Chanon Kenji Praepipatmongkol is Assistant Professor of Contemporary Art at McGill University. He researches contemporary and modern art, with emphasis on conditions of artistic production and reception for the global majority. Such conditions include the precedence of religious forces in modernity, chronic “illiberalism” and “underdevelopment,” and non-temperate climactic ecologies. His essay “David Medalla: Dreams of Sculpture” (2020) was awarded the Oxford Art Journal Prize for Early Career Researchers. His research has been supported by the Getty Foundation, Japan Foundation, Dedalus Foundation, and Delfina Foundation.
Prior to joining McGill in 2022, Professor Praepipatmongkol was Curator at Singapore Art Museum and Visiting Lecturer at National University of Singapore. He was also a curatorial fellow at Tate Britain and Museum of Contemporary Art Chicago, and worked on projects for Museum of Fine Arts Houston, Hood Museum of Art, and Jim Thompson Art Center. He holds an MBA and a PhD in History of Art.
Art, religion, spirituality
- Fragments of a Crucifixion, edited by Chanon Kenji Praepipatmongkol (Chicago: Museum of Contemporary Art Chicago, 2019).
- “From Marketplace to Moral Economy,” post: The Museum of Modern Art’s Notes on Art in a Global Context, September 2021.
- Korakrit Arunanondchai: A Machine Boosting Energy into the Universe, edited by Chanon Kenji Praepipatmongkol and Syaheedah Iskandar (Singapore: Singapore Art Museum, 2022).
Artistic articulations of technological and sexual citizenship
- “David Medalla: Dreams of Sculpture,” Oxford Art Journal 43.3 (2020).
- “Electric Intimacies: In Conversation with bani haykal,” Wikicliki: Collecting Habits on an Earth Filled with Smartphones, Singapore Art Museum Collections Portal (forthcoming, 2022).
- Araya Rasdjarmrearnsook, I Am an Artist (He Said), translated by Kong Rithdee, edited by Roger Nelson and Chanon Kenji Praepipatmongkol (Singapore: National Gallery Singapore, forthcoming, 2022).
Critical institutional practices
- “Exhibition Histories and the Limits of Institutional Mediation” (Response to Saloni Mathur), British Art Studies 13 (2019), special issue on “London, Asia, Exhibition Histories,” edited by Hammad Nasar and Sarah Turner.
- “Towards Taxonomic Equity: In Conversation with Marian Pastor Roces,” Art Institute Review 2 (forthcoming, 2022), special issue on “Data,” edited by Emily Fry and Erin Canning.