It’s easy enough to rush through MAIIAM Contemporary Art Museum’s first room, filled with artifacts from the founder’s family that detail their historical role in Thailand’s ruling class. I wasn’t here to linger in antiquities, but to view “Errata,” part of “Collecting Entanglements and Embodied Histories,” a dialogue initiated by the Goethe-Institut between the collections of the Singapore Art Museum, Galeri Nasional Indonesia, MAIIAM, and Berlin’s Nationalgalerie.
“Errata” began in the museum’s expansive white-walled entry hall, where Ho Tzu Nyen’s (2021) invited one to pause and reflect on the contexts explored in the exhibition. The white pages of Ho’s accordion book zigzagged across the length of a long white plinth like castle ramparts, belying their gleaming flip side: “poor images” downloaded and printed in shiny gold-tinged foil. The
