May 10 2018
Trong Gia Nguyen will present his ongoing project ‘Illuminations’ in a solo exhibition called ‘My Myopia’ at Cornell Fine Arts Museum.
Keenly aware of power dynamics in museum and gallery settings, Trong Gia Nguyen seeks to disturb and reinvent traditional viewing experiences. Nguyen’s series of windows replicate the familiar iron security window grates that are commonly found in older colonial homes in Vietnam. However, as they are constructed of thin wood, this version is incredibly fragile and unable to serve any purpose of security. Their design contains pleasant geometric patterns that can go unnoticed. As such, Nguyen purposefully extracts them from everyday utility. The surface facing out of each window is painted with an imprint of the other side, revealing parts of a sunset, evening lamp, starry sky, historical event, or other illumination that one does not fully see, recording missed fragments and maintaining disruption as it completes the whole. Separated from their surrounding architecture, the windows become skeletons and bare bone witnesses to the mundane, socio-political, historical, and mystical.
Jan 11 2018
Lien Truong will be showing work in in(di)visible, an exhibition featuring artists who use their experiences to bring visibility and add nuance to the cultural understanding of Asians in America. The show is organized by Houston’s Station Museum of Contemporary Art.
in(di)visible examines immigration, the residual effects of war, and the implications of assimilation, integration, and invisibility for Asian Americans. From the intergenerational trauma of war and the impossibility of articulating what is lost between generations to the legacy of federal policies such as the Chinese Exclusion Act of 1882, the first law implemented to prevent a specific ethnic group from immigrating to the United States, and Executive Order 9066 in 1942, which authorized the forced relocation and incarceration of between 110,000 and 120,000 people of Japanese descent, 62 percent of which were United States citizens.
Reinforced through systematic subjugation and discrimination, the myth of the ‘model minority’ obscures the lived experiences of people perceived as Asian in America and is often used as a wedge between them and other marginalized groups. A pervasive disconnect exists between Hollywood depictions of Asian people in America and the breadth and variety of the people inhabiting those realities. Within the American mass media directed cultural narrative, accurate or comprehensive depictions of daily life are almost never platformed while the oppression of Asian American people as a political entity is rarely highlighted outside of the context of comedy.
Dec 20 2017
Nguyen Phuong Linh and The Appendix Group will be part of the upcoming exhibition So Far, So Right: A Study of Reforms and Transitions Across Borders at Taipei Contemporary Art Center, both presenting an iteration of their respective projects from Skylines with Flying People 3 (Hanoi, 2016/7).
Curated by Fang Yen Hsiang, So Far, So Right is based on the concept of deforming and how it osmoses into the given framework of global governance. The project unfolds from the investigation and delineation of two post-communist narratives as well as their metamorphoses, interweaving relations, and tensions, proposing a possible method to re-entangle their histories and imagined futures, thus launching a new life story.
Set against the backdrop of two former socialist blocs and their political geography in the past, the project delves into the history of the trade and labor alliance of the Council for Mutual Economic Assistance, the gradual process of the communist system partially or entirely transitioning into the market system, and how these countries transform into emerging economies on a global scale. The project also investigates the transmutations and contradictions in the ways marketization, democratization, and the construction of national identity confront these regions during their political and economic transition, as well as how they grapple with the regional political and economic alliance of which it is part, the delicate relations between great powers, and the undercurrents and volatile states of the individual, the collective, and society.
Dec 19 2017
Tiffany Chung will be amongst the 70 artists and artist collectives presenting works across Sydney at the Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia, Sydney Opera House and 4A Centre for Contemporary Asian Art for the 21st Biennale of Sydney, SUPERPOSITION: Equilibrium & Engagement.
Artistic Director Mami Kataoka says of the 2018 exhibition, “The artists in the 21st Biennale of Sydney have been chosen to offer a panoramic view of how opposing interpretations can come together in a state of equilibrium. The history of the people of Sydney collectively reflects the history of the world in the 20th century, in particular the movements and migration of people and cultures away from conflict. My hope is that the artworks in this Biennale will serve as a catalyst for thought for all of us.”
Dec 03 2017
A new solo show by Tuan Andrew Nguyen will be opening at The Factory (Ho Chi Minh City, Vietnam) on December 9.
Entitled Empty Forest and showcasing film, sculpture and photography, the exhibition reveals a landscape where the industry of ailing spiritual beliefs is feeding the most wretched of human desires, to irreversible effect.
For this premiere showcase, Tuan Andrew Nguyen will transform the ground floor main hall of The Factory into a menagerie of animalistic forms, a kind of large-scale diorama where the voice of the endangered sits on the edge of extinction (or in particular case has already teetered into oblivion). In Empty Forest, Nguyen explores the impact of traditional medicine in Vietnam on the plight of such wondrous creatures as the pangolin, rhino, turtle and deer, fascinated by the role and shape of human spiritual belief in its once interdependently respectful, yet now destructive relationship with the natural world.
Dec 01 2017
Soul Archive is an anthropological art project founded in 2015 by Saigon-based artist Truc-Anh and Rice Creative. The project aims to disrupt the clichés and common stereotypes of Vietnam through a series of collectible photographic postcards taken by both local artists and those who are currently residing here.
Each Print Collector will be displayed on a custom hybrid-bicycle inspired by Saigon’s iconic dried squid mobile carts.
Nov 01 2017
As part of this year’s Hanoi DocFest – Hanoi DocLab’s annual showcase of the moving image and all things documentary – Jamie Maxtone-Graham will be premiering his recent five-channel video installation In a Green Island, the footage for which was filmed at Hanoi’s Botanical Gardens.
With a keenly-observing camera and an ambient sound environment, the five screens frame sleepers within a public landscape that they at once inhabit and are yet not conscious of. The bodies, male and female, can be seen as both a natural part of the landscape and vulnerable within it. There is disquiet in the ambience of it.
Oct 12 2017
A major survey dedicated to The Propeller Group is currently on view at the San Jose Museum of Art (San Jose, CA), bringing together multipart projects from the past five years, comprising video, installation, and sculptural works that represent the scope of the group’s artistic practice.
One highlight of the exhibition is The Living Need Light, the Dead Need Music (2014), a visually lush film that follows funerary traditions of the Mekong Delta. It combines documentary footage, staged reenactments, and fantastical scenes to explore slippages between real and imagined rituals shared across cultures. The film is accompanied by sculptures inspired by traditional Vietnamese funerary objects: a carved jackfruit wood snake with gold fangs and an adorned water buffalo skull.
In collaboration with internationally acclaimed graffiti writer El Mac and local artists, The Propeller Group will also present a new public mural in downtown San Jose.
The exhibition has been organized by the Blaffer Art Museum at the University of Houston, the Museum of Contemporary Art Chicago, and the Phoenix Art Museum.