本論文考察2018至2024年間泰國策展人如何藉當代藝術論述建構湄公河下游地區之意涵。研究核心問題在於：展覽如何將河流流域與生態系統、區域歷史、政治記憶及在地知識體系相互連結，以及不同資助結構如何制約策展人的論述框架、空間部署與文獻生產。研究援引五參數比較矩陣（FPCM）對四個案例進行系統性分析：清萊泰國雙年展2023（國家資助）、曼谷藝術雙年展2024（企業民間）、孔敬宣言（KMNFT）2018（獨立）及UBON AGENDA 2022（獨立）。
研究歸納出三項核心發現。其一，資助結構同時型塑策展的影響幅度與文獻存量：國家資助強化地方能見度與機構延續性；企業民間支持促進作品在都會與國際網絡中的流通與接受；獨立策展雖能更直接回應區域政治記憶，卻在公共文獻留存方面相對薄弱。其二，湄公河在四個案例中呈現出相異的論述建構：清萊以上湄公河作為區域定位的地理錨點，曼谷以生態議題作為回應全球環境論述的比較場域，孔敬與烏汶拉差他尼則以伊善政治記憶連結高地與低地文化網絡。其三，「策展即Mahorasop」作為分析命題，有助於詮釋展覽脈絡中的公共聚集與象徵性預備行為，惟本研究並不主張當代展覽實踐得以延續或再現傳統儀式邏輯。
本論文以baramee、mahorasop、地理本體、佐米亞及在地化作為詮釋性分析概念，而非靜態的描述性標籤。研究主張，唯有將資助結構、地理位置與文獻實踐納入整體考量，方能充分理解區域策展知識的生產與流通機制。本研究為東南亞策展比較研究建立分析基礎，並就獨立藝術事件在制度性文獻體系中長期能見度不足的問題提出理論性省思。

This dissertation examines how Thai curators frame the Lower Mekong through contemporary art between 2018 and 2024. It asks how exhibitions connect the river basin with ecology, regional history, political memory, and local knowledge, and how funding structures shape what curators can say, where they can say it, and what records they leave behind. Four cases are compared through a Five-Parameter Comparative Matrix (FPCM): Thailand Biennale Chiang Rai 2023 (state-funded), Bangkok Art Biennale 2024 (corporate-private), Khon Kaen Manifesto (KMNFT) 2018 (independent), and UBON AGENDA 2022 (independent).
Three findings emerge. First, funding shapes both curatorial reach and documentary record: state funding builds provincial visibility and institutional continuity; corporate-private backing circulates work through metropolitan and international networks; independent curating addresses regional political memory more directly but leaves thinner public archives. Second, the Mekong is framed differently across the four cases: as an Upper Mekong regional anchor in Chiang Rai, as an ecological reference for global environmental discourse in Bangkok, and as a site of Isan political memory connected to lowland and highland networks in Khon Kaen and Ubon Ratchathani. Third, curation-as-Mahorasop offers a way to read public gathering and symbolic preparation in exhibition contexts, without claiming that contemporary exhibitions reproduce or continue traditional ritual practice.
The dissertation draws on baramee, mahorasop, geo-body, Zomia, and localization as interpretive concepts rather than fixed descriptors. It argues that funding structure, geographic position, and documentary practice must be read together to understand how regional curatorial knowledge is produced and circulated. The study contributes a comparative basis for Southeast Asian curatorial research and raises questions about the visibility of independent art events.

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