Art and Diplomacy Clash: Bangkok Exhibition Faces Censorship Pressure from China

In late July 2025, the Bangkok Art and Culture Centre (BACC) found itself at the center of a controversy involving artistic freedom and international diplomacy. The exhibition "Constellation of Complicity: Visualising the Global Machinery of Authoritarian Solidarity," curated by Burmese artist Sai, aimed to critique authoritarian regimes worldwide. However, shortly after its opening, the exhibition faced demands for censorship from the Chinese Embassy in Bangkok, leading to the removal or alteration of artworks critical of China's policies.

The exhibition, which opened on July 24, 2025, featured works from artists across regions such as Myanmar, Iran, Russia, Syria, and China. Its central theme revolved around critiques of authoritarianism and human rights violations. Notably, the exhibition included pieces addressing sensitive issues like Beijing’s treatment of Uyghurs, Tibetans, and the situation in Hong Kong.

On July 27, 2025, officials from the Chinese Embassy in Bangkok, accompanied by representatives from the Bangkok Metropolitan Administration (BMA), visited the BACC. They expressed concerns over specific artworks critical of China's policies and demanded their removal or alteration, citing potential diplomatic tensions. In response, the BACC complied by redacting references to Tibet, Hong Kong, and the Uyghur community. Additionally, the names of artists from these regions were obscured or blacked out, and certain artworks, including a multimedia installation by Tibetan artist Tenzin Mingyur Paldron, were removed.

Sai, the exhibition's curator, remarked, "It is tragically ironic that an exhibition on authoritarian cooperation has been censored under authoritarian pressure. Thailand has long been a refuge for dissidents. This is a chilling signal to all exiled artists and activists in the region." Tenzin Mingyur Paldron also expressed dismay, stating that the removal of his work was a significant loss to the exhibition's message.

Human Rights Watch's Deputy Director for Asia, Phil Robertson, characterized the move as "Chinese transnational repression—in the form of censorship this time." The incident has ignited a broader debate on artistic freedom and the extent of China's influence on cultural institutions beyond its borders.

The BACC, established in 2008 and primarily funded by the BMA, has been a prominent contemporary arts center in Bangkok. This incident marks a significant moment in its history, raising questions about the balance between diplomatic relations and freedom of expression.

This event is not isolated. China has been steadily increasing its influence over cultural institutions globally. For instance, in 2024, several prominent European museums adopted terms aligning their language with Beijing’s political agenda, undermining Tibet’s rightful identity. Such actions reflect China's broader strategy to control narratives and suppress dissent beyond its borders.

The exhibition is scheduled to run until October 19, 2025. However, the recent censorship has cast a shadow over its original intent, highlighting the challenges faced by artists and cultural institutions in maintaining artistic freedom amidst geopolitical pressures.

As the global community continues to grapple with issues of censorship and freedom of expression, this incident serves as a stark reminder of the delicate balance between artistic integrity and diplomatic relations.