Great Hall Exhibition Series Fall 2026

About Tith Kanitha

Portrait of the artist in front of a white wall. — Tith Kanitha, photograph by Keo Chhornlyly.

TITH Kanitha (b. 1987, Phnom Penh, Cambodia) received her BA in Interior Design from the Royal University of Fine Arts, Phnom Penh. Recent solo presentations include Cycle of Life at SNA Arts Management, Phnom Penh (2026), Living in Coiled Time at Art Basel Paris (2025) with ROH Projects, and Moel Knong មើលក្នុង at A+ Works of Art, Kuala Lumpur (2023). Major group exhibitions include the Hawai’i Triennale (2025); the Busan Biennale (2024); the 58th Carnegie International (2022); the 7th Singapore Biennale (2022); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now at the Mori Art Museum, Tokyo (2017); and Rescue Archaeology: Contemporary Art and Urban Change in Cambodia, ifa Berlin / Stuttgart (2013). She has undertaken residencies at the Rijksakademie (Amsterdam) and SA SA BASSAC (Phnom Penh), among others. In addition to other collaborations with Cambodian film production company Anti-Archive, Tith has also directed two short films, Boding (2014), and her forthcoming film, Crab. Tith’s work is held in museum collections internationally, including the Art Institute of Chicago, Chicago; Singapore Art Museum, Singapore; MAIIAM Contemporary Art Museum, Thailand; and FRAC Poitou-Charentes, France.

Previous Work

A close-up photo of Tith Kanitha’s paintings installed in a grid, slightly raised but parallel to the floor. The edges of at least six paintings are in view. The paintings’ surfaces are white grounds, with dark, near-black abstract marks. These marks, between scratches and splatters, are a record of dynamic painterly movement. — Studio presentation, Rijksakademie Open Studios, Amsterdam, 2021. Installation view. Courtesy the artist and Rijksakademie van beeldende kunsten.

An installation view of an exhibition in a white-walled room. In the foreground, a coiled wire sculpture hangs on the left wall, coiling downwards to the floor. In the center is a wooden armature with another coiled wire sculpture draped over it, like a cloth. A small black metal bench behind it faces the back wall, which has more than thirty intimate, colorful, abstract paintings and drawings. — *Kanitha Tith: Moel Knong (មើលក្នុង)*, 2024. Installation view. Courtesy the artist and A+ Works of Art.

An installation view of a densely packed domestic space recreated in a museum interior. A CRT TV sits atop a green-blue fridge, playing a movie, with two plastic chairs next to a short table across from it. The floor is blanketed by different textiles, with a pink cloth hanging as a canopy over the room. The walls are covered with photographs, objects, and posters. — *Hut Tep Soda Chan*, 2011/2017. Mixed-media installation, dimensions variable. Installation view, Singapore Biennale 2022: Natasha Courtesy the artist and Singapore Art Museum.

A hand-coiled gray wire sculpture rests on a white box with one open wooden side. Several woven wire strands braid together across the top, then split apart into loose arms hanging down the front and back of the box. Thin wires dangle in front of the box’s hollow interior and two coiled arms hang down and fray at the bottom into wispy wire ends touching the floor. — *Instinct Series #14*, 2017. Hand coiled wire, dimensions variable. Courtesy the artist and SA SA BASSAC.

View of a busy street intersection shot from above with thin wires that cut diagonally across the frame. A beige sedan drives through the center, surrounded by several motorcycles and scooters with drivers. In the upper right, a person pushes a yellow cart loaded with goods while two pedestrians walk nearby. In the lower right corner, an orange parasol shades a small stall where a couple of people sit. — Still from *Boding*, 2014. Digital video, color, sound. 9 minutes. Courtesy the artist.

Installation view at Art Basel Paris. On the left wall, four sculptures of coiled gray steel wire are mounted at varying heights, ranging from a large sprawling form to smaller, compact pieces. On the right wall hangs a large white cloth splattered with black paint. In front is a line of five paintings marked with black pigments, slightly elevated off the floor. — *Living in Coiled Time*, 2025. Installation view, Art Basel Paris, ROH. Photography by Andrea Rossetti. Courtesy of the artist and ROH Projects.

Installation view at the Carnegie Museum of Art. On the left wall are one rectangular, colorful work on paper and one sculptural work of densely packed wire. Six more sculptural works hang on the right wall, varying in size. Several are so long that wire drags onto the floor below. A single work hangs from the ceiling. In the center of the room are a collection of paintings laid flat on the floor, their markmaking is difficult to make out in the high sheen of their surfaces. — 58th Carnegie International, 2022. Installation view. Photography by Sean Eaton. Courtesy the artist and Carnegie Museum of Art.

A wide perspective installation view at Art Basel Paris. An ornately decorated metal railing marks the edge of the balcony, flanked by a green painted metal architectural structure.. Behind it is a temporary white wall with seven wire sculptures, some triangular and stretching to the floor, others draped in a low arch in the center of the wall. — *Living in Coiled Time*, 2025. Installation view, Art Basel Paris, ROH. Photography by Andrea Rossetti. Courtesy the artist and ROH Projects.

View of an expansive sand-filled landscape and a light blue sky dotted with clouds. Along the horizon are three sparse, green trees, and very distantly one can make out a handful of buildings. In the foreground there is a path of footprints, leading to a single figure walking on the right side. — Still from *Crab*, 2026. Digital video, color, sound. Courtesy the artist.