Press Release: Philippines Hosts Exhibition of Contemporary Art in Southeast Asia
Aug
8
to Oct 6

Press Release: Philippines Hosts Exhibition of Contemporary Art in Southeast Asia

CUC Gallery is honored to announce that our artist Do Hoang Tuong has been selected to take part in the exhibition "Ties of History: Art in Southeast Asia" in Philippines this August.

Exhibition: "Ties of History: Art in Southeast Asia"
Venue: Metropolitan Museum of Manila & University of the Philippines Vargas Museum & Yuchengco Museum
Dates: August 8 - October 6, 2018
Social Media: @tiesofhistory
Opening Reception: 5pm-9pm | August 8 at the Metropolitan Museum of Manila | August 9 at the Yuchengco Museum | August 10 at the University of the Philippines Vargas Museum.

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Featured Artists
Ties of history: Art in Southeast Asia aims to identify artists from across generations who have demonstrated both responsiveness and range in relation to the concerns of aesthetic material and socio-historical contexts.
L-R, clockwise: Ties of History: Art in Southeast Asia featured artists - Amanda Heng (Singapore), Roberto Feleo (Philippines), Anusapati (Indonesia), Do Hoang Tuong (Vietnam), Chris Chong Chan Fui (Malaysia), Yasmin Jaidin (Brunei), Min Thein Sung (Myanmar), Vuth Lyno (Cambodia), Jedsada Tangtrakulwong (Thailand), Savanhdary Vongpoothorn (Laos).

MANILA, PHILIPPINES - As the Association of Southeast Asian Nations (ASEAN) concludes the commemoration of its 50th anniversary, the Philippines marks the historic occasion by hosting a contemporary art exhibition featuring ten artists who will represent each ASEAN member state.

The exhibit titled "Ties of History: Art in Southeast Asia" is curated by noted art historian, scholar, and curator Patrick D. Flores. It will be held simultaneously in three major art institutions in the Philippines: the Metropolitan Museum of Manila (MET Manila), the University of Philippines Vasgas Museum (Vargas Museum), and the Yuchengco Museum.

The exhibition's artists from the region will gather in Manila to open the exhibition on Aug 8 (MET Manila), 9 (Yuchengco Museum), and 10 (Vargas Museum) with a series of programs for each venue. The opening reception of each venue starts at 5 pm. The exhibition will be on view from August 10 to October 6, 2018.

The Project is presented by the National Commission for Culture and the Arts (NCCA) through the Dalubhasaan Para sa Edukasyon sa Sining at Kultura (DESK) with the support of the Office of Senator Loren Legarda.

"Ties of history" is a phrase taken from a document signed by ASEAN's founding members on August 8, 1967. The document describes "a region already bound together by ties of history and culture." A region that is "conscious that in an increasingly interdependent world, the cherished ideals of peace, freedom, social justice, and economic well-being are best attained by fostering good understanding, good neighbourliness, and meaningful cooperation among the countries of the regions." The document gave birth to the regional organization, which taken as a collective is the world's 5th largest economy.

Ties of History: Art in Southeast Asia is a survey of contemporary art, on the one hand. On the other, it is a diligent study of particular practice. The project selects three works of each artist from the ASEAN countries to be exhibited in three institutions. This enables the exhibition to present a more in-depth look into the interests of the artist and allows the audience from different parts of the city to view the exhibition.

As Flores, who was recently appointed as Artistic Director of Singapore Biennale 2019, explains, "this undertaking...draws attention to the thoughtful and sensitive process of artistic transformation and maturity and tries to avoid the tendency of survey exhibitions to merely select the most popular or the most accessible."

"It also reminds us that artistic practice is not fully formed but rather gleaned in the condition of constant forming. It is constant forming that the project endeavors curate," he adds.

NCCA Chairman Virgilio s. Almario agrees that "It]here is much to gain in gathering the talents of the region in order to view not only their works but to also reflect on the realities each of them respond to." He further emphasizes that "it is a proud moment the Philippines initiates this celebration of ASEAN artists."

Almario also remarks on the importance of the ASEAN in the current climate. For "[the] ASEAN a unique regional organization because it aims to be known to the world as one community despite its diversity in religion, race, and culture. In a world troubled by differences in belief, finding peace may be meditated through art that lets us see the threads that string us together."

Senator Loren Legarda, one of the Philippines leading cultural advocates, expresses her pride with the recent developments in Philippine contemporary art: "Support for Philippine contemporary art is at its peak with our participation at the Venice Biennale for four consecutive years after a 51-year absence, with Dr. Flores as the first curator since our re-entry. This collaborative endeavor further puts the country at the center of contemporary art globally, not just in Asia. I invite our ASEAN neighbors to continue this art project annually or in the form of a biennial in the same manner by which we host political and economic affairs in ASEAN."

Selection Process
A network of practitioners in contemporary art in the region was consulted in the selection of artists for the exhibition. These advisors include Ahmad Mashadi, Head of the National University of Singapore Museum; Khim Ong, Deputy Director, Curatorial Programmes at Nanyang Technological University Centre for Contemporary Art Singapore (NTU CCA Singapore); Loredana Pazzini-Paracciani, independent curator, writer, and lecturer of Southeast Asian contemporary art; and independent curator and scholar Grace Samboh.

Public Program
The public is invited to join an artist talk and roundtable discussion with the advisors from the region as they discuss contemporary art in Southeast Asia on August 11 at the MET Museum. There will also be a public and education program to feature talks and lectures by scholars of and practitioners in the region in the duration of the exhibition's run.

VIETNAMESE
MANILA, PHILIPPINES - Nhân dịp hiệp hội các Quốc gia Đông Nam Á (ASEAN) kỉ niệm 50 năm thành lập, Philippines đánh dấu sự kiện lịch sử này bằng việc tổ chức một Triển lãm Nghệ thuật đương đại giới thiệu 10 nghệ sĩ đại diện cho mỗi thành viên ASEAN.

Tên của triển lãm "Những nút thắt lịch sử: Nghệ thuật Đông Nam Á" được đề ra bởi nhà nghiên cứu lịch sử nghệ thuật, học giả, nhà giám tuyển Patrick D. Flores. Triển lãm được tổ chức đồng thời tại 3 tổ chức nghệ thuật của Philippines: Metropolitan Museum of Manila (MET Manila), University of the Philippines Vargas Museum (Vargas Museum) và Yuchengco Museum.

Các nghệ sĩ tham gia sẽ tập trung tại Manila để mở màn triển lãm vào ngày 08/08 tại MET Manila, 09/08 tại Yuchengco Museum và 10/08 tại Vargas Museum với một chuỗi các chương trình tại mỗi địa điểm. Các địa điểm triển lãm sẽ mở cửa đón khách từ 5pm trong thời gian từ 10/08 - 06/10, 2018.

Dự án được thực hiện bởi National Commission for Culture and the Arts (NCCA) thông qua Dalubhasaan Para sa Edukasyon sa Sining at Kultura (DESK) với sự hỗ trợ của Office of Senator Loren Legarda.

"Những nút thắt lịch sử" là một cụm từ được trích trong một tài liệu có chữ kí của các thành viên sáng lập ASEAN vào ngày 08/08/1967. Tài liệu này mô tả "một khu vực được gắn kết với nhau bởi những nút thắt của lịch sử và văn hóa". Một khu vực "ý thức được rằng trong một thế giới phụ thuộc lẫn nhau, những lý tưởng ấp ủ của hòa bình, tự do, công bằng xã hội, và hạnh phúc kinh tế được đạt được tốt nhất bằng cách bồi dưỡng sự hiểu biết tốt, sự tốt đẹp, sự hợp tác có ý nghĩa giữa các nước trong khu vực". Tài liệu này đã đánh dấu mốc sinh ra một tổ chức khu vực, một tập thể là nền kinh tế rộng lớn thứ 5 trên thế giới.

"Những nút thắt lịch sử: Nghệ thuật Đông Nam Á", một mặt là sự quan sát về nghệ thuật đương đại. Mặt khác, đó là một cuộc nghiên cứu chuyên sâu về một sự luyện tập cụ thể. Dự án chọn ra 3 tác phẩm của mỗi nghệ sĩ thuộc các nước ASEAN để trưng bày tại 3 địa điểm. Điều này giúp cho triển lãm giới thiệu một cái nhìn sâu hơn về sự quan tâm của các nghệ sĩ và giúp khán giả thuộc các tầng lớp khác nhau đến với triển lãm.

Ông Flores, người vừa được bổ nhiệm làm Giám đốc Nghệ thuật Singapore Biennale 2019, giải thích "sự cam kết này ... thu hút sự chú ý đến quá trình chuyển đổi và trưởng thành của nghệ thuật  đầy ý nghĩa và nhạy cảm. Cố gắng tránh xu hướng triển lãm khảo sát chỉ chọn ra những yếu tố phổ biến nhất hoặc dễ tiếp cận nhất "

"Nó cũng nhắc nhở chúng ta rằng việc thực hành nghệ thuật không hoàn toàn tự hình thành mà sẽ được góp nhặt trong điều kiện hình thành liên tục. Chính điều này đã khiến dự án nỗ lực để thực hiện", ông bổ sung.

Chủ tịch NCCA, Virgilio S. Almario đồng ý rằng "Có nhiều thứ để đạt được trong việc thu thập tài năng của khu vực để xem xét không chỉ các tác phẩm của họ mà còn là sự phản ánh thực tại của mỗi người". Ông nhấn mạnh thêm rằng "đó là một khoảnh khắc tự hào để Philippines bắt đầu lễ kỉ niệm của các nghệ sĩ các nước ASEAN".

Ông Almario cũng nhận xét về tầm quan trọng của ASEAN trong bối cảnh hiện tại. Đối với ông, "ASEAN là một tổ chức khu vực độc đáo bởi nó nhằm mục đích được thế giới biết đến như một cộng đồng mặc dù đa dạng về tôn giáo, chủng tộc và văn hóa. Trong một thế giới gặp rắc rối bởi sự khác biệt trong tư tưởng, việc tìm kiếm hòa bình có thể được trung gian qua nghệ thuật, cho chúng ta thấy các vấn đề đang sâu chuỗi chúng ta lại với nhau".

Thượng nghị sĩ Loren Legarda, một trong những người ủng hộ văn hóa hàng đầu Philippines, bày tỏ niềm tự hào của mình với những phát triển gần đây của nghệ thuật đương đại Philippines: "Hỗ trợ cho nghệ thuật đương đại đang ở đỉnh cao với sự tham gia của Philippines trong triển lãm Venice Biennale trong 4 năm liên tiếp sau 51 năm vắng mặt. Ngài Flores là người phụ trách đầu tiên kể từ khi chúng tôi tham gia trở lại. Nỗ lực hợp tác này tiếp tục đặt đất nước ở trung tâm nghệ thuật đương đại trên toàn cầu, không chỉ ở Châu Á. Tôi mời các nước láng giềng ASEAN tiếp tục dự án nghệ thuật này hằng năm hoặc theo hình thức hai năm một lần theo cách thức mà chúng tôi tổ chức các hoạt động kinh tế và chính trị ở ASEAN.

Quy trình tuyển chọn
Một mạng lưới các nghệ sĩ nghệ thuật đương đại trong khu vực đã được tư vấn trong việ lựa chọn các nghệ sĩ cho triển lãm. Những cố vấn viên bao gồm: Ahmad Mashadi, Giám đốc bảo tàng đại học Quốc gia Singapore; Khim Ong, Phó giám đốc, chương trình Giám tuyển tại Trung tâm nghệ thuật đương đại đại học Công Nghệ Nanyang Singapore (NTU CCA Singapore); Loredana Pazzini-Paracciani, giám tuyển độc lập, nhà văn, giảng viên về nghệ thuật đương đại Đông Nam Á; và giám tuyển độc lập, học giả Grace Samboh.

Chương trình công cộng
Công chúng được mời tham gia một cuộc thảo luận với các nghệ sĩ và thảo luận bàn tròn với các cố vấn từ khu vực khi họ thảo luận về Nghệ thuật đương đại Đông Nam Á vào ngày 11/08 tại MET Museum. Cũng sẽ có một chương trình công cộng và giáo dục để giới thiệu các bài nói chuyện và bài giảng từ các học giả và các giảng viên trong khu vực trong suốt thời gian diễn ra triển lãm.

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Jun
6
9:30 AM09:30

Artist Tulip Duong - The Cremones series

THE SERIES OF CREMONES LOCKS (CREMONES BOLT) - Artist Tulip Duong 

Figure 1

Cremones locks appeared in Vietnam during the 19th century. They are used for the windows and doors of French villas in Hanoi. A cremones consists of three main parts: handles, locks and sliders (Figure 1). To refer to cremone is to lock or open a door from inside – This closing and opening actions is independent, have a meaning of escaping from others. We can see this meaning through out the cremones series. 

On the other hand, these works requires you to imagine the doors - they are not real and closing or opening them is up to you. That is why these works are so surreal. Especially the later works when the sliders, locks in turn are partially or wholly removed, they are a lot more surreal than before.

The latest work (in progress) named Untitled 103 (includes three copper cremone locks with an original bronze handgrip, a handgrip with a shape of an Sea Urchin and a handgrip made by Fur) are typical work of this series.

Khóa Cremone xuất hiện ở Việt Nam trong thế kỷ 19. Chúng được sử dụng cho cửa sổ và cửa ra vào của biệt thự Pháp tại Hà Nội. Một cremone gồm có ba phần chính: tay cầm, ổ khóa và thanh trượt (hình 1). Nói đến cremones là nói đến đóng và mở một cánh cửa từ bên trong - Hành động đóng và mở này là độc lập, mang ý nghĩa tự thân thoát khỏi người khác hay nhân tố khác - Ý nghĩa này xuyên suốt loạt tác phẩm cremone của tôi.

Mặt khác, các tác phẩm này bắt bạn phải tưởng tượng ra những cánh cửa - chúng không có thực và đóng hoặc mở chúng là tùy thuộc vào bạn. Đó là lý do tại sao các tác phẩm này mang tính siêu thực. Đặc biệt những tác phẩm sau này khi các thanh trượt, ổ khóa lần lượt được bỏ đi một phần hoặc tất cả, chúng càng siêu thực hơn .

Công trình mới nhất có tên Untitled 103 (gồm 3 ổ khoá clemone bằng đồng với nắm tay cầm bằng đồng nguyên bản, nắm tay cầm hình cầu gai và nắm tay cầm bằng lông thú ) là một tác phẩm tiêu biểu của loạt tác phẩm này.

 

 

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Sep
6
10:00 AM10:00

SilverKris SINGAPORE Airlines: "CUC Gallery - contemporary art place in Hanoi"

We all know SilverKris is the name of the one of the best airport lounges in the world - SilverKris Lounges, Singapore Changi International Airport. SilverKris also provides a website named "www.silverkris.com" - a Singapore Airline travel guide.

CUC Gallery proudly informs that we are one of the choosen destinations to visit in Hanoi, according to SilverKris.

Screen Shot 2017-09-06 at 9.36.38 AM 1.png

Please click on the link below for the whole article.
https://www.silverkris.com/essential-guide-hanoi-vietnam/view-all

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Aug
31
11:00 AM11:00

Vietcetera Magazine: "CUC Gallery is one of the top galleries in Hanoi"

"The art scene in Vietnam is soaring as local artists are growing their fame through unique creations that reflect their culture and society. We’ve covered some of Ho Chi Minh City’s contemporary art gallery scene before, though let’s also take a look at some of the best galleries to venture into in Hanoi:

CUC Gallery

CUC_Nguyen Van Phuc_Sacrifice, 2008 Oil on canvas, 120 x 150 cm.JPG

Source: artsy.net

CUC Gallery is a prominent contemporary art gallery that features a variety of artworks: paintings, drawings, photographs, sculptures, installations, videos, and prints. These artworks come from a diverse selection of artists that range from fairly new to well-established. CUC Gallery collaborates with other art entities both in and outside Vietnam and carefully selects high-quality art pieces to give their audience the best experience possible. They also host unique exhibitions to heighten what they have to offer.

Location: A4703 (Floor 47), Keangnam Hanoi Tower A, Duong Dinh Nghe, Tu Liem District, Ha Noi"

Please click on the link below for the whole article.
http://vietcetera.com/top-galleries-to-visit-in-hanoi/

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Aug
31
8:00 AM08:00

The Documentary "Artist Nguyen Trung" on HTV9

CUC Gallery proudly informs that our artist Nguyen Trung will be featured in the documentary short movie "Nguyen Trung" about his life and career, directed and produced by renowned director Tran My Ha and artist Do Hoang Tuong. The 30-minute-run documentary will be shown at 8am on Thursday 31 August 2017 on HTV9. 

 Artist Nguyen Trung - CUC Gallery

Artist Nguyen Trung - CUC Gallery

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The Biennale Arte Guide 2017
Jul
12
4:30 PM16:30

The Biennale Arte Guide 2017

A group of Vietnamese artists present a map to navigate the world of Vietnamese art. In a context of enhanced creative freedom, Nguyen Trung, Do Hoang Tuong, Nguyen Son, Tulip Duong and Ly Tran Quynh Giang show diversity in themes and styles.

European Cultural Center (Personal Structure)
Palazzo Bembo, Riva del Carbon, San Marco 4793
 

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"PERSONAL STRUCTURES - Open Borders, Venice 2017" Book
Jul
11
8:30 AM08:30

"PERSONAL STRUCTURES - Open Borders, Venice 2017" Book

Vietnam in Venice

By Kwok Kian Chow

 

The Venice Biennale is where art and nations meet to shout out how they alwaysneed, but sometimes dislike, each other. For the first exhibition of Vietnamese artists presented in the Venice Biennale as a group, instead of the usual route of accessing Venice via a national pavilion, they appear to have found an excellent platform the name of which cannot be more fitting – Personal Structures.

For Ho Chi Minh City-based Nguyen Trung (b. 1940), Do Hoang Tuong (b. 1960), Nguyen Son (b. 1974); and Hanoi-based Tulip Duong (b. 1959), and Ly Tran Quynh Giang (b. 1978), their works presented are personal forms - as individualistic expressions, and as testimony to their personal trajectories. Yet their art practice paths crossed, within the common context, image and stylistic conventions, and art education (except for Duong, a mathematician turned artist) of the Vietnamese art world. Trung has been a leading figure first in the Southern Vietnamese art scene, and nationally after Reunification (1976).

Trung’s personal fondness for the art of Soulages, Tàpies and Zao Wou Ki is heard echoed in younger artists such as Tuong. Trung singled out writings in philosophy and art which inspired him most -- Michel Ragon, Henri Bergson, Tagore and 17 th century Shitao. The six works (Trung shows two works) in Venice represent important moments of ‘personal structures’ for the artists. The works also serve as a ‘Vietnam Pavilion’, but within a zone not of national representation, but of concrete personal moments, and yet not without abundant clues into the world of Vietnamese art. If art and nation had to coincide, the Vietnamese group within Personal Structures offers a refreshing perspective.

As an exhibition platform, Personal Structures eliminates the linear and ideological notion of history and art development. In so doing, it becomes an open forum for artists and art works to interface. The Venice Biennale context, on the other hand, is still one that is predicated on national representation/pavilion, signaling the reality that only one extraordinary international exposition of art will perpetually be that pedestal where nations would parade. Appended to Personal Structures, the Vietnam artist group is lightly national, and the works and contexts quickly point the visitors to the diversity within Vietnamese contemporary art practices.

The full title of Personal Structures is Personal Structures: Time, Space, Existence, the explication on which was developed in the essay “Time. Space. Existence” by Peter Lodermeyer (2009). Time is also a central concern for the Vietnamese artists. For Trung, time relays through distances, and the “images from the past”, having taken a great length of time in crystallization, culminated in his abstract works. Lodermeyer relates Heidegger’s “time is Dasein… Dasein always is in the manner of its possible temporal being… Dasein is its past, it is its possibility in running ahead to this past.” These lines may also be invoked to explain Trung’s painting practices. Indeed, as expounded by Lodermeyer, time as duration is understood as a temporality that is subjective. The title of Trung’s MA 1 (2015, acrylic on canvas) refers to the images that look like the alphabets M and A, while a variety of brush and gestural strokes, and blocks, lines and drips point to a temporality of being. To locate Trung’s MA 1 in the broader context of his oeuvre, time as a theme is key. In his earlier figurative works, the present (the “instantaneous” as the artist has it) is anchored in the figurative, while the painterly and compositional, or formal elements, pointed towards his life-long project of abstract works, understood in their gestation over longue durée.

There is also time as in art history. The cross references of the artists in this exhibition points to the prominent role of Trung as a mentor, to a geography much larger than Ho Chi Minh City. Trung was a founding member of the Young Artists Association, a vanguard art group in Saigon active from 1966 up to the Reunification. In The Light (2016, lamp, stretched canvas, acrylic), Trung does not purposefully looks for objects for incorporation into his works, but rather these objects are there and have been under consideration, so to speak, for the longest time as the artist traverses through a temporality of time but materially and geographically narrowed within the discipline of the studio and vicinity. Sculptural works form a continuum to the paintings, “when painting is not enough” as Trung has it, framed within the same temporality of being. A different concern for time is seen in Son’s Nostalgia (2017, epoxy, acrylic, ink, aluminum and steel). The six objects are one work, but each is also a stand-alone, like duration and moments. “The invisible hand represents time”. The large metal spoon was an architype for scoop, used all over Northern Vietnam in every single meal. The invisible hand and the metal spoon are universal, the omnipresence of time as a frame within which human actions and emotions unfolded.

When evoked through memories and images, time has a fluid physical presence in a sequence that is both about human sentiments as well as actual events that occurred, as they are imprinted in memory. The six sculptural elements capture events that happened within a day of family outing during Son’s youth, chronicling anxiety, relief, parental love, and friendship. A photograph taken by the Cuban artist Vidal Hernandez during that occasion, is now digitally reconfigured for the individual sculptural elements. Episodes here are sequence within a day, and yet each moment is a standalone, triggering a certain emotion in the larger topography of temporality. This new work came after Son’s recent series montaging Duchamp’s Fountain with other icons such as a portrait of Lenin, as the artist’s reflections on historical imagery and coincidences in times, such as the same year (1917) of the first exhibition of Duchamp’s Fountain, and the formation of the Soviet Russia. The coincidence of such historical moments is significant to Vietnam given its communist background, and its art given the inspiration of avant-garde practices. The two figurative works in the exhibition, Tuong’s Black Party (2016, acrylic and oil on canvas) and Giang’s Where They Turn To (2016, carved wood) speak of human condition with psychological intensity.

Tuong enrolled in the art college in the very year of Reunification. His frequent discussions with Trung continued as he became an art teacher and an illustrator. A highly accomplished one, he continues to work in illustration while his painting appeared to take on separate trajectories. Tuong returned to figurative works in 2004 with the S/he series. The artist painted women in bodily contortions which would have been impossible in physiological term in the subsequent 12 Women series. As an anatomy lecturer, Tuong knew exactly the physiological boundaries that he wanted to subtly trespassed, so as to formulate a commentary on the status of women, a suffrage seemingly natural but physically torturous. The Black Party shows a concluding moment of a party indicated by the near empty wine glass, with a photo line-up formation group image of six suit cladding men and one naked woman. Tuong explained the image as a general mood of “unsettling” in the world. Another work painted around this time (late 2016) bears the title, The President. 

Giang’s Where They Turn To is also a work of impossible anatomy intensified by the natural form and texture of the Dunn blocks. Giang has created expressionistic works since graduation from the Hanoi Fine Arts University (2002). The works often depict existential conditions shared by humans and the natural world alike. Humans appear with trees and fishes, and “their conjoining in a work is because of their shared condition”. For the human figure, apart from the physiological features of male and female, there is no gender differentiation. Giang’s world is also one of continuous erasures of socially and culturally constructed distinctions within the greater ecology. Where They Turn To speak of struggles set within natural forms of tree trunks with arms stretched to torturous lengths as these were the directions of hope, guided by the trees. Duong’s career has the unusual combination of mathematician, educator, marketing analyst, and artist. When, however, the oeuvre of her artwork is looked at holistically, the above combination makes sense. The artist’s project is characterized by turning mathematics to artistic strategies, marketing into communication, and art into a realm of limitless possibilities. Artistic articulation to Duong is a sheer pleasure and freedom. OCDM (2016, lacquer on wood, cremones), a work comprising two panels in the cremone (door latch) series has been developed from her earlier landscape paintings capturing views beyond the window. Viewers are always invited to step outside to the world of freedom, just as they are invited to turn the cremone knob to unfasten their inhibition. Highly methodical in her art making, Duong typically gathers a large pool of materials, resources, concepts and processes, before selecting a key theme for a new series, and working through the many artworks to reinforce the theme from various angles.

The artist’s switch from mathematics and education to management came just shortly after Doi Moi (1986), with the national move towards market economy. Duong offered to teach marketing in the reconstituted University of Commerce, in gearing up the management support for the open economy. As an artist, she is now taking her multidisciplinary endeavour to inspire personal liberty. During my conversations with the five artists, each invoked at some point the term “Oriental” or “Asian”. I came to realize that there is still much to be understood about the context of Vietnam, through the six and numerous works we looked at and discussed. While there is every recognition of multiple sources of inspirations and references in the art practices of these artists, I felt that the term “Oriental” or “Asian” served as a reminder on the deeply felt cultural differences and the lived experience of Vietnam in comparison with other biographies, aesthetics and expressions in talking about art in a global context. I regard the term as a marker of a contingency of difference, as we explore more into the world of contemporary art in Vietnam. I return to the point about a national pavilion as methodology.

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"Open Borders - Southeast Asia" Forum
Jun
8
3:00 PM15:00

"Open Borders - Southeast Asia" Forum

“Open Borders - Southeast Asia", a forum programme of the Personal Structures exhibition, is jointly organised by the European Cultural Centre, GAA Foundation and the School of Social Sciences, Singapore Management University. Featuring the Chief Curator of Personal Structures Valeria Romagnini, Artists Tulip Duong (Vietnam), Haffendi Anuar (Malaysia) and Boedi Widjaja (Singapore), and moderated by Kwok Kian Chow (SMU), the forum looks at the dynamics of regional and national groupings within Personal Structures, and relations with the personal practices of the artist presenters.

 

 

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