Nov 01 2017

Jamie Maxtone-Graham – In a Green Island at Nha San Collective, Hanoi, Vietnam: November 7 – 10, 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.

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Oct 12 2017

The Propeller Group at San Jose Museum of Art, San Jose, CA, USA: October 27, 2017 – March 25, 2018

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.


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TPG san jose

Sep 02 2017

Sandrine Llouquet – Chapitre 3: les 101 Grandes Déesses at Le Point Commun, Annecy, France: September 16 – November 5, 2017

Le Point Commun in Annecy, France is featuring a solo exhibition by Sandrine Llouquet this fall.

For Chapitre 3: les 101 Grandes Déesses (Chapter 3: 101 Great Goddesses), fascinated by the influence that beliefs and religions have had on various aspects of human existence, Sandrine Llouquet turns to what she sees as the source of spiritual beliefs: the mother goddess.

From the Paleolithic to the Indo-Iranian religions, rituals of contemporary tribes to mythology, the exhibition invites us to explore our collective unconscious through invented forms evoking esoteric rituals and ancient spiritual practices.

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Aug 23 2017

The Propeller Group at Asia Society and Museum, New York: September 8, 2017 – January 21, 2018

The Propeller Group will be participating in the exhibition After Darkness: Southeast Asian Art in the Wake of History, on view from September 8, 2017 to January 21, 2018 at the Asia Society and Museum in New York.

At a time of social and political tension, how should art and artists respond to the challenges of the moment? Does art have the power to change the world or does the world shape the evolution of art? After Darkness: Southeast Asian Art in the Wake of History considers these questions through the work of seven contemporary artists and one artist group from Indonesia, Myanmar, and Vietnam, whose lives and artistic practices have intersected with defining periods of sociopolitical transition in their respective societies.

The title of the exhibition originates in the phrase “after darkness comes the light” from the writings of Raden Adjeng Kartini, the daughter of the Regent of Jepara in Java and an icon and champion of women’s emancipation in Indonesia. The words of Kartini echo the desire of artists to find light after days of darkness, and their struggle to give a voice to the disenfranchised and those on the margins of society.

Featured artists: FX Harsono, Htein Lin, Dinh Q. Lê, Nge Lay, Nguyen Thi Thanh Mai, The Propeller Group, Angki Purbandono, and Tintin Wulia.

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Aug 15 2017

Truc-Anh – Le Céleste du Terrestre at Galerie Sator, Paris, France: September 1 – October 7, 2017

Truc-Anh’s new solo show Le Céleste du Terrestre is currently on view at Galerie Sator in Paris.

On the inspiration behind this exhibition, the artist has shared the following: “In April 2017, I went to Nepal with some other anonymous people, in front of the Himalayan chains, for an initiatory journey. The first part of the journey was divided into three shamanic ceremonies. These millenary rituals of Amazonian origin are built around a medicinal plant called Ayahuasca. This plant aims to plunge the being into the depths of its truth. It connects one with oneself, and to the Universe too. The second part was a rite of Amerindian passage called “Vision Quest”. It consists in being isolated from everything, without eating for five days, alone in the heart of nature. My exhibition is the result of this experience. ”

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Jul 20 2017

The Propeller Group featured in Art Asia Pacific

The Propeller Group’s exhibition New Pictures: The Propeller Group, Reincarnations at the Minneapolis Institute of Art (on view until September 10, 2017) reviewed in Art Asia Pacific:

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New Pictures: The Propeller Group, Reincarnations

Jul 15 2017

The Propeller Group at Yokohama Triennale 2017, Yokohama, Japan: August 4 – November 5, 2017

The Propeller Group will be amongst the artists participating in this year’s Yokohama Triennale – Islands, Constellations & Galapagos.

Yokohama Triennale 2017 embarks on a multi-faceted examination, through art, of the themes of connectivity and isolation. The Triennale will contemplate the world in which conflicting concepts and phenomena are intricately intertwined and constantly in flux, the nature of identity and diversity, and how the imagination and creativity of human beings can be used to derive a new vision and ground design for the future when our future remains uncertain. At the main venues ‒ Yokohama Museum of Art, Yokohama Red Brick Warehouse No. 1, and Yokohama Port Opening Memorial Hall ‒ works in diverse media by approximately 40 artists or groups from Japan and the world will be exhibited. It will resemble an aggregation of small solo exhibitions by a tightly selected number of artists, with many of them showing multiple works. This is intended to give the viewers a deeper understanding of individual artistsʼ creative worlds, and at the same time, to embody the image of these worlds gradually connecting like stars or islands forming constellations and archipelagoes.

Participants include artists who consistently address issues with their own unique methods, and carry out activities that transcend existing frameworks and concepts, as well as collaborations among artists and projects that address pressing social issues from an artistic point of view. The themes dealt in their works are broad: some refer to the individual and society, the self and other, and states and national borders, utopia, and others question different historical views, human activities, and civilizations as well as specifically Japanese issues of isolation.

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Jul 05 2017

Truc-Anh – Horizon of Unreason at Baert Gallery, Los Angeles, CA, USA: July 15 – 22, 2017

A new solo exhibition by Truc-Anh is currently on view at Los Angeles’ Baert Gallery. Curated by Isabelle Le Normand and Pierre Lefort, Horizon of Unreason presents a large number of drawings from the artist’s Ink Kingdom series, amongst other works. 



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Jun 10 2017

Tiffany Chung, Hoang Duong Cam & Tuan Andrew Nguyen at The National Art Center & Mori Art Museum, Tokyo, Japan: July 5 – October 23, 2017

Tiffany Chung, Hoang Duong Cam and Tuan Andrew Nguyen are amongst the 86 artists to participate in SUNSHOWER, an ambitious exhibition that surveys Southeast Asian contemporary art from the 1980s until today. The exhibition is organised by the Tokyo-based National Art Center and Mori Art Museum, in association with the Japan Foundation Asia Center. The “sunshower” – rain falling from clear skies – is an intriguing meteorological phenomenon, and a frequent occurrence in the tropical climes of Southeast Asia. Sunshowers also serve as a poetic metaphor for the vicissitudes of a region that in the latter half of the 20th century, in the wake of the colonial era, experienced enormous political, social and economic upheaval: Cold War conflicts and dictatorships followed by modernization and the spread of democracy, and in more recent years, remarkable economic advancement, investment, and urban development. Out-of-the-blue rainfall is also a metaphor for the ambiguous nature of these ups and downs. Multi-ethnic, multi-lingual, multi-faith Southeast Asia has nurtured a truly dynamic and diverse culture.This exhibition will explore contemporary art in Southeast Asia from the 1980s onward from various perspectives, including aspirations for freedom, identity, growth and its dark sides, community, faith and tradition, and the revisiting of history; showcasing that dynamism and diversity while comparing and contrasting Southeast Asian contemporary art with international contemporary art trends.

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Jun 01 2017

Tuan Andrew Nguyen at ARoS Triennial, Aarhus, Denmark: June 3 – July 30, 2017

Tuan Andrew Nguyen’s 2015 film work Kwassa Kwassa (co-directed with SUPERFLEX) will be screening at ARoS Triennial 2017 (Aarhus, Denmark) as part of the DO WE DREAM UNDER THE SAME SKY programme (curated by Rirkrit Tiravanija, Nikolaus Hirsch and Michel Müller).

Kwassa Kwassa portrays the construction of a boat on the island of Anjouan, in the Comoro archipelago between Madagasgar and Mozambique. Although usually used for fishing, boats like the one built in the film are in many cases also used for transporting migrants to the neighbouring island of Mayotte, a French oversea territory and the outermost region of the EU. The islands are 70 km apart – separated by a seemingly short, but life-threatening journey that has claimed more than 10,000 lives of women, men and children. Kwassa Kwassa interprets the boat as a contextual construction intended to carry migrants on a dangerous, politically complex journey. Carrying more than symbolic meaning as a vessel for dreams of reaching a better life on the other shore, the boat is also a labor-intensive work of craftsmanship and the physical passage bearing human lives to safety – as the title questions in translation “an unstable boat” from the language of the Comoro Islands.

For The Garden, the first ARoS Triennial in Aarhus, artist Rirkrit Tiravanija and architects Nikolaus Hirsch and Michel Müller have developed a new version of their ongoing projectDO WE DREAM UNDER THE SAME SKY comprised of a pavilion and a dense program of films, talks and cooking.

In the logic of an exquisite corpse, the pavilion can be seen as a disembodied part of the future artist residency and workshop at The Land, a self-sustaining artistic community initiated by Rirkrit Tiravanija and Kamin Lertchaiprasert near Chiang Mai in Thailand that engages with the idea of an artistic utopia and presents both an ecological and sustainable model for future artistic practice. Reminiscent of a Surrealist “exquisite corpse”—beginning with a single contribution that continues to grow piecemeal—various architects, engineers, and artists will contribute different building components (such as structure, façade, etc.) to this unusual architectural assemblage as a collective work.

Apart from Tuan Andrew Nguyen and SUPERFLEX, the film programme features works by the likes of Derek Jarman, Peter Greenaway, Apichatpong Weerasethakul, Doug Aiken, Tim Grabham and Jasper Sharp, amongst others.

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