b. 1987 Bangkok, Thailand; lives and works in Bangkok, Thailand.

In her performative videos, Kawita’s Vatanajyankur transforms her body into a site upon which issues of labor, feminism, oppression, and consumerism are thoroughly interrogated and challenged. Vatanajyankur undertakes various repetitive and strenuous tasks, turning herself into mechanical tools and domestic objects as she pushes her body to its limits as a testament to human capabilities and female resilience. Drawing from a globalized and digitally networked visual language of consumption and instant gratification, her videos bear semblance to bold and colorful commercial advertisements, only breaking away from their similarities within her constantly recurring moments of physical and emotional discomfort; the result is a body of work that is visually striking yet uncomfortable to witness.

Kawita Vatanajyankur's recent projects include Body, Labour, Consumption, Museo Novecento, Florence (2022); Mental Machine: Labor in the Self Economy, The Art Gallery of Western Australia, Perth (2022); Balance, Hamburger Bahnhof, Berlin (2022); #empowerment. Planetary Feminisms in Art, Kunstmuseum Wolfsburg, Wolfsburg (2022); Nation, Narration, Narcosis: Collecting Entanglements & Embodied Histories, Hamburger Bahnhof, Berlin (2021); Watch and Chill, National Museum of Modern and Contemporary Art (MMCA), Gwacheon (2021); Domesticated, MOCA Museum of Contemporary Art, Bangkok (2020); The Repetitiveness of Work, Project Fulfill Art Space, Taipei (2019); Performing Textiles, Alongside 58th Venice Biennale, InParadiso3030, Venice (2019); Squeezers, Flint Institute of Arts: Fleckenstein Video Gallery, Michigan (2018); Kawita Vatanajyankur, Kuiper Project, Brisbane (2018); Beyond Bliss, Bangkok Art Biennale 2018, Bangkok (2018); Work, Clear Edition & Gallery, Tokyo (2016); Machinized, Stills Gallery, Sydney (2016); Tools, The Jam Factory, Bangkok (2015); and Play, Beam Contemporary, Melbourne (2014).

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