Oct 01 2018
Art Labor, a collective comprising artists Phan Thao Nguyen and Truong Cong Tung and curator Arlette Quynh-Tran, are collaborating with Joan Jonas to present their ongoing project Jrai Dew. Taking inspiration from the Jrai belief in the human and the cosmos, Jrai Dew critically looks at the cost of the capitalized world through mythic narratives.
The 57th edition of the Carnegie International offers visitors an abundance of encounters with the work of artists and collectives from around the world. The exhibition explores what “international” means at a moment when questions of nations, nationalism, boundaries, and border crossings are becoming ever more urgent. At the same time, the exhibition is very much of its specific place and time: Pittsburgh, 2018; local visitors will recognize the art of familiar, Pittsburgh-based artists. Bridging shifting terrains and forging surprising linkages, the exhibition invites visitors to make their own connections in the presence of art and other people.
Sep 30 2018
Loud Silence: Expressions of Activism calls on the viewer to examine their own blind-spots and understand perspectives they may have never considered through art. The works featured demonstrate the unique perils of living while a woman, while of color, while indigenous, while LGBTQIA+, and while an immigrant. For centuries, artists have used the image of the body as an exploration of their humanity and that of their subjects. This exhibition explores artists who use the human figure or body as a means for activism. The exhibition features artwork by 40 artists including Judy Chicago, Kara Walker, Faith Ringgold, Ana Mendieta, Kiki Smith, and Jenny Holzer.
Aug 31 2018
Truong Cong Tung is participating alongside Khvay Samang, Phan Thao Nguyen, Wang Zhibo and Maung Day in the group exhibition “Constructing Mythologies” at Edouard Malingue Gallery, Hong Kong.
The exhibition aims to explore the social construction of certain mythologies in Cambodia, China, Myanmar and Vietnam, in particular. These countries have deeply relied, and still do, on official narratives, developing and supporting fictional discourses in order to promote dominant State ideology and to obscure some parts of reality and history. Some mythologies thus serve specific political agendas while others are generated by collective beliefs – the global capitalist system, for instance – and grow and subsist beyond national boundaries. They can both invigorate society or limit its scope of expression. In response to these myths, art opposes its own fictional and independent discourses.
Truong Cong Tung and Khvay Samang’s works are responding to each other. They question the encounter between two opposite mythologies that cohabit in rural areas in Southeast Asia. These lands are often the territory of sacred places and spirits, the cradle for mythical and traditional beliefs transmitted by diverse ethnic minorities who have been living there for centuries in harmony with nature. Today, with the intensive exploitation of land and rapid deforestation, traditions are waning and these ancient beliefs are threatened. However, they seem to be somehow replaced by another set of beliefs based on the rhetoric of modernity and prosperity, built by the State and by private development companies.
Aug 15 2018
Trong Gia Nguyen’s second solo exhibition this summer at a US institution features a wide array of works that examine structures of power in their myriad forms, scrutinizing the soft foundation upon which contemporary life plays out. Dogg Days includes sculptural objects that are playful in nature yet maintain a “deep state” of subversion and enquiry.
Jul 15 2018
Tuan Andrew Nguyen’s My Ailing Beliefs Can Cure Your Wretched Desires at 10 Chancery Lane, Hong Kong reviewed by Ophelia Lai in Art Asia Pacific.
“I’ve always looked upon the Christian rite of consuming Christ’s body and blood, taken quite literally in Catholicism, with a degree of squeamishness. The logic of eating that which you worship indicates (at least, to this heretic) that the path from pious to base is a short one. The disturbing paradoxes within humanity’s belief systems, mythologies and obsessive patterns of consumption—and the actual destruction this wrecks on our planet—are at the heart of Tuan Andrew Nguyen’s incisive solo exhibition, “My Ailing Beliefs Can Cure Your Wretched Desires,” which was executed with conviction, clarity and a hefty dose of black humor.” — #Ophelia Lai at #ArtAsiaPacific
Read the full review here:
Jun 13 2018
Hoang Duong Cam will be showing the video Falling Cloud (2008) in The Atlas of Clouds at the Francois Schneider Foundation, alongside more than 15 other international artists.
Since ancient times, the theme of clouds has been a significant symbol in iconography, as well as a remarkably inspirational motif throughout the centuries, particularly in painting and photography. Symbolic, poetic, threatening, divine … the cloud is at the heart of artistic representations. In the 21st century it continues to inspire many visual artists, contributing to the discussion of numerous environmental and political issues.
The Atlas of the Clouds takes a playful and sensory approach, invoking the curiosity of a wide range of audiences through a geographical, sociological and philosophical journey.
More than 15 international artists are presented in the project, exhibiting a range of works including photographs, daguerreotypes, neon lights, light installations, videos, fiber sculptures, drawings… Contributing to this multi-faceted conversation, Hoang Duong Cam’s Falling Cloud addresses and challenges the issues surrounding mega-cities in Asia.
Jun 05 2018
Asia Live! is the Galeria Labirynt’s series presenting Asian performance art in four major cities in Poland. This year’s events are devoted to Vietnamese artists – The Appendix Group including Nguyen Huy An, Vu Duc Toan, Ngo Thanh Bac, Nguyen Van Song, along with Nguyen Phuong Linh and Tran Luong.
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.