Lunar: The Land without Time opens at Doxza Art Lab (N22) on 14 November 2026 and continues until 28 February 2027. The free exhibition by Varalee Na Pombejr is presented through installation, sculpture, mixed-media photography and sensory elements including light, scent, temperature and darkness.

Lunar began during Varalee's years as an art student as a faceless nine-year-old girl who travelled and told stories. In this exhibition, the artist asks visitors to consider whether Lunar must remain a character at all. The project treats objects, atmosphere and human perception as participants in how a presence is formed.

Complete Event Overview

A character that is no longer confined to a body

The official event information frames the exhibition through flat ontology, an approach that does not automatically place human experience above objects or other elements of the world. In practical terms, visitors do not encounter Lunar only through a figure. A corridor, a change in temperature, a smell, a pool of light or the distance between objects can all contribute to what the artist calls “Lunar-ness.”

This idea makes the visitor's own attention important. The exhibition does not supply one fixed route from an object to a meaning. Instead, it asks how we decide that something is present and how that decision changes when the evidence is partial. A faceless sculpture can appear emotionally specific even though a face is normally where viewers expect to read expression. An empty or dimly lit area can feel occupied because sound, scent or spatial arrangement suggests that something has just happened there.

Remembering and becoming

The project is organised around two states of time: Remembering and Becoming. Remembering concerns what persists after an encounter, while Becoming concerns a form that is still taking shape. The distinction is useful because the exhibition itself changes during its run. The official description says that the mixed-media photographs will rotate three times, so a visitor returning later may not see exactly the same selection.

The main installation draws on Varalee's travel in Poland. The artist recalls a period of sadness interrupted by the small warmth and light of a café. That contrast becomes a spatial sequence: visitors move through a long, dark and cool corridor carrying the scent of wood and forest, then approach a warmer glow. A faceless sculpture of Lunar sits in dim light beyond the corridor. The work uses bodily sensation rather than a written narrative to establish the transition.

Photography, travel and the question of companionship

A second room presents mixed-media photographs made during a residency in Vienna. The official account describes the artist taking Lunar on public transport to “meet friends.” Three small Lunar sculptures accompany the photographs. Together, these works shift the project from an inward, atmospheric passage toward encounters in a city.

Visitors may find it useful to compare how Lunar is registered in the two rooms. In the main installation, her presence emerges from an environment. In the photographic installation, travel and repeated appearances create continuity. Neither section requires visitors to accept a single biography for the character; both ask how a recurring form gathers meaning over time.

Practical information

• Dates: 14 November 2026 to 28 February 2027.
• Venue: Doxza Art Lab (N22), 10–11 Naradhiwas Rajanagarindra Road, Chong Nonsi, Yan Nawa, Bangkok 10120.
• Admission: Free, according to the organiser-provided listing.
• Transport: The official listing identifies BTS Chong Nonsi and BRT Thanon Chan as nearby public-transport options.
• Opening times: The event page does not publish daily opening hours. Confirm the current schedule with Doxza Art Lab before travelling.

The work includes low light, darkness, scent and a cool corridor. Visitors with sensory sensitivities may wish to contact the venue in advance for more detail. The official listing does not state an age restriction or a timed-entry system.

What to notice during a visit

Allow time for your eyes to adjust instead of moving immediately toward the brightest point. Notice when the space first begins to feel inhabited and which element creates that impression. In the photography room, look at how repetition changes the faceless figure: an object that might initially seem anonymous can acquire continuity through placement and return.

The exhibition's long run also gives Bangkok audiences an unusual opportunity to revisit an installation after its photographic component changes. A second visit could reveal how much of the first encounter was retained as memory and how much is reconstructed by the new arrangement.

Information was checked on 2 November 2026 against the Bangkok Art City event page carrying information supplied by the organiser.