Eternal Echoes: Phuket Biennale 2025 Bridges Ancient Indian Cycles with Thai Visions of Sustainability
By Indo-Thai News Correspondent | August 12, 2025
As Phuket gears up to transform into a global canvas of creativity, the Thailand Biennale 2025 emerges as a beacon of cultural fusion, drawing on the profound Indian concept of “kalpa”—a Sanskrit term denoting vast cosmic eras—to explore humanity’s enduring bond with nature. Under the evocative theme “Eternal [Kalpa],” this six-month extravaganza from November 2025 to April 2026 promises to intertwine Thai artistic ingenuity with echoes of Indian philosophical depth, fostering a dialogue that resonates deeply with Indo-Thai communities seeking shared heritage in modern expression.
Curated by Thai artist Arin Rungjang and Australian critic David Teh, the biennale positions Phuket as a living gallery, scattering over 65 artworks across 13 purpose-built pavilions and iconic sites like Saphan Hin Park, where permanent sculptures and even underwater installations will challenge visitors to contemplate ecological harmony amid Phuket’s turquoise waters and lush landscapes. Rungjang, known for his alchemical blend of history and contemporary forms, envisions the event as a “sustainable nexus” where art confronts climate urgencies, while Teh emphasizes the theme’s roots in ancient Indian cosmology—cycles of creation and dissolution—that mirror Thailand’s own spiritual narratives of renewal and impermanence.
The artist lineup, featuring 56 confirmed talents with 11 more from southern Thailand to be announced, showcases a mosaic of voices. Standouts include Thai luminaries like Supitcha Tovivich, whose immersive installations probe environmental fragility, and international figures such as Zhao Yao from China, whose abstract works evoke timeless rhythms akin to Indian mandalas. Collaborative sparks hint at Indo-Thai synergies: French-Palestinian ceramicist Maïa Beyrouti’s “Sand Portables” project echoes nomadic traditions shared across Asian cultures, while potential nods to Indian artists—drawing from previous biennales’ multi-ethnic vibes—could amplify themes of eternal recurrence, much like India’s own Kochi-Muziris Biennale integrates global and local lore.
Recent preparations have infused the event with local flair and controversy. In early August, Phuket’s Saphan Hin Park unveiled its first sculpture, “Richest Roller” by national artist Dr. Kamol Tassanaanchalee, praised by former Prime Minister Chuan Leekpai for elevating Phuket’s artistic stature. Yet, the buildup wasn’t without drama: Renowned painter Chalermchai Kositpipat, during a June preparatory forum, dramatically resigned as a national artist, citing personal candor and institutional constraints, a move that sparked debates on artistic freedom and added a layer of raw authenticity to the biennale’s ethos.
For Indo-Thai audiences, this biennale represents more than spectacle—it’s a cultural bridge. The “kalpa” motif, steeped in Hindu-Buddhist lore prevalent in both nations, invites reflections on shared monsoon rhythms, spiritual resilience, and sustainable futures, potentially inspiring artist exchanges akin to Thailand’s growing ties with India’s vibrant art scenes. As Phuket’s galleries and beaches buzz with anticipation, including landscape enhancements at key venues, the event aims to boost creative economies, drawing parallels with India’s festival-driven tourism and fostering a new era of Indo-Thai artistic solidarity. With underwater artworks symbolizing submerged histories and eternal flows, “Eternal Kalpa” beckons visitors to Phuket not just as tourists, but as participants in a timeless Indo-Thai tapestry.