Government leaders have hailed the event as a major step towards establishing Phuket as a global art tourism hub, with the event expected to generate more than B30 billion for the local economy.
The budget spending presented in documents to The Phuket News ‒ totalling precisely B58,996,070.77 ‒ covers a wide range of spending items across logistics, installations, staffing, public relations, production design and community engagement programmes.
Key allocations include B7.99mn for art installations at the Indoor Stadium at Saphan Hin and B6.72mn for the Saphan Hin Expo zone, one of the festival’s largest and most prominent public venues.
Another B6.4mn has been allocated to event management, stage construction and professional staffing, while more than B4.6mn is earmarked for design and production costs associated with artist coordination, exhibition planning and venue development.
Art handling and installation work at Saphan Hin alone carries a budget of B3.47mn, reflecting the Biennale’s extensive use of outdoor public spaces.
Public-facing promotional activities represent another significant portion of the spending. More than B4.2mn is allocated to media production and advertising, including a cinematic feature video costing B869,500 and national-level PR campaigns. An additional B3.4mn is directed towards community relations, accessibility projects and cultural communication activities around the island.
Other notable costs include: B3.75mn for lighting equipment procurement; B2.74mn for a tourism campaign promoting “creative experiences”; B2.07mn for international art exchanges; B2mn for media strategy and marketing at Phuket Town venues; B1.99mn to support foreign artists’ participation and logistics; B1.5mn for PR coordination; and B1.06mn for installation and decoration at the ‘Phuket Creativity Center’
So-called ‘minor’ expenses include B757,000 for promotional photography, B615,000 for art direction at the main sites, B594,000 for a “youth-focused art participation” project, B589,400 for digital content production and social-media outreach and B520,000 for printed materials and exhibition catalogues.
The budget documents outline dozens of separate projects, ranging from venue-specific setups ‒ including Old Town buildings, heritage sites and the former Pearl Cinema ‒ to islandwide mobile exhibitions, educational programmes and cultural mapping initiatives.
The government has defended the spending, saying the Biennale is expected to deliver long-term cultural value and immediate economic returns. Officials project the festival will attract more than 3 million visitors between Nov 29, 2025 and Apr 30, 2026, bringing an estimated B30bn into the Andaman economy through tourism, hospitality, retail and local creative industries.
GRAND OPENING
The festival launched in full at Saphan Hin last Saturday evening (Nov 29), led by Culture Minister Sabida Thaiset, who presided over the opening ceremony before an audience of senior officials, diplomats, curators and artists from Thailand and abroad.
Among the high-level attendees were Deputy Interior Minister Sasithorn Kittithornkul, Culture Ministry Permanent Secretary Prasop Riangngen and Office of Contemporary Art and Culture (OCAC) Director Kesorn Kamnerdpetch.
Also present were Phuket Governor Nirat Phongsitthaworn, Phuket Provincial Administrative Organisation (PPAO) President Rewat Areerob, and Phuket Art Association President Anchalee Vanich Thepbutr.
Minister Sabida said the Biennale reflects government policy to strengthen the role of contemporary art in Thailand’s cultural diplomacy and to widen public access to creative spaces.
“The Thailand Biennale demonstrates our commitment to elevating Thai contemporary art on the world stage,” she said. “It expands cultural spaces in communities and strengthens the ‘Thai Thai’ identity while deepening international exchange.”
ON SHOW
The 2025 edition marks the fourth Thailand Biennale and the first time it has been hosted in Phuket. Held under the theme ‘Eternity | Kalpa’, the festival invites audiences to explore ideas of time, technological evolution, permanence, impermanence and humanity’s relationship with nature.
A total of 65 artists and collectives from 25 countries have been selected to exhibit their works throughout Phuket, including: the Pearl Theatre and former Pearl Cinema; Baan Phra Aram; the Phuket Contemporary Art Gallery; the 4,000-seat Indoor Stadium; DC Phuket Town; the Saphan Hin mangrove area; Laem Phromthep; and Kathu Shrine.
In addition, 13 ‘pavilion projects’ led by Thai and international art organisations are spread across Phuket Old Town, major beaches and key attractions. Among them are the ‘Isan Ok Lay Pavilion’, ‘Yong Won Pavilion’, ‘Andaman Pavilion’, ‘Lanna Pavilion’ and ‘Instant Kal Pavilion’, each designed to integrate contemporary artworks directly into community spaces.
Ms Sabida emphasised that the Biennale embraces Phuket’s already-built environment ‒ including old cinemas, historical buildings and natural areas ‒ to “turn the island’s infrastructure limitations into creative opportunities”.
EARLY BIRDS
Ahead of the opening, a special ceremony was held at 4pm to present ‘Bian Fu’, the official Thailand Biennale mascot, to major sponsors. Ten figurines and accompanying artworks by leading Thai artists ‒ valued at more than B5mn in total ‒ were handed over by President Anchalee and PPAO President Rewat.
‘Bian Fu’, meaning “lucky bat”, symbolises good fortune and cultural harmony. Only 19 limited-edition figurines have been produced, and nine remain available through the Phuket Art Association.
Initially unveiled as ‘Fufu – the bat of happiness’ in July, the mascot was designed by Asst Prof Dr Phanuwat Sengiam of Phuket Rajabhat University. It draws inspiration from the Chinese concept of ‘Wu Fu’, or the five happinesses, reflecting Phuket’s multicultural heritage. Funds raised through sponsorships will support art activities, cultural communication and contemporary artists.
Ms Anchalee praised the sponsors, saying: “Bian Fu figurines are not just sculptures, but symbols of collaboration and belief in the value of art that truly impacts society.”
The day before the main launch, on Friday (Nov 28), the ‘Suuko Pavilion, Sala 4 Regions’ opened at Suuko Wellness & Spa Resort in Chalong, with Permanent Secretary Prasop Riangngen presiding. The pavilion is one of the Biennale’s 13 parallel exhibition venues and brings together artists from all four regions of Thailand to present works expressing local identity and cultural heritage.
The Suuko Hall exhibition features more than 100 artworks, including pieces by national artists Dr Kamol Tasananchalee and Prof Thirapol Niyom, alongside contributions from leading regional and Phuket artists. Several works are being sold to raise funds for flood victims in the South; the fundraising was led with a B200,000 purchase by PPAO President Rewat.
CULTURAL VALUE
With more than B58.9mn invested and tens of thousands of visitors expected at its peak periods, officials say the Biennale will leave a lasting legacy by positioning Phuket as a long-term centre for contemporary arts, cultural tourism and international creative exchange.
The government maintains that the spending ‒ while substantial ‒ is justified by the projected B30bn economic benefit and the opportunity to expand Phuket’s reputation beyond sun-sand-sea tourism into culture-driven global markets ‒ a position supported even by key local figures.
Phuket MP Chalermpong Saengdee plainly voiced his support for the festival. “Over the course of five months, from November 29, 2025, to April 30, 2026, international art will be displayed across three districts of Phuket, providing a platform for artists from around the world to share their ideas, inspire, and connect cultures internationally,” he said.
“This is not just art, it’s an economic opportunity for the community, it’s the creative power of the new generation, and it’s a new image for Phuket on the world stage,” he noted.
“I invite all citizens to be a part of this important history. Come and see, support, and be proud of Thai and international artists who will bring vibrant color to our country throughout these five months.
“Art drives the city, culture drives the economy, and the people are at the heart of development,” MP Chalermpong concluded.