Sareena Sattapon
- Artist
1992, Sakon Nakhon
Sareena Sattapon (b. 1992) works and lives in Tokyo, Japan. She is a distinguished Thai multidisciplinary artist whose creative oeuvre spans performance, installation, and photography. Sareena’s works, deeply rooted in her personal experiences and observations of everyday life, explore themes of impermanence, loneliness, migration, invisible labour, and class division.
In 2024, Sattapon earned her PhD in Global Art Practice from Tokyo University of the Arts, where her academic and artistic pursuits culminated in the prestigious Nomura Prize in 2025. This accolade marked a significant milestone in her career, with her work being acquired for the first time by a public museum—the Tokyo University of the Arts Museum—thereby securing her place within the international art canon. Sattapon’s artistic footprint is truly global, with exhibitions spanning from Asia, including Thailand, Japan, South Korea, Taiwan, Singapore, Indonesia, and China, to Europe, with showcases in Germany, Poland, Ukraine, Slovakia, Norway, and Sweden.
Related artist videos
- Title
- Balen(ciaga) I belong: The beginning
- Year
- 2025
- Duration
- 5 min
- Format & Technical
Video 16:9
- Contact
info@sac.gallery
- Balen(ciaga) I belong: The beginning, 2025, photo by Sareena Sattapon
This new body of work by Sareena Sattapon is based on her ongoing series Balen(ciaga) I belong (2018–present). The project reflects on class divides through visual language drawn from street culture and fashion, particularly Balenciaga’s use of “low culture” objects like striped plastic bags, items tied to working-class migration across Southeast Asia.
The proposed work responds directly to Barcelona as the birthplace of Balenciaga and marks the final year of Demna’s directorship, whose satirical take on fashion inspired the series. In this iteration, the video will be invisible to the naked eye. Visitors will hear only sound until they pick up souvenir-like items such as sunglasses or folding fans, which act as filters revealing the footage. By looking through these objects, the audience steps into the role of a tourist, a reflection on visibility, class, and the gaze, in a city increasingly shaped by over-tourism.
Stills
