Monument to the Fourth International, 2025
Chulayarnnon Siriphol
interactive, installation
Inspired by the government ban on the film installation ‘Birth of Golden Snail’ (2018) by Chulayarnnon Siriphol, “Monument to the Fourth International” questions the need for a contemporary art eco-system that promotes diversity and openness.
This project re-appropriates Vladimir Tatlin’s ‘Monument to the Third International’ (1920), specifically how it presents the ideals of the modern world as a revolutionary drive. The basic problem of the centralization of art and cultural management serves as the foundation of the ‘Monument to the Fourth International’, which leads up to the establishment of a contemporary art council on the first level, contemporary art workers on the second level, the funding bodies for contemporary art on the third level, and contemporary art institutions on the fourth level. These ideals are developed into ideas how the creative economy, art tourism, art market and auction might create value for contemporary art, and how the taxes collected within these entities can be used to fund the ‘Monument to the Fourth International’.
What will contemporary art look like in the coming century? ‘Monument to the Fourth International’ is an infrastructural blueprint for the ideal eco-system that supports a meaningful and sustainable growth of contemporary art, thus giving a second life to the previously aborted Golden Snail.
In this project, ‘Monument to the Fourth International’ Chulayarnnon will hide many of the golden snail shells around and outside the unfinished National Art Gallery in Bangkok, Thailand. The audiences can track and trace these golden snail shells around the unfinished building.
This work is based on my previous work, How to Explain “Monument to the Fourth International” to the Dead Golden Snail (2024).
Gallery
About the Artist
Chulayarnnon Siriphol (b.1986) is an artist and filmmaker based in Bangkok. His multidisciplinary practice spans short films, experimental videos, performance, and video installations, often using moving images and his own body as his primary media. His work engages with narratives, myths, and fragments of history both within and beyond Thai society, recasting them into science fiction infused with humor and satire of contemporary society. His works often feature a recurring protagonist—the artist’s analog body, transformed into a digital spirit. They reflect the future not as a distant fantasy, but as a present shaped by the convergence of mythology, memory, and advancing technology. He received the Grand Prize from the 2025 Taoyuan International Art Award for Red Eagle Sangmorakot: No More Hero In His Story. Notable presentations include Ten Years Thailand at the Cannes Film Festival (2018), and solo exhibition: I a Pixel, We the People (2025) at Bangkok CityCity Gallery.
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