Project 304 was an independent initiative that explored how alternative spaces in Thailand could survive without infrastructure or support, and whether such organisations could assist conceptual artists in the face of state cultural monopolisation. The Project 304 Archive showcases these alternative landscapes, their interconnected communities, and the ideological transformations that occurred in Thailand’s 1990s art scene.

Historical Notes
Project 304 was initially developed as Gridthiya Gaweewong’s arts administration thesis at the School of the Art Institute of Chicago, which explored the feasibility of creating an alternative art space in Thailand. In the 1990s, with a limited art policy for experimental and contemporary art in Thailand, there was a lack of public and private funding, let alone museums for contemporary art—state and private support went primarily to traditional arts. As a result, contemporary art was either confined to academic settings or commercial galleries. Labelled “alternative” within the art landscape at the time, artists such as Montien Boonma, Apichatpong Weerasethakul, and Kamol Phaosav  asdi struggled to find spaces to exhibit their experimental works. Within this context, there was a pressing need for institutional policies to manage and support Thai contemporary art and artists. In response to these challenges, a coalition of Thai artists emerged in 1994, advocating for the establishment of a public art centre, which eventually led to the creation of the Bangkok Art and Cultural Centre (BACC).

Project 304’s founding members comprised a mix of art organisers, artists, and curators, including Gridthiya Gaweewong, Michael Shaowanasai, Apichatpong Weerasethakul, Sajeetip Nimvijit, Prapon Kumjim, Kamol Phaosavasdi, and Chatchai Puipia, among others—many of whom had received their education in the West. Together, they played a pivotal role in cultivating a new generation of artists in Thailand. They established Project 304 as a non-profit organisation that served as an experimental space for young artists to challenge societal norms and conventions, supporting practices such as Michael Shaowanasai’s, whose work centred on his experience coming out as gay. Project 304 showcased the works of young artists in exhibitions such as Witches Stuff and facilitated collaborative projects including As Yet Unnamed (Not Yet in Progress), which invited art students from Bangkok and Chiang Mai to live and work collectively in an exhibition space for one-and-a-half months. Moreover, they curated a series of exhibitions titled Alien(gener)ation, which later evolved into regional variations such as Alien(gener)ation (Esan version) and Alien(gener)ation (Lanna version), building and promoting a new generation of artists who would go on to become influential figures in the contemporary Thai art scene, including Arin Rungjang, Kornkrit Jianpinidnan, Montri Toemsombat, Pratchaya Phinthong, Wantanee Siripattananuntakul, Sutthirat Supaparinya, Wit  , and Thasnai Sethaseree.

From 1996 to 2003, Project 304 served as more than just an exhibition space for artists inside and outside of Thailand. They showcased creative working styles and ideas that challenged tradition, and played a crucial role in propelling Thai artists onto the international stage. Project 304 organised travelling exhibitions between Thailand and Singapore in 2000, and participated in Cities on the Move curated by Hou Hanru and Hans Ulrich Obrist, which transformed Bangkok itself into an exhibition space between 9 and 30 October 1999, in lieu of a traditional museum setting. 

In addition to curating exhibitions, Project 304, with filmmaker Apichatpong Weerasethakul and Kick the Machine, initiated the first alternative art film festival in Bangkok, the Bangkok Experimental Film Festival (BEFF). This initiative facilitated a unique bridge between the art world and the experimental film community, inspiring a new generation of filmmakers and artists who found inspiration in the festival screenings organised by Project 304. During its run, Project 304 curated approximately 50 exhibitions and events and collaborated with over 150 artists and curators around the world.

As a non-profit organisation, Project 304 relied on the support of individuals and organisations such as Eric Bunnag Booth, Jim Thompson Company, The James H. W. Thompson Foundation, EPSON Thailand, Toshiba Thailand, Thai Airways International Public Company Limited, and foreign cultural organisations such as the French Embassy, Alliance Française, Asia; the Japan Foundation Asia Center; the Goethe-Institut Thailand; AARA: About Art Related Activities; and The Art Center, Chulalongkorn University, among others. Project 304 also organised their own fundraising initiatives, such as SOS Show.

Due to continuous financial and management challenges, Project 304 relocated five times. The first location was in Room 304 at a building near Samsen Railway Station, later moving to Setthasiri Road and then to Soi Sailom, all within Bangkok. Subsequently, Project 304 relocated to Chiang Mai, later returning to Bangkok on Aree Road. Around 2003, Project 304 had to close their physical exhibition space and instead displayed past works on their website (the address is now expired), now housed here.

From 2003 to 2006, Gridthiya Gaweewong represented Project 304 to curate exhibitions at the Jim Thompson Art Center (JTAC); the Chiang Mai University Art Museum (CMU Art Center) in Chiang Mai Province; and The Art Center, Chulalongkorn University, Bangkok. Notably, Gaweewong curated Saigon Open City in Ho Chi Minh City, Vietnam (2006–07) with Rirkrit Tiravanija. Other founders of Project 304, Apichatpong Weerasethakul, Kamol Phaosavasdi, Michael Shaowanasai, and Prapon Kumjim, have continued their careers as artists, filmmakers, and art lecturers.

Over a span of seven years, Project 304 served as a vital platform for experimental art. They played a crucial role in supporting and inspiring young artists, curators, and art workers in Thailand, further contributing to the growth and development of the Thai contemporary art scene. 

Scope and Content
The archive consists of printed materials, film, and digital materials, divided into the following series:

1. Administrative Papers and Correspondence, containing three sub-series:

a. Preparatory Documents include materials related to the founding of Project 304, such as legal documents, the mission statement, logo and business cards, and a list of founding members;

b. Administrative Documents encompass records such as meeting agendas, notes, mailing lists, bills, and invoices; and

c. Correspondences contain correspondences between Project 304 and various individuals and institutions.

2. Exhibitions: Organised by year from 1996 to 2003, this series contains exhibition documentation such as installation views, artwork photographs, artist statements, press materials, and newspaper clippings.

3. Participated Exhibitions: This series includes information on exhibitions and biennales that Project 304 participated in, such as Cities on the Move (1999), The 12th Asian International Art Exhibition: Thai Contemporary Paintings (1997), and the Gwangju Biennale (2002).

4. Bangkok Experimental Film Festival (BEFF): This series covers the alternative film festivals Bangkok International Art Film Festival (BIAFF) and the second to sixth editions of the Bangkok Experimental Film Festival (BEFF 2–6).

5. Other Programmes: This series documents various programmes conducted by Project 304, including ceramic workshops, film screenings, and the film project The Adventure of Iron Pussy.

6. BANG Monthly Art Newspaper: This series includes documents related to the BANG Monthly Art Newspaper, one of Project 304’s activities from 1998 to 2000. It also includes the BANG Newspaper in digital print (Vol. 1–6 and Vol. 8).

7. Photographs: This series contains photographs of founding members and spaces of Project 304.

8. Clippings: This series contains newspaper and journal articles about Project 304.

Dates (inclusive) 
1996–2003

Language 
Thai, English

Collection Access
Open for research. Onsite-only and restricted materials—including but not limited to correspondence, newspaper clippings, and unpublished writings—are available for consultation at AAA in Hong Kong, New Delhi, and New York. Please submit the Application for Access to Research Collections Form at least five working days in advance.

Collection Use
Subject to all copyright laws. Permission to publish materials must be obtained from copyright owners. Please contact research@aaa.org.hk for further enquiries.

Archival History and Project Team
The Project 304 print, film, and digital materials were retained by Gridthiya Gaweewong. Archival documents were reorganised, categorised, digitised, and annotated by Kamolwan Boonphokaew, who contributed as Guest Researcher in Thailand. The processing and digitisation started in November 2023 and June 2024 respectively. These processes were supported by Anthony Yung and Aki Kung.