramatic display of Yellow Queen, the iconic cape worn by Rihanna to the 2015 Met Gala. A symbol of Guo Pei’s breakthrough to an international market, the dress also represents a moment in time when the world encountered and engaged – through countless reactions, conversations, and memes – with a masterwork inspired by imperial China.

The main exhibition space features three sections. In “Gold is the Colour of my Soul”, Guo Pei’s signature yellow and gold works reflect the historical significance of colour, techniques, and materials strongly associated with imperial China.

Through “China and the World”, Guo Pei’s hybrid designs parallel Chinese art in blending Chinese imagery creatively with Western silhouettes and tailoring.

In “Treasured Heirlooms: Chinese Bridal Dress”, her works modernise the traditional Chinese bridal style, with strong Peranakan connections; and they have found relevance with celebrity brides today, including Angelababy, Liu Shi Shi, and Tang Yan.

Every sightline in the exhibition space emphasises a visual dialogue between the historical and the contemporary through deliberate juxtapositions of Chinese art masterpieces and Guo Pei’s masterworks. Each pairing shows off the best of Chinese traditional craftsmanship as well as modern couture techniques in the expression of creativity and storytelling.

Keep updated at http://www.Acm.org.sg.

Co-organised by the Creative Economy Agency (CEA) and the Goethe-Institut Thailand, the exhibition is curated by Philip Cornwel-Smith, Prof Martin Rendel and Phiboon Amornjiraporn.

“Germany plays an important role in the European Union’s economy and on the global scale with its management and development of infrastructure that improves quality of life. It offers various products that combine creative design with an interesting identity, as well as global product brands that are internationally accepted. This clearly reflects the overall economy of Germany which is continuously growing,” says Apisit Laistrooglai, the managing director of CEA.

Among the products is a round red fake nose as big as a plum tomato. It is a symbol that’s used to bring happiness to German people during the annual Carnival. It represents an exclamation mark and implies that everything that is said and done is meant to be funny. It reflects a country serious about its sense of humour and contradicts the view many countries have of serious Germans.

Birkenstock sandal is a legendary brand hailing from the hinterlands of North Rhine-Westphalia and stands for footwear that combines supreme comfort and a healthy gait. The brand has gained popularity worldwide for more than 245 years due to its selection of quality materials in the manufacturing process, such as durable authentic leather with a soft and comfortable texture, and an adjustable sole which helps to relieve leg and back pain.

The bus ticket tube is an effective innovation with which Thais become familiar at a very young age. It’s shaken as a signal to passengers to prepare their fares. The tube is multifunctional, as it can fit all kinds of tickets and coins. Its lid can also be used to cut or tear tickets for passengers in order to mark where the passengers get on and off.

Car bumper stickers are also considered low-cost, lucky charms. These stickers bearing the messages like “this is a red car” or “this is a white car” are contradictory to their real colours yet reflects the Thai belief in lucky colours. Besides making people feel safe and lucky, the stickers can save costs because owners do not need to have their car repainted with new auspicious colours according to their horoscope.

The exhibition also features short movies telling stories about cultural exchange produced by students from King Mongkut’s Institute of Technology Ladkrabang, Thailand and from Rheinische Fachhochschule Koln, Germany.

Admission is free and the exhibition can be visited daily (except Monday) from 10.30am to 9pm at Gallery Room, first floor of TCDC Centre, Grand Postal Building (back section), Bang Rak.

Call (02) 105 7400 extension 213-4 or visit http://www.Tcdc.or.th.

The “Birth of a Genius” exhibition brings together the best of the Picasso Museum Paris, Laurent Le Bon, the museum’s president told AFP.

Featured works include paintings, sculptures and drawings, and are accompanied by photos of the young Pablo in Barcelona and Paris.

The first Picasso exhibition in China was held in 1983, timed to coincide with a

Beijing visit by then French president Francois Mitterrand. Just 33 pieces of art were put on display.

    This year’s exhibition, which runs until September 1 at the UCCA Center for Contemporary Art in Beijing, focuses on the artist’s first 30 years.

“We have tried to show the great masterpieces like the blue Self Portrait, for example, that hardly ever leave the museum, and display them alongside a more multidisciplinary Picasso,” Le Bon said.

The Spanish artist’s “blue period” from 1901 to 1904, which focused especially on the poor and marginalised, such as prostitutes and drunks, features prominently in the selected works, added exhibition curator Emilia Philippot.

“These are very political subjects in a way,” she said.

Transporting all the works to China brought its own challenges.

The insurers for the works, which are valued at more than 800 million euros ($900 million) insisted that the pieces travel on seven separate planes, the organisers said.

Organised by Farmgroup, it brings together galleries, local and international artists and collectors under one roof with the aim of creating a vibrant and supportive community in which art can thrive.

The sixth annual Hotel Art Fair on June 22-23 partners with W Bangkok, a hotel where art and design are appreciate.

This year’s conversation will centre on the topic of “Breaking Boundaries”. Art can break boundaries by pushing and evolving and its mission is to seek and express human emotions and point of view.

This year’s event will showcase the most diverse selection of participants yet, from local talents to emerging artists to major galleries all over Asia.

Be immersed in the works of more than 30 galleries and independent artists, including Richard Koh Projects, Artemis Art, L+/Lucie Chang Fine Arts, the Drawing Room, Korea Tomorrow, Clear Gallery Tokyo and B-gallery.

Local venues represented will include Number 1 Gallery, Joyman Gallery, Subhashok the Arts Centre, La Lanta Fine Art and Gallery Seescape.

“Spectrum” by the Autistic Thai and Na Kittikhun Foundation, features extraordinary artworks with a high level of creativity.

Thai digital artist Purin Phanichphant will be showcasing his playful interactive pieces that transcend the relationship between the viewers and the digital world.

Admission is free. Learn more at https://HotelArtFair.com and https://HotelArtFair19.eventbrite.com.

“I Carry on Living with Pumpkins” is in the “Let’s BAB” show, helping drum up interest in the coming second edition of the Bangkok Art Biennale. Photo courtesy of BAB

The success of the inaugural Bangkok Art Biennale last year – drawing more than three million visitors – was assured largely by the inclusion of the glorious, wildly photogenic installations by Yayoi Kusama, the Japanese op-art wizard whose work is adored from Alaska to Zimbabwe.

A string of the eccentric Kusama’s polka-dot pumpkins, loaned from her Tokyo studio and Filipino couple Maria Clara and Jose Isidro “Lito” Camacho, were undeniably the biggest attractions at Siam Paragon and CentralWorld.

Now Maria Clara Camacho is back with more from her collection to share with Kusama’s Thai admirers.

The “Pumpkins” (from 2016-2017) and “I Carry on Living with Pumpkins” (2015) are on display through Saturday at “Let’s BAB”, another impressive group exhibition taking place at BAB Box in the One Bangkok complex on Rama IV Road.

Professor Apinan Poshyananda, chief executive and artistic director of the Biennale, specifically selected pieces from that event as well as new works to help introduce BAB Box and promote the next Biennale.

Choi Jeongwa’s “Happy Happy Project: Flower Gun” from 2016 displat at BAB Box in Bangkok until June 22. Photo courtesy of BAB

Also in the show are the remarkable sculptural installations of Choi Jeong-hwa, Annee Olofsson’s stunning portraits, Paolo Canavari’s abstract paintings and Sakarin Krue-On’s black and white film.

Apinan vows the second Biennale will be even better than the first. “Marina Abramovic, the world’s leading performance artist, will be our international adviser, so please stay tuned for some surprises.”

Camacho was duly impressed by the vibrancy of Bangkok’s art scene when she visited last year. She and her husband own one of the most impressive Yayoi Kusama collections on the planet, as well as six major digital artworks by teamLab, the Japanese media-art collective.

She spent some time last month chatting with The Nation.

You’ve been to Bangkok many times – how has it changed?

It’s become so much more developed, with some amazing building and an art scene that’s become really lively thanks to Khun Apinan.

On my first visit for BAB, they had the flying pig and flower installation by Choi Jeong-hwa. I was surprised when I came this time and all the art was new and completely different.

How did you like the Biennale?

It was incredible! I didn’t realise so many people in Thailand were interested in contemporary art.

We visited the Bangkok Art and Culture Centre and again I was surprised how many people came to watch the performances and to look at the art. There were young people in large groups, like groups of friends who just wanted to enjoy art for an afternoon and families with kids. It was very refreshing to see.

What do you find most interesting about Kusama’s work?

We first saw her work at the National Museum of Modern Art in Tokyo in 2004 and she wasn’t very well known yet.

But the whole first floor was devoted to her and I was really impressed with the range of media she uses, from oil on canvas to beautiful paper creations to her Mirror Room to film. She’s also a poet and novelist, so her creativity knows no bound.

She is devoted to her art and really doesn’t care what people think of her work, how it’s categorised. She’s completely independent, a free spirit.

We have more than 100 of her works and every one is unique. We don’t mind lending them out because we think the whole world should know about her. That began happening in 2012 when she collaborated with Louis Vuitton. She designed over 500 window displays for Vuitton stores around the world and it made her a household name.

Kusama has long dealt with psychological issues. How do you think her work helps heal her?

Without her art, she would have committed suicide a long time ago. She says art is her therapy, but it’s also therapy for all the people of all ages who enjoy her work.

One New York artist told me that Yayoi “invented fun in art”, and her work is certainly among the most fun art you can find, especially the interactive pieces like the Infinity Mirror Room. That’s why there are long lines waiting to see her art.

When I first saw the Mirror Room in 2004 I was the only one in the room and could stay as long as I wanted, but now they only let you stay inside for 30 seconds because there are so many people queuing up.

We first met her in 2011 at her studio and the last time we met was two months ago. She is 90 now and still quite strong, but she uses a wheelchair because her knees are painful. But she strongly believes there is much more for her to do and create before she dies and she doesn’t want to be disturbed. So she sees very few people.

What advice would you give someone thinking about collecting contemporary art?

They should do a lot of research before buying, go to museums, watch films about art, talk to artists and curators. There is so much to learn – it’s not just going into a gallery and seeing something and buying it. You have to know about the artists. The better collectors are the most knowledgeable.

With such fast progress in Bangkok, how do you rate its potential to be a key Asian hub of contemporary art?

Bangkok a huge population and art only needs the support of the audience to thrive. You need an audience that appreciates art and artists who are willing to sacrifice and devote themselves fully.

Do you collect any Thai artists?

No, I don’t because the art can’t be exported. I’ve seen Thai artists who exhibit in the Philippines, at the Ayala Museum, such as Natee Utarit, who offered a critique of Western modernism in his 2017 show “Optimism is Ridiculous: The Altarpieces”.

If I find something really compelling, I’ll buy it, but when we collect an artist, we collect very deep, so that we accumulate almost a retrospective, from their early works to their more recent. I can’t do that with an artist whose work can’t be exported.

Annee Olofsson’s stunning portrait.

‘Much more left to do’

-The exhibition “Let’s BAB” continues through Saturday.

– Find out more at http://www.Facebook.com/Bkkartbiennale or http://www.BkkArtBiennale.com.

Featuring 142 provocative artworks by more than 100 artists from 12 countries in Asia, the exhibition is jointly coorganised by the Gallery, the Museum of Modern Art Tokyo, the Museum of Modern and Contemporary Art Korea and the Japan Foundation Asia Centre. It chronicles one of the region’s most turbulent periods through a transnational artistic lens, with a focus on the radical qualities of experimental practices in Asia.

“While Asia is known for its diverse cultures, languages and traditions, the countries also have much in common artistically. ‘Awakenings: Art in Society in Asia 1960s-1990s’ reveals unexpected connections and resonance across the region, spurred by a collective hunger for change, innovation, and the desire to achieve social communion through art. It also aims to shift the perspective that the artistic revolutions in Asia were largely influenced by movements from the West to how experimental art emerged from local social and cultural contexts,” said Dr Eugene Tan, director of National Gallery Singapore.

Four years in the making, the exhibition draws on the expertise, collections and networks of the three institutions to illustrate this multilayered history for the first time. It is structured in three sections – Questioning Structures, Artists and the City, and New Solidarities. Artists at that time found intersections between art and activism as they questioned invisible but dominant structures of power in society. They sought to express the struggles felt by the marginalised with the rise of rapid urbanisation and consumer capitalism.

Artists began to experiment with new technologies and materials to capture local stories, including using their own bodies in performance art, photography and video and incorporating everyday objects into installations. At the same time, new artistic collectives formed around the region, using art as a means of sociocultural communication, and developing localised responses to some of these shared issues.

The exhibition will feature a significant selection of works from Southeast Asia, exploring the intersections of experimental practices in the region, and their social and political contexts, with the rest of Asia and beyond. Major works include “Reptiles” (1989, remade in 2013) by Huang Yong Ping and “Eceng Gondok Berbunga Emas” (“Water Hyacinth with Golden Roses”) (1979, remade in 2017 and 2019) by Siti Adiyati. Tang Da Wu’s seminal work, “They Poach the Rhino, Chop Off His Horn and Make This Drink” (1989) will also be exhibited for the first time in this exhibition since its acquisition by the gallery.

To guide visitors, informative wall labels, audio guides, exhibition brochures and a richly illustrated catalogue will be available onsite. A detailed timeline tracing key moments in the region’s history in relation to the evolution of its various art scenes will also be available on the gallery’s website. In addition, a diverse programme of artist talks, curator-led tours, workshops, panel discussions and a symposium will enrich visitors’ experience of the exhibition and inspire insightful conversations.

Learn more at http://www.NationalGallery.sg/seedo/programmedetail/28983113/awakeningsartinsocietyinasia1960s1990s.

The exhibition features Yostorn Trios’ photographs showing the resilience of people in the Southern part of Thailand who go ahead with their daily lives in the midst of growing tensions.

The photos in black, white and grey show families, children in schools, people in the market or in sacred places and also aim to introduce Southern Thailand to the rest of the country and beyond.

The photographer tries to reveal Thai deep south’s socalled “grey zones”, images of normality in the shadow of conflict. These images rarely reach the media, but are important to “humanise” the news of victims and perpetrators.

Yostorn is the founder of Real-Frame and has an interest in portraying people in vulnerable situations. For more of his work, go to https://realframe.co or  Facebook.com/realframefanpage. SEA Junction aims to foster understanding and appreciation of Southeast Asia in all its sociocultural dimensions – from arts and lifestyles to economy and development.

For more information, visit http://www.SeaJunction.org.

The Cross Cultural Foundation (CrCF) was founded in 2002 to work on justice and the protection, promotion, and monitoring of human rights in Thailand. Particular emphasis is placed on marginalised people including ethnic minority groups, stateless people, migrant workers and the victims of conflict. Find out more at htttps://VoiceFromThais.wordpress.com.