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2014

In 2014, the political protests led by the “People’s Democratic Reform Committee” (PDRC) in Bangkok had widespread repercussions on the country’s economy and society, affecting even the personal lives and relationships of ordinary people. Family members, friends, or respected figures could find themselves engaged in heated arguments if their political views did not align.

The clash of differing ideologies spread extensively, creating an atmosphere of turmoil throughout society, including the art world. Many artists actively participated in political movements, engaging in artistic expression, protest marches, and exhibitions. Most of these artistic activities aligned with the anti-government movement.

As tensions continued to escalate, Tawatchai devised a parallel demonstration to test what he termed the “Hypothesis of Equality.” Under this simulated scenario, all participants would receive the same set of information, share the same opinions and actions, and, most importantly, regardless of their political stance, everyone would be required to cease discussing the contentious political issues.

Tawatchai planned to hold two exhibition openings. For the first, attendees would be required to have their photographs taken with a promotional model. This meant that everyone would become part of the artwork itself. Additionally, each photographed guest would then take on the role of photographer for the next attendee, turning everyone into an artist in their own right. All the photographs would be compiled into a book, and this completed artwork would be unveiled at the second exhibition opening. In essence, everyone attending the second event would also become an artist.

Ardel Gallery of Modern Art, founded by Thavorn Ko-udomvit, was the only venue Tawatchai considered. Thavorn played a significant role in supporting the anti-government protests, contributing through artistic creations and organising fundraising exhibitions for the PDRC. In fact, he could be regarded as a leading figure among the protesting artists.

When Tawatchai presented his plan to Thavorn, he suggested condensing the event into a single exhibition day, which he felt would be more suitable given the political climate at the time. Although Tawatchai was confident in his own vision, he recognised that creating another layer of conflict would merely replicate the existing tensions in society. Choosing a more conciliatory approach, he simplified the exhibition format while ensuring that its concept remained profound and expansive.

With the intention of playfully satirising the tense political protests by referencing the lively atmosphere of a motor show, Tawatchai decided that the two promotional models would wear bikinis printed with his own face. As the lead artist of the exhibition, this visual symbolised the idea of a hidden mastermind—an essential driving force behind the social unrest, as he perceived it.

In addition, he invited fellow artists and younger colleagues to participate by creating paintings, all featuring his face as the central figure. This concept mirrored the way different car manufacturers gather at motor shows to showcase their products. Tawatchai himself contributed a series of paintings featuring vintage Playboy magazine covers—part of his personal collection—chosen for their thematic connection to the presence of promotional models.

On 21 April 2014, just one month before the military coup, the exhibition’s opening provided a temporary escape from the tense reality of ongoing protests. Amidst a relaxed and light-hearted atmosphere, guests were not inclined to debate their political views.

The photo sessions with the promotional models became a catalyst for conversations unrelated to politics. Similarly, other artworks—including the Playboy cover paintings, the guest artists’ works, and satirical advertisement posters—encouraged discussions about art rather than political strife. The gathering reflected a playful, unserious version of a protest, contrasting with the intense demonstrations taking place in the heart of Bangkok.

The staged “protest” at the exhibition opening was later described by the artist as an “experimental interactive art event” designed to create the ideal conditions for testing the “Hypothesis of Equality.” By aligning participants’ perceptions and actions, free from prejudiced judgement, a state of absolute equality was achieved—something unattainable in the real-world socio-political landscape of Thailand at the time.