VIETNAM EYE Contemporary To India a lovely grand-daughter

VIETNAM EYE Contemporary Vietnamese Art

edited by Serenella Ciclitira Sponsored by

Art director First published in Italy in 2016 Founder of Global Eye Programme We would like to thank the following Supported by Marcello Francone by Skira Editore S.p.A. David Ciclitira Vuong Duy Bien, Vice Minister, Palazzo Casati Stampa Design Ministry of Culture, Sports and Tourism, via Torino 61 Editor Luigi Fiore Socialist Republic of Vietnam 20123 Milano Serenella Ciclitira Editorial coordination Italy H. E. Cecilia Piccioni, Ambassador of Italy Eva Vanzella www.skira.net to the Socialist Republic of Vietnam Copy editor © 2016 Parallel Serenella Ciclitira H. E. Giles Lever, Ambassador of the Ministry of Culture, Sports and Tourism Emanuela Di Lallo Nigel Hurst United Kingdom to the Socialist Republic © 2016 Skira editore Layout Niru Ratnam of Vietnam Serena Parini All the staff at the Italian Embassy in All rights reserved under Local Advisors international copyright Minh Do Tran Luong conventions. No part of this book may Vi Kien Thanh Special thanks to AIA Embassy of Italy, Hanoi be reproduced or utilized Event and Account Director in any form or by any means, Art Vietnam Gallery Belinda Laubi electronic or mechanical, Zoe Butt including photocopying, recording, or any information Project Coordinator & Liaison CHON Gallery Hanoi storage and retrieval system, Kwok Shao Hui Craig Thomas Gallery without permission in writing Galerie Quynh Event Coordinator from the publisher. Judith Hughes Ngo Quang Minh Printed and bound in Italy. Mizuma , Tokyo First edition Authors of the Essays Thavibu Art Advisory Nguyen Quan ISBN: 978-88-572-3360-4 All collectors who have loaned works Niru Ratnam Distributed in USA, Canada, All the without whom this book Central & South America Vietnamese Partner would not have been possible by Rizzoli International Minh Do Publications, Inc., 300 Park All PCA staff Avenue South, New York, NY 10010, USA. Distributed elsewhere in the world by Thames and Hudson Ltd., 181A High Holborn, London WC1V 7QX, United Kingdom. Ministry of Culture, Sports and Tourism

The AIA Vietnam Eye project and its book Vietnam Eye: Contemporary Vietnamese Art, with its own perspective, introduce a part of Vietnam’s contemporary art between the Doi Moi era (1986) and the present time, giving domestic and international audiences another view on this country’s contemporary artists. This event contributes to the promotion of the Vietnamese art scene in general, and also helps with the understanding of Vietnamese society in terms of sharing human and artistic values with the public at large. The book features 56 contemporary artists, both established and young and emerging ones. They have been and are still contributing to the development of a fascinating art scene in Vietnam since the mid-1980s. I am delighted that the AIA Vietnam Eye and the book are being implemented. I believe that this is a good opportunity to introduce Vietnamese contemporary art to a wide public both at home and abroad, helping art lovers and experts everywhere to have a better understanding of a flourishing art scene with many unique and interesting characteristics. A number of exciting artworks will be on display at the Saatchi Gallery, one of the many important art spaces in the UK. This will help further promote Vietnamese contemporary art to the world. I thank AIA Vietnam for sponsoring the project, along with Parallel Contemporary Art, the sponsors, artists, curators, and all those who have made the exhibition and the book possible. I hope this book will mark another significant milestone in the long and unfinished journey of Vietnamese contemporary art.

Vuong Duy Bien Deputy Minister of Culture, Sports and Tourism Socialist Republic of Vietnam

photo © Tho Le Asia’s rapid economic growth and social change have outpaced the rest of the world, and Vietnam is leading that charge of creating change within Asia. The flourishing growth in Vietnamese contemporary art is starting to reflect that. Going beyond its immediate intrinsic value, contemporary art plays an important role in promoting social and economic goals. It facilitates the development of talent and innovation, fosters growth in creative industries, enhances life and improves community cohesion. Founded in Asia over a century ago, AIA is a huge believer in the potential of Asia; our purpose is to make a fundamental contribution to the social and economic development that is taking place in our region. We continue to engage and assist multiple generations of families around the region to live longer, healthier, better lives. With this, AIA is proud to contribute to Vietnam’s blossoming art scene by being a part of the exciting initiative AIA Vietnam Eye. Through this programme, we hope to develop a thriving arts ecology that offers the chance to enjoy, participate and create. Arts and culture are crucial to the imagination, self-expression and creativity in young people and to the development of skills that fuel the success of various industries in Vietnam, and will shape the next generation of talent in this country. It is AIA’s pleasure to partner with Parallel Contemporary Art and the Saatchi Gallery to nurture emerging talents, to enable Vietnamese contemporary art and bring the programme to art enthusiasts around the world. We wish for this to extend beyond just the core arts community.

Gordon Watson Regional Chief Executive of AIA Group

Gordon Watson, Serenity As the Real Life Company, AIA is committed to help families in Vietnam and across the region to live longer, healthier, better lives. We also believe that art and culture can illuminate and enrich people’s lives. They have an important impact on education, the economy and the health and wellbeing of our society. Art enables us to become more imaginative, innovative, and better connected with each other. AIA Vietnam Eye shares the same values with AIA, since it encapsulates our longstanding commitment to be deeply engaged in people’s lives and make a positive impact in the communities where we operate. The Vietnamese art scene is steadily growing into a vibrant and diverse network. In addition to bringing awareness of international trends, Vietnamese artists find unique ways to express themselves in various forms and languages, always with a deep connection to the local culture, history and social context. AIA Vietnam Eye not only supports the development of local emerging artists, it also serves as a catalyst for their international exposure and contributes to the development of the vibrant emerging art scene in the country. This book is a comprehensive publication of Vietnamese contemporary artistic scenario and offers an unprecedented in-depth look at our country’s artists. We are also pleased to share our resources, including our flagship customer and event space called nest by AIA, to enable the project to reach out to a wider audience – children, families and the general public – with the exhibition of selected artists from this project. On behalf of AIA Vietnam, I would like to thank our partners Parallel Contemporary Art and the Saatchi Gallery for their vision and support, as well as the Vietnamese Ministry of Culture for their unwavering support. We hope this project will fulfil its role to contribute a new and exciting future to Vietnam contemporary art community.

Wayne Besant Chief Executive Officer of AIA Vietnam

nest by AIA, Vietnam It gives us great pleasure to be writing this foreword to AIA Vietnam Eye, the eighth project in the Global Eye Programme. The Programme, an initiative that Parallel Contemporary Art founded in 2009, has worked in partnership with the Saatchi Gallery focusing on providing an international platform for new art scenes in Asia. In recent years, it has become clear that Vietnam’s contemporary artists have been making increasingly confident steps towards establishing a genuinely exciting art scene. Reforms that took place thirty years ago in art education have borne fruit with a new generation of artists who have been able to combine local concerns with a sophisticated awareness of the language of international contemporary art. The growth of an international Vietnamese diaspora also meant that a number of artists, such as Dinh Q. Le, grew up with both a global and a Vietnamese sensibility. Many of these diaspora artists and art professionals have returned, at least for part of their working time, to Vietnam contributing to the growth of its art scene, which was reflected in commercial galleries and not-for-profit organizations that have opened over the past ten years. So it seems the right moment to offer a large-scale survey of this scene, which is what AIA Vietnam Eye hopes to achieve. Over the last seven years the Global Eye Programme has published books and developed exhibitions on the emerging art scenes of Korea, Indonesia, Hong Kong, Malaysia, Singapore and Thailand. Vietnam is a worthy addition to this list. The Programme aims to survey art scenes at the moment where we believe they are starting to make a significant impression on international curators, critics and wider audiences. From a personal perspective, we have witnessed the rise of younger Vietnamese artists such as Ha Manh Thang, whose handling of paint has seen him exhibit alongside renowned international artists such as Gerhard Richter and Peter Doig. We were personally delighted to see his at the START Art Fair at the Saatchi Gallery, London this year. Similarly, it was good to see other emerging Vietnamese artists on the international art circuit, such as Le Quy Tong in New York and Nguyen Huy An at the . However, it seems important now to see these artists show their work together in Vietnam and this is why it is so important to have this exhibition as well as the accompanying book, which gives a wider context of this scene. We believe that now is exactly the right moment to focus on Vietnam, as many curators, critics and collectors are keen to learn more. We are delighted that our title sponsor AIA agreed with us on this, and that our partners the Saatchi Gallery and Skira were also very excited by this project. We would like to extend our sincere gratitude for his support to Vuong Duy Bien, Deputy Minister of Culture, Sports and Tourism, and to our local ` advisors, Trân Lu’o’ng and Vi Kien Thanh, Director of the Department for Fine Arts, Photography and Exhibition of the Ministry of Culture, Sports and Tourism. We also want to thank Nigel Hurst, CEO and Director of the Saatchi Gallery for his help and curatorial input. Our title sponsors AIA Vietnam Life Insurance Co. Ltd. (member of AIA Group) have really been instrumental in making this project happen. We also want to thank the Regional Chief Executive of AIA Group, Gordon Watson, Chief Executive Officer, Wayne Besant, Chief Marketing Director, Szu- Mae Yoon, the British Ambassador to Vietnam, Gilles Lever, and Italian Ambassador to Vietnam, Cecilia Piccioni. Finally we want to thank all the artists who are part of the exhibition and book.

Serenella and David Ciclitira

photo © Tho Le 17 Vietnamese Contemporary Art: 192 Pham Huy Thong Contents The Local and the Global 196 Pham Tran Viet Nam Niru Ratnam 200 Phan Thi Thao Nguyen 204 Phi Phi Oanh 21 Society–Art: Segmented and 208 To Kim Nhung Distorted Values 212 Tran Trong Vu Nguyen Quan 216 Tran Tuan 220 Tran Van Thuc 224 Trieu Minh Hai Vietnam Eye 228 Trinh Minh Tien 28 Bang Nhat Linh 232 Truong Cong Tung 32 Dinh Q. Le 236 Truong Tan 36 Dinh Quan 240 Vu Duc Trung 40 Dinh Thi Tham Poong 244 Vuong Duy Bien 44 Dinh Y Nhi 248 Vuong Van Thao 48 Do Hiep 52 Doan Hoang Lam 252 Biographies of the Artists 56 Duy Phuong 280 Curators 60 Ha Manh Thang 64 Ha Tri Hieu 68 Hoang Duong Cam 72 Hoang Thanh Phong 76 Lai Thi Dieu Ha 80 Le Brothers 84 Le Phi Long 88 Le Quang Ha 92 Le Quy Tong 96 Le Thanh Thu 100 Le Thuy 104 Le Vu 108 Sandrine Llouquet 112 Luu Tuyen 116 Ly Hoang Ly 120 Ly Tran Quynh Giang 124 Ngo Van Sac 128 Nguyen Bach Dan 132 Nguyen Dinh Hoang Viet 136 Nguyen Dinh Vu 140 Nguyen Huy An 144 Nguyen Manh Hung 148 Nguyen Minh Phuoc 152 Nguyen Quang Huy 156 Nguyen The Hung 160 Nguyen The Son 164 Nguyen Tri Manh 168 Trong Gia Nguyen 172 Nguyen Trong Minh 176 Uu Dam Tran Nguyen 180 Nguyen Van Du 184 Jun Nguyen-Hatsushiba 188 Pham An Hai photo © Tho Le Vietnamese Contemporary Art: The Local and the Global

Niru Ratnam The story of modern and contemporary Vietnamese art can be approached via a num- ber of the key theoretical issues that have surrounded the development of non-western contemporary art. Modern Vietnamese art started under rule. The École supérieure des Beaux-Arts de l’Indochine was founded in 1925 and like comparable in- stitutions in other Asian countries under western colonial rule, such as the Sir Jamsetjee Jeejeebhoy School of Art in Mumbai, the syllabus of the art teaching was rooted in classi- cal and modern European . The school was co-founded by the French painter Victor Tardieu, who had studied in Lyon with Matisse and Rouault, and the Vietnamese ink painter Nam Son, who had studied at the École des Beaux-Arts in Paris at Tardieu’s behest. Unsurprisingly, the work of the Impressionists and Post-Impressionists played an important role for those who studied there, with much of the art they produced focusing on objects and subjects chosen for their aesthetic richness, such as figures of Vietnamese women in traditional long dresses. This is the first area of debate around non-western modern and contemporary art that Vietnamese art can be contextualized through; the legacy of the European modernist canon on the art made in the non-west, and how non-western artists grappled with that legacy to use it whilst also beginning to free themselves in order to articulate a position that took into account the specificities of their own cultural backgrounds. The legacy of Euro-centric art education was debated and worked with by art- ists in other countries going through the post-colonial phase. In India, the Progressive Artists’ Group used the visual language of European modernism to work its way slowly towards what could be defined an Indian modernism. However, in Vietnam, the space for this to happen was not so readily available. The Japanese invaded Vietnam in 1940 and installed the Vichy French government; but after the Allies won the war, the country was plunged into four decades of struggle and conflict. Artists did not have the luxury to debate how to deal with the modernist canon. Instead, a more abrupt shift occurred as they felt they had to make work to suit the prevailing ideology of which part of the country they were based in. This is the sec- ond area of debate that Vietnamese art has something significant to contribute to: how do artists work and how is art exhibited and circulated when artists are working under conditions where issues around nationalism, patriotism and politics are key. It is impor- tant to note that this is an issue that is necessarily confined to post-colonial nations. In the USA, Abstract Expressionism was promoted by the Congress of Cultural Freedom, a group of intellectuals, writers, poets and artists who were being unwittingly funded by the CIA. The Congress organized the exhibition The New American , which visited every big European city in 1958–59, with the CIA believing that it would show

17 that the United States was wedded to the freedom of expression. In Vietnam, artists on These general areas of discussion and debate provide the context that frame both sides of the political divide were more aware of the ties between what they were an exhibition such as AIA Vietnam Eye. The purpose of such exhibitions is to draw painting and how it would be seen in a politicized climate. The complex intertwining of together a number of practitioners to tease out the links between them, the differ- image and politics is the second key set of issues that Vietnamese modern and contem- ences, overall trends and how individual artists depart from those trends. Along with porary art has something significant to contribute. this book, the project aims to be a springboard for future research by academics and The mid-1980s brought about another abrupt shift in both the political and curators leading to more in-depth investigations of particular artists. It seems to be cultural arenas of Vietnam. The onset of economic reforms known as Doi Moi or “open the right moment, thirty years after Doi Moi, to take a pause and think about Viet- door” led to more liberal policies around the production and reception of contempo- namese contemporary art as an emerging scene on the global art stage. An artist such rary art. Independent art spaces started to appear, such as Salon Natasha that was in as Dinh Q. Le is now well known to curators and art professionals around the world operation from 1990 until 2004. The Salon was the house and studio of the artist Vu and his recent work The Colony, which was seen in a number of venues across Britain Dan Tan that he and his wife opened up to other artists. Another space, Nhà Sàn Duc, earlier this year, seemed to mark an important moment as it was the first of his film was a traditional house on stilts that focused more on performance and installation installations that does not directly reference the Vietnam War. It instead broadened art. Blue Space was a third space that opened in 1996. Vietnamese artists began to be its theme to look at human labour in a globalized world and was located in a cluster invited to take part in exhibitions overseas. In 1991 Plum Blossoms Gallery in Hong of islands off Peru that were fought over by colonial powers through the nineteenth Kong showed the work of fifteen contemporary Vietnamese artists in an exhibition ti- century because of their valuable natural resources. The abandoned buildings along tled Uncorked Soul, the title perhaps alluding to a moment of unleashing emotions and with the presence of today’s workers carrying out the same back-breaking work that expressiveness that had up to that point been repressed. The artist Nguyen Xuan Tiep their predecessors did attest to a longer history of globalization than is often put for- received an invitation to participate in the 1993 Triennial of Asia-Pacific Contempo- ward. The work suggests we might be at a moment where the most confident of this rary Art in Brisbane. The Gate Foundation in the Netherlands organized an exhibition new generation of Vietnamese artists is turning towards issues that, although rooted of Vietnamese that took place between October 1993 and January 1994. in subjects pertinent to Vietnam (such as globalization and the history of colonialism), The relatively rapid set of economic and cultural reforms in Vietnam that opened up reach beyond local specificities to larger concerns. its art scene took place at the same time that international curators and museums were This does not of course mean that artists in Vietnam are all moving away from increasingly focusing on Asia to think about the then-emerging trend of globalization. more specific concerns and practices. The legacy of European Expressionism re-worked Cities on the Move, the seminal exhibition curated by Hans Ulrich Obrist and Hou to articulate the specificities of Vietnamese history can be seen in the works of artists Hanru that took place in several locations between 1997 and 2000, focused on Asia’s such as Dinh Y Nhi, Dinh Quan and Ha Tri Hieu. The works of Ha Manh Thang, and modernization in order to shed light on the increasingly pressing issue of globalization. in particular series such as The Temple at Night and The Lake, might look to western The curators described a situation where the rapid modernization taking place in Asia’s viewers on first seeing them as if they had an affinity to the work of Abstract Expression- cities meant that there was a danger of an increasingly banal and commodity-driven ists such as Mark Rothko. Yet the concerns of the artist are in fact much more to do with culture taking hold. They argued that “an increasingly important new task for Asian the architecture and landscape of . On closer scrutiny, once can see the artists now is to invent alternative ‘sub-spaces’ or non-institutional ‘artist-run-spaces’”, ghostly silhouette of a temple in the former series, devoid of identifying characteristics. a phenomenon that, in the absence of a commercial gallery system, was quite evident Instead of focusing on the temple’s appearance or that of the surrounding landscape, Ha in Vietnam during these years and the first part of the 2000s. Another key non-institu- Manh Thang instead presents the concepts of ancient Vietnamese architecture, in par- tional space, Sàn Art, would open in 2007. ticular the relationship between buildings and water. What becomes apparent is not so The third key issue that contextualizes Vietnamese contemporary art is this shift much the artist’s affinity with Abstract Expressionism but the importance that non-west- from the post-colonial to an era of globalization. From the mid-1990s onwards, a num- ern thinking had on artists such as Rothko and Barnett Newman. Perhaps indeed the ber of Vietnamese diaspora moved back to the country – either permanently or semi-per- conclusion to reach is that it is the American artists who were in fact on the manently. Artists and gallerists were among them, such as Quynh Pham who moved same philosophies that inspire Ha Manh Thang rather than the other way round. back to Vietnam in 2003 and opened Gallery Quynh. Non-Vietnamese also moved to Lai Thi Dieu Ha’s work typifies the attitude of the new generation of Vietnam- the country, such as the American Suzanne Lecht who opened Art Vietnam Gallery in ese contemporary artists. Her early work was performance-based, exploring the origin 2001. At the same time, a new generation of Vietnamese artists emerged whose sensibil- of the self and identity to an extreme level. Her 2011 piece Skin Iron involved the ity was shaped after the years of conflict. This is a highly technologically literate genera- artist applying hot irons to fresh pig bladders that she then rubbed over her bare face, tion, open to the forces of both cultural and economic globalization, and unsurprisingly arms and legs fusing the pig flesh with her own. Her recent work is more nuanced, they have often experimented with new media. moving confidently between media encompassing photography, painting, ,

18 Vietnamese Contemporary Art: The Local and the Global Vietnamese Contemporary Art: The Local and the Global 19 installation and video; but her use of materials such as pig rind points to an artist who is confidently bringing in elements that have local nuances into the international language of . AIA Vietnam Eye allows us to consider the different strategies open to contem- porary Vietnamese artists who are working from the wider context that I have sketched about. Whilst it is important to acknowledge that the story of modern and contem- porary Vietnamese art can be considered in relation to key issues that curators and art historians are currently grappling with (the legacy of colonial art history, globalization, and so on), it is important not to reduce the works of artists to being examples of this wider set of theories. Instead the work of these artists should be used to draw out those theories and to make them more specific and subtle. An exhibition of a number of art- ists working at the same moment, from the same cultural background, can do exactly that, as can the wider story and examples of working practices that this book offers. The different strategies employed by the artists in AIA Vietnam Eye are indicative of an increasingly forward-thinking art scene that can deal with both the local and the global, one that is conceptually competent and highly confident in its sense of where it comes from and what routes are opening up in front of it.

20 Vietnamese Contemporary Art: The Local and the Global Society–Art: Segmented and Distorted Values

Nguyen Quan Three types of transition The radical changes in the life of Vietnamese people during the Doi Moi (renovation) period, known to have commenced in 1986, were attributed to three types of “insane” transition. The first was the transition from war time to peace time, which caused a va- riety of “social traumas” such as sexual liberation, population explosion, mental health problems, national reconciliation, the problematic issue of “us vs. them” (i.e. the war enemy), deserted countryside, the phenomenon of people who had rendered meritorious service to the country demanding preferential treatment by the government and society, the phenomenon of soldiers returning from the war flocking to urban areas, restora- tion of family life, etc. The second transition was from a centrally-planned economy to a market-oriented system, which came with ideological crisis, spiritual crisis, rampant urbanization, deterioration of moral values caused by the pursuit of wealth and power, wealth accumulation and tremendous impoverishment, crisis of confidence and moral- ity, violence, crime, social evils, etc. The third and final is the transition from a period of closed-door policy and economic blockage to an era of globalization, which brought with it the introduction into the country of ideas of universal values, human rights, and women’s rights along with gender crisis, freedom and democracy crisis, communication crisis, the overwhelming “invasion” of international pop culture, etc. These three fundamental shifts clashed and at times contradicted one another, making the assessment of human, social, cultural, and artistic issues in Vietnam more difficult than anywhere else in the world. Researches and studies of the artistic environ- ment in the country have the tendency to explore and investigate one of the above-men- tioned “transitions” while overlooking the other two, thus resulting in conclusions that are often one-sided and unwholesome. As a matter of fact, a person’s inner world crisis and conflicts are as dramatic as the outer world ones: art portrays both worlds, thus in- evitably experiencing crisis and conflict. Oftentimes art is interpreted, assessed, “discov- ered”, and introduced with prejudice, as such interpretations, assessments and discoveries are based on the values associated with only one of the said “insane” transitions.

Three trends within a century The development of Vietnamese art since the beginning of the twentieth century can be conveniently divided into three phases or trends: Indochine art (to be traced back to the colonial École supérieure des Beaux-Arts de l’Indochine, 1925–45), art associated with the nationalist revolution and socialist realism in both halves of the country (1945–86), and Doi Moi art (from 1986). Changes in the country’s political, military, economic, social, and cultural conditions, thought, religion, belief, etc. were the deciding factors

21 for the birth and development of the contents and forms of these trends. The colonized many others. These artists used various styles and forms of expression to depict every society and urban culture gave birth to Indochine art. Artists of this trend mainly depicted registered state of mind and emotion, especially aspiration, tragedy, crisis, conflict, lone- women in ao dai, the traditional Vietnamese long dress, often standing or sitting next to liness, sense of being lost. And, most important, the bad and the ugly. They overruled flowers; thus they created a kind of special and generalized “national” beauty, not very both the “lovely” and the “realist” aesthetics that had characterized the two previous pe- different from the aesthetic canons of the French Impressionists a few decades earlier. riods. Their work was pioneering and original, and obviously it was highly controversial Then, throughout various wars, under different “flags”, and from different “battlefields”, amongst the domestic public. When Vietnam “opened” its door to the world, foreign artists from both North and used the realistic and romantic style handed art patrons, critics, collectors, and researchers were amazed to find an art scene that was down by their Indochine predecessors to depict the human beings of their day: workers, nowhere near what they had imagined about a “behind-the-iron-curtain” impoverished farmers, soldiers (armed or not), and leaders. The sense of patriotism and nationalism and isolated country, only known globally by the tragedy of the Vietnam War. This art was overwhelming. The art of this period may also be referred to as patriotic realism and was completely different from the Soviet or the New Chinese or any other artistic scene one of its major components was undoubtedly socialist realism. Doi Moi art, which start- of neighbouring countries. It was soaked with national identity while at the same time ed preliminarily with painting, witnessed the drastic developments of the mid-1980s. modern enough for international audiences. So, it was named Doi Moi: renovation. What is this trend? To define, qualify, and quantify it is extremely complicated since the If painting was the first media adopted by Doi Moi artists, sculpture evolved ro- trend itself is an unfinished business, chaotic, multi-dimensional, and the expression of bustly in the latter half of the 1990s. Artists including Dao Chau Hai, Le Thi Hien, Bui different systems of value. Obviously, it is impossible to consider it a homogeneous artis- Hai Son, and Nguyen Hai Nguyen, Phan Phuong Dong, Khong Do Tuyen, Tran Viet tic movement like its two predecessors. Hung, Hoang Tuong Minh, Nguyen Anh On, Nguyen Nhu Y, Nguyen Ngoc Lam, Thai Pre-war artists were romanticists always in search of poetic and lovely objects. Nhat Minh and many others actually gave birth to Vietnam’s modern and contemporary Resistance/war patriotic artists used their tools to look for realities and truths that were sculpture. They created new and unprecedented aesthetic canons and values that simply “presumptively established” by the then ideological system. Doi Moi artists, instead, only did not exist in the previous three quarters of the century, which were marked by insig- embrace the quest for their own identity. Asking themselves the most important of all nificant creativity. They followed in the footsteps of the Dao Moi painters fifteen years questions, “who am I?”, they were able to resurrect the original and universal core of later in combining “national identity” with “international values”. Lately, the Vietnamese artistic creation. These artists consider themselves the pioneers and endow themselves sculpture has been integrated extensively and intensively into the world’s sculpture pan- with the responsibility to pursue and establish new aesthetic values instead of discovering orama. Several international sculptors came to Vietnam to work and the number of art- and portraying the ones already existing in their souls or in their surroundings; and they works by Vietnamese sculptors exhibited or collected abroad has increased significantly. tend to impose their own values on others. After the year 2000, this “modern-style” con- fidence, arrogance even, was further backed by their willingness to provoke and challenge Global integration and “Embassy art” anyone to defend anything that was contemporary art-related. Vietnamese contemporary art has witnessed the blooming of various kinds of presenta- In the mid-1990s, Thai Ba Van noted that “the third generation of artists slowly tion such as performance art, , video art, multi-media art, interactive art, came into existence after the year 1975 and started to blossom after 1985. This is the etc. through the work of Tran Luong, Dinh Q. Le, Tran Trong Vu, Truong Tan, Le Thua most populated and vibrant group that currently dominates the Vietnamese art scene. Tien, Bao Toan, Dang Thi Khue, Dao Anh Khanh, Vo Xuan Huy, Ly Hoang Ly, Bui Unlike their predecessors, these artists cannot be easily defined as belonging to or repre- Cong Khanh, Nguyen Minh Phuoc, Minh Thanh, and Huy An among others. Younger senting a certain art trend. They work as individuals. But collectively they form a new art visual artists have come into the picture and all together they have formed the so-called identity that is much stronger and full of hope”. “third wave”, a new generation that brought a highly original contribution to the Vi- etnamese art scene in the new millennium. This group of artists is the most active and Three leaps in thirty years has the most aggressive connection with the international community. The nickname A golden generation of artistic personalities emerged between 1985 and 2000 with such “Embassy art” originated from the fact that in the early stage of this phase, artists received names as Tran Trung Tin, Buu Chi, Nguyen Trung, Do Quang Em, Dang Thi Khue, significant support from foreign embassies, cultural centres and funds, curators, and art- Vu Dan Tan, Do Thi Ninh, Do Son, Thanh Chuong, Bao Toan, Le Huy Tiep, Nguyen ists. They were provided with exhibition venues and received financial assistance and Quan, Dao Minh Tri, Ca Le Thang, Ly Truc Son, Luong Xuan Doan, Nguyen Xuan Tiep, international promotion. Thanks to foreign support, these artists could evade the strict Dang Xuan Hoa, Tran Luong, Ha Tri Hieu, Le Quang Ha, Truong Tan, Le Thiet Cuong, censorship normally imposed upon their novel forms of art, through which they would Hong Viet Dung, Nguyen Minh Thanh, Phan Cam Thuong, Hoang Tuong, Tran Van actively raise issues deemed “sensitive” by the government. Thao, Nguyen Tan Cuong, Phung Quoc Chi, followed by Van Ngoc, Vu Thang, Dinh Subsequently, a number of contemporary art facilities came into existence, owned Y Nhi, Tham Poong, Ly Hoang Ly, Chau Giang, Chinh Le, Ly Tran Quynh Giang, and or managed by locals, Vietnamese living overseas, or expats residing in Vietnam. These

22 Society–Art: Segmented and Distorted Values Society–Art: Segmented and Distorted Values 23 places always encompassed “foreign elements” in their activities: curators, sponsors, inter- Bibliography Judith Collins, Sculpture Today (London: Phaidon Jean-François Lyotard, The Postmodern Condition: Press, 2007). national connections and cooperation, residency programmes, etc. and usually followed A Report on Knowledge (Minneapolis: University 20 Years of Vietnamese Fine Arts in Doi Moi the operation formats of their international counterparts: they were a sort of localized of Minnesota Press, 1984). (Hanoi: Fine Arts Publisher, 2007). version of such foreign facilities. What they promoted was a combination between just Uncorked Soul – Contemporary Art from Vietnam Nguyen The Anh, Vietnam during French Colonial (Hong Kong, 1991). Time (Hanoi: Van Hoc Publishing House, 2007). a peripheral component of Vietnamese art and a similarly peripheral artistic component Realism as an Attitude, 4th Asian Art Show Post-Doi Moi Vietnamese Art after 1990 (Singapore, from either the United States, , the UK, Indonesia, Thailand, or any other country. (Fukuoka, 1994). 2008). A Winding River. Contemporary Art in Vietnam Thai Ba Van, Approching Arts (Hanoi: Fine Arts As a matter of fact, these facilities failed to discover and introduce any new artist (Washington, DC: Meridian International Center, Publisher, 2009). over the past decade that could be as prominent as the afore-mentioned pioneers. Before 1995). Terry Smith, What Is Contemporary Art? (Chicago: the year 2000, international art patrons, curators, and artists were enthusiastic about Asean Modernism (Tokyo: Japan Foundation Asia The University of Chicago Press, 2009). Center, 1995). Nguyen Quan, Vietnamese Fine Arts in the 20th Century discovering Vietnamese talents whose works were unique and original. But after that Modernity and Beyond. Themes in Asian Art (Hanoi: Tri Thuc Publisher, 2010). milestone, they seemed to settle with those artists who had that “foreign” influence in (Singapore: National Heritage Board, 1996). Phan Cam Thuong, The Daily Arts (Hanoi: The Gioi Phan Cam Thuong and Luong Xuan Doan, Young Publishers, 2014). their works, and looked for artworks that embraced the “universalized” values, topics, Artists of Vietnam (Hanoi, 1996). Arts du Vietnam. Nouvelles approaches, Colloque languages and concepts determined by the “international art hubs” that young Vietnam- Thomas Yeo, Southeast Asian Art. A New Spirit scientifique international, Paris-Sorbonne, ese artists worshipped. For these artists, hunting sponsorship and scholarship opportuni- (Singapore, 1997). 4–6 September 2014. Nora Taylor, Painters in Hanoi (Honolulu: University Dao Mai Trang, Art and Talents (Hanoi: Phu Nu ties, attending creativity camps, being introduced at or winning international of Hawaii Press, 2004). Publisher, 2014). awards have become the true goals, the measurement of their success, regardless of how N. Kraevskaia, From Nostalgia towards Exploration University of Sydney East Asian Series, no. 7 “Modernity (Hanoi, 2005). in Asian Art”, no. 15 “Eye of the Beholder”. much they are known and appreciated at home. Therefore, the international community Vietnam’s Modern Art (Hanoi: Vietnam University only got to know just a part of the Vietnamese art scene, which is this foreign-influenced of Fine Arts Publishing House, 2005). area. Hence it is inevitable that they had a biased and unwholesome view on the subject. Another interesting aspect of Vietnamese art lies in its extreme segmentation. There are at least four “segments” whose value systems overlap and conflict with one another, making it difficult to evaluate and contextualize the wider art panorama in the country. The first segment is that of “government art”, which strongly embraces prop- aganda and ideology-based values, and of course is the most powerful. Huge resources are being poured into the construction of monuments (as much as 20 million US dollars for only one monument), which are made according to the obsolete aesthetic values that dominated former ’s and ’s artistic scenarios in the 1970s and earlier. The mass cultural movements and activities organized or managed by different authorities and associations promote demagogical, neutral, and conservative aesthetics and points of view, exemplified by the number of certificates, titles, and awards given away by the government. The second segment is commercial art, which is manipulated by galleries, dealers, and brokers (alongside the issue of forgery and reproduction). The third is “Embassy art” that heavily embraces “international factors” and imported glo- balized values. Last but not least, the fourth segment is that of independent artists, who either benefit from or are abused by the three above-mentioned segments every now and then, in an that is still very far from professional. This segmentation and this striking distortion of values are indeed what make the contemporary art scene of Vietnam so fascinating and intriguing.

24 Society–Art: Segmented and Distorted Values Society–Art: Segmented and Distorted Values 25 Vietnam Eye As “surveys into the depths of The Vacant Chair, 2015 memories, history, submerged Video installation psychological spaces and oblivion”, Mirror with monitor and Bang Nhat Linh’s works are shelf, 92 x 62 x 19 cm Chair made of a fighter multi-layered, dream-like and laden aircraft’s pilot seat, with humanity. The Vacant Chair 120 x 86 x 66 cm is an intimate narrative about tolerance Artist book, 36 x 26 x 3 cm and the sense of existence and death, Courtesy of the artist with a particular focus on the limited nature of the human race. However, through the act of transforming a powerful symbol of war into a symbol of love and loss, it steps out of its Bang Nhat Linh geographical context to tell a universal story that encompasses all of humanity.

28 Bang Nhat Linh 29 30 Bang Nhat Linh 31 Dinh Q. Le’s art consistently challenges Light and Belief: how our memories are recalled Sketches of Life from within the context of contemporary Vietnam War, 2012 life. Whether he’s questioning the 100 : pencil, watercolour, ink and oil dominance of film and media in on paper; single-channel Dinh Q. Le the creation of the historical legacy; colour video with sound, critiquing the confluence of cultural dimensions variable, 35 min. tradition and contemporary tragedy Photo Nagare Satoshi in his woven photographs; placing Courtesy of Mori Art everyday urban objects into artistic Museum, Tokyo wonders; or documenting the Barricade, 2014 un-chronicled stories of those who French-Vietnamese colonial endured the first helicopter war – furniture, speaker, stereo what all of these artistic investigations system, microphone stand, elucidate is a commitment to the microphone, sound, artistic process as a means of dimensions variable excavating history, in the uncovering Photo Nagare Satoshi and revealing of alternate ideas Courtesy of Mori Art of loss and redemption. Museum, Tokyo

32 Dinh Q. Le 33 Erasure, 2011 Single-channel colour video with sound, found photographs, stone, wooden boat fragments, wood walkway, computer, scanner, dedicated website (erasurearchive.net), dimensions variable, 7 min. Commissioned by Sherman Contemporary Art Foundation, Sydney, , 2011 Supported by Nicholas and Angela Curtis Photo Nagare Satoshi Courtesy of Mori , Tokyo The Farmers and the Helicopter, 2006 3-channel colour video with sound, handcrafted full-size helicopter, 15 min. Collaborating artists: Tran Quoc Hai, Le Van Danh, Phu-Nam Thuc Ha, Tuan Andrew Nguyen Commissioned by Queensland Art Gallery & Gallery of Modern Art, Brisbane, Australia Photo Nagare Satoshi Courtesy of Mori Art Museum, Tokyo

The Scroll of Thich Quang Duc and The Scroll of Phan Thi Kim Phuc, 2013 C-print scrolls, 1.27 x 50 m each Photo Nagare Satoshi Courtesy of Mori Art Museum, Tokyo

34 Dinh Q. Le 35 Moon Light, 2015 Acrylic on canvas, 153 x 235 cm Courtesy of the artist Gold Song, 2007 Lacquer on wood, 180 x 240 cm Courtesy of the artist Dinh Quan

The constant subject in all of my sinuous or breaking apart into several Winners, 2008 artworks is the reflection on human sections – emit signals symbolizing Lacquer on wood, life in a society where faith is lost and daily life. Colours like iridescent masses 180 x 480 cm problematized. Culture is blemished of floating clouds inspire viewers to Courtesy of the artist and ethics are degenerated, as a result think about what they need to do to of war, corruption and unjust social make life better; this is the idea that conflict. For me, art is the faith to underpins the works. convert. With my recent artworks, I have simulated present-day society as a great stage in the background of a lacquer painting that is very deep and limpid, like a dark mirror of night. I achieve all this through lacquer. When people look at my lacquer paintings, they can both interact with them and see their own image reflected back at them. The features – curved, straight,

36 Dinh Quan 37 Gril and Pink Yarn, 2013 Dance in the Night, 2016 Lacquer on wood, Lacquer on wood, 196 x 120 cm 120 x 240 cm Courtesy of the artist Courtesy of the artist Music of Night, 2016 Lacquer on wood, 120 x 240 cm Courtesy of the artist Family, 2016 Lacquer on wood, 120 x 240 cm Courtesy of the artist

38 Dinh Quan 39 Dinh Thi Tham Poong’s imaginative watercolour paintings appear as collages – but seldom are. Images emerge from her striking assemblages of intricate and beautiful patterns, rhythmically and delicately revealing her awe and awareness of nature, her pride in her ethnic heritage, and her acknowledgement of the importance of her own thoughts and feelings about being a woman. Dinh Thi Tham Poong

Seeing Myself, 2007 Nature’s Promise, 2009 Aspirations, 2009 Community, 2010 Watercolour, gold and fabric Watercolour, gold and silver Watercolour, gold and silver Watercolour and gold collage on handmade Do on handmade Do paper, on handmade Do paper, on handmade Do paper, paper, 109 x 79 cm 108 x 80 cm 107 x 80 cm 81 x 62 cm Courtesy of Judith Courtesy of Judith Courtesy of Judith Courtesy of Judith Hughes Day Vietnamese Hughes Day Vietnamese Hughes Day Vietnamese Hughes Day Vietnamese Contemporary Contemporary Fine Art Contemporary Fine Art Contemporary Fine Art

40 Dinh Thi Tham Poong 41 Within Myself, 2015 Spinning, 2010 Watercolour and gold Watercolour and gold on handmade Do paper, on handmade Do paper, 108 x 79 cm 81 x 110 cm Courtesy of Judith Courtesy of Judith Hughes Day Vietnamese Hughes Day Vietnamese Contemporary Fine Art Contemporary Fine Art Homeland, 2013 Threads, 2010 Watercolour on handmade Watercolour, gold and silver Do paper, 108 x 79 cm on handmade Do paper, Courtesy of Judith 81 x 64 cm Hughes Day Vietnamese Courtesy of Judith Contemporary Fine Art Hughes Day Vietnamese Contemporary Fine Art

42 Dinh Thi Tham Poong 43 When I was 14, my father started to The Crowd, 1995 teach me how to paint, with a view Gouache on paper, to me applying to the Hanoi University 74 x 98 cm of Fine Arts. I used a small pencil and Courtesy of the artist tirelessly worked on modelling and Size of the Faces, 1997 shading all these glass cupboards, Gouache on paper, Dinh Y Nhi vases and books… So many years 74 x 102 cm have passed since then. I have painted Courtesy of the artist a lot. Those paintings mark my own Dialogue, 1996 development at 20, 30, 40 and now Gouache on paper, approaching 50. There is nothing too 57 x 68 cm specific in each painting, but each is Courtesy of the artist a part of the currents within me, growing and maturing.

Little Girls, 1995 Two Sad Women, 2007 Gouache on paper, Gouache on paper, 91 x 64 cm 109 x 78 cm Courtesy of the artist Courtesy of the artist

44 Dinh Y Nhi 45 Sitting Woman 1, 2009 Sitting Woman 3, 2010 Sitting Woman 4, 2015 Sitting Woman 5, 2015 Oil on canvas, 150 x 110 cm Oil on canvas, 164 x 120 cm Oil on canvas, 164 x 120 cm Oil on canvas, 164 x 120 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

46 Dinh Y Nhi 47 Hit ra tho vao Acrylic on canvas, handmade Do paper, mother-of-pearl on wood, 220 x 150 cm Courtesy of the artist

To many artists, art is a desire To me, art is a delight Do Hiep It makes me happy when I am sad It helps me say things I dare not say It helps me be busy when I am free It helps me know who I am And foremost it leads me.

When I start work on a painting, I often pay attention to changes of shape and light, to the things I see on the street corner every day, advertising billboards or the illusions that appear in my daydreams on sunny days. However, since 2010, I have been concentrating more on my own feelings about day-to-day issues such as culture, community or the way people in developing countries view milestones in the previous feudal, subsidy- dominated period. I realize that loneliness can also be found in wealth and in the bourgeois indifference characterizing our society. They are living with their own little pleasures and care nothing for whatever is outside their own world. There is a contrast between tradition and the modern style. There are also challenges, such as the obstacles put in place by older people, who are usually resistant to adaptation.

Hello!, 2013 Doi canh, 2015 Acrylic on canvas, paper, Acrylic on canvas, paper, wood frame, 210 x 110 cm 200 x 80 cm Courtesy of the artist Courtesy of the artist

48 Do Hiep 49 Tuoi mat tam hon, 2012 Tuong dai, 2013 Di xem trien lam, 2013 Than tuong, 2013 Cai ao moi, 2013 Can phong mau Hong! Acrylic on canvas, Acrylic on canvas, Acrylic on canvas, Acrylic on canvas, Acrylic on canvas, Acrylic on canvas, wooden 120 x 24 cm 200 x 100 cm 200 x 100 cm 200 x 100 cm 200 x 100 cm board, 120 x 60 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

50 Do Hiep 51 Life’s colliding movements are the artist’s materials. When the entirety of life flows through the artist, it should evolve into a pure spiritual form. To paint means to share the artist’s inner world; it gives me an opportunity for introspection, an inspiration to meditate. It is indispensable for my spirit and my soul. Doan Hoang Lam

Flying Dream 4, 2016 Oil on canvas, 147 x 88 cm Courtesy of the artist Flying Dream 1, 2016 Oil on canvas, 112 x 206 cm Courtesy of the artist Flying Dream 2, 2016 Oil and old newspaper on canvas, 63 x 81 cm Courtesy of the artist Flying Dream 3, 2016 Oil on canvas, 147 x 115 cm Courtesy of the artist 52 Doan Hoang Lam 53 The Shark, 2013 X-ray on light box, 120 x 240 cm Courtesy of the artist The Smile, 2013 X-ray on light box, 120 x 175 cm Courtesy of the artist Machine 1, 2013 Printing and x-ray on light box, 120 x 120 cm Courtesy of the artist Machine 2, 2013 Printing and x-ray on light box, 120 x 120 cm Courtesy of the artist The Pig, 2013 X-ray on light box, 120 x 120 cm Courtesy of the artist

Hand in Hand, 2013 Printing and x-ray on light box, 120 x 175 cm Courtesy of the artist

54 Doan Hoang Lam 55 The lake, with both its dreamlike Holding Water, no. 03, 2012 characteristics and the physicality of its Digital file, archival pigment landscapes, merges with the people ink, 40 x 60 cm and their existence, all becoming an Courtesy of the artist oneiric part of my work. I immerse Holding Water, no. 04, 2012 myself in the waters and I’m carried Digital file, archival pigment away by its currents, the way a stranger ink, 40 x 60 cm immerses himself in the life of the Courtesy of the artist Duy Phuong local people. I am carried away by the intimacy and confidence they share with me. Water is the spirit that you can only understand by being immersed in its essence.

Holding Water, no. 05, 2012 Digital file, archival pigment ink, 40 x 60 cm Courtesy of the artist

56 Duy Phuong 57 Holding Water, no. 14, 2013 Digital file, archival pigment ink, 40 x 60 cm Courtesy of the artist Holding Water, no. 20, 2012 Digital file, archival pigment ink, 40 x 60 cm Courtesy of the artist

Holding Water, no. 06, 2014 Holding Water, no. 08, 2012 Holding Water, no. 07, 2012 Holding Water, no. 09, 2012 Digital file, archival pigment Digital file, archival pigment Digital file, archival pigment Digital file, archival pigment ink, 40 x 60 cm ink, 40 x 60 cm ink, 40 x 60 cm ink, 40 x 60 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

58 Duy Phuong 59 Following the Far in the North series, context. With all the things in your the paintings of The Lake series are the mind, your observations of the external most recent that I have been working world still just belong to that external on; they represent the surfaces of lakes world. At that moment in time, apart in front of communal houses in the from what you are aware of, everything Northern region. Unlike the previous else that exists is not necessarily what it series, this time I’ve tried to isolate my seems to be. You will see non-existence subjects from space, time, and other in everything, and everything carries identifying characteristics. non-existence. It’s a kind of koan for According to ancient Vietnamese the question each individual would architectural concepts, lakes, or shui ask themselves when being immersed (water), have a close connection with within nature in order to be conscious Feng-shui philosophy. A small pond, of it. a lake, a stream or a river in front of Starting with the series Vietnam Ha Manh Thang a pagoda or a communal house – the Landscape, then Far in the North, and latter silhouetting on and rooting its now The Lake, I’ve gone through a existence in the former – is a common process of observing from existence sight. When working on this series, to non-existence: from a symbolic I intended not to give clarity to the object to the structural role of a city, surrounding landscape, context and to spiritual and religious places like a architecture. Instead, I would only pagoda or a communal house, and draw the basic architecturally structural then to the final point of the nihility of sketches through what is traditionally lake surfaces. Everything is like part of called a “vertical axis” in Vietnamese. a journey back to non-existence, to the On the top of each vertical structure, ultimate stage of nature and physical along the axis, be it a pagoda or objects. a communal house, I’d picture its On the surfaces of the lakes, I see corresponding floor plan. As for the smoky waves, breezes, mist and central architecture below, I would humidity. I see desertedness and the just paint it in the most basic structural quietness of the dark. The feelings format, i.e. cross section, floor plan, you have in that moment may be even or elevation. more important than what you actually Below each of these, I would present think. It can be an end but can also be a different lake, with the silhouette a beginning, which I aspire to see in of the pagoda all year round, just like each balanced state between nature, the Feng-shui element I mentioned human beings and landscapes. above. What attracts me even more is Therefore, the focus lies inside you. to observe the surfaces of the lakes and Once you’ve seen it, all the rest will The Temple at Night, The Temple at Night, The Lake in Summertime, The Lake in the Fall, no. 2, the surrounding elements in different seem meaningless… no. 1, 2015 no. 2, 2015 no. 1, 2015 2015 shades as the seasons come and go and Acrylic, acrylic medium, Acrylic, acrylic medium, Acrylic, acrylic medium, Acrylic, acrylic medium, landscapes change. charcoal and oil on paper, charcoal and oil on paper, charcoal and oil on paper, charcoal and oil on canvas, When you put yourself in a context, 78 x 110 cm 78 x 110 cm 76.5 x 57 cm 225 x 120 cm what would be central in your Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist observations? In a Sky and Earth context, you would only see the Sky and the Earth. Similarly, you would only see the landscape, or the surface of the lake, if you put yourself in that exact

60 Ha Manh Thang 61 The Lake in Moonlight, The Lake at Noon, no. 2, The Lake in the Fall, no. 1, The Lake in the Morning, no. 1, 2015 2015 2015 no. 4, 2015 Acrylic, acrylic medium, Acrylic, acrylic medium, Acrylic, acrylic medium, Acrylic, acrylic medium, charcoal and oil on paper, charcoal and oil on canvas, charcoal and oil on canvas, charcoal and oil on canvas, 76.5 x 57 cm 116.5 x 68 cm 225 x 120 cm 116.5 x 68 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

62 Ha Manh Thang 63 Ha Tri Hieu

HTH Portrait 06, 2013 Acrylic on canvas, 40 x 30 cm Courtesy of the artist HTH Portrait 13, 2014 Acrylic on canvas, 80 x 30 cm Courtesy of the artist HTH Portrait 05, 2014 To me, painting is a passion Countryside Space, 2011 Acrylic on canvas, 68 x 40 cm Courtesy of the artist I paint when I’m sad Oil on canvas, 154 x 308 cm I paint when I’m happy Courtesy of the artist I paint when I feel pain I paint when I’m worried I paint when I’m full of aspiration And I want the audience to join me and feel the same feelings through my works.

64 Ha Trí Hieu 65 Country Girl I, 2001 Red Banana Leaf, 2001 The Beauty V, 2008 Oil on canvas, 217 x 67 cm Oil on canvas, 217 x 67 cm Oil on canvas, 180 x 130 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist

66 Ha Trí Hieu 67 I have always been interested in the The Sound of People relationship between the internal and Running, 2015 the external, and history in general. As Oil and acrylic on canvas, my practice develops, my own personal 100.5 x 145 cm Courtesy of the artist and history is becoming more and more Galerie Quynh important. I would like to unearth and superimpose it upon and in relation to Walking in Moonlight, 2015 much broader historical references. As Oil on canvas, 70 x 100 cm an artist, I believe that art can be of Courtesy of the artist and Galerie Quynh great use in helping to explore history. Through the process of making art, Lab in the Jungle, 2015 fragments of history and reality can be Acrylic and oil on canvas, collated, from which re-imagined and 70 x 100 cm untold images and stories can emerge. Courtesy of the artist and Galerie Quynh Hoang Duong Cam Hoang Duong

Speaker, 2013 Military Exercise, 2012 Oil and acrylic on canvas, Oil and acrylic on canvas, 91 x 63 cm 90 x 63.5 cm Courtesy of the artist and Courtesy of the artist and Galerie Quynh Galerie Quynh

68 Hoang Duong Cam 69 Representation in the Representation in the Lightning in U Minh Lightning in U Minh meaning of a metaphor for meaning of a metaphor for Forest VII, 2011 Forest III, 2011 a forest as endoscopy / links a forest as endoscopy / links Acrylic on canvas, Acrylic on canvas, between locations, no. 2, between locations, no. 3, 190 x 239.5 cm 150 x 120 cm 2007–08 2007–08 Courtesy of the artist Courtesy of the artist Digital c-print, Digital c-print, 120 x 187 cm and Galerie Quynh and Galerie Quynh 206.4 x 120 cm Courtesy of the artist Courtesy of the artist and Galerie Quynh and Galerie Quynh

70 Hoang Duong Cam 71 As an artist, I want the freedom to work with what I love, in order to bring beauty to the public. As a Vietnamese artist, I always seek out my own identity in the Vietnamese style. Wood is the choice I have made for my creative path in this period, as well as for my art installation material. The fingerprint motif is an inspiration to create; each artist was born as an artist, and flowers are the hand strokes of each of them. I chose the floral hand to develop applications in combination with simple colours that would be easy for the viewer to understand deeply, removing all the complications that put people off art. Hoang Thanh Phong

Chan dung (Portrait), 2014 Khoang khong 1 (Space), Wood carving, 48 x 45 cm 2016 Courtesy of the artist Wood carving, 48 x 45 cm Courtesy of the artist

Khoang khong 3 (Space), 2016 Wood carving, 45 x 48 cm Courtesy of the artist

72 Hoang Thanh Phong 73 Chan dung (Portrait), 2014 Wood carving, 40 x 40 cm Courtesy of the artist Chan dung (Portrait), 2014 Wood carving, 40 x 40 cm Courtesy of the artist Chan dung (Portrait), 2014 Wood carving, 40 x 40 cm Courtesy of the artist Chan dung (Portrait), 2014 Wood carving, 40 x 40 cm Courtesy of the artist

Cha va con (Father and Son), Tình nhan (Lover), 2014 2015 Wood carving, 80 x 60 cm Wood carving, 100 x 80 cm Courtesy of the artist Courtesy of the artist

74 Hoang Thanh Phong 75 Lai Thi Dieu Ha has been obsessed with Silver Sparkling 1, 2015 Hydra oligactis and its “whiteness” Hemp fabric, silver metallic since she was a little girl. Making art to embroidery thread, beads, her is a way of multiplying the growth 65 x 106 cm Courtesy of CUC Gallery of microorganisms, a tiny world that man has always paid little attention Silver Sparkling 2, 2015 to. However,­ this tiny world seems Fabric, embroidery thread, to be the start of every living thing. beads, 55 x 170 cm Ha is drawn to its white freedom, Courtesy of CUC Gallery with its asexual openness to imagination and depth. Lai Thi Dieu Ha

4 sqcm x 40 years of analogy. 40 year red thread, rotten, broken, trapped… B40. Boom… Boom, 2015 B40 steel net, coloured embroidery threads, polyester chiffon fabric, 188 x 105 cm Courtesy of CUC Gallery

76 Lai Thi Dieu Ha 77 Landscaping Map 1, 2015 Hydra Magnipapillata, 2015 Pork rinds, thread, metallic Polyester chiffon fabric, thread, fabric, 75 x 105 cm green bean skin, Courtesy of CUC Gallery 120 x 335 cm Courtesy of CUC Gallery Guidelines 2, 2015 Pork rind, coloured thread, The Last Dish for the Spirit, metallic thread, beads, 2015 seeds, 42 x 34 cm Pork rinds, soya noodles Courtesy of CUC Gallery B40 steel net, 450 x 180 x 65 cm Courtesy of CUC Gallery

Guidelines 7, 2015 Pork rind, coloured thread, 18 x 22 cm Courtesy of CUC Gallery

Collecting Skins – Kungfu by time, 2015 Polyester chiffon fabric, dried garlic skin, B40 steel net, 63 x 99 x 70 cm Courtesy of CUC Gallery 78 Lai Thi Dieu Ha 79 The Red, 2012 Video, 3 channels Courtesy of New Space Arts Foundation The Red, 2012 Video, 3 channels Courtesy of New Space Arts Foundation

Le Brothers look upon art as a walk Into the Sea, 2011 through the evolution of history, Video, 3 channels where we go both backward to the Courtesy of New Space Arts past and forward to the future. We Foundation yearn to seek our own selves through Into the Sea, 2011 those moments of understanding and Video, 3 channels Courtesy of New Space Arts

Le Brothers analysing contemporary life. It’s like shadows walking behind themselves. Foundation We feature the conflicts, the dilemmas, Into the Sea, 2011 and the desires for happiness that Video, 3 channels populate history through the medium Courtesy of New Space Arts of contemporary art. This is partly like Foundation the opposition of black and white, good and evil, day and night, negative and positive, and especially the North- and-South story of Le Brothers.

80 Le Brothers 81 The Game, 2012–14 The Game, 2012–14 Video, 24 channels Video, 24 channels Courtesy of New Space Arts Courtesy of New Space Arts Foundation Foundation The Game, 2012–14 The Game, 2012–14 Video, 24 channels Video, 24 channels Courtesy of New Space Arts Courtesy of New Space Arts Foundation Foundation

82 Le Brothers 83 In the world of art, I see myself as a solo explorer who has been studying changing cultural interventions that exert an influence on future generations. In the historical and geographical context, my practice focuses on remarkable times. In the Le Phi Long meantime, I come up with a thesis based on interesting points and then look for ways to prove my supposition. I find the real meaning of the work of art when I am touched by memories, both present and future.

In Sac Jungle, 2013–14 Digital print on aluminium, wood, silver leaf, 100 x 200 x 4 cm Ed. 3 and 1 AP Courtesy of the artist Sác /­ Sát experimental program “End of Lesions”, 2013–14 Digital print on aluminium, wood, silver leaf, 120 x 200 x 4 cm Ed. 3 and 1 AP Sác /­ Sát Experiment, 2015 Courtesy of the artist Dark blue room, sound, mangrove bark, video, 7 min. Sác ­/ Sát Courtesy of the artist Still from single-channel video, 7 min. Digital print on aluminium, wood, silver leaf, 50 x 70 x 3 cm Ed. 3 and 1 AP Courtesy of the artist 84 Le Phi Long 85 Disparate Invasions series, 2013–14 16 paintings, watercolour, silver leaf, handmade Do paper, 32 x 37 x 4 cm each Courtesy of the artist The Last Intervention, 2013–14 Mangrove wood, silver leaf, metal, 120 x 200 x 350 cm Courtesy of the artist

Hidden Future, 2016 Digital print on aluminium, wood, silver leaf, 100 x 200 x 4 cm Ed. 3 and 1 AP Courtesy of the artist The Silent Lake Project installation, Soil and Water, 2015 Glass jars, water contaminated with dioxins, plastic bags, soil contaminated with dioxins, wood boxes, 1000 x 1000 x 1100 cm each box Courtesy of the artist 86 Le Phi Long 87 I come to art like a man walking barefoot on a straight razor’s edge. Along that road – where on one side reality reigns; on the other, fantasy – I make use of all my sensations, yet each step is carefully calculated with a clear, focused mind. I am always living on the boundary between reality and paranoia, instinct and reason, looking

Le Quang Ha for the essence, the origin of all human emotion through .

Violist, 2005 I’m the Lord, 2007 Liberty, 2011 Oil, 155 x 125 cm Oil on canvas, Oil on canvas, 240 x 600 cm Courtesy of the artist 195 x 155 cm each Courtesy of the artist Courtesy of the artist

88 Le Quang Ha 89 Animal Farm, 2015 Blur, 2011 Oil on canvas, 200 x 240 cm Oil on canvas, 200 x 240 cm Courtesy of the artist Courtesy of the artist

Propaganda, 2012 Oil on canvas, 155 x 250 cm Courtesy of the artist

90 Le Quang Ha 91 True Gold, 2016 Oil and acrylic on paper, 101 x 71 cm Courtesy of the artist For Revolution, 2016 Aluminium and bronze, 23 x 6.5 cm; 20 x 6.5 cm Courtesy of the artist

I am struck by historical stories in the media, the process of understanding the relevant information and the relationship between history and reality. The variety of new information on the internet has allowed me to develop a multi-dimensional awareness about a particular issue: conflicts arising

Le Quy Tong between information in the past and present provide the theme of my work.

Socialism & Capitalism, 2015 Wood, 6 x 7.5 cm Courtesy of the artist

Serial True Blue, 2015 Oil and acrylic on canvas, 69 x 99 cm Courtesy of the artist Serial True Blue, 2015 Oil and acrylic on canvas, 69 x 99 cm Courtesy of the artist

92 Le Quy Tong 93 Flag # Sail, 2016 Printed fabric, 210 x 125 cm Courtesy of the artist

Passage to Freedom, 2016 Passage to Freedom, 2016 Laser print, oil and acrylic Neon light, 18 x 120 cm on paper, 40 x 31 cm Courtesy of the artist Courtesy of the artist Passage to Freedom, 2016 Oil and acrylic on canvas, 180 x 130 cm Courtesy of the artist Passage to Freedom, 2016 Laser print, oil and acrylic on paper, 40 x 31 cm Courtesy of the artist

#NewF#, 2015 Photograph, 80 x 120 cm Courtesy of the artist

94 Le Quy Tong 95 My artworks reflect the rapid changes City Life I, 2009 Living Value X, 2010 Living Value XI, 2010 in Vietnamese culture, globalization Oil and acrylic on canvas, Oil and acrylic on canvas, Oil and acrylic on canvas, and the challenge of dealing with an 150 x 150 cm (triptych) 100 x 150 cm (triptych) 80 x 120 cm (triptych) increasingly complicated life. I use Courtesy of the artist Courtesy of the artist Courtesy of the artist collection collection collection subject, form and content to reflect the space and time in which my people are living in order to depict a life that is full of contradictions. Here, everyone wants to escape the crowds, the fast pace of urban development, the crammed living Le Thanh Thu conditions and the daily suffering, but no one can…

96 Le Thanh Thu 97 Living Space XII, 2012 Oil and acrylic on canvas, 100 x 160 cm Courtesy of the artist collection Living Space VI, 2008 Oil and acrylic on canvas, 135 x 130 cm (diptych) Courtesy of the artist collection Living Space B., 2008 Oil and acrylic on canvas, 155 x 150 cm (triptych) Courtesy of the artist collection Living Space III, 2008 Oil and acrylic on canvas, 150 x 150 cm (triptych) Courtesy of the artist collection Living Space I, 2008 Oil and acrylic on canvas, 150 x 150 cm (triptych) Courtesy of the artist collection Living Space X, 2008 Oil and acrylic on canvas, 150 x 150 cm (triptych) Courtesy of the artist collection

98 Le Thanh Thu 99 I take a cynical attitude to life. What

Le Thuy my eyes see is only the tip of the iceberg, and the beauty that I observe is seemingly illusory. Everything appears to follow a certain order, which has been created to control and arrange rules geared towards establishing an organized, disciplined society.

Ending Time, 2013 Silk painting, 80 x 110 cm Courtesy of the artist

Walking in the Garden I Walking in the Garden II Walking in the Garden III (Where is the Pace of Peace (Where is the Pace of Peace (Where is the Pace of Peace series), 2016 series), 2016 series), 2016 Silk painting, 170 x 65 cm Silk painting, 170 x 65 cm Silk painting, 170 x 65 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist

100 Le Thuy 101 I am Eternal (Where is the Day of Future, 2014 The Order 3 (The Order Pace of Peace series), 2015 Silk painting, 170 x 67 cm series), 2014 Silk painting, 80 x 55 cm Courtesy of the artist Silk painting, 32 x 85 cm Courtesy of the artist Courtesy of the artist The Order 11 (The Order series), 2014 Silk painting, 40 x 84 cm Courtesy of the artist

The Oder 13 (The Order series), 2015 Silk painting, 55 x 55 cm Courtesy of the artist

The Order 12 (The Order series), 2015 Silk painting, 35 x 65 cm Courtesy of the artist

102 Le Thuy 103 Untitled, 2007 Installation, digital photograph, life-size porcelain fist, 210 x 120 x 80 cm Courtesy of Tran Luong Le Vu

I want to talk to my father about Inheritance, 2004 how much I suffer Durational performance I want to talk to my father about how by the artist and his father, 40 min. much he suffers Courtesy of Tran Luong I want to talk to my father about how much we suffer In the simplest way possible: pressing myself against him.

Where I live, people often say: instant noodle thinking instant noodle culture instant noodle lifestyle … instant noodle. Anything to fill in the gap. I can have “instant noodle happiness” when I am alone (there was a time when the only food I craved for was instant noodle, on its own, without meat or vegetable toppings, and I found it really delicious). But what would I have become if I had an instant noodle family?

Inheritance, 2004 Durational performance by the artist and his father, 40 min. Courtesy of the artist

104 Le Vu 105 Instant Noodle / Instant Generation, 2003 Installation, instant noodles, life-size bed and pillows, artist’s photo portrait, site-specific dimensions, minimum site 200 x 300 x 300 cm Courtesy of Tran Luong

106 Le Vu 107 Untitled, 2008 The Third Bump of the Pencil, watercolour, Chinese Camel, 2010 ink on Aquafine paper, Chinese ink on cut paper, 29.6 x 20.9 cm 24.5 x 7.5 cm Courtesy of the artist and Courtesy of the artist and Galerie Quynh Galerie Quynh

Each of my artworks is a step left behind, since my ultimate aim is to show the building of oneself: wandering, passing from one stage to another, rebellion, escape, rebirth… By pursuing my research on this idea of building oneself – through thinkers including Nietzsche, Freud, Deleuze, or Jung – I naturally came to study the history of alchemy and found deep similarities with my notion of art: a quest for wisdom that goes together with material experimentation. Since then, the esoteric and hermetic dimensions have become an increasingly important part of my approach, as I continue to interrogate

Sandrine Llouquet and investigate ideas of religion and belief.

Untitled, 2008 Watercolour, pencil, Chinese ink and acrylic on paper, 49.5 x 59.5 cm Courtesy of the artist and Galerie Quynh Untitled, 2007 Marker pen on Plexiglas, 49.8 x 74.6 cm Courtesy of the artist and Galerie Quynh

108 Sandrine Llouquet 109 Rain, Shine, etc…, 2010 Untitled, 2013 Metal sheets, cables, neon Pencil, watercolour and ink lights, dimensions variable on paper, 70 x 50 cm Courtesy of the artist Courtesy of the artist and and Galerie Quynh Galerie Quynh

Untitled, 2014 Inside? Blank, 2010 Pencil, ink and watercolour Flash animation, polyester on paper, 30 x 40.5 cm threads, stainless steel rods, Courtesy of the artist and 300 x 400 cm, 27 min. 48 sec. Galerie Quynh Courtesy of the artist and Galerie Quynh Mithra Games Grand Opening, 2014 Pencil and watercolour on paper, 30 x 40.5 cm Courtesy of the artist and Galerie Quynh

110 Sandrine Llouquet 111 I don’t paint what I see. I paint what I feel: feelings of fear, anxiety and bewilderment inspire me to capture a reality that encapsulates larger issues such as war, climate change, pollution,

Luu Tuyen epidemics and sexual abuse. I paint the younger generation who will govern the world of the future with many complex feelings of powerlessness, loneliness and despair.

Cover #2, 2010 Oil on canvas, 140 x 150 cm Courtesy of the artist Cover #3, 2011 Oil on canvas, 150 x 140 cm Courtesy of the artist Cover of Norecycle #2, 2013 Mixed media sculpture, 55 x 46 x 46 cm Courtesy of the artist Cover of Norecycle #1, 2013 Mixed media sculpture, 52 x 42 x 42 cm Courtesy of the artist Digital Age #3, 2008 Oil on canvas, 100 x 100 cm Courtesy of the artist

112 Luu Tuyen 113 Digital Age #4, 2008 Xoan Young Singer, 2016 Oil on canvas, 100 x 100 cm Oil on canvas, 100 x 80 cm Courtesy of the artist Courtesy of the artist Reality of Perfection #2 (Portrait of Kaoru), 2016 Oil and organic glass, 105 x 90 cm Courtesy of the artist Reality of Perfection #3, 2016 Oil and organic glass, 90 x 105 cm Courtesy of the artist

114 Luu Tuyen 115 The Monument of Round Trays is my very first large-scale installation and performance, on which I started work in 2001. I have built a cone-shaped tent, a monument to Vietnamese women, using 400 round aluminium trays, as traditionally used for serving meals. Ly Hoang This artwork embodies the sensibility and perseverance of Vietnamese women as they face their daily challenges. The monument reflects the colours of the sky changing in the sunlight, glows with electric light, and echoes the sound of rain. The monument itself also resonates, as the trays interact with each other when the wind blows, creating an audible monument. The similar patterns around the trays create an image of monotony, which is seen as “perfect” for the routine of traditional women. I invite people to explore the inside of the “hut” to find out about the innermost aspirations and desires of these women being imagined as one hundred nude female figures in flight, regardless of the restrictions imposed by overwhelming conditioning. This Monument of Round Trays may be seen as a depiction of the inner conflicts that Vietnamese women are struggling with in these days of modernization and Monument of Round Trays, globalization, combining the potential 2001 for more personal choice with the pain Site-specific installation of self-liberation. and performance, 400 aluminium round trays, oil paintings, ropes, nude photos photocopied on papers, 6 x 6 x 5 m Courtesy of the artist

Monument of Round Trays, 2003 Site-specific installation and performance, 400 aluminium round trays, oil paintings, ropes, nude photos photocopied on paper, 6 x 6 x 5 m Courtesy of the artist 116 Ly Hoang Ly 117 0395A.DC, Version 1: boat- home/home-boat, 2011 Mixed media installation, video, objects, books, text, dimensions variable Courtesy of the artist

118 Ly Hoang Ly 119 I love the sense of tranquillity – compassion... Ly Tran Quynh Giang

Portrait, 2009 Woodcut, 100 x 70 cm Courtesy of CUC Gallery Portrait, 2009 Woodcut, 100 x 70 cm Courtesy of CUC Gallery Portrait, 2009 Woodcut, 100 x 68.5 cm Courtesy of CUC Gallery Portrait, 2009 Wood cut, 104 x 68.5 cm Courtesy of CUC Gallery

Where They Turn to, 2016 Where They Turn to, 2016 Oil on canvas, 150 x 120 cm Oil on canvas, 150 x 120 cm Courtesy of CUC Gallery Courtesy of CUC Gallery

120 Ly Tran Quynh Giang 121 Where They Turn to, 2016 Where They Turn to, 2016 Oil on canvas, 150 x 120 cm Oil on canvas, 150 x 120 cm Courtesy of CUC Gallery Courtesy of CUC Gallery

122 Ly Tran Quynh Giang 123 In the Midst of Life 5, 2013 Fading 2, 2015 Across, 2015 Wood burning, 10 pieces, Collage and mixed media Collage and mixed media 60 x 150 x 40 cm each on canvas, 155 x 155 cm on canvas, 120 x 200 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Having a Rest 3, 2016 Wood engraving and mixed media, 146 x 146 cm Courtesy of the artist

To share my stories through the materials available in nature, such as wood, iron, newspaper… always makes me excited, because the materials imbue my works with various interesting contrasts when combined together. On the other hand, each material contains different stories that

Ngo Van Sac Ngo Van only random time can generate, such as the human-like shape appearing on the wooden surface after it has been burned with fire, the contrast of the rusty iron plate, which deposits an engraving onto natural wood. Nothing is more interesting than telling stories about human relationships and nature, and doing so through the use of the natural materials.

124 Ngo Van Sac 125 Land of Memory 2, 2013 Sunday 2, 2016 Lacquer and wood burning, Wood engraving and mixed 80 x 89.5 cm media, 146 x 146 cm Courtesy of the artist Courtesy of the artist

In Opposite 4, 2015 Midday Dream 2, 2014 Mixed media on canvas, Mixed media on wood, 140 x 117 cm 160 x 120 cm Courtesy of the artist Courtesy of the artist

126 Ngo Van Sac 127 Misty Stream, 2009 Snowy Path, 2002 A Quiet Place, 2010 Ink on paper, 137 x 51 cm Ink on paper, 138 x 40 cm Ink on paper, 81 x 122 cm Courtesy of Judith Courtesy of Judith Courtesy of Judith Hughes Day Vietnamese Hughes Day Vietnamese Hughes Day Vietnamese Contemporary Fine Art Contemporary Fine Art Contemporary Fine Art

Nguyen Bach Dan wrote, “As an ink painter you seek life from the tip of your brush”. Her intense affinity with nature (she was named after a tree) only intensified when she became a Vermont Studio Center Fellow and experienced her first snowfall. Black and white – her palette, with black dots or swooping wet strokes, the confluence of nature and her medium – define her stunning, imaginative compositions. Nguyen Bach Dan

128 Nguyen Bach Dan 129 Bamboo and Snow, 2010 In the Forest, 2007 Fresh Snow, 2009 Ink on paper, 70 x 140 cm Ink on paper, 84 x 143 cm Ink and gouache on paper, Courtesy of Judith Courtesy of Judith 37 x 56 cm Hughes Day Vietnamese Hughes Day Vietnamese Courtesy of Stephen N. Contemporary Fine Art Contemporary Fine Art Ifshin II and Billie Lim Forest in Winter, 2010 Woodland Stream, 2004 Ink on paper, 114 x 207 cm Ink on paper, 89 x 119 cm Courtesy of Judith Courtesy of Judith Hughes Day Vietnamese Hughes Day Vietnamese Contemporary Fine Art Contemporary Fine Art

130 Nguyen Bach Dan 131 White Paper, 2016 Tank 1, 2015 Oil on paper, 15 x 20.5 cm Oil on newspaper, Courtesy of the artist 50 x 100 cm Courtesy of the artist Cracked, 2016 Oil on paper, 43.5 x 59 cm Tank 2, 2015 Courtesy of the artist Oil on newspaper, 50 x 100 cm Courtesy of the artist

Nguyen Dinh Hoang Viet’s 2013 solo exhibition Daily Routine marked the beginning of a change in his approach. By adding to or painting over the surfaces of readymade objects such as newspaper and cardboard packaging with realist images of, for example, dead animals and old tanks, this young artist is able to elicit double-edged meanings and interpretations, whilst also questioning the role and value of painting. His works are at the same time witty and thoughtful, light-hearted and destructive. Nguyen Dinh Hoang Viet

132 Nguyen Dinh Hoang Viet 133 The Scene, 2015 Not Now, 2015 Think, 2015 Surrender, 2015 Oil on cardboard, Oil on cardboard, Oil on cardboard, Oil on cardboard, 10.5 x 18.5 cm 15.5 x 28.5 cm 21.1 x 23.4 cm 30 x 39 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

134 Nguyen Dinh Hoang Viet 135 Reality is what is happening and what has happened. Life always changes and people – when caught up in the current of civil development – change as well. The more a society develops, the more life in it becomes complex and multi- dimensional. Between tradition and modernity, between instinct and social skills, between the natural and the artificial, where are we standing? Nguyen Dinh Vu

Tu Binh, 2015 Cuoc noi chuyen, 2016 Acrylic and newspaper Acrylic and newspaper on canvas, 100 x 280 cm on canvas, 100 x 200 cm Courtesy of the artist Courtesy of the artist

Ben trong #1, 2016 Ben trong #2, 2015 Acrylic and newspaper Acrylic and newspaper on canvas, 100 x 78 cm on canvas, 100 x 70 cm Courtesy of the artist Courtesy of the artist

136 Nguyen Dinh Vu 137 2 in 1, 2015 Acrylic and newspaper on canvas, 100 x 100 cm Courtesy of the artist Gap go, 2016 Acrylic and newspaper on canvas, 100 x 100 cm Courtesy of the artist Sen no, 2016 Acrylic and newspaper on canvas, 100 x 100 cm Courtesy of the artist Thuc tai, 2015 Acrylic and newspaper on canvas, 100 x 100 cm Courtesy of the artist Hoa dao da no, 2015 Acrylic and newspaper on canvas, 100 x 70 cm Courtesy of the artist

138 Nguyen Dinh Vu 139 Nguyen Huy An’s artworks reflect his intricate, poetic journey, on which he is trying to draw the outline of his thoughts – rather like the still surface of a well with endless osmosis beneath it due to ground water sources. His most renowned works are The Great Puddle (2009), featured in the 2013 Singapore , and A A˘ Â (2014), featured in the Disrupted Choreography exhibition at the Nîmes Museum (France). His latest solo exhibition, 78 Rhythms (2014) at the Galerie Quynh in Ho Chi

Nguyen Huy An Minh City, showcased almost a full decade of his output. He is also part of the 6-strong performance collective named Appendix.

78 Rhythms of Vinh Tuy 1120 Steps K.N., 2012 Bridge, 2013 Paper, 45 x 80 x 27 cm Dust, fumes, and tape, Courtesy of the artist 1 x 100 cm Courtesy of the artist

140 Nguyen Huy An 141 The Great Puddle, 2009 The Great Table, 2008 Study of the Fluctuation Chinese ink and plywood, Wooden table, coal powder, of a Shadow, 2014 8 x 5 m h. 170 cm Mixed media, dimensions Courtesy of the artist Courtesy of the artist variable Courtesy of the artist

142 Nguyen Huy An 143 Our lives are filled with conflicts Check Point, 2016 – sometimes sad and sometimes Bronze, 45 x 35 x 35 cm humorous. My creative practice is an Courtesy of the artist exploration of aspects of the national and cultural , as well as personal and contemporary life experiences. I don’t aim to talk about anything specifically, I rather focus on the visual relationships of disjointed elements and unusual scales. Influences include early and contemporary Surrealism. In 2001, at the start of my career, I drew inspiration from Magritte’s metaphors and Hopper’s cinematographic scenes, and their presence has since been felt in numerous works of mine. Nguyen Manh Hung

Off Road, 2016 Mixed media, 185 x 385 x 310 cm Courtesy of Ta Minh Duc

144 Nguyen Manh Hung 145 The Barricade, 2013 Keep My Planet Clean, 2013 Go to Market, 2013 Mixed media, Mixed media, Mixed media, 220 x 430 x 120 cm 100 x 140 x 70 cm 200 x 400 x 60 cm Courtesy of Galerie Quynh Courtesy of Galerie Quynh Courtesy of Galerie Quynh

146 Nguyen Manh Hung 147 My art is about the conflicts that Sleepwalking 2, 2003 have marked Vietnamese society in Happening recent years – conflicts, for example, Courtesy of the artist between rapid economic development Sleepwalking 3, 2003 and traditional culture, or between Happening a glorious history and the chaos of Courtesy of the artist modern life. In the work entitled Sleepwalking 4, 2003 Sleepwalking, I intended to share the Happening feelings of the poor workers from the Courtesy of the artist countryside, who are constrained to move to the frenetic city in order to earn a living. Red Etude is a critique, but it’s done with humour in an attempt to get to the heart of the matter. With a view to embodying as far as possible the meaning of life in my works, my priority is to express myself in a simple, straightforward way. Nguyen Minh Phuoc

Sleepwalking 1, 2003 Happening Courtesy of the artist

148 Nguyen Minh Phuoc 149 Red Etude 1, 2009 Video Courtesy of the artist Red Etude 2, 2009 Video Courtesy of the artist Red Etude 3, 2009 Video Courtesy of the artist Red Etude 4, 2009 Video Courtesy of the artist

150 Nguyen Minh Phuoc 151 I am a visual artist. I live a creative life and do creative work. To me, art is a process that leads the individual towards perfection. In both theory and practice, I see that answering the questions of who I am and why I am here is the source of my works. Art is a meditative practice that actually defines one’s identity. Nguyen Quang Huy

Temple of Love, 2007 Installation, lacquer, 300 x 220 x 400 cm Courtesy of the artist Untitled, 2016 Oil on canvas, 100 x 100 cm Courtesy of the artist

152 Nguyen Quang Huy 153 The Neighbour’s Dog, 2014 Inside the Temple, 2014 Oil on canvas, 90 x 160 cm Oil on canvas, 120 x 120 cm Courtesy of the artist Courtesy of the artist Untitled, 2016 Girl and Rhino, 2015 Oil on canvas, 90 x 160 cm Oil on canvas, 100 x 100 cm Courtesy of the artist Courtesy of the artist

154 Nguyen Quang Huy 155 Have you ever wondered how a tree grows? It is born from seeds carried on the air, which land in wet soil, then sprout and grow by receiving warm sunshine, along with soil nutrients and water. Day after day, month after month, year after year, the tree grows deeper and deeper roots, developing thick trunks, large branches laden with layers of leaves, flowers and fruits. In the same way, my paintings come about through time, reflecting my experience and the changes within myself. Nguyen The Hung

Clouds / Rain 01, 2011–16 Acrylic, ink and gold leaf on handmade Do paper mounted on canvas, 128 x 194 cm Clouds / Rain 02, 2011–16 Clouds / Rain 03, 2011–16 Courtesy of the artist studio Acrylic, ink and gold leaf Acrylic, ink and gold leaf Little Flowers 10, 2012–15 on handmade Do paper on handmade Do paper Acrylic, ink and gold leaf mounted on canvas, mounted on canvas, on handmade Do paper 194 x 128 cm 194 x 128 cm mounted on canvas, Courtesy of the artist studio Courtesy of the artist studio 55 x 120 cm Courtesy of the artist studio Little Flowers 14, 2012–15 Acrylic, ink and gold leaf on handmade Do paper mounted on canvas, 55 x 120 cm Courtesy of the artist studio 156 Nguyen The Hung 157 Free Days 01, 2010–15 Free Days 05, 2008–15 Acrylic, ink and gold leaf Acrylic, ink and gold leaf on handmade Do paper, on handmade Do paper, 126 x 94 cm 126 x 94 cm Courtesy of the artist studio Courtesy of the artist studio Free Days 04, 2009–15 Free Days 07, 2009–15 Acrylic, ink and gold leaf Acrylic, ink and gold leaf on handmade Do paper, on handmade Do paper, 126 x 94 cm 126 x 94 cm Courtesy of the artist studio Courtesy of the artist studio Unknown, 2009–15 Acrylic, ink and gold leaf on handmade Do paper, 126 x 94 cm Courtesy of the artist studio

158 Nguyen The Hung 159 As if indebted to the city, I tirelessly seek out and decipher the tenuous links between the remaining visual signs of the past etched upon the façades of the structures and those things that arrive all at once, then all of a sudden disappear in the relentless spiralling circle of today’s consumer society. Every project comes to me as a way of finding new material, a new language or a new approach that is capable of delivering what it is that I want to demonstrate. It may be a silkscreen, photography, calligraphy, installation, video or

Nguyen The Son even a new visual language that I call photo relief. Each artistic project raises questions both for me and for the audience about Hanoi’s values, about the values of the cultural and living spaces that we used to have, and about what we are trying to build today and what will become of it in the future.

New Higher Level XIII, 2011 New Higher Level XII, 2011 Houses Facing the Streets Silk painting, 189 x 69 cm Silk painting, 189 x 69 cm (Night series), 2012 Courtesy of the artist Courtesy of the artist Photograph, 250 x 325 cm Courtesy of the artist

160 Nguyen The Son 161 8m2, 2015 Artist Apartment, 2016 The Youth Transportation Photo and sound Photo relief, Co-operative, 2015 installation, 350 x 1300 cm 80 x 80 cm Photo relief, 68 x 68 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Carrying the carriers…, 2016 Mobile installation (), 420 x 560 cm Courtesy of the artist

162 Nguyen The Son 163 Visual art, in my opinion, is the best way to transmit information and reality in the shortest time. Living in a special, fluctuating, challenging period of history, I want to create visual interactions rooted in the life around me. In Race, I have re-created the image and the historical movement of contemporary Vietnam. Nguyen Tri Manh

Red Glasses, 2004 Connect, 2000 Performance Synthetic materials, Courtesy of the artist 185 x 185 cm Courtesy of the artist

164 Nguyen Tri Manh 165 Race, 2004 Performance Courtesy of the artist Re-compose, 2003 Performance Courtesy of the artist Jump up, 2005 Performance Courtesy of the artist Bathing and Coal, 2002 Video, 7 min. (with Le Vu) Courtesy of the artist

166 Nguyen Tri Manh 167 Wash in the Rain, 2015 Canvas and wood, 170.2 x 144.8 x 48.3 cm Courtesy of Galerie Quynh

Often employing humour while at other times engaging in sober reflection, Trong Gia Nguyen’s art elevates the condition of doubt and reveals the power structures behind our most trusted institutions and beliefs related to issues of domesticity, culture, politics, and economy. The artist questions the status quo through subtle modes of subversion and interruption. His is an aesthetically pessimistic vantage point, one of retreat, espousing a dimension of decadence at the expense of charlatanism. Whether taking the form of sculpture, painting, iPhone applications, film, or web- based performance actions, Nguyen’s Trong Gia Nguyen conceptual approach walks the fine line between humour and sorrow, subtlety and blatancy, night and light, beauty and beast.

HNH 2015: Modular Hashtag Yellow Picket Fence, 2015 Modular painted wood fence, each module painted a unique shade of yellow, 98.4 x 65.4 x 2.5 cm each module Courtesy of Galerie Quynh

168 Trong Gia Nguyen 169 Family, circa 1962 (The Leavers series), 2014 Oil pastel on canvas, 129.5 x 99 cm Courtesy of Galerie Quynh

Family, Enid, circa 1981 Family, Beach, circa 1960 Enid, Pine Street (The Leavers series), 2015 (The Leavers series), 2014 (1975–2014), 2015 Oil pastel on canvas, Oil pastel on canvas, Oil pastel on canvas, 129.5 x 167.6 cm 116.8 x 154.9 cm mounted inkjet print and Courtesy of Galerie Quynh Courtesy of Galerie Quynh wood frame, 63.5 x 94 cm Courtesy of mc2gallery

170 Trong Gia Nguyen 171 Reality is the people’s education. The Self-portrait, 2013 deep disappointments and frustrations Oil and acrylic on canvas, that resulted from the education I 145 x 185 cm received as a child have shaped my life Courtesy of the artist in art. A non-conformist marked as an Exhaustion II, 2012 outcast? An indelible dark memory? Oil and acrylic on canvas, Or an inexpressible torment? I like 100 x 130 cm critical realism. I like asking questions Courtesy of the artist in a satirical and expressive manner, as Late Arrival III, 2013 a way of discovering a form of critical Oil and acrylic on canvas, realism for myself. I find life to be so 130 x 100 cm complex, everything is at once crowded Courtesy of the artist and vague. Everyone is trying to Face to Face, 2013 scramble towards something, even to Oil and acrylic on canvas, take the next breath! I need calmness. 130 x 100 cm Things need to be paused, clarified in Courtesy of the artist black and white, concentrated to their essence. In their own way, the fine arts have given me the ability to respond to life effectively. Nguyen Trong Minh

Grave II, 2013 Collective Error I, 2014 Oil and acrylic on canvas, Oil and acrylic on canvas, 200 x 100 cm 250 x 130 cm Courtesy of the artist Courtesy of the artist

172 Nguyen Trong Minh 173 Collective Error II, 2013 No badle I, 2011 Oil and acrylic on canvas, Oil and acrylic on canvas, 200 x 300 cm 130 x 100 cm Courtesy of the artist Courtesy of the artist Grave I, 2013 Oil and acrylic on canvas, 170 x 250 cm Courtesy of the artist Vu Lan Festival, 2011 Oil and acrylic on canvas, 215 x 300 cm Courtesy of the artist

174 Nguyen Trong Minh 175 Uu Dam Tran Nguyen transforms the Serpents’ Tails 001, 2015 boundaries between urban myth and Video/photo, 220 x 80 cm popular legend to both celebrate Courtesy of the artist and warn of the role and impact of human progress and the desire for social advancement. Coming from a trans-national background, working with video, performance, photography, sculpture, new media and robotics, Nguyen’s playfully provocative work constitutes today one of the prominent voices on the Vietnamese contemporary art scene. Uu Dam Tran Nguyen

Serpents’ Tails 002, 2015 Serpents’ Tails 007, 2015 Serpents’ Tails 006, 2015 Serpents’ Tails 008, 2015 Video/photo, 80 x 220 cm Video/photo, 80 x 220 cm Video/photo, 80 x 220 cm Video/photo, 80 x 220 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

176 Uu Dam Tran Nguyen 177 Time Boomerang 005, 2015 License 2 Draw 002 App Performance in Australia User Interface, 2014–16 Courtesy of Chloë Mixed media, dimensions Callistemon variable Courtesy of the artist Waltz of the Machine Equestrians 001, 2012 Video/photo, 80 x 120 cm Courtesy of the artist

Time Boomerang 006, 2015 Performance in Europe, GPS location map Google Earth image

178 Uu Dam Tran Nguyen 179 Slaughterhouse #1, 2014 Oil on canvas, 150 x 200 cm Courtesy of the artist Slaughterhouse #4, 2015 Oil on canvas, 70 x 90 cm Courtesy of the artist Slaughterhouse #2, 2014 Oil on canvas, 160 x 160 cm Courtesy of the artist Slaughterhouse #3, 2014 Oil on canvas, 160 x 160 cm Courtesy of the artist Nguyen Van Du

I address the idea of violence and The Butcher’s Stall, 2012 morality in my artworks. My paintings Oil on canvas, 150 x 400 cm – mainly done with oil on canvas, Courtesy of the artist watercolour on paper, cow blood on paper, human blood on paper – capture Vietnam’s slaughterhouses, butcher’s stalls and landscapes. In Vietnam, people consume large amounts of meat. Eating meat is a habit that is formed from an early age. I have been studying a local slaughterhouse for three years and have become acquainted with the ins and outs of slaughtering and processing animals. These experiences have made me realize that the act of eating meat may underpin the violent nature of human beings.

180 Nguyen Van Du 181 Slaughterhouse #5, 2015 Oil on canvas, 100 x 100 cm Courtesy of the artist Slaughterhouse #8, 2016 Cow blood on paper, 160 x 213 cm Courtesy of the artist Slaughterhouse #10, 2016 Cow blood on paper, 160 x 213 cm Courtesy of the artist

182 Nguyen Van Du 183 The Ground, the Root, and the Air: The Passing of the Bodhi Tree, 2004–07 Single-channel digital video, 14 min. 30 sec. Photo Yukari Imai Courtesy of The Quiet in the Land, Laos, Mizuma Art Gallery, Tokyo and the artist

Multidisciplinary in practice, Jun Nguyen-Hatsushiba’s work shows influences stretching from time spent between Japan, Vietnam, and America. To develop his concepts, he weaves together social, political, and historical elements often generated from multiple landscapes of thought. His Memorial Projects recuperate lost histories of particular locales. His works are in the collections of the Guggenheim Museum in New York, the Centre Pompidou in Paris and the Mori Art Museum, Tokyo amongst many others. Jun Nguyen-Hatsushiba

Memorial Project Nha Memorial Project Vietnam II: Memorial Project Minamata: Memorial Project Okinawa: Trang, Vietnam: Towards Happy New Year, 2003 Neither Either nor Neither – Ho! Ho! Ho! Merry the Complex. For the Single-channel digital video, A Love Story, 2002–03 Christmas – Battle of Easel Courageous, the Curious, 15 min. Single-channel digital video, Point, 2003 and the Cowards, 2001 Commissioned and 16 min. Single-channel digital video, Single-channel digital video, produced by the MATRIX Produced by Mizuma 15 min. 13 min. Program at the UC Berkeley Art Gallery, Tokyo with Produced by Mizuma Commissioned by Art Museum and Pacific Film assistance of CAMK Art Gallery, Tokyo with Yokohama Triennale 2001 Archive, Berkeley CA with Contemporary Art Museum, assistance of MACRO, Rome Courtesy of Mizuma Art assistance from The New Kumamoto, Japan and Mori Art Museum, Gallery, Tokyo and the artist Museum of Contemporary Supported by Stavanger Tokyo Art, New York International Collection, Special thanks to Michael Courtesy of Mizuma Art Norway and Joan Salke, The Salke Gallery, Tokyo, Lehmann Courtesy of Mizuma Art Family Trust, Allison Salke, Maupin Gallery, New York Gallery, Tokyo and the artist Diego Cortez and Jun Koike and the artist Courtesy of Mizuma Art Gallery, Tokyo and the artist

184 Jun Nguyen-Hatsushiba 185 Breathing Is Free 12,756.3: JAPAN, Hopes & Recovery,1,789 km, 2011 176 runnners, 33 navigators, video installation with binoculars Commissioned by Yokohama Triennale 2011 Courtesy of Mizuma Art Gallery, Tokyo and the artist The Globe Project: The Garden of Globes, 2007 1,100 paper objects, 25 inox globes with interior projection unit, stands, dimensions variable Installation view at Mizuma & One Gallery, , 2008 Photo Cao Yong Courtesy of the artist, Mizuma Art Gallery, Tokyo and Mizuma & One Gallery, Beijing

The Master and the Slave: Memorial Project Waterfield: Inujima Monogatari, 2013 The Story of the Stars, Single-channel video 2006–14 installation Single-channel digital video, Courtesy of Mizuma Art 11 min. 30 sec. Gallery, Tokyo and the artist Courtesy of 2006, Mizuma Art Gallery, Tokyo and the artist

186 Jun Nguyen-Hatsushiba 187 I like producing abstract art because it Lotus under Water, 2015 seems to suit me better than any other Acrylic on canvas, style. And I think that abstract art is the 100 x 200 cm essence of fine art. I am always inspired Collection of the artist by new beginnings, which give me Traces of Time #2, 2006 inspiration, bring me hope and help me Oil on canvas, 100 x 120 cm to break down my own barriers. Vietnam Fine Art Museum Pham An Hai

Serenade #2, 2016 Acrylic on canvas, 200 x 300 cm Collection of the artist Autumn Evening, 2015 Acrylic on canvas, 120 x 200 cm Collection of the artist Early Morning, 2015 Acrylic on canvas, 136 x 254 cm Collection of the artist

188 Pham An Hai 189 Yellow Autumn, 2011 After the Rain, 2011 Acrylic on canvas, Oil on canvas, 150 x 150 cm 100 x 200 cm Collection of the artist Auctioned at Sotheby’s Hong Kong 2014 Cycle of Life #5, 2005 Oil on canvas, 140 x 270 cm Petronas Museum Malaysia Summer, 2011 Oil on canvas, 150 x 300 cm Private collection Auctioned at Sotheby’s Hong Kong 2015

190 Pham An Hai 191 Pham Huy Thong is emerging as The Fall of Saigon, 2009 one of Hanoi’s most thoughtful and Acrylic on canvas, creative artists. Born into the post-war 200 x 195 cm generation and growing up during Courtesy of the artist an era of rapid change, he embodies Playing with Kites, 2009 the potential of the new, confident Oil on canvas, 150 x 150 cm Vietnam. No longer content with Courtesy of the artist taking a safe route along a comfortable The Last Party, 2010 path, Thong takes risks in exploring Oil on canvas, 150 x 350 cm new ideas, looking inward at his own Courtesy of the artist culture and stepping outward to gain Brotherhood, 2009 the perspectives of the fast globalizing Acrylic on canvas, world that he is very much a part of. 150 x 200 cm (Betty Bui) Courtesy of the artist Party Party, 2010

Pham Huy Thong Oil on canvas, 150 x 150 cm Courtesy of the artist Planting Dreams, 2014 Oil on canvas, 100 x 100 cm Courtesy of the artist

192 Pham Huy Thong 193 Land for Sale, 2015 Hope, 2014 Oil on canvas, 140 x 160 cm Oil on canvas, 140 x 160 cm Courtesy of the artist Courtesy of the artist

194 Pham Huy Thong 195 Despite being born in the post-war era depression, left rock music and the fine and growing up wealthy, Pham Tran arts, pouring all of his energy in running Viet Nam is deeply concerned with the a business. Although it did not turn out aftermaths of the war, as well as the to be a success, this change seemed to unfortunate lives marching in front have had a good balancing effect on of his eyes. him, and left him in a better place. Born and raised in a well-off family, Since he paints with his fingers instead he has yet to spend a day experiencing of a brush, perhaps he wants to feel challenges and failures… The fact the burning sensation of the friction is that he always forces himself to between his fingers and the canvas, face judgement day, the unrelieved or to demolish the boundary between spirits, the suffering fates scattered the artist’s body and the “ten types of all around him… beings”.1 (Tran Luong) “History makes me confused”, and it is this ambiguity and confusion that 1 Van te thap loai chung sinh (Oration have been transformed into powerful for Ten Types of Human Beings) energy, erupting on the canvas. As is a poem written by Nguyen Du invasive as a lava eruption, as quiet as (1765–1820) after a terrible epidemic the gnawing of termites, as sudden as in which millions of people died. the development of cancer cells… The The heavy odour filled the air, over human body is dissected, freed, then the mountains and rivers, and at the Pham Tran Viet Nam transformed, writhing as if in hell. temples, ceremonial altars were set up “I paint 8 hours a day like a normal to pray for the souls of the millions who worker” – not because of a had died. from any gallery or museum. “I paint 8 hours a day like a normal worker” – not because of encouragement from a collective or a pioneering movement. This is fate, pure and simple. Five or perhaps seven years ago, I got to know Nam’s work, but I was not at all impressed by the flashy surface nor at the shallow meaning. At the time, Nam was also the leader of underground rock band Giao Chi. Honest, young, energetic, and somewhat proud… All of a sudden he encountered

Van te thap loai chung sinh (Oration for Ten Types of Human Beings), 2014 Oil on canvas, embroidery thread, 2000 x 165 cm each Courtesy of the artist

196 Pham Tran Viet Nam 197 Pham Tran Viet Nam 199 The Reading Exercise (Education of a Poet series), 2016 (ongoing) Video installation, dimensions variable Courtesy of the artist The Reading Exercise (Education of a Poet series), 2016 (ongoing) Video installation, dimensions variable Phan Thi Thao Nguyen has shunned Courtesy of the artist traditional cultural references to create provocative artworks that depict historical and contemporary concepts through a combination of painting, video, performance and installation. Through literature, philosophy and daily life, she observes ambiguous issues in social convention and tradition. Ultimately, Phan wants to share her contemplation of loneliness as part of the human condition in modern society. In addition to her work as a multimedia artist, she has joined forces with artist Truong Cong Tung and Arlette Quynh-Anh Tran to form Art Labor, a collective that explores cross-disciplinary practices and develops art projects that will benefit the local community. Education of a Poet, 2014 (ongoing) Paintings on X-ray film, glass, steel, dimensions variable

Phan Thi Thao Nguyen Courtesy of the artist Voyages et missions du père A. de Rhodes (the textbook) (Education of a Poet series), 2014 (ongoing) Watercolour on found book pages, dimensions variable Courtesy of the artist Voyages et missions du père A. de Rhodes (the textbook) (Education of a Poet series), 2014 (ongoing) Watercolour on found book pages, dimensions variable Courtesy of the artist

200 Phan Thi Thao Nguyen 201 The Illiterates (Education Untitled (Heads), of a Poet series), 2014 2013 (ongoing) (ongoing) Dried shredded jute (hemp) Oil paint on X-ray film, fiber and jute stalks, bronze, 43 x 35.3 cm thread, 140 x 250 cm Courtesy of the artist (diameter) Courtesy of the artist Looking Down series, 2013 (ongoing) Renal Calculus, 2012–13 Oil on X-ray film, 20 x 25 cm Video installation, kidney Courtesy of the artist stone, steel table, glass dome, magnifying glass, framed text, artist book and video, dimensions variable Courtesy of the artist

Traumatrope, 2016 Drawing, installation, dimensions variable Courtesy of the artist

202 Phan Thi Thao Nguyen 203 An ancient varnish, Vietnamese lacquer was re-invented as a painting medium during the twentieth century. To me, this is also a process in which the entire “becomes lacquer”. I am interested in further exploring this phenomenon of acculturation by combining Vietnamese lacquer with new materials and formats in order Phi Oanh to extend the scope of the medium as image, reflect on cross-cultural histories and situate it in a broader art discourse. The material qualities of Vietnamese lacquer, its deep colours and ever-changing light demand a deeper approach, a different kind of attention and offer a heightened visual experience.

Palimpsest (projection view), 2011–14 Light projection using handcrafted “Lacquerscopes” (9 projectors, iron, inox, keblar, recycled lenses) of Son Ta lacquer on laminated glass, dimensions variable Courtesy of Fost Gallery Palimpsest (installation view), 2011–14 Light projection using handcrafted “Lacquerscopes” (9 projectors, iron, inox, kevlar, recycled lenses) of Son Ta lacquer on laminated glass, dimensions variable Courtesy of Fost Gallery Mappa Mundi (frontal view), 2015 Son Ta lacquer on wood installed as ceiling , 244 x 244 cm Courtesy of the artist 204 Phi Phi Oanh 205 Black Box (installation view VN Museum room 2), 2005–07 Son Ta lacquer on wood, 16 boxes, 60 x 190 x 40 cm Courtesy of Matthew Dakin Black Box (close-up view of one box), 2005–07 Son Ta lacquer on wood, 16 boxes, 60 x 190 x 40 cm Courtesy of Matthew Dakin

Specula (installation view Specula (installation view from backside), 2007–09 with spectator), 2007–09 Son Ta lacquer on fiberglass Son Ta lacquer on fiberglass reinforced epoxy composite reinforced epoxy composite boards, metal structure boards, metal structure and glass flooring, and glass flooring, 720 x 270 x 390 cm 720 x 270 x 390 cm Courtesy of Matthew Dakin Courtesy of Matthew Dakin

206 Phi Phi Oanh 207 Riding under Hanoi Trees of 2015, 2015 Natural colours on handmade paper, 80 x 60 cm Courtesy of Chon Gallery The City’s Rushing to Clean up the Sewers before Each Rain, 2016 Natural colours on handmade paper, Hidden in the fine “decor” of repeated 80 x 60 cm brushstrokes and the fragile paper of Courtesy of Chon Gallery To Kim Nhung’s artworks there lies a strong intellectual exploration of the The Young Trees Shade is typical individual and social issues of Promising but not Enough, 2016 contemporary Vietnamese society, Natural colours on including the urban lifestyle, the handmade paper, environment, gender issues, morality 80 x 60 cm and education. Her Cloned Cleaners Courtesy of Chon Gallery Taking the Last Festivities Away Ten Points in the Season contemplates the conflict between of Exams, 2016 To Kim Nhung the underpaid labour of a cleaner and Natural colours on the reality of a 1,000-year-old Oriental handmade paper, city drowning in consumerism and the 80 x 60 cm remnants of the feudal mentality, while Courtesy of Chon Gallery still trying desperately to overhaul the façade.

Will the Dragonfly’s Rain Heavenly Thinking on the Warning Stop the Fire, 2010 Guns’ Barrels Anger, 2010 Oil on canvas, 90 x 60 cm Oil on canvas, 90 x 60 cm Courtesy of Chon Gallery Courtesy of Chon Gallery

208 To Kim Nhung 209 Maiden Fish Breakthrough, The Sky of Blue Bamboo 2016 and the Farmers Climbing Natural colours on Home, 2016 handmade paper, Natural colours on 58 x 58 cm handmade paper, Courtesy of Chon Gallery 70 x 90 cm Courtesy of Chon Gallery A Myriad Red Flowers Flowing in the Streets, 2015 Natural colours on handmade paper, 60 x 80 cm Courtesy of Chon Gallery

210 To Kim Nhung 211 The Illusion of War, 2009 Special paint on 60 transparent plastic sheets, 100 x 270 cm each Courtesy of François Talairach Viva la politica, 2006 Special paint on 100 transparent plastic sheets, 100 x 300 cm each Courtesy of the artist Painting, like writing, is a violation of intimacy. Tran Trong Vu does not make Luggage without paintings as an end in themselves but Destination, 2011 as a means to seek his place as an Installation with one artist outside the contemporary artistic painting on transparent plastic sheet and two bags, system. Indeed, his desire is to go 160 x 300 cm beyond the image, to combine it with Courtesy of the artist other non-visual means of expression and, from this position, to see things change. Tran Trong Vu

212 Tran Trong Vu 213 The Exponents without The Meeting Point, 2016 Number, 2011 Installation with plastic Special paint on 60 sheets, wood, wire mesh, transparent plastic sheets, 800 x 1000 x 300 cm 100 x 260 cm each Courtesy of the artist Courtesy of the artist Words that are yet to be A Partition of Chance, 2015 spoken, 2014 Oil on canvas, 130 x 200 cm Installation with plastic Courtesy of the artist sheets, wood, wire mesh, 500 x 1000 x 350 cm Courtesy of the artist

214 Tran Trong Vu 215 Of late, I have been working on two Gold Fingers, 2015 series, Aluminium and Finger. The Mixed media Aluminium series came about when 15 x 4 x 2 cm the Vietnamese government allowed a Courtesy of the artist number of Chinese companies to mine Gold Fingers, 2015 Tran Tuan aluminium in the country’s highlands; Mixed media, 15 x 4 x 2 cm this low-end aluminium will prove Courtesy of the artist dangerous for the million people living Gold Fingers, 2015 downstream when the rainy season Mixed media, 15 x 4 x 2 cm comes. The aluminium is used to Courtesy of the artist make drinks cans to be sold back to the Vietnamese people. I used drinks cans to create a number of large-scale , with frightening, imposing forms, which I then exhibited in public places. The Finger series is based on my family’s wartime story: my father had to cut one of his fingers off to avoid being called up, and I found this to be a heroic act on his part.

Moving in Death, 2015 Finger Sofa, 2013 Print, 110 x 180 cm Mixed media, Courtesy of the artist 150 x 230 x 60 cm Courtesy of the artist

216 Tran Tuan 217 Imperial Mushroom, 2013 Mixed media, 23 x 6 x 4 m Courtesy of the artist

Khoi U, 2010 Altered Cloud, 2012 Altered Cloud, 2012 Mixed media, 4 x 18 x 7 m Mixed media, 3 x 21 x 10 m Mixed media, 3 x 21 x 10 m Courtesy of the artist Courtesy of the artist Courtesy of the artist

218 Tran Tuan 219 There is a reality that exists in all regions Ngong, 2010 of Vietnam – the reality of lonely old Mixed media, women who are resigned to their fates, 70 x 60 x 60 cm Courtesy of the artist having languished in wait their whole lives. They bear the upheavals of a country, as well as of an eventful family life. They take care of everything so that their husbands and their children can leave home to defend the Motherland. In peacetime, they continue to live in loneliness as their husbands and

Tran Van Thuc children pack up for another battle: the battle for the resources to survive and to attain knowledge. A generation born to swallow all suffering, they exist in silence. They are constrained to stay inside their own homes to keep the family altar warm, to keep alive the spirit of the land that their ancestors left them. As a visual artist, I sympathize with their ordinary yet extraordinary lives. Using the language of hyper-realist sculpture, I re-tell their stories through Ngong (Yearn) in order to evoke the compassion inside each person, in the hope that society will appreciate the nobility with which these women have undergone and endured their life experience.

Ngong, 2010 Mixed media, 70 x 60 x 60 cm Courtesy of the artist

220 Tran Van Thuc 221 Ngong, 2010 Ngong, 2010 Ngong, 2010 Mixed media, Mixed media, Mixed media, 70 x 60 x 60 cm 70 x 60 x 60 cm 140 x 60 x 60 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist

222 Tran Van Thuc 223 Trieu Minh Hai demonstrates his own observational skills and understanding of the dynamic combination of mathematics, natural phenomena and art with a series of fractal-inspired pencil drawings. Each series consists of ten works, which are laid out in a continuous, horizontal order adjacent to each other. Using the most primal form of artistic expression, the artist has exploited the advantages of pencil drawing – its capacity to form delicate Trieu Minh Hai layers of shade and pattern – to intensify the aesthetic quality of his artworks. As he illustrates fractal mechanisms through physicality, he delivers a liberal critique while at the same time exploring the relationship between theory and practice. He is critical of dictatorial regimes, promoting positive possibilities in the face of a senseless, dogmatic reality.

In Restricted Area, 2015 Pencil and pen on canvas, 135 x 190 cm Courtesy of the artist

In Restricted Area, 2015 Pencil and pen on canvas, 135 x 190 cm Courtesy of the artist In Restricted Area, 2015 Pencil and pen on canvas, 135 x 190 cm Courtesy of the artist 224 Trieu Minh Hai 225 Latcarf | Fractal, 2015 Fluctuation, 2015 Fluctuation, 2015 Pencil on paper, Pen, pencil and water pencil Pen, pencil and water pencil 80 x 1100 cm on canvas, 135 x 190 cm on canvas, 135 x 190 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist Latcarf | Fractal, 2015 Pencil on paper, 55 x 800 cm Courtesy of the artist

226 Trieu Minh Hai 227 The structure of raindrops on my car window reflected two dimensions of the space – inside and outside. I feel like I am on the journey of loneliness, but at the same time already on the path of evolution and change. The raindrop symbolizes dissolution, continual evolution and the changing of time and space. Trinh Minh Tien

Keepers of Darkness, 2016 The Year of Faith, 2014 In the House of Lords, 2016 Acrylic on car bonnet, Oil on canvas, 90 x 120 cm Oil on canvas, 150 x 200 cm 110 x 150 cm Courtesy of the artist Courtesy of the artist Courtesy of the artist

228 Trinh Minh Tien 229 Scratch, 2013 Golden Dream, 2013 Acrylic on canvas, Acrylic on canvas, 90 x 120 cm 90 x 120 cm Courtesy of the artist Courtesy of the artist

230 Trinh Minh Tien 231 I am interested in strange and magical stories, stories that reflect transformation and deformation in the social context of my living environment, where everything starts to have an unreal affect. These stories become the inspiration for my art. My works aim to evoke an ambiguous and mysterious reality in which the boundary between the real and the dream-like is definitely blurred. I would like to question people’s beliefs and the human condition in this rapidly developing society. I use a wide range of different media in my practice: video, photography, found objects and painting. This multi-media approach is a way to connect stories and seemingly

Truong Cong Tung unrelated scenes. With my work I hope to offer a different way of seeing, a new point of view, a possibility for becoming: my effort to realize realities.

Journey of a Piece of Soil, Blind Map, 2013 (ongoing) 2013 (ongoing) Canvas and wood, Video installation, single- 150 x 600 cm channel video, colour, sound Courtesy of the artist Ed. 3 and 1 AP Courtesy of the artist Journey of a Piece of Soil, 2013 (ongoing) Installation, termite nest, paint, 38 x 40 x 60 cm Courtesy of Seoul Museum of Art

232 Truong Cong Tung 233 Another Place across the Maya in the Circle of Time River, 2014 (ongoing) series, 2016 (ongoing) Video installation, Drawing on mylar, light dimensions variable boxes, 30 x 21 cm each, Courtesy of the artist 8 layers Courtesy of the artist Magical Garden, 2014 (ongoing) One drawing from the Photograph and video Maya Circle of Time series, installation 2016 (ongoing) Courtesy of the artist Courtesy of the artist Magical Garden, 2012 (ongoing) Photograph and video installation, plastic bird, plastic star, bamboo leave, dimensions variable Courtesy of the artist

234 Truong Cong Tung 235 Truong Tan’s art shifts between a The Roof – Fairy Lights, ludicrously fast-paced society and his 2014 own mystical love for nature. Each and Textile, kleenex paper, metal, every single square centimetre of his 80 x 70 x 70 cm Courtesy of the artist artwork provokes, amazes, and excites viewers, challenging the conservative Mother of Peace, 2008 way in which Vietnamese people tend Metal and fabric, Truong Tan to look at life. The work of Truong 175 x 75 x 75 cm Tan, who considers himself his own Collection of Fukuoka Museum, Japan “sacred home”, has had a deep impact Courtesy of the artist on Vietnam’s contemporary art scene during the Doi Moi (renovation) era.

236 Truong Tan 237 Dynasty of Loss 3/4, 2013 In the Past (r), 2008 Dynasty of Love 2/4, 2013 Beginning of a Dynasty Another Life, 2010 Oil paint on board, Lacquer, dyes and mixed Oil paint on board, 1/4, 2013 Lacquer, dyes and mixed 81 x 100 cm media on board, 60 x 80 cm 81 x 100 cm Lacquer, dyes and mixed media on board, Courtesy of the artist Courtesy of the artist Courtesy of the artist media on board, 80 x 100 cm 81 x 100 cm Courtesy of the artist Courtesy of the artist

238 Truong Tan 239 Life is so long, and I cannot know who I will be tomorrow. The faces are patchy with streaks of colour. Some are barely visible, illuminated in shades of lacquer. Whether it is a self-portrait of me or the face of a chance encounter, I can feel it deeply across the distance of the painting. I still see in my paintings the images of flickering water and cool forests, which are recurrent subjects throughout my work. I create portraits

Vu Duc Trung that come to me as the optical illusions of a life blurred by time, which must melt away into emptiness and decay. I live and work with my faces.

Portrait, 2011 Portrait of Water, 2012 Lacquer on wood, Lacquer on wood, 50 x 80 cm 50 x 70 cm Courtesy of the artist Collection of Jacob Gammelgaard, Denmark Tomorrow, I Have a Courtesy of the artist Dream, 2012 Lacquer on wood, 90 x 120 cm Collection of Pho Hong Long, Vietnam Courtesy of the artist

240 Vu Duc Trung 241 100 Years Later, 2016 Lacquer on wood, 40 x 50 cm Courtesy of the artist 100 Years Later, 2016 Lacquer on wood, 40 x 50 cm Courtesy of the artist 100 Years Later, 2015 Lacquer on wood, diam. 80 cm Courtesy of the artist

Portrait of Water, 2014 Portrait of Water, 2012 Lacquer on wood, Lacquer on wood, 40 x 50 cm diam. 60 cm Courtesy of the artist Courtesy of the artist

242 Vu Duc Trung 243 There are countless forms of art presentation. Simple or complicated. The most important thing is feeling. Art without feeling is like a human being without a soul. Vuong Duy Bien

Characters of a Story, 2014 Buffalo, 2010 The Sound of Bamboo Cloth, cardboard, synthetic Lacquer, 80 x 80 cm Flute, 2000 fibers, dimensions variable Courtesy of the artist Lacquer, 80 x 80 cm Courtesy of the artist Courtesy of the artist Rice Planting, 2008 Lacquer, 80 x 80 cm Lamps, 2008 Courtesy of the artist Lacquer, 80 x 80 cm Courtesy of the artist

244 Vuong Duy Bien 245 Are You Done, Son?, 2015 Big Jar, 2015 Bronze Bronze Courtesy of the artist Courtesy of the artist

246 Vuong Duy Bien 247 Fossils are thought of as dead. But they are eternally alive. Vuong Van Thao

Land and Water, 2003 Living Fossils – Life, 2012 Mixed media (water, Sculpture-installation of earth, plastic bag, carton polymer comport painted in board and electrical lamp), oil paint, 32 x 26 x 26 cm dimensions variable Courtesy of the artist Courtesy of the artist

248 Vuong Van Thao 249 Living Fossils – Mandrel Living Fossils – TEU, 2010 Living Fossils – Speaker, and Shovel, 2009 Sculpture-installation of 2011 Sculpture-installation of polymer comport, painted in Sculpture-installation of polymer comport, painted in oil paint, 30 x 15 x 15 cm polymer comport, painted in oil paint, 30 x 16 x 12 cm Courtesy of the artist oil paint, 14 x 14 x 6 cm Courtesy of the artist Living Fossils, 2010 Living Fossils – Hanoi, 2011 Sculpture-installation of Sculpture-installation of polymer comport, painted in polymer comport, painted in oil paint, 50 x 23 x 23 cm oil paint, 30 x 26 x 26 cm Courtesy of the artist

250 Vuong Van Thao 251 Biographies of the Artists Bang Nhat Linh Project 93: Dinh Q. Le, Museum of Modern Art, Cambodia: Splendor & Darkness, Speed Art The Sensory War, Whitworth Art Gallery Stitches, Armory Center for , Pasadena, Strategies From Within, Ke Center for the New York City. Museum, Louisville, Kentucky. at the University of Manchester, Manchester, California. Contemporary Arts, Shanghai, China. Born in 1983 in Hanoi, Vietnam. Lives in Hanoi. Signs and Signals from the Periphery, Arizona Cambodia: Splendor & Darkness, UK. Art Scene Vietnam, ifa Gallery, Stuttgart, Asia, Postcolonial, and Contemporary Arts, State University Art Museum, Tempe, Arizona. Houston Center for Photography, Houston, Singapore Art Museum, Singapore. Germany. Fusing International Biennale, Fusing, Taiwan. Selected solo exhibitions Elergies, P·P·O·W Gallery, New York City. Texas. • 2013 AAI’s Art (Inter)Action Series, Cuchifritos Gallery, Re-Imagining Asia, Haus der Kulturen der Welt, • 2015 • 2009 True Voyage is Return, Montgomery Gallery, Carnegie International, Carnegie Museum, New York City. , Germany. The Vacant Chair, Dia Project Dong Khoi, A Tapestry of Memories: The Art of Dinh Q. Pomona College, Pomona, California. Pittsburgh, Pennsylvania. Asian and Asian-American Art from the The Lining of Forgetting: Internal & External Nhà Sàn Collective, , Hanoi, Le, Tufts University Art Gallery, Medford, • 1999 ArtZuid 2013, Amsterdam, The Netherlands. Permanent Collection, The Bronx Museum, New Memory in Art, Weatherspoon Art Museum, Vietnam. Massachusetts. Lotusland, Shoshana Wayne Gallery, Santa Kino der Kunst 2013, Munich, Germany York City. Greensboro, North Carolina. • 2013 Signs and Signals from the Periphery, Elizabeth Monica, California. War is for the Living, The Sylvia Wald and Po Ruptures and Continuities: Photography Made The Third Space: Cultural Identity Today, Mead Born in 1983/Kham Thien, L’Espace, Centre Leach Gallery, Portland, Oregon. • 1998 Kim Art Gallery, New York City. After 1960 from the MFAH Collection, Museum Art Museum, Amherst, Massachusetts. Culturel Français, Hanoi, Vietnam. South China Sea Pishkun, 10 Chancery Lane Splendor & Darkness, P·P·O·W Gallery, • 2012 of Fine Arts, Houston, Texas. Stretching the Truth, John Michael Kohler Arts • 2010 Gallery, Hong Kong. New York City. dOCUMENTA 13, Kassel, Germany. • 2009–10 Center, Sheboygan, Wisconsin. Le temps perdu, L’Espace, Centre Culturel A Tapestry of Memories: The Art of Dinh Q. Le, The Headless Buddha, Los Angeles Center The Best of Times. The Worst of Times, Arsenale Between Art and Life: The Contemporary • 2007–9 Français, Hanoi, Vietnam. Aidekman Arts Center, Tuft University, Medford, for Photographic Studies, Los Angeles, 2012, Kiev, Ukraine. Painting and Sculpture Collection, San Francisco TransPOP: Korea Vietnam ReMix, Arko Art • 2009 Massachusetts. California; Elizabeth Leach Gallery, Portland, WAR/PHOTOGRAPHY: Images of Armed Museum of Modern Art, San Francisco, Center, Seoul, South Korea; University of Dust, bikes & dim streets…, Viet Art Centre, All that is Solid, City Visions Festival, Mechelen, Oregon; Cambridge Multicultural Arts Center, Conflict and Its Aftermath, Houston Museum California. California, Irvine and Yerba Buena Center, Hanoi, Vietnam. Belgium. Cambridge, Massachusetts; Sesnon Gallery, of Fine Arts, Texas; The Annenberg Space for • 2009 San Francisco, California; Sàn Art, Ho Chi Minh • 2008 Porter College, Santa Cruz, California. Photography, Los Angeles, California; The On The Agenda of the Arts: New Commons, City, Vietnam. Selected group exhibitions A Quagmire this Time, Shoshana Wayne Gallery, • 1992 Brooklyn Museum, Brooklyn, New York. Tokyo Wonder Site, Shibuya, Tokyo, Japan. • 2007 • 2015 Santa Monica, California. Tyler School of Art Gallery, Elkins Park, The Other’s Other, Artspace, Sydney, Australia Shadows and Reflected Color for Sale, Shoshana New Images of Identity, Armory Center for the Mien Meo Mieng, Contemporary Art from The Penal Conlony: The Mapping of the Mind, Pennsylvania. Contemporary Asian Art: Texas Connections, Wayne Gallery, Santa Monica, California. Arts Gallery, Pasadena, California. Vietnam, Bildmuseet, Umeå University, Umeå, P·P·O·W Gallery, New York City. • 1990 Asia Society Texas, Houston, Texas. LIVE and LET LIVE: Creators of Tomorrow, 4th Red Lotus: A Rare Look into the Work of Seven Sweden. After the War, University Art Gallery, San Diego Portraying a White God, Los Angeles Burden of Proof: National Identity and the Fukuoka Asian Art Triennale, Fukuoka Asian Art Contemporary Vietnamese-American Artists,  State University, San Diego, California. Contemporary Exhibitions, Los Angeles, Legacy of War, Oglethorpe University Museum Museum, Japan. City Gallery Chastain, Atlanta, Georgia. Collections • 2007 California. of Art, Atlanta, Georgia. What Would the Community Think?, Speed Art Group Show, Shoshana Wayne Gallery, Santa Post Vidai Contemporary Art Collection, A Tapestry of Memories: The Art of Dinh Q. Le, Under Constant Threat, Rio Grande do Sul Museum, Louisville, Kentucky. Monica, California. Vietnam and Switzerland. Bellevue Arts Museum, Bellevue, Washington, Selected group exhibitions Museum of Contemporary Art, Porto Alegre, Re-Imagining. Asia, The New Art Gallery Walsall, Biennale de Lyon, Lyon, France. DC. • 2016 Brazil. Walsall, West Midlands, UK. Thermocline of Art. New Asian Waves, Dinh Q. Le From Father to Son: A Rite of Passage, Elizabeth Public Spirits, Centre for Contemporary Art Six Lines of Flight: Shifting Geographies in Cut: Making of Removal, Wignall Museum ZKM Center for Art and Media, Karlsruhe, Leach Gallery, Portland, Oregon. Ujazdowski Castle, Warsaw, Poland. Contemporary Art, San Francisco Museum of of Contemporary Art, Rancho Cucamonga, Germany. Born in 1968 in Ha-Tien, Vietnam. Lives and • 2006 6th Daegu Photo Biennale, Deagu, South Korea. Modern Art, San Francisco, California. California. Witness to War: Revisiting Vietnam in works in Ho Chi Minh City, Vietnam. The Imaginary Country, Shoshana Wayne Ikon Gallery, Birmingham, UK. • 2011–12 Lim Dim, Stiftelsen 3, 14, Bergen, Norway. Contemporary Art, San Francisco State Gallery, Santa Monica, California. When Things Fall Apart – Critical Voices on the The Power of Doubt, Times Museum, Summer Group Show, 10 Chancery Lane University Fine Arts Gallery, San Francisco, Selected solo exhibitions Tapestries, P·P·O·W Gallery, New York City. Radars, Trapholt Museum for Moderne Kunst, Guangdong, China. Gallery, Hong Kong. California. • 2016 • 2005 Kolding, Denmark. • 2011 Agent Orange: Landscape, Body, Image, UCR Red Hot: Asian Art Today from the Chaney Dinh Q. Le – Memory for Tomorrow, Hiroshima Vietnam: Destination for the New Millennium: • 2015 Where Do We Go From Here?, Tokyo Wonder Gallery, Riverside, California. Family Collection, Museum of Fine Arts, Museum of Contemporary Art, Hiroshima, Japan. The Art of Dinh Q. Le, Asia Society, New York Spring Watching Pavilion, Void, Derry, Site, Shibuya, Tokyo, Japan. Reflection: The World through Art, Dojima River Houston, Texas. • 2015 City. Northern Ireland. Machines, Oi Futuro Cultural Center, Rio de Biennale 2009, Osaka, Japan. Post Dec: Beyond Pattern and Decoration, Dinh Q. Le – Memory for Tomorrow, Mori • 2004 Evidence, DNA, Berlin, Germany. Janeiro and Belo Horizonte, Brazil. Art Scene Vietnam, ifa Gallery, Berlin, Germany. Joseloff Gallery, Hartford , University Art Museum, Tokyo, Japan. From Vietnam to Hollywood, P·P·O·W Gallery, Imaginary Circle, Asia – Plastic Myths, Asia Beyond the Crisis, 6th Curitiba Biennial, Curitiba, Lim Dim. Contemporary Art in Vietnam, of Hartford, Connecticut. • 2014 New York City; Photology, Milan, Italy; 10 Culture Center, Gwangju, South Korea. Brazil. Stenersenmuseet, Oslo, Norway. Shanghai Contemporary Art Fair, Shanghai Warf, Woof, Zero, One, P·P·O·W Gallery, Chancery Lane Gallery, Hong Kong. • 2014 Betwen Utopia and Dystopia, Museo Unreal Asia, 55th International Short Film Exhibition Center, Shanghai, China. New York City. The Armory Show, P·P·O·W booth, New York Whorled Explorations, Kochi Biennale 2014, Universitario Arte Contemporáneo, Mexico City, Festival, Oberhausen, Germany. PULSE Contemporary Art Fair, P·P·O·W Gallery, Crossing the Farther Shore, Rice University Art City. Kochi, India. Mexico. All That Is Solid Melts into Air, City Visions New York City. Gallery, Houston, Texas. Homecoming, University of California at Contemporary art from Southeast Asia, ARTER Teaching and Learning: Places of Knowledge Festival, Mechelen, Belgium. • 2006–7 • 2013 Santa Barbara Art Museum, Santa Barbara, sanat için alan space for art, Istanbul, Turkey. in Art, MDE11 Encuentro Internacional de The Lining of Forgetting: Internal & External Altered, Stitched and Gathered, MoMA PS1, Fixing the Impermanent, Elizabeth Leach Gallery, California. Ghosts, Spies, and Grandmothers, Mediacity Medellín, Medellín, Colombia. Memory in Art, Austin Museum of Art, Austin, Long Island City, New York. Portland, Oregon. • 2003 Seoul 2014, Seoul, South Korea. Air Hole, National Museum of Art, Osaka, Japan. Texas. • 2006 Spending One’s Life Trying to Find One’s From Vietnam to Hollywood, Shoshana Wayne The Real DMZ 2014, border area near the DMZ, Art in the Auditorium: Elodie Pong, Ergin World Selection of Contemporary Art, Biennale 5th Asia Pacific Triennial of Contemporary Art, Way Home, San Francisco Camerawork, Gallery, Santa Monica, California. Cheorwon, South Korea. Cavusoglu, Dinh Q. Le, Whitechapel Gallery, Cuvée, Linz, Austria. Queensland Art Gallery and Gallery of Modern San Francisco, California. Waking Dreams, Elizabeth Leach Gallery, Southeast Asia Topology, Project Fulfill Art London, UK. Nam Bang, Casula Powerhouse, Liverpool City, Art, Brisbane, Australia. • 2012 Portland, Oregon. Space, Taipei, Taiwan. The Power of Doubt, Museo Colecciones ICO, Australia. Fever Variation, 6th Gwangju Biennale, Remnants, Ruins, Civilization, Empire, Shoshana • 2001 Asian Anarchy Alliance, Kuandu Museum of Madrid, Spain. The Tropics: Views from the Middle of the Gwangju, South Korea. Wayne Gallery, Santa Monica, California. Texture of Memory, Three Rivers Art Festival, Fine Arts, Taipei, Taiwan. 39 Reasons We Still Need Superman, Mercosul Globe, Iziko South African National Gallery, Ghost in the Machine, SF Camerawork, Erasure, 10 Chancery Lane Gallery, Hong Kong. Pittsburgh, Pennsylvania. Immaterial Frontier 2.0, National Visual Arts Biennial, Porto Alegre, Brazil. Cape Town, South Africa. San Francisco, California. • 2011 True Voyage is Return, Montgomery Gallery, Gallery of Malaysia, Kuala Lumpur, Malaysia. • 2010 • 2008 Quiet in the Land, Royal Palace Museum, Luang Erasure, Sherman Contemporary Art Pomona College, Claremont, California. Chorégraphies Suspendues, Carré d’Art – Living in Evolution, Busan Biennale 2010, Busan, The Other Mainstream II: Selections from the Prabang, Laos. Foundation, Sydney, Australia. The Texture of Memory, P·P·O·W Gallery, New Musée d’art contemporain de Nîmes, Nîmes, South Korea. Mikki and Stanley Weithorn Collection, Arizona Liberation, Saigon Open City, Ho Chi Minh City, Dinh Q. Le: Saigon Diary, UB Anderson Gallery, York City. France. Nanjing Biennale, Jiangsu Provincial Art State University Art Museum, Tempe, Arizona. Vietnam. Buffalo University, Buffalo, New York. Persistence of Memory, Shoshana Wayne Transformational Imagemaking: Handmade Museum, Nanjing City, China. Cut: Makings of Removal, Vincent Price Art Another Asia, Fries Museum, Leeuwarden, Dinh Q. Le, Prince Claus Fund Gallery, Gallery, Santa Monica, California. Photography Since 1960, CEPA Gallery, Buffalo, Syntax & Diction: Transforming the Everyday, Museum, Monterey Park, California. The Netherlands. Amsterdam, The Netherlands. • 2000 New York. Sàn Art, Ho Chi Minh City, Vietnam. Moving Perspectives: Lida Abdul and Dinh Q. Infinite Painting, Contemporary Painting South China Sea Pishkun, Ikon Gallery, We Are Named: Photo-based Works by Dinh Post Traditions / New Voices in Asian Art, Emily The Tropics: Views from the Middle of the Le, Freer and Sackler Galleries – Smithsonian, and Global Realism, Villa Manin Center for Birmingham, UK. Q. Le and Michael Rauner, The Museum of Lowe Gallery, Hofstra University, Hempstead, Globe, The Jim Thompson Art Center, Bangkok, Washington, DC. Contemporary Art, Udine, Italy. • 2010 Contemporary Art, Denver, Colorado. New York. Thailand. Wonders, 2008, Singapore. Singapore Biennale 2006, Singapore. Scars and Other Remnants, Prince Claus Fund Persistence of Memory, Elizabeth Leach Gallery, The Armory Show, P·P·O·W Gallery, Material/Immaterial, Shoshana Wayne Gallery, The Tropics: Views from the Middle of the PULSE Art Fair, P·P·O·W Gallery, Gallery, Amsterdam, The Netherlands. Portland, Oregon. New York City. Santa Monica, California. Globe, Martin-Groupius-Bau, Berlin. New York City. 252 253 • 2005 • 2001 Uncommon Traits III, Center for Exploratory and Revealing the Self: Portraits by Twelve • 1989 Selected group exhibitions Image War: Contesting Images of Political Floating Chimeras, Edsvik Konst Och Kultur, Perceptual Art, Buffalo, New York. Contemporary Artists, Paine Webber Gallery, Jurors’ Award, Santa Barbara Art Association. • 2006 Conflict, Whitney Museum of American Art, Stockholm, Sweden. • 1997 New York City. University Art Affiliate Award, University Early Morning, Vietnam Fine Arts Museum, New York City. Conceptual Color: In Albers’s Afterimage, Points of Entry, High Museum of Art, Nexus MFA Thesis Exhibition, Visual Arts Gallery, of California, Santa Barbara. Hanoi, Vietnam; Seoul, South Korea. Universal Experience: Art, Life, and the Tourist’s San Francisco State University, San Francisco, Contemporary Art Center, Atlanta, Georgia; New York City. • 2002 Eye, Museum of Contemporary Art, Chicago, California. The Jewish Museum, New York City; Miami Art • 1991 Collections Contemporary Artists Vietnam. Part II, Illinois. Diabolical Beauty, Santa Barbara Contemporary Museum, Miami, Florida; Eastman International Articulated Disparities: Renegotiating Ackland Art Museum. The Artists’ Space, Selangor, Malaysia. Stages of Memory: The Vietnam War, Museum Arts Forum,Santa Barbara, California. Museum of Photography, Rochester, New York; Masculinity, Gallery 1, San Jose State University, Bronx Museum, New York. Where the Rivers Meet, Vietnam Cultural of Contemporary Photography, Chicago, Illinois. The Red Lotus: A Rare Look into the Work of The Smithsonian Institute, Washington, DC. San Jose, California. Ford Foundation, New York. Festival, Luxembourg and Belgium. Persistent Vestiges: Drawings from the Seven Contemporary Vietnamese-American • 1996 Director’s Choice: Joanne Hammer, Fukuoka Asian Art Museum. • 2001 American-Vietnam War, The Drawing Center, Artists, City Gallery Chastain, Atlanta, Georgia. Chambers of Enchantment, Center for Dinh Le, Kendall Shaw, and Anthena General Mills Collection. Contemporary Artists Vietnam. Part I, New York City. We Are Named: Photo-based Works by Dinh Exploratory and Perceptual Art, Buffalo, New Tacha, Bernice Steinbaum Gallery, New Goldman Sachs & Co. The Artists’ Space, Selangor, Malaysia. Charlie Don’t Surf: 4 Vietnamese American Q. Le and Michael Rauner, The Center for York. York City. Hammer Museum, Santa Monica. Chiang Mai, Thailand. Artists, Centre A |Vancouver International Photography, Woodstock, New York. A Labor of Love, The New Museum, New York Warp and Woof: Comfort and Dissent, Artists J. B. Speed Art Museum. Separate Path, Gallery, Hanoi, Center for Contemporary Asian Art, Vancouver, Alterations, James Graham & Sons, City. Space, New York City. JGS Foundation Collection. Vietnam. Canada. New York City. The Present (H)our: Artists Utilizing Issues of • 1990 J P Morgan Chase Collection. • 2000 • 2004 Conceptual: Sequence, Pairs, Hybrid, Orange Identity, Oakland Museum, Oakland, California. County of Santa Barbara Art Commission, Los Angeles County Museum of Art. Gajah Gallery, Singapore. Identities versus Globalisation?, Chiang Mai Coast College, Costa Mesa, California. Pushing Image Paradigms: Conceptual Individual Artist Award Winners 1989–90, Museum of Contemporary Art, Friend & Nam Son Gallery, Hanoi, Art Museum, Chiang Mai, Thailand; National Made in California, Los Angeles County Maneuvers in Recent Photography, Portland Channing Peake Gallery, Santa Barbara, Los Angeles. Vietnam. Gallery, Bangkok, Thailand; Dahlem Museum, Museum of Art, Los Angeles, California. Institute for Contemporary Art, Portland, California. Museum of Modern Art, New York. Thavibu Gallery, Bangkok, Thailand. Berlin, Germany. Indochina: The Art of War, Luckman Fine Arts Oregon. The Definitive American Contemporary Quilt, Norton Family Foundation, Los Angeles. Lacquer, Denver, Colorado and San Francisco, Only Skin Deep, International Center for Gallery, Los Angeles, California. • 1995 Bernice Steinbaum Gallery, New York City. Portland Art Museum. California. Photography, New York City. • 2000 Picturing Asian America: Communities, Culture, Photo Metro #8, Vision Gallery, San Francisco, Queensland Gallery of Modern Art. • 1999 23+ on 9th, Elizabeth Leach Gallery, Portland, We are Named: Photo-based Works by Dinh Difference, Silver Eye Center for Photography, California. San Francisco Museum of Modern Art. Gajah Gallery, Singapore. Oregon. Q. Le and Michael Rauner, The Museum of Pittsburgh, Pennsylvania; Hunt Gallery, Webster Combinations: Dinh Le and Martina Lopez, The Israel Museum. Cork Street Gallery, London, UK. Off the Wall, Bruce Museum, Greenwich, Contemporary Art, Denver, Colorado. University, St. Louis, Missouri. Ansel Adams Museum, San Francisco, UC Santa Barbara Art Museum. International Festival of Arts, Seoul, South Connecticut. Shifting Beyond Perceptions: Contemporary Tracing Cultures, The Friends of Photography, California. Korea. Home Coming, University Art Museum, Santa LA Visions, Pacific Asia Museum, Pasadena, Ansel Adams Center, San Francisco, California; Dinh Quan Asian Fine Arts, Fukuoka Asian Art Museum, Barbara, California. California. Center for Creative Photography, Tucson, Awards Fukuoka, Japan. • 2003 Beyond Boundaries: Contemporary Photography Arizona. • 2014 Born in 1964. • 1998 Art Basel Miami Beach 2003, P·P·O·W Gallery, in California, Ansel Adams Museum, San Welcome to Asia America, Cambridge Bellagio Creative Arts Fellowship, Rockefeller With Heart & Soul & Mind, New York Arts Miami Beach, Florida. Francisco, California; California State University, Multicultural Art Center, Cambridge, Foundation, New York. Solo exhibitions Center, New York City. Green, Red & Yellow, Goethe-Institut, Hanoi, Los Angeles, California; California State Massachusetts. • 2010 • 2016 International Festival of Arts, South Korea. Vietnam. University, Long Beach, California. Identity Crisis, Cambridge Multicultural Art Visual Art Laureate, Prince Claus Fund, Buddhism and Art, Thien Hung Pagoda, Alliance française, Singapore. Dreams and Conflicts: The Dictatorship of the Of the Moment, San Francisco Museum of Center, Cambridge, Massachusetts. Amsterdam, The Netherlands. Quy Nhon, Vietnam. • 1997 Viewer, , Venice, Italy. Modern Art, San Francisco, California. • 1994 • 2009 Dialogues. An Artistic Exchange, Goethe-Institut, Vietnam Express: Contemporary Arts from Home/ Land: Artists, Immigration and Identity, You Can’t Go Home Again: The Art of Beyond Borders, Bronx Museum of the Arts, International Project Grant, Art Matters, Hanoi, Vietnam. Vietnam, Oslo, Norway. Society for Contemporary Craft, Pittsburgh, Exile, Philadelphia Art Alliance, Philadelphia, New York City. New York City. • 2015 Meandering River, Washington, DC. Pennsylvania. Pennsylvania. Barbie and Beyond, Morphos Gallery, San Artist in Residence, Tokyo Wonder Site, Houston, Texas. Contemporary Arts from Hanoi, Osaka, Only Skin Deep, International Center for The Changing Face of Portraiture, Chapman Francisco, California. Aoyama, Tokyo, Japan. • 2013 Japan. Photography, New York City. University, Orange, California. Picturing Asia America: Communities, Culture, • 1998 Meditation, Eight Gallery, Ho Chi Minh City, All the Rivers are Running. Contemporary Commodification of Buddhism, The Bronx Touch: Contemporary Vietnamese Photography, Difference, Houston Center for Photography, Public Project Grant, The Gunk Foundation, Vietnam. Arts of Vietnam, Trang An Gallery, Hanoi, Museum, New York City. Cypress College Fine Art & Photography Houston, Texas. Gardiner, New York. • 2011 Vietnam. Skin Deep, Numark Gallery, Washington, DC. Galleries, Cypress, California. Asian-American in the Arts, Tweed Gallery, New • 1994 Red River Rising, Bangkok, Thailand. Portrait Exhibition, Trang An Gallery, Hanoi, Un/Familiar Territory, , ID/Y2K: Identity at the Millennium, Castle York City. National Endowment for the Arts, Fellowship • 2007 Vietnam. San Jose, California. Gallery, New Rochelle, New York. Four Photographers, San Francisco Museum in Photography. Il Drago e la Farfalla: Arte contemporanea in • 1996 • 2002–3 • 1999 of Modern Art, Rental Gallery, San Francisco, The DuPont Fellowship, The Art Institute of Vietnam, Complesso del Vittoriano, Rome, Dijon and Nice, France. Corpus Christi: les representations du Christ Pattern, James Graham & Sons, New York City. California. Boston. Italy. The Year of the Dragon, Trang An Gallery, en photographie, 1855–2002, Hotel de Sully, Slow Release: The Rich Mix Exhibition, Retrospective: Awards in the Visual Arts, • 1993 • 2009 Hanoi, Vietnam. Patrimoine photographique, Paris, France. Bishopsgate, Goodyard, London, UK. Batteravia Gallery, Santa Monica, California; Travel Pilot Grant, Arts International and the Sing by the Green Field, Vietnam Fine Arts Contemporary Arts from Vietnam, Fujita Vente Revelation: Representation of Christ in Pattern, James Graham & Sons, Elverhoy Museum, Solvang, California; Ro Snell National Endowment for the Arts. Museum, Hanoi, Vietnam. Museum, Tokyo, Japan. Photography 1855–2002, The Israel Museum New York City. Gallery, Santa Barbara, California. • 1992 • 2004 • 1995 of Art, Jerusalem, Israel. You Can’t Go Home Again: The Art of Exile, The DuPont Fellowship, The Art Institute of Artist in Residence, Asian-American Arts Center, Bangkok, Thailand. French Paints, Red River Gallery, Hanoi, Vietnam. • 2002 Brattleboro Museum, Brattleboro, Vermont. Boston, Boston, Massachusetts. New York. Vietnam Fine Arts Museum, Hanoi, • 1994 Crisis Response, RISD Museum, Providence, Emerging Images, Susquehanna Art Museum, Rituals: Social Identity / A View from Within, Individual Fellowship, Art Matters Inc., New Vietnam. Exhibition House, Ho Chi Minh City Fine Arts Rhode Island. Harrisburg, Pennsylvania. CEPA Center for Exploratory and Perceptual Art, York. Hot Wind, Vietnam Fine Arts Museum, Hanoi, Association, Ho Chi Minh City, Vietnam. Sugar & Cream, Triple Candie Gallery, New York • 1998 Buffalo, New York. Individual Photographer’s Fellowship, Aaron Vietnam. • 1993 City. Bioethics: Thresholds of Corporal Completeness, • 1993 Siskind Foundation. • 2002 Hang Bai Exhibition House, Hanoi, Vietnam. Global Address, Fisher Gallery, Los Angeles, Side Street Projects, Santa Monica, California. Reflections for Peace, Mexic-Arte Museum, Matching Grant, Professional Imaging, Eastman Thavibu Gallery, Bangkok, Thailand. • 1990–95 California. Histories (Re)membered, PaineWeber Art Austin, Texas. Kodak Company. • 2000 Vietnam National Fine Art Exhibitions. Collecting Contemporary American Art, Ackland Gallery, New York City. Interior Dialogues, Montage ’93, Rochester, Polaroid 20” x 24” Grant, Polaroid Corporation. Red Dream, Nam Son Gallery, Hanoi, Art Museum, Ackland, North Carolina. Fabrications: U.S. Photography, Schneider New York. Public Art Project Grant, Creative Time, Vietnam. Awards Lysis: Profound Loss, Healing, and Identity, Museum of Art, Ashland, Oregon; Vrais We Count, Tweed Gallery, New York City. New York City. Exhibition in the USA. • 1995 Pamela Auchincloss Gallery, New York City. Rêves Gallery, Lyon, France; Hotel du Musée, • 1992 • 1990 • 1999 Prize in Vietnamese National Fine Art Eye in The Sky, Ackland Art Museum, Ackland, Arles, France; La Galerie 36, Paris, France; Here and Now, Now and Then, Longwood Arts Individual Artist Award, County of Santa Barbara Hanoi Studio, Hanoi, Vietnam. Exhibitions. North Carolina. l’Espace Pereisc, Toulon, France; Musée de Gallery, Bronx, New York. Art Commission. • 1997 • 1993 Rhythms & Rituals that Feed My Spirit, l’Elysée, Lausanne, Switzerland; Musée de la International Textile Exhibition, Kyoto Museum Photo Metro Fine Art Award, San Francisco, Realistic & Illusion World in Dinh Quan’s Art, Third Prize in the Most Excellent Works The Bronx Museum, New York City. Photographie, Harleroi, Belgium. of Art, Kyoto, Japan. California. Trang An Gallery, Hanoi, Vietnam. of the Vietnam Association of Plastic Artists. 254 255 Collections Artists from Vietnam, Kennesaw State University • 1990 Cross, Worcester, Massachusetts; Utah Museum • 2015 • 2015 Vietnam Fine Arts Museum, Hanoi. Art Galleries, Kennesaw, Georgia; Trammell & Van Ho Exhibition Center, Hanoi, Vietnam. of Fine Arts, Salt Lake City, Utah; Frederick R. Silk Journey to Art, Beijing, China. Watercolor Exchange Exhibition Singapore Art Museum. Margaret Crow Collection of Asian Art, Dallas, Weisman Art Museum, University of Minnesota, Chon Chon, Hanoi and Hue, Vietnam. Vietnam–Malaysia–Thailand, Hanoi, Vietnam. National Visual Arts Gallery of Malaysia, Kuala Texas; Art Museum, Oakland, Awards Minneapolis, Minnesota. LAAY – Young Artists Club Exhibition, Hanoi, Watercolor Exchange Exhibition Lumpur. California; Stedman Art Gallery, Rutgers • 1995 • 2006 Vietnam. Vietnam–Malaysia–Thailand, Malaysia. University, Camden, New Jersey; Depree Gallery, Promotions Prize, Vietnam Fine Arts Association. Mumbai, India. • 2014 • 2007 Dinh Thi Tham Poong Hope College, Holland, Michigan; Clara M. Third Prize, Vietnam Fine Arts Association. Vietnam Female Artists, USA. Vietnam Young Artist Festival 2014, Hanoi, New York City. Eagle Gallery, Murray State University, Murray, • 1993 • 2002 Vietnam. • 1999 Born in 1970 in Lai Chau, Vietnam. Kentucky; Center for Visual Arts, Metropolitan First Prize for the Ethnic Minority Artists Vietnam Art Actuel, University of Montreal, • 2013 ASEAN Art Awards. Lives in Hanoi, Vietnam. State College of Denver, Denver, Colorado; Iris Exhibition. Canada. Ancient Capital Energy, Hue, Vietnam. and B. Gerald Cantor Gallery, College of Holy In Memory: The Art of Afterward, The Sidney Made in Hanoi, Hanoi, Vietnam. Duy Phuong Selected solo exhibitions Cross, Worcester, Massachusetts; Utah Museum Collections Mishkin Gallery, Baruch College, New York City. • 2012 • 2016 of Fine Arts, Salt Lake City, Utah; Frederick R. Fukuoka Asian Art Museum. • 2000 Java Spices, Jogja National Museum, Born in 1984 in Tan An, Long An, Vietnam. Lives Destination Point of an Oblique Line, Art Weisman Art Museum, University of Minnesota, MacLean Collection, Mundelein (Illinois). Galactica, Vietnam Fine Arts Association Gallery, Yogyakarta, Indonesia. and works in Saigon, Paris and New York City. Vietnam Gallery, Hanoi, Vietnam. Minneapolis, Minnesota. Museum of Fine Arts Boston. Hanoi, Vietnam. Asian Contemporary Art, Boseong Baekmin Art • 2013 • 2006 Post Vidal Collection, Vietnam and Switzerland. • 1999 Museum, South Korea. Selected solo exhibitions Green Something, The East Gallery: Il Drago e la Farfalla: Arte Contemporanea Rupertinum Museum der Moderne, Salzburg. Asian Fine Arts Factory, Berlin, Germany. Face to Face, Mai Gallery, Hanoi, Vietnam. • 2016 Contemporary Asian Art, Toronto, Canada. in Vietnam, Complesso del Vittoriano, Rome, Singapore Art Museum. University of the Philippines, Manila, Philippines. Big Boss, Hanoi, Vietnam. Holding Water, Richard D. Baron Gallery, • 2010 Italy. The George Washington University, Gap Vietnam, Haus der Kulturen der Welt, • 2011 Oberlin, Ohio. Falling into Nature, Goethe-Institut, Hanoi, • 2005 Washington, DC. Berlin, Germany. SALE OFF, Hanoi, Vietnam. • 2014 Vietnam. Lotus Flower – Art From Vietnam, Sinebrychoff The World Bank. Frankfurt Arts, Frankfurt am Main, Germany. Funny Life, OM-studio, Hanoi, Vietnam. Holding Water, Institut français du Vietnam, • 2007 Taidemuseo, Helsinki, . • 1998 Energy, Hanoi, Vietnam. Hue, Vietnam; L’Espace, Centre Culturel Seasons of the Soul: A Feminine Perspective 3rd Fukuoka Asian Art Triennale 2005, Fukuoka, Dinh Y Nhi Paris, France. • 2010 Français, Hanoi, Vietnam. from Vietnam, Denise Bibro Fine Art, New York Japan. Bassano del Grappa, Vicenza, Italy. Restart, Contemporary Art Center, Hanoi, • 2012 City. • 2004 Born in 1967 in Hanoi, Vietnam. A Century of Vietnamese Modern Art, Vietnam. Un peu de France, L’Espace, Centre Culturel • 2006 Tradition And Change: Vietnamese Art Today, European tour. Suburban Urbanization, Hanoi, Vietnam. Français, Hanoi, Vietnam. Natural Instinct, Art Vietnam Gallery, Hanoi, The Vietnamese Embassy, Washington, DC. Selected solo exhibitions Busan Museum of Art, Busan, South Korea. • 2009 Vietnam. 1+1+1, Vietnam Fine Arts Museum, Hanoi, • 2016 • 1997 Ton sur ton – Young Artists Club Exhibition, Selected group exhibitions • 2003 Vietnam. My Little Happiness, Art Vietnam Gallery, Hanoi, Hathamalay Gallery, Bangkok, Thailand. Hanoi, Vietnam. • 2016 Connecting with Nature: Celebrating Vietnam’s • 2003–4 Vietnam. Contemporary Arts Exhibition Centre, • 2007 5th Singapore International Photography Ethnic Peoples, Kismet Gallery, New York City. TRACKS: Contemporary Southeast Asian Art, • 2010 Amsterdam, The Netherlands. Contemporary Art on Paper-kites, Sofitel Festival, Singapore. Work by Two Vietnamese Women Artists, Singapore Art Museum, Singapore; The Japan Viet Art Centre, Hanoi, Vietnam. Vietnam Express, Oslo, Norway. Metropole, Hanoi, Vietnam. • 2015 The Eastern Gallery, Chicago, Illinois. Foundation, Tama Art University Museum, • 2009 Meridian International Center, Washington, DC. • 2006 Photo Kathmandu, Kathmandu, Nepal. • 2000 Tokyo, Japan; Fukuoka Asian Art Museum, Security, Thavibu Gallery, Bangkok, Thailand. Center Wallonie-Bruxelles, Paris, France. Young Gallery, Hanoi, Vietnam. 11th Angkor Photo Festival, Angkor, Cambodia. Fish and Stream, Mai Gallery, Hanoi, Vietnam. Fukuoka, Japan. • 2005 • 1996 • 2014 • 1997 • 2003 Gallery 55, Bangkok, Thailand and Shanghai, Museum Fujita, Tokyo, Japan. Awards Out of Nowhere, Sao La Art Space at the Emigration, Salon Natasha, Hanoi, Vietnam. Art After DNA, The Heckscher Museum of Art, China. • 1995 • 2014 Museum of Fine Arts, Ho Chi Minh City, Huntington, New York. • 2003 Portside Gallery, Yokohama, Japan. Award of Young Artists Festival. Vietnam. Selected group exhibitions 36 Ideas From Asia, Rupertinum Museum The Inner World of Dinh Y Nhi, Art Vietnam Itoyama Gallery, Tokyo, Japan. Award of the Vietnam Fine Arts Association. • 2009 • 2016 der Moderne Salzburg, Salzburg, Austria. Gallery, Hanoi, Vietnam. An Ocean Apart, Smithsonian Institution • 2013 Photoquai – Regards croisés, Musée du Quai Affordable Art Fair 2016, Metropolitan Pavilion, • 2002 • 2001 Traveling Exhibition Services. Award of the Vietnam Fine Arts Association. Branly, Paris, France. New York City. The New Spectrum: Paintings by Young Gallery 55, Bangkok, Thailand. 3 Women, Hang Bai Gallery, Hanoi, Vietnam. • 2015 Vienamese Artists, Gelabert Studios Gallery, • 2000 • 1993 Doan Hoang Lam Grants LA Art Show, LA Convention Center, New York City. Goethe-Institut, Hanoi, Vietnam. Asian Arts Exhibition, Bangladesh. • 2016 Los Angeles, California. Brush to Block: Vietnamese Works on Paper, • 1999 • 1992 Born in 1970 in Hanoi, Vietnam. Lives in Hanoi. French Department, Oberlin College. • 2014 The Eastern Gallery, Chicago, Illinois. Canvas International Art, Amsterdam, Four Artists, Alliance française, Hanoi, Allen Memorial Art Museum. New York Art, Antique & Jewelry Show, • 2001 The Netherlands. Vietnam. Selected solo exhibitions Vietnamese Students Association, Oberlin Park Avenue Armory, New York City. Images Vietnam: Perspecives of Leading • 1997 • 1990 • 2015 College. A Woman’s View, Goethe-Institut, Hanoi, Contemporary Artists, Landon Gallery, New Mai Gallery, Hanoi, Vietnam. National Arts Exhibition, Hanoi, Vietnam. Embody, Hanoi, Vietnam. East Asia Studies, Oberlin College. Vietnam. York City. Forum Schlossplatz, Aarau, Switzerland. Texas. Dean of Arts and Sciences, Oberlin College. • 2013 • 2000 • 1995 Collections • 2014 Ellen H. Johnson, Ohio. Boston International Fine Art Show, Cyclorama Young Sculptors, National Art Museum, Hanoi, Vietnam Fine Arts Association Gallery, Hanoi, Singapore National Art Museum. Mortal Flesh, Hanoi, Vietnam. • 2009 at the Boston Center for the Arts, Boston, Vietnam. Vietnam. National Art Museum of Malaysia, Kuala • 2013 Musée du Quai Branly, Paris, France. Massachusetts. • 1999 Lumpur. Endoscopy, Hanoi, Vietnam. • 2012 Women Imaging Women, Cultural Center Selected group exhibitions • 2011 Residencies Art Palm Beach, Palm Beach Convention Center, of the Philippines, Manila, Philippines. • 2007–8 Do Hiep Portrait, Ho Chi Minh City, Vietnam. • 2016 Palm Beach, Florida. • 1998 Changing Identity: Recent Works by Women • 2005 Oberlin College. • 2011 Hanoi Spirit, Bau Gallery, Helsinki, Finland. Artists from Vietnam, Kennesaw State University Born in 1984 in Hung Yen, Vietnam. Hanoi, Vietnam. • 2008 Art Naples, Naples Convention Center, Naples, • 1995 Art Galleries, Kennesaw, Georgia; Trammell & Ho Chi Minh City, Vietnam. ENSP École nationale supérieure de la Florida. Van Ho Exhibition Center, Hanoi, Vietnam. Margaret Crow Collection of Asian Art, Dallas, Solo exhibitions • 2001 photographie d’Arles, France. • 2010 Before the Sun Rises, Giang Vo Exhibition Texas; Mills College Art Museum, Oakland, • 2008 Bangkok, Thailand. Vietnamese Art Today, Midtown Art Center, Center, Hanoi, Vietnam. California; Stedman Art Gallery, Rutgers Long Haunting, Hanoi, Vietnam. • 2000 Collections New York City. • 1994 University, Camden, New Jersey; Depree Gallery, Hanoi, Vietnam. Allen Memorial Art Museum. • 2009 Center, Ngo Quyen, Hanoi, Hope College, Holland, Michigan; Clara M. Selected group exhibitions Meet Vietnam. Tradition and Change, Vietnam. Eagle Gallery, Murray State University, Murray, • 2016 Selected group exhibitions Ha Manh Thang San Francisco City Hall, San Francisco, California. • 1993 Kentucky; Center for Visual Arts, Metropolitan Echo from Nature, Asia Art Link International • 2016 • 2007–8 Minority Artists, Vietnam Fine Arts Museum, State College of Denver, Denver, Colorado; Iris Art Exhibition, Vietnam Fine Arts Museum, Khoi Troi Menh Mong, with G39 Group, Born in 1980 in Thai Nguyen Province, Vietnam. Changing Identity: Recent Works by Women Hanoi, Vietnam. and B. Gerald Cantor Gallery, College of Holy Hanoi, Vietnam. Hanoi, Vietnam. Lives and works in Hanoi, Vietnam. 256 257 Selected solo exhibitions Ha Tri Hieu Contemporary Art Exhibition, Itoyama Gallery, • 1999 Museum of Art and Gallery Jijihyang, Seoul, • 1999 • 2015 Tokyo, Japan. The Wedding, Nhà Sàn Studio, Hanoi, South Korea. Dialogue, Centro Cultural General San Martín, Far in the North Series. Ha Manh Thang’s Born in 1959 in Hanoi, Vietnam. • 1994 Vietnam. Palais Project, Vienna, Austria. Buenos Aires, Argentina. Selected Works 2012–2015, L’Espace, Centre The Gang of Five, Turtle Key Gallery, London, Fluid Zone, Jakarta Biennale, Jakarta, Indonesia. • 1998 Culturel Français, Hanoi, Vietnam. Selected solo exhibitions UK. Selected group exhibitions • 2008 Inhale–Exhale, L’Atelier, Hanoi, Vietnam. KHÓI SÓNG, Galerie Quynh, Ho Chi Minh City, • 2012 Vietnamese Festival, Hong Kong. • 2015 olio. the year end show, Galerie Quynh, Ho Chi • 1997 Vietnam. Eight Gallery, Ho Chi Minh City, Vietnam. • 1993 olio. v2, Galerie Quynh, Ho Chi Minh City, Minh City, Vietnam. Season Wind, Vietnam University of Fine Arts, • 2014 • 2008 The Gang of Five, Hanoi, Vietnam. Vietnam. Post-Doi Moi: Vietnamese Art after 1990, Hanoi, Vietnam. Fading Dreams – Disintegrating Realities, My Way, Art Vietnam Gallery, Hanoi, Vietnam. 6th Asian Exhibition, Bangladesh. Eagles Fly, Sheep Flock: Biographical Imprints Singapore Art Museum, Singapore. Thavibu Gallery, Bangkok, Thailand. • 1998 • 1992 – Artistic Practices in Southeast Asia, Art Stage Intrude: Art & Life 366, Zendai Museum of Collections • 2013 Mai Gallery, Hanoi, Vietnam. Abstract Exhibition, Ho Chi Minh City, Vietnam. Singapore: Southeast Asia Platforms, Marina Bay Modern Art, Shanghai, China. Mori Art Museum, Tokyo. Heaven Is a Place, Galerie Quynh, Ho Chi Minh • 1996 • 1991 Sands Expo and Convention Centre, Singapore. Strategies from Within – an Exhibition of City, Vietnam. Red River Gallery, Hanoi, Vietnam. The Gang of Five, Ho Chi Minh City, Vietnam. • 2014 Vietnamese and Cambodian Contemporary Art Hoang Thanh Phong • 2010 • 1990 Being Present, Galerie Quynh, Ho Chi Minh City, Practices, Ke Center for the Contemporary Arts, Not Memory, Bui Gallery, Hanoi, Vietnam. Selected group exhibitions The Gang of Five, Hanoi, Vietnam. Vietnam. Shanghai, China. Born in 1980. Lives in Hue, Vietnam. • 2008 • 2016 in the shadow of appearances, Galerie Quynh, 3rd Guangzhou Triennial, Guangdong Museum The Rain and the Small Stream, Ernst & Young Heritage Space Plus, Dolphin Plaza, Hanoi, Hoang Duong Cam Ho Chi Minh City, Vietnam. of Art, Guangzhou, China. Selected group exibitions ASEAN Art Outreach, Singapore. Vietnam. Vietnam Now: Changing Society, Canvas Showcase Singapore, Galerie Quynh, City Hall, • 2016 • 2005 • 2014 Born in 1974 in Hanoi, Vietnam. Lives International Art, Amsterdam, The Netherlands. Singapore. Hue Young Art Exhibition – First time, Hue, Beyond the Portrait, Suffusive Art Gallery, Obsession, Dolphin Plaza, Hanoi, Vietnam. and works in Ho Chi Minh City, Vietnam. Onward and Upward, Galerie Quynh, Ho Chi • 2007 Vietnam. Hanoi, Vietnam. • 2009 Minh City, Vietnam. Rokovoko (Mogas Station), Migration International Watercolour, Hue, Vietnam. On Top of the World – Asian Art Connection, Selected solo and two-person exhibitions • 2013 Addicts (a collateral event of the 52nd Venice Meeting, Hue, Vietnam. Selected group exhibitions Taipei, Taiwan. • 2016 Electronic Pacific, South of Market Cultural Biennale), Caffè Aurora, Piazza San Marco, Voices from Nature, Hue, Vietnam. • 2015 • 2007 Between Two Mysteries, Galerie Quynh, Ho Chi Center, San Francisco, California. Venice, Italy. • 2014 Pueblos en resistencia, I Bienal del Sur, Caracas, SoSaBeol Art Festival, South Korea. Minh City, Vietnam. • 2012 Thermocline of Art. New Asian Waves, Dogma Exhibition, Hanoi, Vietnam. Venezuela. • 2006 • 2015 Revealed Concealed: Altered Icons, Galerie ZKM Center for Art and Media, Karlsruhe, 2+1, Granville, France. • 2014 Artists and Writer Nam Cao, Vietnam Fine Arts 1972–2015: Works by Hoang Duong Cam and Quynh, Ho Chi Minh City, Vietnam. Germany. • 2013–14 Drop, Galerie Quynh, Ho Chi Minh City, Museum, Hanoi, Vietnam. Trong Gia Nguyen, Galerie Quynh, Ho Chi Minh To Bring the World into the World, Gendai Rokovoko (Mogas Station), City of Expiration Exhibition, Thailand. Vietnam. • 2005–6 City, Vietnam. Gallery, InterAccess Electronic Media Arts and Regeneration, Shenzhen–Hong Kong • 2010 In the Shadow of Appearances, Galerie Quynh, International Artists Exhibition (7 Vietnamese Asia Now, Galerie Quynh, Espace Pierre Cardin, Centre, Toronto, Canada. Biennale, Shenzhen, China. Wind of Spring, Institut français du Vietnam, Ho Chi Minh City, Vietnam. and 12 Malaysian artists), Wisma Kebudaysaan Paris, France. Subject Shall Remain Anonymous, Give Art Rokovoko (Mogas Station), Month of Images, Hue, Vietnam. Onward and Upward, Galerie Quynh, Ho Chi SGM, Kuala Lumpur, Malaysia; Vietnam Fine • 2013 Space at Artspace@Helutrans, Singapore. Museum of Fine Arts, Ho Chi Minh City, • 2009 Minh City, Vietnam. Arts Museum, Hanoi, Vietnam. The Day before the Renaissance, Galerie Quynh, Art Hong Kong 12, Galerie Quynh, Hong Kong Vietnam. Le Ba Dang Foundation, Hue, • 2013 • 2003–4 Ho Chi Minh City, Vietnam. Convention and Exhibition Centre, Hong Kong. • 2006 Vietnam. Grapevine Selection. Volume 1, Vietnam Fine TRACKS: Contemporary Southeast Asian • 2012 • 2011 Liberation – 1st chapter of Saigon Open City, • 2007–16 Arts Museum, Hanoi, Vietnam. Art, Singapore Art Museum, Singapore; Tales of Chewing Gum, Noodle Soup, and vis-à-vis, Galerie Quynh, Ho Chi Minh City, Museum of Fine Arts, Ho Chi Minh City, Traditional Exhibition of Thua Thien Hue Current (His) Stories, Galerie Quynh, Ho Chi The Japan Foundation, Tama Art University Other Stories, Galerie Quynh, Ho Chi Minh City, Vietnam. Vietnam. Literature and Arts Association. Minh City, Vietnam. Museum,Tokyo, Japan; Fukuoka Asian Art Vietnam. 36 Reasons Why We Still Need Superman, video Belief, Singapore Biennale 2006, AART Northern and Exhibition. • 2012 Museum, Fukuoka, Japan. Picture This, Tolla Duke Contemporary, art touring festival, Centro de Investigaciones publication and installation by Mogas Station, • 2007 Revealed Concealed: Altered Icons, Galerie • 2003 Singapore. Artisticas, Buenos Aires, Argentina; Casa Tres Singapore. Operation Smile Vietnam’s Charity Arts Auction Quynh, Ho Chi Minh City, Vietnam. ASEAN, Southeast Asian Contemporary Art. • 2011 Patios, Medellín, Colombia; Instituto Superior LZ (Mogas Station), Goethe-Institut, Hanoi, in the US. • 2011 • 2001 Ideal Fall, Galerie Quynh, Ho Chi Minh City, de Arte, Havana, Cuba. Vietnam. 50th Anniversary of Hue Fine Arts, Hue, Instruments of Meditation: Works of Art from Red River Gallery, Hanoi, Vietnam. Vietnam. EsperantoPolis, former Colette International LZ (Mogas Station), Belief, Singapore Biennale, Vietnam. the Zoltán Bodnár Collection, Reök Palace, • 2000 Lightning in U Minh Forest, Galerie Quynh, School, Ho Chi Minh City, Vietnam. National Museum of Singapore, Singapore. • 2006 Budapest, Hungary. Vietnamese People’s Characteristics, Melbourne, Art Hong Kong 11, Hong Kong Convention • 2010 • 2005 Con cay, Hue, Vietnam. • 2010 Australia. and Exhibition Centre, Hong Kong. VideoZone 5, 5th International Video Art Out of Context, Huntington Beach Art Center, • 2002–16 The Armory Show, Bui Gallery, Mendes Wood Gallery Art U, Osaka, Japan. • 2010 Biennial, Israel. Huntington Beach, California. Hue Festival Exhibition, Hue, Vietnam. Gallery, New York City. • 1999 Representation in the meaning of a metaphor Daegu Photo Biennial, Daegu, South Korea. 600 Images/60 Artists/6 Curators/6 Cities, • 2002–11 Ha Manh Thang and Le Quy Tong in the Bodnár Buenos Aires, Argentina. for a forest as endoscopy / links between Connect: Kunstzene Vietnam, ifa Gallery, simultaneous exhibitions, Bangkok, The Gift of March, 26 Le Loi Street, Hue, Collection, NextArt Galéria, Budapest, Hungary. • 1998 locations, Project Space and Spare Room Stuttgart, Germany. Berlin, Los Angeles, London, Manila Vietnam. • 2009 A Vietnam Moment, Norway. Gallery, School of Art, RMIT University, On Each Milestone, Japan Foundation Center and Saigon. Connect: Kunstzene Vietnam, ifa Galleries, Vietnam in the 20th Century, Brussels, Belgium. Melbourne, Australia. for Cultural Exchange, Hanoi, Vietnam. Who We Are, Blue Space Art Gallery Awards Berlin and Stuttgart, Germany. • 1997 • 2007 Arts and Cities, Aichi Triennale 2010, Nagoya, and Phu My Hung, Ho Chi Minh City, • 2006 Who do you think we are?, Bui Gallery, Hanoi, Gallery 19, Hanoi, Vietnam. Projecting into the night what has gone with Japan. Vietnam. Second prize for Sand Work Sculpture of Vietnam. Post-Doi Moi Art of Vietnam, Fujita Vente the dawn, Galerie Quynh, Ho Chi Minh City, Camamoto, Japan Foundation Exhibition Space, • 2004 GAKKA artists, Hoi An. • 2008 Museum, Tokyo, Japan. Vietnam. Hanoi, Vietnam. Best Regards and Be Resolved to Win (2002), • 2009 Post-Doi Moi: Vietnamese Art after 1990, The Hague, The Netherlands. • 2006 • 2009 Asia Now, Gyeonggi Arts Center, Suwon City, Certificate from Vietnam Arts Association Singapore Art Museum, Singapore. Winding River. A Path of Vietnamese Fat-free Museum, Galerie Quynh, Ho Chi Minh Connect: Kunstzene Vietnam, ifa Galleries, South Korea. for the painting Peaceful Step. SH300T, L’Espace, Centre Culturel Français, Contemporary Art, Meridian International City, Vietnam. Berlin and Stuttgart, Germany. • 2003 Hanoi, Vietnam. Center, Washington, DC. • 2005 Manifest of Oblivion, Max Art Fest 2009, Tree – focus from both sides, site-specific Lai Thi Dieu Ha • 2007 La Vong Gallery, Hong Kong. Filename.disan, Galerie Quynh, Ho Chi Minh Zagreb, Croatia. installation, Binh Quoi Village, Ho Chi Minh City, Hanoi: 5000 Hoan Kiem Lakes, Vietnam Fine • 1996 City, Vietnam. Intersection Vietnam: New Works from North Vietnam. Born in 1976 in Vietnam. Lives and works Arts Museum, Hanoi, Vietnam. The Gang of Five, La Vong Gallery, Hong Kong. • 2001 and South, Valentine Willie Fine Art, Kuala • 2002 in Hanoi, Vietnam. • 2006 Cicada Gallery of Fine Arts, Singapore. Square Eggs and Under the Covers, Lumpur, Malaysia and Singapore. The Wedding (1999), ConversAsian, National Trading, Suffusive Art Gallery, Hanoi, Vietnam. Contemporary Art Exhibition, Thailand. Goethe-Institut, Hanoi, Vietnam. A Snapshot of Contemporary Vietnamese Art, Gallery, Grand Cayman Island. Solo exhibitions • 1995 • 2000 ifa Gallery, Shanghai, China. • 2000 • 2015 Collections Six Vietnamese Artists, Yokohama Gallery, Speak Out / Beach Eggs, Thanh Hoa Beach, Magnetic Power, ASEAN – Korea Contemporary God Creates Elephants, God Creates Grass, Conservation of Vitality, CUC Gallery, Hanoi, Singapore Art Museum, Singapore. Yokohama, Japan. Vietnam. Photography & Media Art Exhibition, Coreana Nhà Sàn Studio, Hanoi, Vietnam. Vietnam. 258 259 Selected group exhibitions • 2014 • 2002 Le Phi Long Le Quang Ha War and Revolution, Vietnam Fine Arts • 2014 Red Project, The Observatory, Ho Chi Minh City, Saint-Malo, France. Association Exhibition, Hanoi, Vietnam. Psychodrama Therapy, Rapid Pulse Vietnam. Berlin, Germany. Lives and works in Ho Chi Minh City, Born in 1963 in Hanoi, Vietnam. Lives in Hanoi. • 1993 International Performance Art Festival, Chicago, Into the Sea, FreeS Art Space, Taipei, Taiwan. Nancy, France. Vietnam. Bronze medal, Vietnam Fine Arts Association Illinois. • 2012 Paris, France. Selected solo and group exhibitions Exhibition, Hanoi, Vietnam. Mind, Flesh, Matter, Sàn Art, Ho Chi Minh City, The Bridge II, DMZ art space, Ganghwa, Working, Rennes, France. Solo exhibitions and awards Beijing, China. Vietnam. South Korea. Haldon Gallery, London, UK. • 2015 • 2016 • 1992 • 2013 Before ’86, Hive Camp, Cheongju University • 2001 Sao La Art Space at the Museum of Fine Arts, The Gilded, Kamikaze Factory Studio, Hanoi, Bronze medal, Vietnam Fine Arts Association Festival Images, New Space, Copenhagen Multi-Purpose Sports & Culture Center, Art Gallery of Yasaka Hotel, Nha Trang, Ho Chi Minh City, Vietnam. Vietnam. Exhibition, Hanoi, Vietnam. and Aalborg, Denmark. Cheongju, South Korea. Vietnam. • 2015 Ten Vietnamese Painters, L’Espace, Centre • 2012 • 2011 La Baule, France. Selected group exhibitions Hypocalypse, Penang, Malaysia. Culturel Français, Hanoi, Vietnam. Clinging Hybrid, Goethe-Institut and Japan The Number into the Sea, New Space Arts Cologne, Germany. • 2016 • 2014 Young Painters, Berlin, Germany. Foundation, Hanoi, Vietnam. Foundation, Hue, Vietnam. Rennes, France. To Day, Hai Ba Trung, Hanoi, Vietnam. Kamikaze Factory Studio, Hanoi, Vietnam. One Day in the City, Performance Art Festival, Into the Sea, Zero Station, Ho Chi Minh City, Ana Mandara Resort, Nha Trang, Vietnam. The Factory Contemporary Art Center, Ho Chi • 2013 Collections Tel Aviv, Israel. Vietnam. • 2000 Minh City, Vietnam. Manzi Art Space, Hanoi, Vietnam. Singapore Art Museum. Under Reflection Project, Zero Art Space, • 2010 New Space Art Gallery, Hue, Vietnam. Ly Son Project, Ly Son Island, Quang Ngai, • 2012 Fukuoka Asian Art Museum. Yangon, Myanmar. Memory, The Bridge, Hue, Vietnam. Tokyo, Japan. Vietnam. Blinded Realism, Eight Gallery, Ho Chi Minh • 2011 • 2009 French-Vietnamese Dragon, Hue 2000 Festival, • 2015 City, Vietnam. Le Quy Tong The Beauty, INACT 2, Nhà Sàn Studio, Hanoi, Red River, Hue, Vietnam. Hue, Vietnam. Nhà Sàn Collective, Hai Ba Trung, Hanoi, • 2010 Vietnam. Sunrise, Bangkok, Thailand. • 1998 Vietnam. Open Factory Art House, Hanoi, Vietnam. Born in 1977. Lives and works in Hanoi, Contemporary Art Festival, Hoa Lu Hall, Van Ho • 2008 Faculty of Fine Arts, Chiang Mai, Artist Fair Taiwan 2015, Zhongshan District, • 2008 Vietnam. Exhibition Center, Hanoi, Vietnam. Red Dream, Vientiane, Laos. Thailand. Taipei, Taiwan. Altered Faces, solo show, Thavibu Gallery, A Small Mess Left, Khoan Cat Be Tong, Ho Chi Dialogue, Washington, DC. Khemer Art, Bangkok, Thailand. Welch Gallery, Georgia State University, Atlanta, Bangkok, Thailand. Selected solo exhibitions Minh City, Vietnam. Memory, New York City. Georgia. • 2006 • 2015 Sa Sa Art Projects, Phnom Penh, Cambodia. Life, Luxembourg. Selected group exhibitions BCS Winter Open Studio and The Living Room Nam Cao va Hoi Hoa, Vietnam Fine Arts True Blue, Manzi Art Space, Hanoi, Vietnam. • 2010 TTT&HH, Hue, Vietnam. • 2016 Opening, Bamboo Curtain Studio, Taipei, Museum, Hanoi, Vietnam. • 2014 Give Me Your Kiss, Flying up, INACT 1, Red Ground, Tel Aviv, Israel. South East Asia, Gwangju Museum of Art, Taiwan. Hue Festival, Hue, Vietnam. Catalys, Dong Phong Gallery, Hanoi, Vietnam. Nhà Sàn Studio, Hanoi, Vietnam. • 2007 Gwangju, South Korea. Dogma Prize Collection, Hanoi, Vietnam. • 2005 • 2011 • 2009 A Human Mirror, Hue, Vietnam. • 2015 Kickstarter, Sàn Art, Ho Chi Minh City, The Ten Courts of the Kings of Hell, Vietnam New Day, Apricot Gallery, Mayfair, London, UK. Fast Food for the Future at Lim Dim. The Colour of Land, Bangkok, Thailand. STANCE or DISTANCE? Connecting Myself to the Vietnam. Past and Present, Backside Gallery, London, UK; • 2008 Contemporary Art in Vietnam, Stenersenmuseet, Boston, Massachusetts. World, Contemporary Art Museum, Kumamoto, March: Art Walk, Sao La Art Space at the Fielding Lecht Gallery, Austin, Texas. the pink days, Viet Art Center, Hanoi, Vietnam. Oslo, Norway. Harvest Time, Vientiane, Laos. Japan. Museum of Fine Arts, Ho Chi Minh City, • 2004 • 2007 Nippon Performance Art Festival, Tokyo, A Space of Sun, Rennes, France. Into Asia, Queens Museum, New York City. Vietnam. Le Quang Ha, L’Espace, Centre Culturel Français, Hanoi on the Move, Hanoístudio Gallery, Hanoi, Nagano, Yokohama, Japan Performance Art • 2006 Stories in a Story, Live Biennale, Vancouver, • 2014 Hanoi, Vietnam. Vietnam. Exchange Program with NIPAF Japan, Window, Bangkok, Thailand. Canada. Autumn Gallery, Sàn Art, Ho Chi Minh City, • 2003 • 2005 Nhà Sàn Studio, Vietnam. Red, Hoi An, Vietnam. Secret Archipelago, Palais de Tokyo, Paris, Vietnam. melbourneconnectionasia 2003, Melbourne, Sudden Appearance, Suffusive Art Gallery, • 2008 Twin Well, Ho Chi Minh City, Vietnam. France. Mind, Flesh, Matter, Sàn Art, Ho Chi Minh City, Australia. Hanoi, Vietnam. Explosion, What Is Equality, Vietnam University Mosaic in Paradise, Hue Festival, Hue, Vietnam. Do Disturb Contemporary , Vietnam. • 2002 Presence, L’Espace, Centre Culturel Français, of Fine Arts, Hanoi, Vietnam. • 2005 Palais de Tokyo, Paris, France. • 2013 Vietnam Art Actuel, Centre d’exposition de Hanoi, Vietnam. 10+, 10th anniversary of Nhà Sàn, Massachusetts Institute of Technology, • 2014 Green People and the City, Charlie Dutton l’Université de Montréal, Montreal, Canada. • 2006 Nhà Sàn Studio, Hanoi, Vietnam. Cambridge, Massachusetts. Budi Daya, video Into the Sea, Malay Heritage, Gallery, London, UK. • 2001 The Bridges, Dong Phong Gallery, Hanoi, • 2007 Yale University, New Haven, Connecticut. Singapore. Youth National Art. Energy of the Ancient Solo show, Vietnam Fine Arts Museum, Hanoi, Vietnam. Immortality, Contemporary Art Festival, Vietnam Columbia University, New York City. The glimmer that we see / Vietnam, FreeS Art Capital, Hue, Vietnam. Vietnam. University of Fine Arts, Hanoi, Vietnam. Gallery Vietnam, New York City. Space, Taipei, Taiwan. • 2012 International Fine Arts Workshop, Hanoi, Selected group exhibitions • 2006 Washington, DC. • 2013 TOKYO x HANOI x ART, La Quatrième, Hanoi, Vietnam. • 2007 Patches, Recovery, Saigon Open City, Ho Chi Gallery Latelie, Hanoi, Vietnam. Singapore Biennale 2013. Vietnam. Represented Vietnam at ASEAN Art Awards, Hanoi 5000 HoGuom, Vietnam University Minh City Fine Arts Association, Ho Chi Minh Red Dream, Ancient Gallery, Hanoi, Vietnam. Freedom is the Moto, Long Beach, California. KÍ, La Quatrième, Hanoi, Vietnam. Philip Morris, Bali, Indonesia. of Fine Arts, Hanoi, Vietnam. City, Vietnam. Bangkok, Thailand. • 2008 • 2011 Zug, Switzerland. Young Artists Festival, Vietnam University of DOM DOM performance art event, Casino, New Space Arts Foundation, Hue, Florence, Italy. LUALA Concert, Ly Thai To, Hanoi, • 2000 Fine Arts, Hanoi, Vietnam. Nhà Sàn Studio, Vietnam. Vietnam. • 2003 Vietnam. Second Prize Winner in the National Fine Arts • 2006 Multiply, Gallery 8, Hanoi, Vietnam. • 2004 Meeting America–Saigon–Hue, New Space Arts • 2010 Exhibition. Saigon Open City, Museum of Fine Arts, Re-build installation, Goethe-Institut, Hanoi. 3 , Amsterdam, The Netherands. Foundation, Hue, Vietnam. Piece of Life, Institut français du Vietnam, • 1999 Ho Chi Minh City, Vietnam. Vietnamese Lacquer 4, Montreuil, Hue–Hoi An–Saigon, arts performance, Hue, Vietnam. Seoul, South Korea. Chim Sáo bar, Hanoi, Vietnam. Le Brothers France. New Space Arts Foundation, Hue, Vietnam. National Art Exhibition, Hanoi, Vietnam. Boston, Massachusetts. Menu, Young Gallery, Hanoi, Vietnam. Vietnamese Lacquer 3, Strasbourg, Green, Red & Yellow, Goethe-Institut, Hanoi, New Space Arts Foundation, Hue, • 1998 Exchange, Suffusive Art Gallery, Hanoi, Vietnam. Le Duc Hai and Le Ngoc Thanh (twins) France. Vietnam. Vietnam. New York City, Boston, Illinois and California. • 2005 Born in 1975 in Bình Tri Thien, Vietnam. Vietnamese Lacquer 2, Saint-Malo, • 2001 • 2009 Fukuoka Asian Art Museum, Fukuoka, Japan. Trees, Vietnam University of Fine Arts and Live in Hue, Vietnam. France. Philip Morris, Hanoi and Hue, Vietnam. Institut français du Vietnam, Hue, Vietnam. • 1997 German Embassy, Hanoi, Vietnam. Vietnamese Lacquer 1, Rennes, • 2000 Solo show, DOM, Berlin, Germany. • 2003 Selected solo exhibitions France. National Painting Exhibition, Hanoi, Vietnam. Residencies • 1995 Space No. 4, Contemporary Fine Arts Center, • 2016 Here and There, Paris, France. • 1998 • 2015 Silver medal, Vietnam Fine Arts Association Hanoi, Vietnam. The Game, The Jim Thompson Art Center, Twin Brothers, Paris, France. Museum of Modern Art, Chiang Mai, Bamboo Curtain Studio, Taipei, Exhibition, Hanoi, Vietnam. Vietnam Artists Today, Melia Hotel, Hanoi, Bangkok, Thailand. Bangkok, Thailand. Thailand. Taiwan. Solo show, Vinh Loi Gallery, Ho Chi Minh City, Vietnam. DMZ, DMZ art space, Hue, Vietnam. Bazouges-la-Pérouse, France. • 2013–14 Vietnam. Visage du Vietnam, Musée Henri Martin, • 2015 • 2003 Collections Sàn Art, Ho Chi Minh City, • 1994 Cahors, France. The Underlying, Center A, Vancouver, Green, Red & Yellow, Goethe-Institut, Hanoi, Singapore Art Museum. Vietnam. Bronze medal, Vietnam Fine Art Association Jeunes Regards, French Embassy, Hanoi, Canada. Vietnam. The Jim Thompson Art Center, Bangkok, • 2012–13 Exhibition, Hanoi, Vietnam. Vietnam. Other Side Project, HDLU, Zagreb, Croatia. Hue University of Fine Arts, Hue, Vietnam. Thailand. NAME Art Space, Hanoi, Vietnam. Song Hong Gallery, Hanoi, Vietnam. Philip Morris ASEAN Art Awards. 260 261 • 2002 • 1998 Le Thuy • 2004 • 2002 Supervues, Hotel Burrhus, Vaison-la-Romaine, Digital Visual Art, Goethe-Institut, Hanoi, Asia–Vietnam International Modern Art, International performance workshop, British Kiki Restaurant, Chez Chalana, Bordeaux, France. Vietnam. Museum of Fine Arts, Ho Chi Minh City, Born in 1988 in Thieu Hoa, Thanh Hoa, Council, Hanoi, Vietnam. France. • 2007–9 Vietnam Artists Today, Melia Hotel, Hanoi, Vietnam. Vietnam. Lives and works in Hanoi, Vietnam. • 2003 • 2000 TransPOP: Korea Vietnam ReMix, Arko Art Vietnam. ASEAN Art Awards Exhibition, Philip Morris, Vietnam Now, Williamsburg Art & Historical Un thé chez les fous, No Beach, travelling Center, Seoul, South Korea; University of The Soul of Vietnam, Viet Art Centre, Hanoi, Hanoi Grand Theatre, Hanoi, Vietnam. Solo exhibitions Centre, Brooklyn, New York. exhibition, Bordeaux, France. California, Irvine and Yerba Buena Center, Vietnam. • 1997 • 2015 Green, Red & Yellow, Goethe-Institut, Hanoi, San Francisco, California; Sàn Art, Ho Chi Minh S.E.A., Vietnam University of Fine Arts, Hanoi, The Contemporary Vietnamese Paintings, The Order, Chula Fashion House, Hanoi, Vietnam. Selected group exhibitions City, Vietnam. Vietnam. Artoteek Den Haag, The Hague, The Vietnam. • 2002 • 2016 • 2007 Nertherlands. Window to Asian, Art Network Asia workshop, Kenpoku Art 2016, Ibaraki, Japan. Requiem for a Wall, Galerie Quynh, Ho Chi Le Thanh Thu The 33rd Asia Modern Art Exhibition, Tokyo Selected group exhibitions Hanoi Contemporary Art Centre, Hanoi, • 2015 Minh City, Vietnam. Metropolitan Art Museum, Tokyo, Japan. • 2016 Vietnam. transmutation, Galerie Quynh, Ho Chi Minh Rokovoko (Mogas Station), City of Expiration Born in 1956 in Qui Nhon, Vietnam. Asia Modern Art Exhibition, Art Hall, Kobe, Affordable Art Fair 2016, Singapore. • 2001 City, Vietnam and Regeneration, Shenzhen–Hong Kong Lives and works in Ho Chi Minh City, Japan. • 2015 Workshop, Maokhe Coal Mine, Quang Ninh, olio. v2, Galerie Quynh, Ho Chi Minh City, Biennale, Shenzhen, China Vietnam. A Room with A View, Hyatt Regency, Yu Yu Vietnam Blue, Vietnam Fine Arts Vietnam. Vietnam. Rokovoko (Mogas Station), Month of Images, Singapore. Museum, Hanoi, Vietnam. • 1999 The Primacy of Drawings, Dia Projects, Ho Chi Museum of Fine Arts, Ho Chi Minh City, Selected solo exhibitions The Contemporary Vietnamese Paintings, Emerging Soul, Mandala Fine Art Gallery, Vietnam Contemporary Art, Buenos Aires. Minh City, Vietnam. Vietnam. • 2009 La Salle Art Academy, Singapore. Singapore. • 2014 Alice IN… Saigon (Wonderful District), Month Living Space, Phuong Mai Gallery, Ho Chi Minh Man & Woman, H&S Gallery, Brussels, The Dogma Prize in Self Portraiture, Vietnam Awards Papier(s), Fondation Salomon, Annecy, France. of Images, Museum of Fine Arts, Galerie City, Vietnam. Belgium. Fine Arts Museum, Hanoi, Vietnam. • 2004 drop, Galerie Quynh, Ho Chi Minh City, Quynh, IDECAF, Ho Chi Minh City Photography • 2000 Escape Kiron Gallery, Paris, France. Da Dang, Work Room Four, Hanoi, Vietnam. Second prize in the project [email protected], Vietnam. Association, Ho Chi Minh City, Vietnam. Moco Gallery, Ho Chi Minh City, Vietnam. • 1996 Lay, 16 Ngo Quyen, Hanoi, Vietnam. a fountain for the new Goethe-Institut, Hanoi, Onward and Upward, Galerie Quynh, Ho Chi Rokovoko (Mogas Station), Migration Sunjin Galleries, Singapore. The 32nd Asia Modern Art Exhibition, Tokyo • 2014 Vietnam. Minh City, Vietnam. Addicts (a collateral event of the 52nd Venice Gallery Nii, Osaka, Japan. Metropolitan Art Museum, Tokyo, Japan. The echo of nature, Vietnam Fine Arts Museum, DAISY, DAISY – Ode of digits, Sàn Art Biennale), Caffè Aurora, Piazza San Marco, • 1999 The Contemporary Vietnamese Art, De Ballens Hanoi, Vietnam. Sandrine Llouquet Production x Phuong My, Ho Chi Minh City, Venice, Italy. PIAT, Tokyo, Japan. Gallery, Geneva, Switzerland. YoungArts Festival 2014, Vietnam University Vietnam. A Wonderful Weekend, 72–13, Singapore. Emporium Gallery, Tokyo, Japan. Asia Modern Art, Ishikawa Prefectural Museum of Fine Arts, Hanoi, Vietnam. Born in 1975 in Montpellier, France. Lives and • 2013 • 2006 • 1995 of Art, Ishikawa, Japan. Young Artists Graphics Exhibition, 16 Ngo works in Ho Chi Minh City, Vietnam. Sovereign Asian Art Prize 2013, Southeast LZ (Mogas Station), Goethe-Institut, Hanoi, Ho Chi Minh City Fine Arts Association, Ho Chi Vietnamese Paintings Today, Fujita Vente Art Quyen, Hanoi, Vietnam. Asian finalists’ exhibition, Espace Louis Vuitton, Vietnam. Minh City, Vietnam. Museum, Tokyo, Japan. • 2013 Selected solo and two-person exhibitions Singapore. LZ (Mogas Station), Belief, Singapore Biennale, • 1993 ASEAN Art Awards, Philip Morris, National Nature Colour, Nguyen Art Gallery, Hanoi, • 2015 • 2011 National Museum of Singapore. Jounalist Association, Ho Chi Minh City, Gallery, Bangkok, Thailand. Vietnam. Chapitre 2: Midi, L’Espace, Centre Culturel vis-à-vis, Galerie Quynh, Ho Chi Minh City, Jouissance, Xu Saigon, Ho Chi Minh City, Vietnam. • 1995 Capital Fine Arts Exhibitions, Hanoi, Vietnam. Français, Hanoi, Vietnam. Vietnam. Vietnam. • 1991 The 31st Asia Modern Art Exhibition, Tokyo • 2012 Carne Vale, Galerie Quynh, Ho Chi Minh City, Shaping a Line, Sàn Art, Ho Chi Minh City, • 2005 Tudo Gallery, Ho Chi Minh City, Vietnam. Metropolitan Art Museum, Tokyo, Japan. Students are Arts, Viet Art Centre, Hanoi, Vietnam. Vietnam. Rendezvous, Blue Space Art Gallery, Ho Chi • 1990 Asia Modern Art, Ishikawa Prefectural Museum Vietnam. • 2013 EsperantoPolis, former Colette International Minh City, Vietnam. MT. Gallery, Ho Chi Minh City, Vietnam. of Art, Ishikawa, Japan. Chapter I: Where I Attempt to Drown the School, Ho Chi Minh City, Vietnam. Sunday Morning, Galerie Fra Angelico, Nantes, • 1989 • 1994 Awards Dragon, Galerie Quynh, Ho Chi Minh City, Mise-en-scène, Galerie Quynh, Ho Chi Minh France. Museum Art Gallery, Ho Chi Minh City, The 30th Asia Modern Art Exhibition, Tokyo • 2012 Vietnam. City, Vietnam. • 2004 Vietnam. Metropolitan Museum, Tokyo, Japan. Winner of “Students are Arts” of the Vietnam • 2012 The Art of Travel, Air France event, Flow, Ho Chi Aujourd’hui c’est Ravioli, Galerie Cortex Asia Modern Art, Kanazawa Art Museum, University of Fine Arts, Hanoi. Ligne de fuite, Saigon Domaine, organized by Minh City, Vietnam. Athletico, Bordeaux, France. Selected group exhibitions Kanazawa, Japan. Post Vidai Contemporary Art Collection, Now Boarding. Island Thinking and Flights Buy Sellf, municipal spaces, Marseille, • 2011 Asia Modern Art International, Vietnam. Collections Ho Chi Minh City, Vietnam. of Fancy, Give Art, Singapore. France. Landscape and Mind of Vietnam, Gwangju • 1992 Dogma Collection, Ho Chi Minh City. • 2011 • 2010 • 2003 Museum of Art, Gwangju, South Korea. Asia Heritage Program, Notices Gallery, Elegant Team Development Collection, I would prefer not to, Give Art, Singapore. Collective Memories: Together in Electric Fémina Squat, La Pieuvre, Point Noire, Republic • 2010 Singapore. Hong Kong. • 2010 Dreams, Give Art, Singapore. of Congo. 20/20 Event, Akko Art Gallery, Bangkok, • 1991 The Complex of the Glass Frog, Galerie Quynh, No Soul for Sale, Tate Modern, London, UK. Wonderful, Lendroit Galerie, Rennes, Thailand. Vietnamese Painting: A Liberated View, Le Vu Ho Chi Minh City, Vietnam. ART HK 10, Galerie Quynh, Hong Kong. France. • 2008 The Substation, Singapore. • 2008 of reveries and obsessions, Galerie Quynh, Soleil sur Nantes, Show Bedroom, Nantes, Vietnamese Oil Paintings, Hanoi, Vietnam. Reflection from Vietnam, La Routon de Paris, Born in 1972 in Hanoi, Vietnam. Lives in Halong, Ce que je dis trois fois est absolument, 3x+, Le Ho Chi Minh City, Vietnam. France. Voices of Vietnam, Fortyfive Downstairs, Paris, France. Vietnam. mois de I’image, Sàn Art, Ho Chi Minh City, • 2009 Ctrl+O, Inkorporation, Toulouse, France. Melbourne, Australia. • 1990 Vietnam. Half of the Sky, Galerie Quynh, Ho Chi Minh Incompréhension, Palais de Tokyo site de • 2005 Museum of Fine Arts, Ho Chi Minh City, Solo exhibitions Milk, Galerie Quynh, Ho Chi Minh City, City, Vietnam. création contemporaine, Paris, France. Rainbow Bridge, Tokyo, Japan. Vietnam. • 2004 Vietnam. Bao Luc – Violence, Hanoi Future Arts, Hanoi, • 2001 • 2004 Bring Up, Ryllega Gallery, Hanoi, Vietnam. • 2006 Vietnam. Generic workspace, Bordeaux, France. Prayer for Peace, ASEAN-Japan Center, Tokyo, Awards • 2000 Welcome Home, travelling exhibition organized Nghe Thuat Sap Dat, Ho Tram Resort, Ba Ria – Buy Sellf, Galerie BF15, Lyon, France. Japan. • 2001–5 Time and Worm, Nhà Sàn Studio, Hanoi, by Ipso Facto Gallery, private residence, Nantes, Vung Tau, Vietnam. Aller-retour, artistic exchange between • 2003 National Fine Art Exhibition. Vietnam. France. Who do you think we are?, Bui Gallery, Hanoi, Bordeaux and Nantes, France. Asia Art Exhibition, O Gallery, Tokyo, Japan. • 1998 • 2005 Vietnam. • 2002 Vietnam Art Awards, Philip Morris. Selected group exhibitions Troi oi!, Galerie Quynh, Ho Chi Minh City, New Asian Promises, PalaisProject, Vienna, Luu Tuyen Hidden Faces of Vietnamese, Vietnam Gallery, ASEAN Art Awards. • 2009 Vietnam. Austria. New York City. • 1996 Lim Dim. Contemporary Art in Vietnam, • 2004 FOBII: Art speaks, VAALA Cultural Center, Born in 1982 in That Binh Province, Vietnam. • 2001 Vietnam Art Awards, Philip Morris. Stenersenmuseet, Oslo, Norway. Bleu presque transparent, Galerie Cortex Santa Ana, California. Lives in Hanoi, Vietnam. Vietnamese & Japanese Artists, Museum of Fine • 2006 Athletico, Bordeaux, France. • 2008 Arts, Ho Chi Minh City, Vietnam. Collections Art Connexions, RMIT Gallery, Melbourne, Chambre d’amis, private residence, Bordeaux, olio. the year end show, Galerie Quynh, Ho Chi Solo exhibitions • 1999 Vietnam Fine Arts Museum, Hanoi. Australia. France. Minh City, Vietnam. • 2012 ASEAN Art Awards Exhibition, Museum of Fine Singapore Art Museum. Art Connexions, ifa Gallery, Berlin, • 2003 Art Multiple, Ke Center for Contemporary Arts, Cover of Reality, Viet Art Centre, Hanoi, Arts, Ho Chi Minh City, Vietnam. Museum of Fine Arts, Ho Chi Minh City. Germany. Livre N° 12, La Quincaillerie, Bordeaux, France. Shanghai, China. Vietnam. 262 263 Selected group exhibitions • 1998 Exquisite Crisis & Encounters, Asian/Pacific/ • 1997 Ly Tran Quynh Giang • 2004 • 2015 Dream, IDECAF Institut d’échanges culturels American Institute at New York University, Parcours, Alliance française, Hanoi, Vietnam. Bright Young Eyes, annual exhibition organized Ha Noi open 3, Work Room Four, Hanoi, avec la France, Ho Chi Minh City, Vietnam. New York City. • 1995 Born in 1978 in Hanoi, Vietnam. Lives in Hanoi. by the French Embassy and the Vietnam Fine Vietnam. Saigon Open City, Southern Women’s Museum, National Five-year Exhibition of Fine Arts, Arts Association, Hanoi Contemporary Art Affordable Art Fair 2015, Singapore. Selected group exhibitions and Ho Chi Minh City, Vietnam. Vietnam Fine Arts Museum, Hanoi, Vietnam. Selected solo exhibitions Center, Hanoi, Vietnam. • 2014 performances • 2006–07 • 2014 • 2002 Ha Noi open 2, Work Room Four, Hanoi, • 2016 International Exhibition of Contemporary Grants and awards Where They Turn to, CUC Gallery, Hanoi, Bright Young Eyes, annual exhibition organized Vietnam. Encuentro excentrico, Santiago, Chile. Art. Chapter 1: Liberation, Southern Women’s • 2013 Vietnam. by the French Embassy and the Vietnam Fine Berlin Wall, German Embassy, Hanoi, Vietnam. • 2014 Museum, Ho Chi Minh City, Vietnam. Fulbright sponsorship for one year internship, • 2012 Arts Association, Hanoi Contemporary Art Asian Contemporary Art Show, Hong Kong. Love Readings, Diasporic Vietnamese Artists • 2006 Joan Flasch Artist Book Collection. Hey, Are You Sick, Viet Art Centre, Hanoi, Vietnam. Center, Hanoi, Vietnam. • 2013 Network (DVAN), Bissap Baobab, San Francisco, Xin Chao, My Darling. Pace on the Peace Project, Clare Rosen and Samuel Edes Foundation Prize • 2010 • 2001 Asian Contemporary Art Show, Hong Kong. California. Stone & Water Gallery, Anyang, South Korea. for Emerging Artists, Candidate. The Solitary World of Ly Tran Quynh Giang, Hanoi Contemporary Art Center, Hanoi, Affordable Art Fair Hong Kong 2013, Hong • 2013 • 2005 Nominated by SAIC School of the Art Institute Art Vietnam Gallery, Hanoi, Vietnam. Vietnam. Kong. MFA Thesis Show, Sullivan Gallery, SAIC Bread and Nails, Roger Smith Gallery, New York of Chicago, Sculpture Department. • 2007 • 2012 School of the Art Institute of Chicago, Chicago, City. • 2012 Giang, L’Espace, Centre Culturel Français, Awards Destination I Malaysia–Vietnam, Vietnam Fine Illinois. Comb, Flux Factory, New York City. South East Asia Award by the Institute Hanoi, Vietnam. • 2004 Arts Museum, Hanoi, Vietnam. • 2012 8th Biennale Internationale des Poètes en Val- of International Education, USA. • 2004 Awarded First Prize, Young Artists Competition, • 2010 Recent Works by Artists of Vietnamese Heritage, de-Marne, Centre de la Vieille Charité, Marseille; Dean Grant, MFA in Studio, Sculpture, SAIC Awakening from an Afternoon, 29 Hang Bai, organized by the French Embassy and the Ha Noi Capital 1000 years, Hanoi, Vietnam. Basespace Gallery, SAIC School of the Art Espace Roland Roche, Valenton; MJC Club, School of the Art Institute of Chicago. Hanoi, Vietnam. Vietnam Fine Arts Association. The prize Institute of Chicago, Chicago, Illinois. Créteil; Théâtre Jean Vilar, Vitry-sur-Seine; • 2011 • 2002 included 3 months of study in Paris at the École Ly Hoang Ly People vs Space, Richard Gray Gallery, John Maison de la Poésie, Saint-Quentin-en-Yvelines, Fulbright Scholarship, MFA in Studio, SAIC Tropical Zone, 29 Hang Bai, Hanoi, Vietnam. nationale supérieure des Beaux-Arts. Hancock Building, Chicago, Illinois. France. School of the Art Institute of Chicago. Born in 1975 in Hanoi, Vietnam. Lives in • 2009–10 • 2004 Dean Grant, MFA in Studio, Sculpture, SAIC Selected group exhibitions Ngo Van Sac Ho Chi Minh City, Vietnam. Connect: Art Scene Vietnam, ifa Galleries, Identities vs Globalization, Dahlem Museum, School of the Art Institute of Chicago. • 2014 Berlin and Stuttgart, Germany. Berlin, Germany; Chiang Mai Art Museum, • 2005 Vietnamese Contemporary Art Presentation, Born in 1980 in Hanoi, Vietnam. Lives and Solo exhibitions and performances • 2009 Chiang Mai, Thailand; National Gallery, Vietnamese Writers Union Award For Lo Lo, START Art Fair, London, UK; Art Stage works in Hanoi. • 2016 Asian Contemporary Art Exchange, New Zero Bangkok, Thailand. personal book of poetry. Singapore, Singapore. Prvdens Vivo Prvdens Morior, personal studio, Art Space, Yangon, Myanmar. Living Art. Regional Artists Respond to Hiv/AIDS, • 2003 • 2012 Solo exhibitions Ho Chi Minh City, Vietnam. • 2008 Queen Gallery, Bangkok, Thailand. Rockefeller and Dance Theater Workshop Grant DAWN, CUC Gallery, Hanoi, Vietnam. • 2015 Hugging Trees – Hugging our Loved Ones – The Course of Our Contact, Yunnan–Vietnam • 2003 for Pushing Through Borders. The Walker, Museum of Fine Arts, Ho Chi Minh In Opposition 2, Craig Thomas Gallery, Ho Chi Hugging Ourselves, Ton Duc Thang Street, Female Artists Exchange Program, Yun Art Pushing Through Borders, Blue Space Art • 1999 City, Vietnam. Minh City, Vietnam. Ho Chi Minh City, Vietnam. Gallery, Kunming, China. Gallery, Ho Chi Minh City, Vietnam. Poet of the year, Mai Vang (Yellow Apricot) • 2011 In Opposition, Work Room Four, Hanoi, Vietnam. Memory vs. Memory, Museum of Memory The Paths of Childhood, Ho Chi Minh Exhibition The Suffering, Blue Space Art Gallery, Award. 1, 2, 3, 4, 5, 6, 7, 8, Bui Gallery, Hanoi, • 2013 and Human Rights, Santiago, Chile. House, Ho Chi Minh City, Vietnam. Ho Chi Minh City, Vietnam. Acclaimed by Labors Newspaper’s readers, Vietnam. In the Midst of Life, Craig Thomas Gallery, • 2015 Mekong Art and Culture Project, Marsi • 2002 Vietnam. • 2009 Ho Chi Minh City, Vietnam. Requesting Words – Offering Words, Gallery, Bangkok, Thailand; Ban Naxay Gallery, Window to Asia, Hanoi Contemporary Art • 1997 Beneath My Skin, ifa Gallery, Shanghai, China. Between Two Generations, The East Gallery: Nhà Sàn Collective, Hanoi, Vietnam. Vientiane, Laos; Viet Art Center, Hanoi, Center, Hanoi, Vietnam; Theater Works, Top 10 Works, Ho Chi Minh Emerging Artists, Hanoi: Where Are We Now?, Art Vietnam Contemporary Asian Art, Toronto, Canada. Prism, Manzi Art Space, Hanoi, Vietnam. Vietnam; Meta House, Phnom Penh, Singapore. Ho Chi Minh City Fine Arts Association. Gallery, Hanoi, Vietnam. • 2010 Hugging Trees – Hugging our Loved Ones – Cambodia. Matsu Box Exhibition, Nagano, Japan. • 2007–8 Sketches 2000–2010, D3 Building, Hanoi Hugging Ourselves, Plum Village, Buddhist Father and Daughter and Poetry, L’Espace, Cultures Meet Cultures, Busan Biennale 2002, Residencies and workshops Changing Identity: Recent Works by Women National University of Education, Hanoi, Meditation Center, Bordeaux, France. Centre Culturel Français, Hanoi, Vietnam. Busan, South Korea. • 2008 Artists from Vietnam, Kennesaw State University Vietnam. Memory vs. Memory, Prague Quadrennial 2015, • 2007–9 • 2001 Art OMI Residence, Ghent, New York. Art Galleries, Kennesaw, Georgia; Trammell & • 2009 Czech Repulic and personal studio, Ho Chi Minh TransPOP: Korea Vietnam ReMix, Arko Art Excellent Works by Different Generations of Yunan–Vietnam Female Artists Exchange Margaret Crow Collection of Asian Art, Dallas, Ngo Van Sac 2009, Vietnam Fine Arts Museum, City, Vietnam. Center, Seoul, South Korea; University of HCMC Fine Arts University’s Students, City Program, Kunming, China. Texas; Mills College Art Museum, Oakland, Hanoi, Vietnam. • 2014 California, Irvine and Yerba Buena Center, San Exhibition House, Ho Chi Minh City, Vietnam. • 2007 California; Stedman Art Gallery, Rutgers • 2008 Prvdens Vivo Prvdens Morior, personal studio, Francisco, California; Sàn Art, Ho Chi Minh City, Saigon Women Artists to Fine-Art, Ho Chi Minh Ssamzie Space Residence, Seoul, University, Camden, New Jersey; Depree Gallery, In Side, Art Loft Gallery, Kuala Lumpur, Chicago, Illinois. Vietnam. City Fine Arts Association, Ho Chi Minh City, South Korea. Hope College, Holland, Michigan; Clara M. Malaysia. Faithfully Flat, VIASM Vietnam Institute for • 2007–8 Vietnam. • 2005 Eagle Gallery, Murray State University, Murray, Advanced Study in Mathematics and Manzi Art Changing Identity: Recent Works by Women Painting Exhibition, Blue Space Art Gallery, Artist-in-residence at Cave Gallery, Brooklyn, Kentucky; Center for Visual Arts, Metropolitan Selected group exhibitions Space, Hanoi, Vietnam. Artists from Vietnam, Kennesaw State University Ho Chi Minh City, Vietnam. New York. State College of Denver, Denver, Colorado; Iris • 2016 Faithfully Flat, SAIC School of the Art Institute Art Galleries, Kennesaw, Georgia; Trammell & • 1999 Workshop “Who Are We?”, Phu My Hung and B. Gerald Cantor Gallery, College of Holy The Itch, CTG 7th Anniversary Exhibition, Craig of Chicago, Chicago, Illinois. Margaret Crow Collection of Asian Art, Dallas, Four People Exhibition, Blue Gallery, Danang, Contemporary Art Center, Ho Chi Minh City. Cross, Worcester, Massachusetts; Utah Museum Thomas Gallery, Ho Chi Minh City, Vietnam. Memory vs. Memory, Defibrillator Performance Texas; Mills College Art Museum, Oakland, Vietnam. • 2003 of Fine Arts, Salt Lake City, Utah; Frederick R. • 2015 Art Gallery, Chicago, Illinois. California; Stedman Art Gallery, Rutgers Exhibition of Women Artists, Women Cultural International Writing Program at University Weisman Art Museum, University of Minnesota, CTG 6th Anniversary: One Country, Craig • 2013 University, Camden, New Jersey; Depree Gallery, House, Ho Chi Minh City, Vietnam. of Iowa. Minneapolis, Minnesota. Thomas Gallery, Ho Chi Minh City, Vietnam. 0395A.DC, Sullivan Gallery, SAIC School Hope College, Holland, Michigan; Clara M. Youth Fine Arts Exhibition, Ho Chi Minh City Fine Mekong project workshop & residencies, Five Changing Identities: Vietnamese Women • 2014 of the Art Institute of Chicago, Chicago, Eagle Gallery, Murray State University, Murray, Arts Association, Ho Chi Minh City, Vietnam. Bangkok and Chiang Mai, Thailand and Luang of Today, Fielding Lecht Gallery, Austin, Texas. CTG 5th Anniversary: Coming of Age, Craig Illinois. Kentucky; Center for Visual Arts, Metropolitan • 1998 Prabang, Laos. Underlying, Mekong Region countries. Thomas Gallery, Ho Chi Minh City, Vietnam. • 2012 State College of Denver, Denver, Colorado; Iris Four People Exhibition, Vietnam Galerie, Arts and Culture Development (ACD), British Hanoi Woman Artist, Maison des Arts, Hanoi, Affordable Art Fair 2014, Hong Kong Uprooting Nature, Paul H. Douglas Center and B. Gerald Cantor Gallery, College of Holy Ho Chi Minh City, Vietnam. Council, Ho Chi Minh City. Vietnam. Convention and Exhibition Centre, Hong Kong. for Environmental Education, Indiana Dunes Cross, Worcester, Massachusetts; Utah Museum Vietnam Sensibility, Exhibition of Vietnam • 2002 Colour at the East, Dubai, Arabic Young Fine Art Hong Kong Bound: AAF Preview, Craig Thomas National Park, Indiana. of Fine Arts, Salt Lake City, Utah; Frederick R. Contemporary Art, Freiburg, Germany. Phu Quoc workshop and exhibition, Phu Quoc Festival, Hanoi, Vietnam. Gallery, Ho Chi Minh City, Vietnam. • 2008 Weisman Art Museum, University of Minnesota, Spring, Exhibition of Ho Chi Minh City Young Island, Vietnam. • 2006 Destination 3, Artists from the United States, Garbage–Water–Cloud, Ho Chi Minh City Minneapolis, Minnesota. Artists, Museum of Fine Arts, Ho Chi Minh City, • 2001 Portrait, Young Gallery, Hanoi, Vietnam. Vietnam, and Malaysia, Tapak Fine Arts Exhibition House, Ho Chi Minh City, Vietnam. • 2007 Vietnam. Hai workshop Flow, Long Hai Beach, Vietnam. • 2005 Museum, Kuala Lumpur, Malaysia. • 2005 Space E6, MOST, Shenzhen, China. Youth Fine Arts Exhibition, Ho Chi Minh • 1997 Portrait, Young Gallery, Hanoi, Vietnam. Destination 2, Artists from the United States, New York Is Inside Rodney House, Cave Gallery, National Young Art Festival, Vietnam Fine Arts City Fine Arts Association, Ho Chi Minh City, Parcours workshop and exhibition, Vietnam Nude, Hanoi, Vietnam. Vietnam, and Malaysia, Vietnam Fine Arts Brooklyn, New York. Association, Hanoi, Vietnam. Vietnam. University of Fine Arts, Hanoi. The Spirit of Vietnam, Hong Kong. Museum, Hanoi, Vietnam. 264 265 Group Exhibition of Vietnamese Artists, • 2000 California; Stedman Art Gallery, Rutgers Selected group exhibitions • 2010 • 2012 Canvas International Art, Amsterdam, National Exhibition, Giang Vo Exhibition Centre, University, Camden, New Jersey; Depree Gallery, • 2016 Tam Ta, Sàn Art, Ho Chi Minh City, Vietnam. 7th Asia Pacifc Triennial of Contemporary Art, The Netherlands. Hanoi, Vietnam. Hope College, Holland, Michigan; Clara M. Dialogues, Goethe-Institut, Hanoi, Vietnam. IN:ACT International Performance Art Festival, Brisbane, Australia. • 2013 National Young Artists Exhibition, Ngo Quyen Eagle Gallery, Murray State University, Murray, • 2015 Nhà Sàn Studio, Hanoi, Vietnam. Art HK 12, Hong Kong International Art Fair, CTG 4th Anniversary, Craig Thomas Gallery, Exhibition Centre, Hanoi, Vietnam. Kentucky; Center for Visual Arts, Metropolitan Vietnam Fine Art Exhibition, Hanoi, Vietnam. • 2009 Hong Kong. Ho Chi Minh City, Vietnam. • 1999 State College of Denver, Denver, Colorado; Iris We Open, Vietnam Fine Arts Museum, Hanoi, Lim Dim. Contemporary Art in Vietnam, • 2011 • 2012 National Art Students Exhibition, Vietnam Dat and B. Gerald Cantor Gallery, College of Holy Vietnam. Stenersenmuseet, Oslo, Norway. 1, 2, 3, 4, 5, 6, 7, 8, Bui Gallery, Hanoi, Destination I Malaysia–Vietnam, Vietnam Fine Nuoc Toi, University of Art, Thanh Xuan, Hanoi, Cross, Worcester, Massachusetts; Utah Museum 3 dinh 1 roi, Vietnam Fine Arts Museum, Hanoi, • 2008 Vietnam. Arts Museum, Hanoi, Vietnam. Vietnam. of Fine Arts, Salt Lake City, Utah; Frederick R. Vietnam. KetNoi: Vietnam–Singapore Performance Art Skylines without Flying People, Rory Fine Art The Dogma Prize in Self Portraiture, Vietnam Weisman Art Museum, University of Minnesota, • 2014 Event, Singapore Art Museum, Singapore. Gallery, London, UK. Fine Arts Museum, Hanoi, Vietnam. Awards Minneapolis, Minnesota. Embassy of Denmark, Hanoi, Vietnam. • 2007 • 2010 Destination II, Museum of Fine Arts, Ho Chi • 2012 • 2007 Festival Art Young 2014, Vietnam University of Sneaky Week: Performance Art Project in Public, Connect – Kunstszene Vietnam, ifa Gallery, Minh City, Vietnam. First Prize of Self Portrait Exhibition, Dogma Buddha’s Hands, Calvin Charles Gallery, Fine Arts, Hanoi, Vietnam. Arts Network Asia, Hanoi, Vietnam. Stuttgart, Germany. International Art Expo, Matrade Building, Prize. Scottsdale, Arizona. Embassy of Germany in Vietnam, Hanoi, Nippon International Performance Art Festival Tam Ta, Sàn Art, Ho Chi Minh City, Kuala Lumpur, Malaysia. • 2011 • 2004 Vietnam. (NIPAF), Japan. Vietnam. • 2011 Second Prize of Self Portrait Exhibition, Dogma Tradition and Change: Vietnamese Art Today, • 2013 • 2006 • 2009 The Dogma Prize in Self Portraiture, Museum Prize. The Vietnamese Embassy, Washington, DC. Davines Art Series at Royal City, Hanoi, Vietnam. 14th Festival of Performance Art, Blue Space Art Connect – Kunstszene Vietnam, ifa Gallery, of Fine Arts, Ho Chi Minh City, Vietnam. • 2004 • 2003 The Dogma Prize in Self Portraiture, Museum of Gallery, Ho Chi Minh City, Vietnam. Berlin, Germany. • 2010 Second Prize at Exhibition of Students Contemporary Vietnamese Art, Seagrass Cove Fine Arts, Ho Chi Minh City, Vietnam. • 2004 Lim Dim. Contemporary Art in Vietnam, Annual 3, Vietnam Fine Arts Museum, Hanoi, of Vietnam University of Fine Arts. Gallery, Montauk, New York. • 2012 Nhà Sàn Studio, Hanoi, Vietnam. Stenersenmuseet, Oslo, Norway. Vietnam. • 1999 • 2002 Dai gia Vietnam, 16 Ngo Quyen, Hanoi, Shabu Shabu, Ethan Cohen Fine Art Gallery, Different Day, Museum of Fine Arts, Ho Chi Prize of Vietnamese Association at National Brush to Block: Vietnamese Works on Paper, Vietnam. Nguyen Manh Hung New York City. Minh City, Vietnam. Students Exhibition – Vietnam Dat Nuoc Toi. The Eastern Gallery, Chicago, Illinois. The 3rd Bangkok Triennale International, Bangkok • 2008 Reunion, Ho Chi Minh City University of Fine • 2000 Art and Culture Centre, Bangkok, Thailand. Born 1976 in Hanoi, Vietnam. Lives in 10+, 10th anniversary of Nhà Sàn, Arts, Ho Chi Minh City, Vietnam. Nguyen Bach Dan Exhibition of Young Artists Club, Hanoi, Vietnam. Top Art Gallery, Meta House, K’nyay Restaurant Ho Chi Minh City, Vietnam. Nhà Sàn Studio, Hanoi, Vietnam. • 2009 The Ascending Dragon: Vietnamese Painting & Bar, Phnom Penh, Cambodia. Strategies from Within, Ke Center, Shanghai, Annual 2, Vietnam University of Fine Arts, Born in 1970 in Hanoi, Vietnam. Today, Landon Gallery, New York City. The 5th Beijing International Art Biennale, Selected solo exhibitions China. Hanoi, Vietnam. Beijing, China. • 2016 Asian Contemporary Art Fair New York 2008, • 2008 Selected solo exhibitions Residencies • 2011 Farmers Got Power, Galerie Quynh, Ho Chi New York City. National Oil Color Paintings, Hoa Lu Exhibition • 2007 • 1999 Sale Off, 16 Ngo Quyen, Hanoi, Vietnam. Minh City, Vietnam. Power of the Brush, Ethan Cohen Fine Art Centre, Hanoi, Vietnam. Season of the Soul: A Feminine Perspective from Artist in Residence, Vermont Studio Center. • 2010 • 2015 Gallery, New York City. Reunion, TIME Gallery, Vienna, Austria. Vietnam, Denise Bibro Fine Art, New York City. 1000 years of Thang Long Hanoi, Young Artists Where Is the Enemy, Negative Space Gallery, Mekong Art and Culture Project, Workshop and Exhibition in International • 2003 Awards Club, Hanoi, Vietnam. Cleveland, Ohio. Marsi Gallery, Bangkok, Thailand; Ban Symposium, Kenimajor, Hungary. Works by Two Vietnamese Women Artists, • 2006 Suburb, Young Artists Club, Hanoi, Vietnam. • 2014 Naxay Gallery, Vientiane, Laos; Viet Art Center, Annual 1, Vietnam Fine Arts Museum, Hanoi, The Eastern Gallery, Chicago, Illinois. Second prize, Vietnam Fine Arts Association. Remove, Viet Art Centre, Hanoi, Vietnam. L’avventura. Lang Du, MAC VAL Musée d’art Hanoi, Vietnam; Meta House, Phnom Penh, Vietnam. One Day, 36 Dien Bien Phu, Hanoi, Vietnam. contemporain du Val de Marne, Vitry-sur-Seine, Cambodia. MANIF International Art Fair, Seoul Art Centre, Selected group exhibitions Collections • 2009 France. Location 1, New York City. Seoul, South Korea. • 2016 Singapore Art Museum. Dong tong, Young Artists Club, Hanoi, Vietnam. • 2013 • 2007–9 The 2nd International Art Expo, Matrade Affordable Art Fair 2016, Metropolitan Pavilion, The George Washington University, • 2008 One Planet, Manzi Art Space, Hanoi and Galerie TransPOP: Korea Vietnam ReMix, Arko Art Building, Kuala Lumpur, Malaysia. New York City. Washington, DC. Vong khuc, 31A Van Mieu, Hanoi, Vietnam. Quynh, Ho Chi Minh City, Vietnam. Center, Seoul, South Korea; University of • 2007 • 2015 • 2011 California, Irvine and Yerba Buena Center, The 1st International Art Expo, Matrade LA Art Show, LA Convention Center, Nguyen Dinh Hoang Viet Nguyen Huy An Living Together in Paradise, Goethe-Institut, San Francisco, California; Sàn Art, Ho Chi Minh Building, Kuala Lumpur, Malaysia. Los Angeles, California. Hanoi, Vietnam. City, Vietnam. • 2006 • 2014 Born in 1988 in Dac Lac, Vietnam. Lives in Hue, Born in 1982 in Hanoi, Vietnam. • 2010 • 2007 ASEAN-China Art Exhibition, Nanning Art New York Art, Antique & Jewelry Show, Vietnam. Lives and works in Hanoi, Vietnam. Paintings, Marena Rooms Gallery, Turin, Asian Contemporary Art Fair New York 2007, Centre, Nanning, China. Park Avenue Armory, New York City. Italy. New York City. • 2005 • 2013 Selected solo exhibitions Solo exhibitions • 2005 Thermocline of Art. New Asian Waves, National Exhibition, Hoa Lu Exhibition Centre, Boston International Fine Art Show, Cyclorama • 2013 • 2014 Conductor, Ryllega Gallery, Hanoi, Vietnam. ZKM Center for Art and Media, Karlsruhe, Hanoi, Vietnam. at the Boston Center for the Arts, Boston, Daily Routine, New Space Arts Foundation, Hue, 78 Rhythms, Galerie Quynh, Ho Chi Minh City, • 2002 Germany. • 2004 Massachusetts. Vietnam. Vietnam. Steigen Sie ein, Goethe-Institut, Hanoi, Un/fair Trade, Neue Galerie, Graz, Austria. Capital Exhibition, Ngo Quyen Exhibition Centre, • 2012 Vietnam. • 2006 Hanoi, Vietnam. Art Palm Beach, Palm Beach Convention Center, Selected group exhibitions Selected group exhibitions and Uniforms, Nhà Sàn Studio, Hanoi, Vietnam. 3 artists from Hanoi, Galerie Thimme, Karlsruhe, Exhibition of Students of National Fine Art Palm Beach, Florida. • 2015 performances Germany. University, Vietnam University of Fine Arts, • 2011 Kayser Trade Galleries, Hamburg, Germany. • 2015 Selected group exhibitions Saigon Open City, S.O.C. office 3A Ton Duc Hanoi, Vietnam. Art Naples, Naples Convention Center, Naples, Grapevine Selection. Volume 2, Vietnam Fine Saltwater, 14th Istanbul Biennial, Istanbul, • 2016 Thang, Ho Chi Minh City, Vietnam. Yes or No, Ngo Quyen Exhibition Centre, Hanoi, Florida. Arts Museum, Hanoi, Vietnam. Turkey. Into Thin Air / Off Road, public art project, Flight, Studio Anh Khanh, Hanoi, Vietnam. Vietnam. • 2010 • 2014 Mien Meo Mieng, Contemporary Art from Hanoi, Vietnam. • 2005 • 2003 Vietnamese Art Today, Midtown Art Center, Affordable Art, Dong Phong Gallery, Hanoi, Vietnam, Bildmuseet, Umeå University, Umeå, • 2015 Out of Context, Huntington Beach Art Center, ASEAN Philip Morris Exhibition, Vietnam Fine New York City. Vietnam. Sweden. Mien Meo Mieng, Contemporary Art from Huntington Beach, California. Arts Museum, Hanoi, Vietnam. • 2009 • 2013 Vietnam, Bildmuseet, Umeå University, Umeå, • 2004 ASEAN and Japan Youth Art Camp, Laos. Meet Vietnam. Tradition and Change, Nguyen Dinh Vu Singapore Biennale, Singapore Art Museum, Sweden. Gap Hanoi, Goethe-Institut, Hanoi, • 2002 San Francisco City Hall, San Francisco, California. Singapore. • 2014 Vietnam. National Young Artists Exhibition, Ngo Quyen • 2008–07 Born in 1980 in Thai Nguyen, Vietnam. • 2012 The Clouds Will Tell, Nhà Sàn Collective, Hanoi, • 2003 Exhibition Centre, Hanoi, Vietnam. Changing Identity: Recent Works by Women Lives and works in Hanoi, Vietnam. Skylines With Flying People, The Japan Vietnam. Green, Red & Yellow, Goethe-Institut, Hanoi, Workshop in Goethe-Institut, Hanoi, Vietnam. Artists from Vietnam, Kennesaw State University Foundation, Nhà Sàn Studio, Manzi Art Space, Vietnam Now, KunstRAI, Amsterdam, Vietnam. • 2001 Art Galleries, Kennesaw, Georgia; Trammell & Solo exhibitions Hanoi, Vietnam. The Netherlands. • 2000 ASEAN Philip Morris Exhibition, Vietnam Fine Margaret Crow Collection of Asian Art, Dallas, • 2015 Anatomy of an Assembly Line with an Error, Onward and Upward, Galerie Quynh, Ho Chi S.E.A., Vietnam University of Fine Arts, Hanoi, Arts Museum, Hanoi, Vietnam. Texas; Mills College Art Museum, Oakland, Box it up, Agallery, Hong Kong. Nhà Sàn Studio, Hanoi, Vietnam. Minh City, Vietnam. Vietnam. 266 267 Residencies • 2011 Collections Singapore Biennale 2008, Singapore. Nguyen The Hung • 2005 • 2015 Asian Art Link, Manila, Philippines. Post Vidai Contemporary Art Collection, Underline, TADU Contemporary Art, Bangkok, The Small Stones, Nhà Sàn Studio, Hanoi, Artist in Residence, Creative Fusion, • 2010 Vietnam and Switzerland. Thailand. Born in 1981 in Tuyen Quang Province, Vietnam. The Cleveland Foundation. Kuandu Biennale, Kuandu Museum of Fine Arts, National Art Gallery of Queensland. Underline, Viet Art Centre, Hanoi, Vietnam. Lives and works in Hanoi, Vietnam. • 2004 • 2014 Taipei National University of the Arts, Taipei, Daewoo Foundation Art Sonje Center, Seoul. Vietnam. Vo, Vietnam University of Fine Arts, Hanoi, MAC VAL Musée d’art contemporain du Taiwan. • 2007 Solo exhibitions Vietnam. Val de Marne, Vitry-sur-Seine. No Soul for Sale, Tate Modern, London, UK. Nguyen Quang Huy Come In, Viet Art Centre, Hanoi, Vietnam. • 2016 • 2007 Vietnam Art Scene, ifa Galleries, Berlin and • 2006 Polyhedral, L’Espace, Centre Culturel Français, Nguyen The Son Location 1, New York City. Stuttgart, Germany. Born in 1971 in Ha Tay Province, Vietnam. Buddha’s Hand: Buddhism in Contemporary Hanoi, Vietnam. • 2006 • 2009 Lives in Hanoi, Vietnam. Vietnamese Art, Denise Bibro Fine Art, • 2014 Born in 1978 in Hanoi, Vietnam. Art OMI Center, Ghent, New York. Lim Dim. Contemporary Art in Vietnam, New York City. Little Flowers, Sofitel Saigon Plaza, Ho Chi Minh Stenersenmuseet, Oslo, Norway. Solo exhibitions Liberation, Saigon Open City, Ho Chi Minh City, City, Vietnam. Solo exhibitions Collections Vietnam Art Insight, ifa Gallery, Shanghai, • 2015 Vietnam. • 2013 • 2016 The Francis J. Greenburger Collection, China. NET, Six Space Gallery, Hanoi, Vietnam. • 2005 Please, Handle With Care!, Craig Thomas The Stories of Sixteen Coffee Tables, New York. • 2008 • 2011 Outer Environment, Huntington Beach Art Gallery, Ho Chi Minh City, Vietnam. installation at Art Vietnam Gallery, Hanoi, Art OMI, Ghent, New York. No title, performance, Ryllega Berlin, Germany. Love, Art Vietnam Gallery, Hanoi, Vietnam. Center, Huntington Beach, California. • 2011 Vietnam. GT Art Holding LLC New York. Rose and Chicken, performance, Nhà Sàn • 2005 • 2004 And Flowers Showered, Art Vietnam Gallery, • 2015 Valentine Willie Fine Art, Kuala Lumpur. Studio, Hanoi, Vietnam. Woman with No Name, Ryllega Gallery, Hanoi, Vietnam Today, Galerie Amber and Galerie Hanoi, Vietnam. 8m2, Goethe-Institut, Hanoi, Vietnam. Alessandro Marena Project Collection, • 2007 Vietnam. Caro, Leiden, The Netherlands. • 2010 Hanoi – A Living Museum, 50 Dao Duy Tu Turin. Bridge of Art, Zurich, Switzerland. • 2000 • 2003 Long Days, New Space Arts Foundation, Hue, Heritage Center, Hanoi, Vietnam. Croped, SLOT Gallery, Alexandria, New South Transformation, Salon Natasha, Hanoi, Vietnam. Move, Stand Still, and In the Middle, Vietnam. • 2013 Nguyen Minh Phuoc Wales, Australia. Galerie am Großneumarkt, Hamburg, Germany. 16 Hanoi artists at the unfinished Goethe- • 2007 From Pho Phai to Nha Mat Pho, Eight Gallery, • 2006 • 1999 Institut, Hanoi, Vietnam. Looking Points, Ryllega Gallery, Hanoi, Ho Chi Minh City, Vietnam. Born in 1973 in Son La, Vietnam. Lives and Exchange Artists Program with Jeyum Art & One, two, three, Goethe-Institut, Hanoi, • 2002 Vietnam. Nhà Tay, Manzi Art Space, Hanoi, Vietnam. works in Hanoi, Vietnam. Culture Institute, Phnong Penh, Cambodia. Vietnam. The Vietnam Image, Landon Gallery, New York • 2006 • 2012 • 2005 • 1998 City. The Strings Go Through Me, Ryllega Gallery, Houses Facing the Street, Cactus Contemporary Solo exhibitions Out of Context, Huntington Beach Art Center, Galerie Véronique Smagghe, Paris, France. • 2001 Hanoi, Vietnam. Art Gallery, Ho Chi Minh City, Vietnam. • 2007 Huntington Beach, California. • 1997 Living in Hanoi, Goethe-Institut, Hanoi, Vietnam. • 2005 The Road Home Is Far Away, Chula Art Space, Unhappy Dragon, Ryllega Gallery, Hanoi, • 2004 Viet Nam, Galerie L’Atelier, Hanoi, Vietnam. Young Artists of 2001, Hanoi Contemporary Art Still Life, Ryllega Gallery, Hanoi, Vietnam. Hanoi, Vietnam. Vietnam. Lim Dim, international performance workshop, • 1996 Center, Hanoi, Vietnam. House Facing the Street, Goethe-Institut, Hanoi, • 2005 Hanoi, Vietnam. Too Many Foreigners, Artist Unlimited, Bielefeld, • 2000 Selected group exhibitions Vietnam. Patch Wings Up, Galerie Nord, Berlin, • 2003 Germany. Mr. Nguyen, Pacific Bridge Contemporary • 2015 • 2009 Germany. Williamsburg Bridge – Vietnam Now, WAH Southeast Asian Art, Oakland, California. We Open, Vietnam Fine Arts Museum, Hanoi, New Higher Level, Art Vietnam Gallery, Hanoi, Please, don’t make me up, sox36 Gallery, Berlin, Center, New York. Selected group exhibitions • 1999 Vietnam. Vietnam. Germany. Green, Red & Yellow, Goethe-Institut, Hanoi, • 2016 Gap Vietnam, Haus der Kulturen der Welt, Bare Land, Culture Centre of Kaohsiung City, • 2007 • 2004 Vietnam. 7+, Dong Phong Gallery, Hanoi, Vietnam. Germany. Taiwan. High Above, Goethe-Institut, Hanoi, Vietnam. The Circle, Ryllega Gallery, Hanoi, Vietnam. Legend Soup, , Hanoi, Buddhism and Art, Thien Hung Pagoda, Quy Memory–Soul–Pollution, Mizuma Art Gallery, • 2014 • 2005 • 2003 Vietnam. Nhon, Vietnam. Tokyo, Japan. National Festival of Young Artists, Hanoi, Leaf Shadow, Goethe-Institut, Hanoi, Vietnam. Untitled, Genkan Gallery, Tokyo American Club, Room–Zoom, Nhà Sàn Studio, Hanoi, Vietnam. • 2015 When Will October Come?, New Factory Gallery, Vietnam. Headwash, Ryllega Gallery, Hanoi, Vietnam. Tokyo, Japan. Limited, performance workshop, Goethe- Lang House’s Dream of Rebirth, Vietnam Fine Hanoi, Vietnam. Affordable Art Fair 2014, Hong Kong • 2002 Institut, Hanoi, Vietnam. Arts Museum, Hanoi, Vietnam. 9 Lives, Casula Power House, Liverpool City, Convention and Exhibition Centre, Hong Kong. Selected group exhibitions My Inconsistency, private studio, Hanoi, • 2002 Applause, Hanoi, Vietnam. Australia. The Colors of Life, Ion Orchard, Singapore. • 2016 Vietnam. Asian to Window, Hanoi Contemporary Art • 2014 • 1998 Introduce and Promote Vietnamese Paintings, Carrying the Carriers, mobile installation in • 2000 Center, Hanoi, Vietnam. ASEAN Art Festival & Art Workshop, Hua Hin, Vietnam Today, Pacific Bridge Contemporary Embassy of Denmark, Hanoi, Vietnam. Into Thin Air project, Manzi Art Space, Hanoi, Go West, Nhà Sàn Studio, Hanoi, Together, Nhà Sàn Studio, Hanoi, Vietnam. Thailand. Southeast Asian Art, Oakland, California. • 2013 Vietnam. Vietnam. • 2001 • 2013 Paris–Hanoi–Saigon, Pavillon des Arts, Paris Asia Contemporary Art Show, Hong Kong. • 2015 Magic Garden, Nhà Sàn Studio, Hanoi, Vietnam. A Story of Two Tribes, Thavibu Gallery, Musées, Paris, France. • 2012 Sum of the Parts, Vietnam University of Fine Selected group exhibition Figures, Hanoi Contemporary Art Center, Hanoi, Bangkok, Thailand. Made in Vietnam, Area Gallery, Paris, France. Parcours, Craig Thomas Gallery, Ho Chi Minh Arts, Hanoi, Vietnam. • 2016 Vietnam. Vietnam–Thailand, Vietnam Fine Arts Museum, 3 People from Hanoi, Ludwig Forum Aachen, City, Vietnam. Go to the East, Work Room Four, Hanoi, Buddhism and Art, Thien Hung Pagoda, Transporting, Hanoi Contemporary Art Center, Hanoi, Vietnam. Aachen, Germany. • 2011 Vietnam. Quy Nhon, Vietnam. Hanoi, Vietnam. • 2012 • 1997 Dogma Collection, Museum of Fine Arts, The Stories of Sixteen Coffee Tables, installation • 2015 • 2000 The Art Worlds of Vietnam and South Korea, Clock, Salon Natasha, Hanoi, Vietnam. Ho Chi Minh City, Vietnam. at Land of Distortion exhibition, Bildmuseet, Lang’s Revival, Vietnam Fine Arts Museum, Vietnam National Exhibition of Art, Hanoi, Vietnam. Eunam Museum of Art, Gwangju, South Korea. Painting and Calendar, Salon Natasha, Hanoi, • 2010 Umeå, Sweden. Hanoi, Vietnam. • 1998 1st Ecorea Jeonbuk Biennale, Jeonju, South Vietnam. Top 8 Young Artists, Talent Prize, CDEF, Go to the East, Vietnam Fine Arts Museum, • 2014 Tay Nguyen Impression, Zhang Zhou, China. Korea. A Visit to Japan, Mizuma Art Gallery, Tokyo, Embassy of Denmark, Hanoi, Vietnam. Hanoi, Vietnam. 15th Anniversary Nhà Sàn Collective, Hanoi, • 2011 Japan. The National Fine Arts Exhibition, Van Ho Lay, 16 Ngo Quyen Street, Hanoi, Vietnam. Vietnam. Residencies 1, 2, 3, 4, 5, 6, 7, 8, Bui Gallery, Hanoi, • 1995 Exhibition Center, Hanoi, Vietnam. • 2014 • 2013 • 2002 Vietnam. Students Exhibition, Embassy of Germany, • 2008 8m2, photo-installation in the Green Journey for Thailand–Vietnam Art Exchange, Phitsanulok, Vermont Studio Center. What do we talk about when we talk about Hanoi, Vietnam. An Echo Song, Maison des Arts, Hanoi, Vietnam exhibition, Vietnam Fine Arts Museum, Thailand and Vietnam Fine Arts Museum, Civitella Ranieri Castle, Umbertide, Perugia, Italy. love, Bui Gallery, Hanoi, Vietnam. Young Artists – New Paintings, Salon Natasha Vietnam. Hanoi, Vietnam. Hanoi, Vietnam. • 2009 and Vietnam University of Fine Arts, Hanoi, • 2007 Vinatree, Espace TriArtis, Paris, France. • 2012 Awards Hanoi, Vietnam Connection, ifa Galleries, Berlin Vietnam; Kunsthalle, Bielefeld, Germany; Festival of Young Artists Exhibition, Vietnam 8m2, Work Room Four, Hanoi, Vietnam. 7th Asia Pacific Triennial of Contemporary Art, • 1999 and Stuttgart, Germany. The Substation, Singapore. University of Fine Arts, Hanoi, Vietnam. Asian – Korea Contemporary Media Art Brisbane, Australia. Encouragement of Asian Art Award, Vietnam Lim Dim. Contemporary Art in Vietnam, • 2006 Exhibition, Jakarta, Indonesia. 1st Ecorea Jeonbuk Biennale, Jeonju, South Fine Arts Museum. Stenersenmuseet, Oslo, Norway. Collections Recovery, Ho Chi Minh City Fine Arts Nhà Tay. Transforms, Canvas International Art, Korea. • 1997 • 2008 Fukuoka Asian Art Museum. Association, Ho Chi Minh City, Vietnam. Amsterdam, The Netherlands. Java Spices, Jogja National Museum, Encouragement of Asian Art Award, Vietnam 10+, 10th anniversary of Nhà Sàn, World Bank Art Program, Washington, DC. Viet It 2006, Embassy of Italy and Viet Art Hanoi: Lost and Found, Goethe-Institut, Hanoi, Yogyakarta, Indonesia. University of Fine Arts, Hanoi, Vietnam. Nhà Sàn Studio, Hanoi, Vietnam. Andaman Art Museum, Thailand. Centre, Hanoi, Vietnam. Vietnam. 268 269 Karaoke, Vietnam University of Fine Arts, Hanoi, Nguyen Tri Manh • 2014 • 2013 • 2008 100 $mack$, Covivant Gallery, Tampa, Florida. Vietnam. Multiple Singularities, Hotel Particulier, The Written Word, John A. Day Gallery, Once Upon a Time, ISE Foundation, New York. Iron On!, Nexus Gallery, Philadelphia, • 2013 Born in 1970 in Hanoi, Vietnam. New York City. University of South Dakota, Vermillion, The DUMBO Debates for Open House Pennsylvania. Vinatree, Muong Studio in I-CAMP project. Lives in Hanoi. • 2013 South Dakota. New York, Brooklyn Bridge, New York City. • 2002 House Facing the Street at Asian – Korea Mann Cave, Art Virus, Frankfurt am Main, #PseudoReal, Charles Bank Gallery, New York Sequences Real Time Festival, Dwarf Gallery, The Brewster Project: New York Stories, Contemporary Media Art Exhibition, Seoul, Selected solo exhibitions Germany. City. Reykjavik, Iceland. Brewster, New York. South Korea. • 2004 • 2012 Sharper Image II, Ethan Cohen Fine Art, I’ll Be Your Mirror... So You Can Break It into • 1998 Nhà Tay. Transforms, Vietnam University of Fine The Support, Ryllega Gallery, Hanoi, Cracked Haus, QF Gallery, East Hampton, Provincetown, Massachusetts. Shards, Heist Gallery, New York City. 7 x 7, Deland Museum of Art, Deland, Florida. Arts, Hanoi, Vietnam. Vietnam. New York. Sharper Image, Ethan Cohen Fine Art, New From Brooklyn with Love, Parker’s Box, • 1997 I am looking for the Communal House. Dialog Video Works, CoWorker Projects, New York York City. Brooklyn, New York. Three Deep, Centre Gallery, Tampa, Florida. with Dình, Vietnam University of Fine Arts, Selected group exhibitions City. Eye on the Storm, Housatonic Museum of Art, Skipping the Page, The Center for Book Arts, Hanoi, Vietnam. • 2006 • 2011 Bridgeport, Connecticut; Bob Rauschenberg New York City. Fellowships, grants and residencies Houses Facing the Street at Viet Art Center Art exchange project Hanoi–Phnom Penh, Domestic God____, Coleman Burke Gallery, Gallery, Fort Myers, Florida. • 2007 • 2013 and Audi Showroom, Hanoi, Vietnam. Phnom Penh, Cambodia. New York City. The Book Lovers, EFA Project Space, New In Pursuit: Art on Dating, ISE Foundation, Max’s Kansas City Artist Grant, New York City. • 2012 • 2005 One, Only, You, Legal Art at Lord’s South Beach, York City; Museum van Hedendaagse Kunst New York City. Artist Fellowship Artist Grant, New York City. Vietnam Now, The Rotunda, Exchange Square, International Performance Art Festival (NIPAF05), Miami Beach, Florida. Antwerpen, Antwerp, Belgium. CONFLUX Festival, New General Catalog, • 2012 Hong Kong. Tokyo, Aichi, Kyoto, Nagano, Japan. • 2010 • 2012 Brooklyn, New York. Artist-in-residence in the Everglades, Everglades Houses Facing the Street, The Start of a Long • 2004 Neo-Theo, Galerie ZK, Berlin, Germany. George Hearts Maria, heliumcowboy artspace, The Dotted Line, Rotunda Gallery, Brooklyn, National Park, Florida. Journey, CAFA Art Museum, Beijing, China. Lim Dim, Vietnam Performance Art Event 2004, Signature Series, 7.9 cm, Stanley Picker Gallery, Hamburg, Germany. New York. Museum of Art and Design Artist Residency, River Scape in Flux, Bangkok, Thailand and British Council Vietnam, Ho Chi Minh City, Kingston-on-Thames, UK. Leisure Work, The Wassaic Project, Wassaic, Show Your I.D., HQ, Brooklyn, New York. New York City. Goethe-Institut, Hanoi, Vietnam. Vietnam. • 2009 New York. DUMBO Arts Festival, Hungarian Cultural • 2011 • 2010 • 2003 Food for Thought, Galerie Quynh, Ho Chi Minh Venti d’Oriente, mc2gallery, Milan, Italy. Center, Brooklyn, New York. LegalArts (Cannonball) Residency, Miami, From Myth to Reality, Viet Art Centre, Hanoi, Green, Red & Yellow, Goethe-Institut, Hanoi, City, Vietnam. ART STAYS 2012, 10th Festival of Contemporary Secret Clubhouse, Flux Factory, Long Island City, Florida. Vietnam. Vietnam. • 2008 Art, Ptuj, Slovenia. New York. • 2007 City in Art, Goethe-Institut, Hanoi, Vietnam. • 2002 The Most Dangerous Show on Earth, Fruit & • 2011 From Our Living Room to Yours, Galerie Harvestworks Digital Media, Artist Residency, Art on Peace, Beijing, China. Windows to Asia (ANA), Hanoi Contemporary Flower Deli, New York City. This House is Blessed, Fountainhead, Miami, Goff + Rosenthal, Berlin, Germany. New York City. • 2009 Art Center, Hanoi, Vietnam. • 2007 Florida. • 2006 • 2006 Teachers Art Works Exhibition, Viet Art Centre, • 2001 Ready, Set, Sail!, Super Bien! Greenhouse for Telefone Sem Fio: Word-Things of Augusto de Sequences Real Time Festival, Safn Foundation, Lower Manhattan Cultural Council, Workspace Hanoi, Vietnam. Young Artists Exhibition, Hanoi Contemporary Contemporary Art, Berlin, Germany. Campos Revisited, EFA Project Space, New York Reykjavik, Iceland. Residency, New York City. SH300T, L’Espace, Centre Culturel Français, Art Center, Hanoi, Vietnam. All You Need Is Love, Articule, Montreal, City. 9th , Fortress of the Three Kings, • 2005 Hanoi, Vietnam. • 1999 Canada. A Strange Attraction to the Beautiful and Havana, Cuba. Foundation for Contemporary Arts, Artist Grant, My Oasis of Silence, Art Vietnam Gallery, Hanoi, Group of 5 people, Nhà Sàn Studio, Hanoi, Art Hijack Inauguration, Monkeytown, Brooklyn, Dreadful, Hendershot Gallery, New York City. Detained, Asian American , New York City. Vietnam. Vietnam. New York. Vienna Fair, Waterside Contemporary, Vienna, New York City. Puffin Foundation, Artist Grant, New York City. • 2007 • 2006 Austria. • 2005 • 2004 Nuoc xa lua gan, Vietnam University of Fine Residencies All You Need Is Love, Paloma Art, New General • 2010 Performa 05: The Performance Biennial, Artists Change Inc., Artist Grant, New York City. Arts, Hanoi, Vietnam. • 2005 Catalog, Brooklyn, New York. Pulse Miami, Charlie James Gallery, Miami, Space, New York City. • 2003 Vinatree, Vietnam University of Fine Arts, Hanoi, International Performance Art Festival (NIPAF05), Humanitarians Not Heroes (Five-Alive), Tenri Florida. Frisbee Fair, Miami, Florida. Bronx Museum Artists in the Marketplace Vietnam. Tokyo, Aichi, Kyoto, Nagano, Japan. Cultural Institute, New York City. Murmur, Waterside Project Space, London, UK. Float, Socrates Sculpture Park, Long Island City, Fellowship, Bronx, New York. • 2005 • 2005 ART Hong Kong 10, Galerie Quynh, Hong Kong. New York. Mauvais Goût, L’Espace, Centre Culturel Awards L’Agent des trois, Covivant Gallery, Tampa, The Sixth Borough, Governors Island, New York US/UK, Three Colts Gallery, London, UK. Collections Français, Hanoi, Vietnam. • 2004 Florida. City. Waterways, collateral project of the 2005 21c Museum Hotels, Louisville. Tree, Vietnam University of Fine Arts, Hanoi, Awards 3 Contest of Ideas for the fountain The Art Collection of Rick Haatj, Art LA, Satellites in the Night, Freies Museum Berlin, Istanbul Biennial, Istanbul, Turkey. Dvorak Sec Contemporary, Prague. Vietnam. at the Goethe-Institut, Hanoi. Santa Monica Civic Auditorium, Santa Monica, Berlin, Germany. Style Sessions, MILK Gallery, New York City. Museum van Hedendaagse Kunst Antwerpen. • 2004 • 1997 California. Knock Knock Who’s There? That Joke Isn’t • 2004 The Joan Flasch Artists’ Book Collection, School Giving Water an Image, Vietnam University Grade A Award, students’ works competition. • 2004 Funny Anymore, Fred Torres Collaborations, The Holiday Shopping Show III, Wallspace of the Art Institute of Chicago. of Fine Arts, Hanoi, Vietnam. • 1996 A Private View: The Art Collection of Rick Haatj, New York City. Gallery, New York City. University of Technology, Sydney. • 2002 Certificate of ASEAN Art Exhibition, Hanoi. The Roger Smith Hotel, New York City. Power to the Brand, Museum of Contemporary Night of a Thousand Drawings, Artists Space, Hanoi Fine Arts Exhibition, Hanoi, Vietnam. First prize, Students of Fine Arts Exhibition, Humanitarians Not Heroes: shäp, Art of Republika Srpska, Banja Luka, Bosnia New York City. Nguyen Trong Minh Hanoi University. Gallery, New York City. and Herzegovina. NOW: Contemporary Asian American Artists, Awards • 2003 Volta NY, New York City. Asian Americans for Equality 30th Anniversary Born in 1982 in Hung Yen Province. Lives and • 2012 Trong Gia Nguyen Fading Photograph, La Lunchonette, • 2009 Gala, Empire State Ballroom, Grand Hyatt, works in Hanoi, Vietnam. Talent Prize at Master of Fine Art graduation New York City. Being Between, Dvorak Contemporary, Prague, New York City. exhibition, Central Academy of Fine Arts, China. Born in 1971 in Saigon, Vietnam. Lives and • 1998 Czech Republic. Bush-Whack!, George Adams Gallery, Solo exhibitions • 2008 works in Ho Chi Minh City, Vietnam. Sighing Reveille, USF Teaching Gallery, Tampa, Dis/Believer, Columbia College, Chicago, Illinois. New York City. 2014 Dong Son Foundation Prize at the National Silk Florida. Vietnam Mon Amour, mc2gallery, Milan, Italy. The Peekskill Project, Peekskill, New York. At the End of the Line, Vietnam Fine Arts Painting exhibition. Solo exhibitions Marcel Duchamp: The Art of Chess, Francis Doing Business: Dysfunctional Corporate Museum, Hanoi, Vietnam. • 2001 • 2016 Selected group exhibitions Naumann Fine Art, New York City. Culture, University of Connecticut • 2013 Nokia Award – Asia Pacific, Eye on the World. Les Bananes, L’Espace, Centre Culturel Français, • 2016 PTA Bake Sale and Spaghetti Dinner, Koelsch Contemporary Art Galleries, Storrs and Galerie Forsblom, Helsinki, Finland. Awarded Bronze medal Vietnam, Hanoi, Vietnam. Le Salon, Snap!, Orlando, Florida. Gallery, Houston, Texas. Stamford, Connecticut. My Country. • 2015 • 2015 Broken Tales, Shanghai Theatre Academy, • 2003 Selected group exhibitions Pulse Miami, mc2gallery, Miami, Florida. The Others Art Fair, mc2gallery, Turin, Italy. Shanghai, China. Objects for Joseph Cornell, ZieherSmith Gallery, • 2011 Collections 1972–2015: Works by Hoang Duong Cam and olio. v2, Galerie Quynh, Ho Chi Minh City, No Title, EXHIBITION 211, New York City. New York City. National Festival of Young Artists, Van Ho Vietnamese Contemporary Art Collection Trong Gia Nguyen, Galerie Quynh, Ho Chi Minh Vietnam. Responding to Cuba, Maloney Art Gallery, The Holiday Shopping Show II, Wallspace Exhibition Center, Hanoi, Vietnam. of RMIT University. City, Vietnam. • 2014 College of Saint Elizabeth, Morristown, Gallery, New York City. • 2010 Intercontinental Hotel. Asia Now, Galerie Quynh, Espace Pierre Cardin, Onward and Upward, Galerie Quynh, Ho Chi New Jersey. AIM 23: Artists in the Marketplace, Bronx National Fine Art Exhibition, Van Ho Exhibition Embassy of France, Hanoi. Paris, France. Minh City, Vietnam. Volta NY, New York City. Museum of the Arts, Bronx, New York. Center, Hanoi, Vietnam. Art Vietnam Gallery, Hanoi. The Leavers, Galerie Quynh, Ho Chi Minh City, Flight, ArtCenter South Florida, Miami, Florida. Paper Exhibition, Artists Space, 150 Artists Make 150 Shirts, Daniel Silverstein • 2007 Canvas International Art, Amsterdam. Vietnam. Public Private, Spring/Break, New York City. New York City. Gallery, New York City. Red River Fine Arts Award. 270 271 Student exhibition, Vietnam University of Fine Nguyen Van Du Lehmann Maupin Gallery, New York City. • 2015 of the precious paintings, Fukuoka Prefectural Projections, Musée d’art contemporain de Arts, Hanoi, Vietnam. Malmö Konsthall, Malmö, Sweden. Danger and Beauty. William Turner and the Museum of Art, Fukuoka, Japan. Montréal, Montreal, Canada. • 2003 Born in 1986 in Ba Ria, Vietnam. Lives in • 2004 Tradition of the Sublime, Museum de Fundatie, LIVE and LET LIVE: Creators of Tomorrow, 4th Collection of Centre Pompidou New Media, Student exhibition, Central University of Art Ho Chi Minh City, Vietnam. MAM Project 002: Jun Nguyen-Hatsushiba, Zwolle, The Netherlands. Fukuoka Asian Art Triennale, Fukuoka Asian Art Caixa Forum, Barcelona, Spain. Pedagogy. Mori Art Museum, Tokyo, Japan. Immortal Present: Art and East Asia, Berkshire Museum, Fukuoka, Japan. Expérience de la durée, Biennale d’Art Solo exhibitions Memorial Project Vietnam, CAAM Centro Museum, Pittsfield, Massachusetts. The Symbolic Efficiency of the Frame, Tirana Contemporain de Lyon, Lyon, France. Uu Dam Tran Nguyen • 2012 Atlántico de Arte Moderno, Las Palmas, Canary • 2014 Biennial, Tirana Institute of Contemporary Art, Experimenta Vanishing Point, Black Box, A Bunch of Messy Stuff, Ho Chi Minh City Fine Island, Spain. Waterscapes: The Politics of Water, Kumho Tirana, Albania. Victorian Arts Centre, Melbourne, Australia. Born in 1971 in Kontum, Vietnam. Arts Association, Ho Chi Minh City, Vietnam. • 2003 Museum of Art, Seoul, South Korea. TransportAsian, Singapore Art Museum, Variation Xanadu, Museum of Contemporary Lives in Ho Chi Minh City, Vietnam. MACRO, Museo d’Arte Contemporanea Memory Palace, Contemporary Arts Center, Singapore. Art, Taipei, Taiwan. Selected group exhibitions di Roma, Roma, Italy. Cincinnati, Ohio. Nautilus, Städtische Galerie Nordhorn, Always a Little Further, 51st Venice Biennale, Solo exhibitions • 2015 Exhibited by Mizuma Art Gallery in Paris, France. Ohara Contemporary at Musabi, Musashino Art Nordhorn, Germany. Arsenale, Venice, Italy. • 2009 Body Bouquet, Welch Gallery, Atlanta, Georgia. Memorial Project Nha Trang, Vietnam: Towards University Museum, Tokyo, Japan. under Water/above Water, Kunsthalle First Acquisitions, Opere dalla collezione della Summer Romance, Sabina Lee Gallery, Vietnam. • 2014 the Complex, Kunsthalle Wien, Vienna, Austria. Chorégraphies suspendues, Carré d’Art – Musée Wilhelmshaven, Wilhelmshaven, Germany. Fondazione Pinchuk, Venice, Italy. Mind, Flesh, Matter, Sàn Art, Ho Chi Minh City, Jun Nguyen-Hatsushiba / MATRIX 203: Memorial d’art contemporain de Nîmes, Nîmes, France. The Paramount, Boao Asia Contemporary Art Water, Water Everywhere, Scottsdale Museum Selected group exhibitions Vietnam. Project Vietnam, University of California, • 2013 Exhibition, Boao, China. of Contemporary Art, Scottsdale, Arizona. • 2016 • 2013 Berkeley Art Museum, Berkeley, California; Borderline II, 21st Century Museum of Moving Perspectives: Jun Nguyen-Hatsushiba Selections from , National Centre Body/Play/Politics, Yokohama Art Museum, Bank Art Fair in Hong Kong 2013, Hong Kong. New Museum of Contemporary Art, New York Contemporary Art, Kanazawa, Japan. & Fiona Tan, Arthur M. Sackler Gallery, of Contemporary Art in Novgorod, Russia. Yokohama, Japan. • 2012 City; Carnegie Mellon University, Pittsburgh, Ohara Contemporary, Ohara Museum of Art, Smithsonian Institution, Washington, DC. 1st Moscow Biennale of Contemporary Art, A Rainbow Caravan, Aichi Triennale, Aichi Multiple Directions, Cactus Gallery, Pennsylvania; Vancouver Art Gallery, Vancouver, Okayama, Japan. • 2008 Moscow, Russia. Prefecture, Japan. Ho Chi Minh City, Vietnam. Canada; Colby College Museum of Art, Setouchi Triennale 2013, Inujima, Okayama, Farewell to Post-Colonialism, 3rd Guangzhou • 2004 Fiesta Mobile, The High Line Park, New York City. Waterville, Maine; Austin Museum of Art, Japan. Triennale, Guangdong Museum of Art, Recent Acquisitions, Contemporary Works, TechNoPhobe, The Factory Contemporary Art Residencies Austin, Texas. Running the City, Galleries UNSW Art & Design, Guangzhou, China. Centre Georges Pompidou, Paris, France. Center, Ho Chi Minh City, Vietnam. • 2013–14 Memorial Project Nha Trang, Vietnam: Towards Paddington, Australia. What’s the Difference?, 5th Seoul International Frieze Art Fair, Lehmann Maupin Gallery, Sights & Sounds: Highlights, The Jewish Sàn Art Laboratory Program, Session 4, Ho Chi the Complex, MIT List Visual Arts Center, Zizhiqu – Autonomous Regions, Guangdong Media Art Biennale, Seoul, South Korea. London, UK. Museum, New York City. Minh City. Cambridge, Massachusetts. Times Museum, Guangzhou, China. I Have a Dream, 1st Kuandu Biennale, Kuandu Encounters in the 21st Century, 21st Century Seismograph: Sensing the City, Art Stage Memorial Project Nha Trang, Vietnam: Towards • 2012 Museum of Fine Arts, Taipei, Taiwan. Museum of Contemporary Art, Kanazawa, Singapore, Singapore. Jun Nguyen-Hatsushiba the Complex, Nassauischer Kunstverein, “Kashiwa City Jack”. Asia Pacific Contemporary Reflective Asia, 3rd Nanjing Triennale, Nanjing, Japan. • 2015 Wiesbaden, Germany. Media Arts from Daisuke Miyatsu Collection, China. Dazi Bao, Université de Jussieu, Paris, France. The 8th Asia Pacific Triennial of Contemporary Born in 1968 in Tokyo, Japan. Lives and works • 2002 Kashiwa City, Japan. Traces of Siamese Smile, Bangkok Art & Culture The Joy of My Dreams, Sevilla Biennale, Sevilla, Art, Queensland Art Gallery and Gallery of in Houston, Texas. Memorial Project Minamata: Neither Either nor Lens on Twelve, Connaught Brown Gallery, Center, Bangkok, Thailand. Spain. Modern Art, Brisbane, Australia. Neither – A Love Story, Mizuma Art Gallery, London, UK. Off the Rails, Mizuma & One Gallery, Beijing, Techniques of the Visible, 5th , The Second Beijing Photo Biennale, China Selected solo exhibitions Tokyo, Japan. Masterpieces from the Ohara Museum of Art, China. Shanghai Art Museum, Shanghai, China. Academy of Fine Arts, Beijing, China. • 2014 Memorial Project Nha Trang, Vietnam, Hokkaido Museum of Modern Art, Hokkaido, Leaving Deep Water, SAW Gallery, Ottawa, Zone of Urgency (travelling show of the 50th Mien Meo Mieng, Contemporary Art from Vietnam, Don’t we all want to be in tune?, MAC VAL Govett-Brewster Art Gallery, New Plymouth, Japan. Canada. Venice Biennale), Villa Zerbi, Reggio Calabria, Italy. Bildmuseet, Umeå University, Umeå, Sweden. Musée d’art contemporain du Val de Marne, New Zealand. Do Not Destroy: Trees, Art and Jewish Thought, • 2007 Movimento / Movimenti, Villa Cattolica, Missing Link: “Modernization and Urban Vitry-sur-Seine, France. Video Cube: FIAC 2002, Paris, France. Contemporary Jewish Museum, San Francisco, Have you eaten yet?, 2007 Asian Art Biennial, Bagheria, Italy. Condition”, The Jim Thompson Art Center, Made in Asia, Fondation d’entreprise Espace Galería Animal, Santiago, Chile. California. National Taiwan Museum of Fine Arts, Taichung, Slow Rushes, CAC The Contemporary Art Bangkok, Thailand. Écureuil pour l’art contemporain, Toulouse, Towards the Complex (video screening), Crossing Sea(s), 2902 Gallery, Singapore. Taiwan. Center, Vilnius, Lithuania. Open Sea, Musée d’art contemporain de Lyon, France. De Appel Arts Centre, Amsterdam, Edge of Elsewhere 2012, Campbelltown Arts Grey Water, Institute of Modern Art, Fortitude Festival internazionale del film Locarno, Locarno, Lyon, France. • 2012 The Netherlands. Centre, Campbelltown, Australia. Valley, Australia. Switzerland. Artist Film International, Whitechapel Art Palais de l’île, Annecy, France. • 2000 • 2011 Thermocline of Art. New Asian Waves, ZKM Wrong Site, Fundación Luis Seoane, A Coruña, Gallery, London, UK. • 2010 Xich Lo 2001 – The Making of Alternative Back to the Basics. The Museum Per Se, Center for Art and Media, Karlsruhe, Germany. Spain. Fictive Community, Koganecho Bazaar Thank you, Mizuma Art Gallery, Tokyo, Japan. History, Mizuma Art Gallery, Tokyo, Japan. 4th Guangzhou Triennale, Guangdong Museum Views of Water, Yokohama Museum, At the Still Point of the Turning World, FACT Residency, Japan. Breathing is Free: 12,756.3; New Work by Jun • 1998 of Art, Guangzhou, China. Yokohama, Japan. Centre, Liverpool, UK. Summer Show, Rhode Island School of Design Nguyen-Hatsushiba, SAIC School of the Art In Between, Shiseido Ginza Art Space, Tokyo, Our Magic Hour. How Much of the World CIGE, Beijing, China. Artes Mundi Exhibition, National Museum Museum, Providence, Rhode Island. Institute of Chicago, Rymer Gallery, Chicago, Japan. Can We Know?, Yokohama Triennale 2011, • 2006 & Gallery, Cardiff, UK. SxSE: Selection from the Asia Society Museum Illinois. Individuals-Collections, Mizuma Art Gallery, Yokohama, Japan. Eyes and Curiosity from Tokyo, Chelouche Vis Vitalis, Centraal Museum, Utrecht, Collection, Asia Society Museum, New York City. • 2009 Tokyo, Japan. Invisibleness is Visibleness: International Gallery, Tel Aviv, Israel. The Netherlands. • 2013 Breathing is Free: 12,756.3; New Work by Jun WWW.XEOM.COM, Blue Space Art Gallery, Contemporary Art Collection of a Salaryman, Voices of Silence, Herzliya Museum of Material Witness, Museum of Contemporary If the World Changed, Singapore Biennale 2013, Nguyen-Hatsushiba, ASU Art Museum, Tempe, Ho Chi Minh City, Vietnam. Museum of Contemporary Art, Taipei, Taiwan. Contemporary Art, Herzliya, Israel. Art, Cleveland, Ohio. Singapore Art Museum, Singapore. Arizona. • 1997 Edge of Elsewhere 2011, Campbelltown Arts Memorials of Identity: New Media from the • 2003 2012 • 2008 Dream, 29 Hang Bai Exhibition House, Hanoi, Centre, Campbelltown, Australia. Rubell Family Collection, Nasher Museum of Art Bloom: Mutation, Toxicity and the Sublime, • Poetic Politic, Kadist Art Foundation, Jun Nguyen-Hatsushiba. The Globe Project Vietnam. Roving Eye, Sørlandets Kunstmuseum, at Duke University, Durham, North Carolina. Govett-Brewster Art Gallery, Plymouth, San Francisco, California. in Beijing, Mizuma & One Gallery, Beijing, • 1996 Kristiansand, Norway. Fever Variation, 6th Gwangju Biennale, New Zealand. China. The Mosaic Series Exhibition, Dallas Visual Art • 2010 Gwangju, South Korea. How We Live, Queensland Art Gallery and Residencies Vietnam: A Memorial Work by Jun Nguyen- Center, Dallas, Texas. Rehearsal, 8th Shanghai Biennale, Shanghai Art 1st Singapore Biennale, with the group Mogas Gallery of Modern Art, Brisbane, Australia. NTU–Centre for Contemporary Art Singapore. Hatsushiba, Asia Society, New York City. Studio Gallery/, Center for the Museum, Shanghai, China. Station, Singapore. Frieze Art Fair, with Mizuma Art Gallery, Koganecho Bazaar Residency. Manchester Art Gallery, Manchester, UK. Arts, Brookhaven College, Dallas, Texas. The River Project – Edge of Elsewhere, ARS 06, KIASMA Museum of Contemporary Art, London, UK. • 2007 • 1995 Campbelltown Arts Centre, Campbelltown, Helsinki, Finland. Poetic Justice, 8th Istanbul Biennial, Istanbul, Awards The Ground, the Root, and the Air, Lehmann New Works 95:02, Jun Nguyen-Hatsushiba, Australia. • 2005 Turkey. 18th Japan Media Art Festival. Maupin Gallery, New York; Mizuma Art Gallery, Artpace, San Antonio, Texas. Fugue in the Key of Understanding, Osage Fuzion. Aspects of Asian Culture in the MUSAC Dreams and Conflicts. The Viewer’s Dictatorship, Tokyo, Japan. Kwun Tong, Hong Kong. Collection, Museo de Arte Contemporáneo de Italy, 50th Venice Biennale, Z.O.U. Zone of Collections Kunstmuseum Luzern, Lucerne, Switzerland. Selected group exhibitions • 2009 Castilla y León, León, Spain; IDFA (International Urgency, Venice, Italy. Queensland Art Gallery and Gallery of Modern • 2005 • 2016 6th Asia Pacific Triennial of Contemporary Art, Documentary Filmfestival Amsterdam), Kaap Helder. Art from a Natural Source, Art, Brisbane. Jun Nguyen-Hatsushiba: Memorial Project Nha MAM Screen 003: Crossing Visions – Japanese Queensland Art Gallery and Gallery of Modern Amsterdam, The Netherlands. North Holland, The Netherlands. Asia Society Museum, New York City. Trang, Huis Marseille Museum for Photography, Landscapes Seen from Outside, Mori Art Art, Brisbane, Australia. Anyang Public Art Project (APAP 2005), Anyang, The Moderns, Castello di Rivoli Museo d’Arte Kadist, San Francisco. Amsterdam, The Netherlands. Museum, Tokyo, Japan. Great Works of the Ohara Museum – In pursuit South Korea. Contemporanea, Rivoli–Turin, Italy. 272 273 Universal Strangers, Borusan Art Center, • 1995 • 2007 Collections Residencies • 2008 Istanbul, Turkey. Artpace, A Foundation For Contemporary Art, Inside, Outside, Thavibu Gallery, Bangkok, Vietnam Fine Arts Museum, Hanoi. • 2011 Area South, Museum of Fine Arts, Ho Chi Minh • 2002 International Artist in Residence Program, Thailand. Galeri Petronas, Kuala Lumpur. Goyang National Art Studio Art Residency City, Vietnam. URBANLENZ – Canon art project, Tokyo, Japan. San Antonio. • 2005 Program, National Museum of Modern National Art, Museum of Fine Arts, Ho Chi Minh Video Zone, 1st International Video-Art Biennial, • 1994 View from Inside 2, Thavibu Gallery, Bangkok, Pham Huy Thong and Contemporary Art Korea. City, Vietnam. Tel Aviv, Israel. Municipal Arts Society, Henry Walter’s Traveling Thailand. Haslla Museum International Art Residency, Young Artists, Ho Chi Minh City Fine Arts Watching Ocean and Sky Together, Fourth Wall, Fellowship (Vietnam), Baltimore. • 2003 Born in 1981 in Thai Binh, Vietnam. Gangneung, South Korea. Association, Ho Chi Minh City, Vietnam. Liverpool, UK. • 1992–94 Abstract Oil & Lacquer, Thavibu Gallery, Lives in Hanoi, Vietnam. Indochina Art Partnership Program, Boston. • 2007 Moving Collection, Govett-Brewster Art Gallery, Philip Morris Fellowship. Bangkok, Thailand. • 2010 Traditional, Gallery Gia Dinh, Ho Chi Minh Plymouth, New Zealand. Maryland Institute College of Art Scholarship. • 2000 Selected solo exhibitions Rimbun Dahan Artist-in-Residence Program, City University of Fine Arts, Ho Chi Minh City, Attitude 2002, Contemporary Art Museum 1992 Structure, Namson Gallery, Hanoi, Vietnam. • 2015 Kuang Selangor. Vietnam. of Kumamoto, Kumamoto, Japan. • 1st Prize, Texas Juried Competition, Stout/ • 1999 Hope, Craig Thomas Gallery, Ho Chi Minh City, , Hanoi Young Artists Club, Area South, Museum of Fine Arts, Ho Chi Minh Rio de Janeiro Film Festival, Rio de Janeiro, Brazil. McCourt Gallery, Dallas. View from the Inside, Namson Gallery, Hanoi, Vietnam. Institute of Vietnamese Contemporary Art, City, Vietnam. Urban, Urbanity, Busan Biennial 2002, Busan, Vietnam. • 2012 Hanoi. Date of Establishment, Gallery Gia Dinh, Ho Chi South Korea. Collections Hands, Craig Thomas Gallery, Ho Chi Minh City, • 2009 Minh City University of Fine Arts, Ho Chi Minh Extreme Protection: NIT NIU 2002, Mallorca, 21st Century Museum of Contemporary Art, Group exhibitions Vietnam. Witness Collection and Asiarta Foundation City, Vietnam. Spain. Kanazawa. • 2015 Strange Dreams, Ernst & Young Office, Artist-in-Residence, Bangkok. • 2006 (The World May Be) Fantastic, 13th Biennale Asia Society, USA. Southeast Asian Abstraction: A New Dialogue, One Raffle Quay, Singapore. • 2008 Anniversary, Gallery Gia Dinh, Ho Chi Minh of Sydney, Australia. Benesse Holdings, Inc., Japan. Sotheby’s, Hong Kong. • 2010 Witness Collection Artist-in-Residence, Bangkok. City University of Fine Arts, Ho Chi Minh City, Metropolitan Iconographies, 25th São Paulo Berkeley Art Museum and Pacific Film Archive. • 2015–13 Dong Bao, Bui Gallery, Hanoi, Vietnam. Vietnam. Biennale, Brazil. Fonds National d’Art Contemporain, Paris. Modern & Contemporary Southeast Asia Touch the Glory?, Temple of Literature, Hanoi, Collections • 2005 Cutting Edge: Tokyo, with Mizuma Art Gallery, Museum Boijmans Van Beuningen, Rotterdam. Auctions, Sotheby’s, Hong Kong and Vietnam. Witness Collection, Malaysia. Traditional, Gallery Gia Dinh, Ho Chi Minh ARCO 02, Madrid, Spain. Museum of Contemporary Art, Los Angeles. Singapore. • 2009 Institute of Vietnamese Contemporary Art. City University of Fine Arts, Ho Chi Minh City, • 2001 MUSAC Museo de Arte Contemporáneo • 2014 Updated, L’Espace, Centre Culturel Français, Rimbun Dahan Collection, Malaysia. Vietnam. Mega Wave – Toward a New Synthesis, de Castilla y León. Vietnam Contemporary, Houston, Texas; Hanoi, Vietnam. Jaya Prakash Collection, Singapore. Yokohama 2001, International Triennale of Centre Georges Pompidou, Paris. Gwangju, South Korea. • 2006 Dogma Collection, Vietnam. Phan Thi Thao Nguyen Contemporary Art, Yokohama, Japan. Guggenheim Museum, New York City. • 2008 Rain, Bookworm, Hanoi, Vietnam. Haslla Museum Collection, South Korea. • 2000 Contemporary Art Museum, Kumamoto. Oriental, London. Born in Ho Chi Minh City, Vietnam. Lives Invisible Boundary: Metamorphosed Asian Art, Kadist Foundation, Paris. • 2006 Selected group exhibitions Pham Tran Viet Nam in Ho Chi Minh City. Utsunomiya Museum of Art, Utsunomiya, Japan; Kunstmuseum Luzern. Il Drago e la Farfalla: Arte Contemporanea • 2016 Niigata Prefecture Art Museum, Niigata, Japan. Manchester Art Gallery. in Vietnam, Complesso del Vittoriano, Rome, China, South Asia, Southeast Asia International Born in 1985 in Da Nang, Vietnam. Lives and Selected group exhibitions Man & Space, 3rd Gwangju Biennale, Gwangju, MIT List Visual Center, Cambridge, Italy. Art Exhibition, Yunnan Art Museum, Kunming, works in Ho Chi Minh City, Vietnam. • 2016 South Korea. Massachusetts. • 2005 China. Anywhere but Here, Bétonsalon, Paris, France. • 1999 Monsoon Art Collection, London. Vietnam Now, Seattle, Washington. • 2014 Solo exhibitions Fundación Botín, Santander, Spain. Gap Vietnam, Haus der Kulturen der Welt, Mori Art Museum, Tokyo. Tokyo, Japan. Sasaran International Art Festival, Kuala • 2010 • 2015 Berlin, Germany. Ohara Museum of Art, Okayama. • 2002 Selangor, Malaysia. Behind Knowledge, Tu Do Gallery, Ho Chi Minh Un-romantic Memories, Lotus Gallery, • 1996 Foundation for Contemporary Art Victor Vietnam Identities, Luxembourg and Brussels, • 2013 City, Vietnam. Gyeonggi-do, South Korea. Critic’s Choice, Dallas Visual Art Center, Dallas, Pinchuk, Ukraine. Belgium. SEA+ Triennale, National Art Gallery of • 2009 Concept Context Contestation. Art and Texas. Queensland Art Gallery, Brisbane. • 2003, 2001 Indonesia, Jakarta, Indonesia. Gangter, Nhà Sàn Studio, Hanoi, Vietnam. the Collective in South East Asia (travelling • 1995 Rubell Collection, Miami. Vietnam Contemporary Fine Arts, Singapore and • 2011 Illusions–Desire, L’Espace, Centre Culturel exhibition), Goethe-Institut, Hanoi, Vietnam. Members Invitational, The McKinney Avenue Singapore Art Museum. Hong Kong. Closer & Closing, Goyang National Art Studio, Français, Hanoi, Vietnam. • 2014 Contemporary, Dallas, Texas. Stavanger International Collection. Seoul, South Korea. Modern Love, Institute of Contemporary Arts Art in the Metroplex 95, Texas Christian T-B A21, Thyssen-Bornemisza Art Awards 26th Asia International Art Exhibition, Hangaram Selected group exhibitions Singapore, Singapore. University, Fort Worth, Texas. Contemporary, Vienna. • 2015 Museum and Seoul Art Center, Seoul, and • 2015 Mekong Platform, Milan Image Art and Design TheatreWorks, Singapore. Selected as one of the 20 artists for Southeast Jeonbuk Provincial Hall Gallery, Jeonju, South Mien Meo Mieng, Contemporary Art from Fair, Marina Bay Sands, Singapore. Awards, grants and nominations Whitney Museum of American Art, Asian Abstraction: A New Dialogue, Sotheby’s. Korea. Vietnam, Bildmuseet, Umeå University, Umeå, Vietnam Now: Changing Society, Canvas • 2005 New York City. Second Prize, International Abstract Art Here, There and Everywhere, Hampden Gallery, Sweden. International Art, Amsterdam, The Netherlands. BlueOrange Art Prize 2006 (nomination list), Competition 2015. UMass, Amherst, Massachusetts. • 2012 Nhà Sàn 15+, Nhà Sàn Collective, Hanoi, Berlin. Pham An Hai • 2010 and 2007 • 2009 Raw Ideas, Zero Station, Ho Chi Minh City, Vietnam. • 2004 Honour Certificate Recognition by Vietnam Fine Asia@Asia, 24th Asia International Art Vietnam. • 2013 Hugo Boss Prize (nomination list), Guggenheim Born in 1967 in Hanoi, Vietnam. Lives and Arts Museum, Hanoi. Exhibition, National Visual Arts Gallery, Kuala Under Dog, High5Art, Ho Chi Minh City, Concept Context Contestation, Art and the Museum, New York City. works in Hanoi, Vietnam. • 2005 Lumpur, Malaysia. Vietnam. Collective in South East Asia, Bangkok Art & Artes Mundi Prize (shortlist), Wales. Honour Certificate Recognition by the Ministry • 2008 Ke Bo Hanh, Museum of Fine Arts, Ho Chi Minh Culture Centre, Bangkok, Thailand. • 2003 Solo exhibitions of Culture and Information, Vietnam Fine Arts Asia in Harmony, 23rd Asian International Art City, Vietnam. Initiative – Contemporary Art Museum Project BlueOrange Art Prize 2003 (nomination list), • 2015 Exhibition. Exhibition, Guangzhou Academy of Fine Arts, Du Duong, Cactus Gallery, Ho Chi Minh City, – ICamp, Muong Culture Museum, Hoa Binh Berlin. Changing Season, Thavibu Gallery, Bangkok, • 2004 Guangzhou, China. Vietnam. Province, Vietnam. • 1998 Thailand. Third Prize, Vietnam Fine Arts Association. Talent Prize Performance Art, Van Ho Exhibition • 2011 Right Fiction, Sàn Art, Ho Chi Minh City, Japanese Artist Living Abroad Award, funded • 2014 • 2003 Center, Hanoi, Vietnam. Supersize Saigon 2, Vasco, Ho Chi Minh City, Vietnam. by Shiseido Corporate Culture Department, Focus, Asian Art de Vivre, Hong Kong. Honour Certificate Recognition by the Vietnam Post Doi Moi: Vietnamese Art after 1990, Vietnam. New Work Show, Sullivan Galleries, SAIC School Tokyo & Cartier Foundation for Contemporary • 2012 Fine Arts Association. Singapore Art Museum, Singapore. Dialogue, Zero Station, Ho Chi Minh City, of the Art Institute of Chicago, Chicago, Illinois. Art, Paris. Mirage, Thavibu Gallery, Bangkok, Thailand. • 2000 • 2005 Vietnam. The Fifth Wall, Sullivan Galleries, SAIC School of • 1996 • 2010 Honour Certificate Recognition by the Ministry World of Lacquer Painting, Kyoto City Di Ra Day, High5Art, Ho Chi Minh City, the Art Institute of Chicago, Chicago, Illinois. NFRIG (New Forms Regional Initiative Grants Focus, Red Gallery, Dubai, United Arab Emirates. of Culture and Information, Vietnam Fine Arts International Exchange Hall, Kyoto, Japan Vietnam. • 2012 Program), Mexic-Arte Museum & Diverseworks, • 2010 Exhibition. Foundation Forum, Tokyo, and Miyanomori Art • 2011 Recent Works by Artists of Vietnamese Heritage, funded by The National Endowment for the Point View, Asian Art de Vivre, Hong Kong. • 2000–1998 Museum, Sapporo, Japan. Chi Toi, Sàn Art, Ho Chi Minh City, Vietnam. Basespace Gallery, SAIC School of the Art Arts, The Rockefeller Foundation, The Andy • 2009 Honour Certificate Recognition by Philip Morris • 2001 • 2009 Institute of Chicago, Chicago, Illinois. Warhol Foundation for the Visual Arts. The Flow of Time, Thavibu Gallery, Bangkok, Company, Vietnam – ASEAN Contemporary Asia Vision Art Competition, Hanoi, Giao Chi, Applied Gallery, Ho Chi Minh City, RIAP International Performance Art Festival, Art Matters Inc., New York. Thailand. Arts. Vietnam. Vietnam. Quebec, Canada. 274 275 Riverscapes in Flux, travelling to Vietnam, Selected group exhibitions • 2014 • 2013 To be continued, L’Espace, Centre Culturel • 2012 Thailand, Cambodia, Indonesia and • 2015–16 Formes et Paroles, Gorée Island, Senegal. The Imperial Mushroom, Nguyen Dinh Chieu Français, Hanoi, Vietnam. Nowadays, Mai Gallery, Hanoi, Vietnam. Philippines, organized by the Goethe-Institut, Sous la lune, Institute of Contemporary Arts • 2012 Street, Hue, Vietnam. • 2003 Face to Face, Mai Gallery in collaboration with Hanoi. Singapore, Singapore. Art Week Style, participation in the art event • 2012 4th National Sculpture Exhibition, No. 2 Hoa Lu Young Artists Association, Hanoi, Vietnam. • 2011 • 2015 as a French artist, Youth Creativity Palace, Transformed Cloud, Tinh Tam Lake, Hue, Vietnam. Street, Hanoi, Vietnam. The Dogma Prize in Self Portraiture, Vietnam “Open Edit” Mobile Library, Sàn Art and Asia Art Artstage Singapore, Southeast Asian Platforms, Tashkent, Uzbekistan. Fine Arts Museum, Hanoi, Vietnam. Archive, Ho Chi Minh City, Vietnam. Singapore. • 2009 Selected group exhibitions Awards • 2008 • 2009 • 2014 Nam Bang, Casula Powerhouse, Liverpool City, • 2015 • 2013 Boundary, Maison des Arts, Hanoi, Vietnam. Intersection Vietnam. New Works form North A Woman’s View, Goethe-Institut, Hanoi, Australia. Taiwan Contemporary Art Fair, Taipei, Taiwan. 10-year Sculpture Prize 2013. • 2006 and South, Valentine Willie Fine Art, Singapore Vietnam. Lim Dim. Contemporary Art in Vietnam, Choose to Move, Saigon Domain, Ho Chi Minh • 2011 Ho Chi Minh City Fine Art Association, Ho Chi and Kuala Lumpur. • 2013–14 Stenersenmuseet, Oslo, Norway. City, Vietnam. National Youth League. Minh City, Vietnam. • 2008 If the World Changed, Singapore Biennale 2013, • 2008 Mien Meo Mieng, Contemporary Art from • 2010 The Beginning, 43 Trang Tien, Hanoi, Vietnam. Ket Noi, Singapore Art Museum and Post Singapore Art Museum, Singapore. The Other Mainstream II, ASU Art Museum, Vietnam, Bildmuseet, Umeå University, Umeå, Third prize, National Art Exhibition. • 2005 Museum, Singapore. • 2012 Tempe, Arizona. Sweden. Youth’s Eyes, Vietnam Fine Arts Museum, • 2007 Resonant Uruwashi Exhibition, Yamawaki Post Doi Moi: Vietnamese Art after 1990, Chon Chon, Hanoi and Hue, Vietnam. Trieu Minh Hai Hanoi, Vietnam. Young Artist Festival, Hanoi, Vietnam. Gallery, Tokyo, Kyoto City University of Arts, Singapore Art Museum, Singapore. • 2014 Buttering Field Crab, Chim Sao Club, Hanoi, NIPAF International Performance Kyoto, and Kitakata City Museum of Art, • 2007 The First Cheongju International Contemporary Born in 1982 in Hanoi, Vietnam. Lives in Hanoi. Vietnam. Art Festival, Tokyo, Nagano and Nagoya, Kitakata, Japan. Retrospective 1982–2007, Exhibition Center, Art Exhibition, Cheongju, South Korea. • 2004 Japan. • 2011 Baie-Saint-Paul, Canada. Hanh Trinh Xanh, Hanoi, Vietnam. Solo exhibitions Group experimental performance, Parchmentier, L’Espace, Centre Culturel • 2006 • 2013 • 2014 Nhà Sàn Studio, Hanoi, Vietnam. Residencies Français, Hanoi, Vietnam. Biennale Austria 2006, invited artist, Singapore Biennale 2013, Singapore. Latcarf | Fractal, Nhà Sàn Collective, Hanoi, • 2016 • 2010 Hüttenberg, Austria. Vietnam. Awards Visual Arts Workshop at Fundación Botín, First International Lacquer Triennial, • 2004 Residencies • 2013 Santander. Hubei Provincial Museum of Art, Wuhan, Art Sénat: L’invitation au voyage, Jardin • 2016 Selected group exhibitions Work Room Four best new young talent. • 2013 China. du Luxembourg, Paris, France. NPO S – Air, Sapporo, Japan. • 2015 • 2005 Sàn Art Laboratory Artist-in-Residency program, • 2003 • 2015 The National Exhibition, National Exhibition Art Second prize, Youth’s Eyes, 2005 organized Sàn Art, Ho Chi Minh City. To Kim Nhung Travelers, Islip Art Museum, Islip, New York. Kebun Bibi, Yogyakarta, Indonesia. Centre, Hanoi, Vietnam. by French Embassy and Vietnam Fine Arts • 1999 Session 6 of Sàn Art Laboratory. Mien Meo Mieng, Contemporary Art from Association. Awards Born in 1983 in Yen Bai, Vietnam. Lives in Gap Vietnam, Haus der Kulturen der Welt, Vietnam, Bildmuseet, Umeå University, Umeå, • 2016–17 Hanoi, Vietnam. Berlin, Germany. Awards Sweden. Truong Cong Tung Visual arts protégé, Rolex Mentor and Protégé • 1997 • 2016 Grapevine Selection. Volume 2, Vietnam Fine Arts Initiative. Solo exhibitions Vietnamese Painters, Musée d’art et d’histoire First prize, Hue Contemporary Art Festival. Arts Museum, Hanoi, Vietnam. Born in 1986 in Buon Ho, Dak Lak, Vietnam. • 2011–12 • 2016 de Saint-Brieuc, Saint-Brieuc, France. • 2014 • 2014 Lives in Ho Chi Minh City, Vietnam. Incentive Scholarship, SAIC School of the Art City Chronicles, Chon Gallery, 16 Trang Tien, • 1995 Final round, Signature Art Prize 2014. The Second Hanoi Open Exhibition, Work Room Institute of Chicago. Hanoi, Vietnam. Correspondances vietnamiennes, Espace Paul Four, Hanoi, Vietnam. Selected solo exhibitions • 2011 Ricard, Paris, France. Collections • 2013 • 2011 First place, general category, Union League Civic Selected group exhibitions • 1993 Singapore Art Museum. Initiative – Contemporary Art Museum Project Above the Sky, Under the Sea, Sàn Art, Ho Chi & Arts Foundation, Chicago. • 2011 Vietnam, Tropenmuseum, Amsterdam, Muong Culture Museum, Hoa Binh Province. – ICamp, Muong Culture Museum, Hoa Binh Minh City, Vietnam. • 2010 National Exhibition of Young Artists. The Netherlands. Province, Vietnam. Presidential Scholarship, SAIC School of the Art • 1991 Tran Van Thuc Selected group exhibitions Institute of Chicago. Tran Trong Vu Salon Biennal 1991, Grand Palais, Paris, France. Trinh Minh Tien • 2016 Born in 1980. Lives in Hanoi, Vietnam. Soil and Stones, Souls and Songs, Museum Collections Born in 1964 in Hanoi, Vietnam. Lives in Paris, Residencies Born in 1983. of Contemporary Art and Design, Manila, Post Vidai Contemporary Art Collection, France and Hanoi. • 2001 Selected group exhibitions Philippines. Vietnam and Switzerland. International Studio & Curatorial Program, • 2014–15 Selected exhibitions Taipei Biennale, Taipei Fine Arts Museum, Selected solo exhibitions New York City. General Vo Nguyen Giap and General Nguyen • 2016 Taipei, Taiwan. Phi Phi Oanh • 2015 • 2000 Chi Thanh, on the occasion of the 70th Dialogues – An Artistic Exchange, • 2015 Exercices du hasard, WHART Galerie, Toulouse, Künstlerhäuser Worpswede, Germany. anniversary of the Vietnam People’s Army, Goethe-Institut, Hanoi, Vietnam. Mien Meo Mieng, Contemporary Art from Born in 1979 in Houston, Texas. Lives in Hanoi, France. 45 Trang Tien, Hanoi, Vietnam. Echo of Nature, Vietnam Fine Arts Museum, Vietnam, Bildmuseet, Umeå University, Umeå, Vietnam. • 2014 Awards • 2014 Hanoi, Vietnam. Sweden. On the Other Side of the Smile, Cité du livre, • 2011–12 Hanoi Art Fair, Hang Da Market, Hanoi, Tet Art Fair, Hanoi Creative City, Hanoi, Vietnam. South by Southeast, Osage Art Foundation, Selected solo exhibitions Aix-en-Provence, France. Pollock-Krasner Foundation Grant, New York Vietnam. • 2015 Hong Kong. • 2014 • 2011 City. Dien Bien Phu – General Vo Nguyen Giap The Silk Journey to Art World, The China Magic Mountain, Museum of Contemporary Palimpsest, FOST Gallery, Gillman Barracks, 18 Proposals of the Impossible, Fondation • 2006 through Artwork, Military History Museum, Millennium Monument, Beijing, China. Art, Santa Barbara, California. Singapore. d’entreprise Espace Écureuil pour l’art First Prize, Biennale Austria 2006, Hüttenberg. Hanoi, Vietnam. The Dogma Prize in Self Portraiture, Vietnam • 2014 • 2013 contemporain, Toulouse, France. Minister of Vietnam Exhibition List, Military Fine Arts Museum, Hanoi, Vietnam. Ghosts–Spies–Grandmothers, SeMA Biennale Palimpsest, L’Espace, Centre Culturel Français, • 2004 Collections History Museum, Hanoi, Vietnam. Tet Art Fair, Hang Da Gallery, Hanoi, Vietnam. Media City, Seoul, South Korea. Hanoi, Vietnam. Blue Memory, ASU Art Museum, Tempe, ASU Art Museum, Tempe. • 2013 • 2014 Haunted Thresholds: Spirituality in • 2009 Arizona. Singapore Art Museum. 5th National Sculpture Exhibition, Hanoi The Hanoi open exhibition, Work Room Four, Contemporary Southeast Asia, Artothek Specula, Hanoi City Exhibition Hall, Hanoi, Vietnam Fine Arts Museum, Hanoi. Museum, Hanoi, Vietnam. Hanoi, Vietnam. Kunstverein Göttingen, Göttingen, Germany. Vietnam. Selected group exhibitions • 2012 Asian Art Link “After Storm”, Vietnam Fine Arts Fictive Communities Asia, Koganecho Bazaar, • 2008 • 2016 Tran Tuan Vietnam Sculpture Friendship Camp, Laos. Museum, Hanoi, Vietnam. Yokohama, Japan. Black Box, LA Artcore Brewery Annex Gallery, You and Me: Face and Figure, Tobin Ohashi • 2011 Ba Ba, Vietnam Fine Arts Museum, Hanoi, Vietnam. Unconditional Belief, Sàn Art, Ho Chi Minh City, Los Angeles, California; Art League, Houston, Gallery, Tokyo, Japan. Born in 1981 in Hue, Vietnam. Lives in Hue. National Youth Festival, No. 2 Hoa Lu Street, • 2013 Vietnam. Texas. • 2015 Hanoi, Vietnam. The Hanoi Open Exhibition, Work Room Four, • 2013 • 2007 Generations: 40 Hues between Black & White, Selected solo exhibitions • 2010 Hanoi, Vietnam. The Festival of Independents, Charlie Dutton Black Box, Vietnam Fine Arts Museum, Hanoi, Orange County Center for Contemporary Art, • 2015 National Art Exhibition, No. 2 Hoa Lu Street, The Fine Arts Exhibition of Vietnamese Young Gallery, London, UK. Vietnam. Santa Ana, California. Gold Fingers, Kebun Bibi, Yogyakarta, Indonesia. Hanoi, Vietnam. Artists, Hue, Vietnam. Destruo, Nhà Sàn Collective, Hanoi, Vietnam. 276 277 • 2012 • 1996 • 1999 Residencies and workshops • 2010 Collections South Country, South of Country, Zero Station, Inner Side, Kunsthalle Bielefeld, Bielefeld, Gap Vietnam, Haus der Kulturen der Welt, • 2007 Malaysian_Vietnamese Contemporary Art, State of national hero Tran Hung Dao, Vietnam & Outsiders Factory, Taiwan. Germany. Berlin, Germany. Open Academy, Dong Son Foundation, Galeri Seni Mutiara, Penang, Malaysia. Nam Dinh Province. • 2011 • 1995 2. Open International Exhibition of Sculpture Hanoi and Hue. Métropole, CFDT Espace Belleville, Paris, State “The Smile of the Soldiers”, Art Swap 1207, 1207 Temporary Art Space, Collision culturelle, Galerie Fleuve Rouge, Hanoi, and Installation, Lido di Venezia, Venice, • 2006 France. Quang Tri Province. Ho Chi Minh City, Vietnam. Vietnam. Italy. Cross the Border, Reyum Art School, Parque das Ruínas, Rio de Janeiro, Brazil. Several museum and institutions in Europe Books Set Sail, Asia Art Archive and Sàn Art, • 1994 • 1998 Phnom Penh. • 2009 and the US. Ho Chi Minh City, Vietnam. École nationale des arts décoratifs, Limoges, Vietnam Express, Oslo, Stavanger, and other • 2002 Emergency Room, Vietnam University of Fine • 2010 France. cities, Norway. Green Man, . Arts, Hanoi, Vietnam. Vuong Van Thao My Older Sister, Sàn Art, Ho Chi Minh City, Paintings of Truong Tan, Gallery École, Hanoi, Paris–Hanoi–Saigon, Pavillon des Arts, Paris, • 2001 Métropole, L’Espace, Centre Culturel Français, Vietnam. Vietnam. France. Autumn, students project, Bressuire, Hanoi, Vietnam. Born in 1969 in Hanoi, Vietnam. Bolero, Zero Station, Ho Chi Minh City, Vietnam. Kunst in Vrijheid, Museum Boijmans Van France. Metropole, New Space Arts Foundation, Hue, Lives in Hanoi. Giao Chi, Gallery of Applied Arts, Ho Chi Minh Selected group exhibitions Beuningen, Rotterdam, The Netherlands. • 1998 Vietnam. City University of Fine Arts, Ho Chi Minh City, • 2014 Above and Beyond, Pacific Bridge Gap Vietnam, Haus der Kulturen der Welt, Hanoi Welcome, Vietnam Fine Arts Museum, Solo exhibitions Vietnam. Made in Asie, Festival de Toulouse, Toulouse, Contemporary Southeast Asian Art, Oakland, Berlin. Hanoi, Vietnam. • 2014 Naptime noise, L’Usine, Ho Chi Minh City, France. California. • 1997 • 2008 Fossilized Hanoi, Casa Italia, Hanoi, Vietnam. Vietnam. No Country: Contemporary Art from Asia, • 1997 Van Nghe, Film and Theatre School, Hanoi. Asia Art Link, Vietnam Fine Arts Museum, • 2013 169.7, 169.7 Apartment Gallery, Ho Chi Minh Asia Society, Hong Kong. New Vietnamese Paintings, The Siam Society, • 1996 Hanoi, Vietnam. Frozen Dreams, Manzi Art Space, Hanoi, City, Vietnam. • 2013 Bangkok, Thailand. About Freedom, German School in Singapore. • 2007 Vietnam. No Country: Contemporary Art from Asia, Die anderen Modernen, Haus der Kulturen 22nd Asian International Art, Selasar Sunaryo • 2012 Residencies Salomon Guggenheim Museum, New York City. der Welt, Berlin, Germany. Collections Art Space, Jawa, Indonesia. ARTS Vuong Thao, Bookworm, Hanoi, Vietnam. • 2014 • 2012 Peintres du Vietnam, Musée d’art et d’histoire National Museum of Contemporary Art • 2006 • 2011 Koganecho Bazaar, Yokohama, Japan. 1, 2, 3, 4, 5, 6, 7, 8, Bui Gallery, Hanoi, de Saint-Brieuc, Saint-Brieuc, France. Singapore. Malaysia–Vietnam–Philippines, Soka Gakkai Village in the City, L’Espace, Centre Culturel • 2012 Vietnam. • 1996 École nationale supérieure d’art de Limoges. Malaysia. Français, Hanoi. Sàn Art Laboratory, Ho Chi Minh City, Vietnam. • 2011 Lack Erde Steine, Museum für Lackkunst, Post Vidai Contemporary Art Collection, China–ASEAN Youth Artword Creativity Contest, • 2008 What do we talk about when we talk about Münster, Germany. Zurich. Nanning, China. Fossile vivant, Bookworm, Hanoi, Vietnam. Awards love, Bui Gallery, Hanoi, Vietnam. Container 96, International Container Art Fukuoka Asian Art Museum. • 2005 • 2007 • 2015 Negotiating Home History and Nation, Project, Copenhagen, Denmark. Guggenheim Foundation, New York. The Youth View-Point, Hanoi, Vietnam. Fossile vivant, L’Espace, Centre Culturel Français, Cultural Development and Exchange Fund grant. Singapore Art Museum, Singapore. Vietnamese Art after Doi Moi, Fujita Art • 2004 Hanoi. Connect: Kunstszene Vietnam, ifa Gallery, Museum, Tokyo, Japan. Vu Duc Trung White Morning & Green Buffaloes, Thailand. • 2006 Collections Stuttgart, Germany. Black and White, Salon Natasha, Hanoi, Body and Lotus, Suffusive Art Gallery, Hanoi, Kadist Arts Foundation, San Francisco, • 2010 Vietnam. Born in 1981. Lives in Hanoi, Vietnam. Awards Vietnam. California. Connect: Kunstszene Vietnam, ifa Gallery, • 1995 • 2013 • 2005 Berlin, Germany. Six Contemporary Artists in Vietnam, Portside Solo exhibitions Special award, 20th Korea Art International Body and Dreams 2, Suffusive Art Gallery, Truong Tan • 2009 Gallery, Yokohama, Japan. • 2015 Open. Hanoi, Vietnam. Lim Dim. Contemporary Art in Vietnam, Vietnam Arts, Itoyama Gallery, Tokyo, 100 Years Later, Dong Phong Gallery, Hanoi, • 2012 • 2001 Born in 1963 in Hanoi, Vietnam. Lives and Stenersenmuseet, Oslo, Norway. Japan. Vietnam. Special award, 19th Korea Art International The Love, Goethe-Institut, Hanoi, Vietnam. works in Hanoi and Paris, France. LIVE and LET LIVE: Creators of Tomorrow, Music, Salon Natasha, Hanoi, Vietnam. • 2014 Open. Body and Dreams 1, Salon Natasha, Hanoi, 4th Fukuoka Asian Art Triennale, Fukuoka Asian Composition, Movement, Immobility, Alliance Not Quite Landscape?, Dong Phong Gallery, • 2005 Vietnam. Solo exhibitions Art Museum, Japan. française, Hanoi, Vietnam. Hanoi, Vietnam. Gold Award in The Youth View-Point. • 2000 • 2010 Hanoi: Where Are We Now?, Art Vietnam Sicherheitsabstand, Kunsthalle Bielefeld, Imaginary Land, Mai Gallery, Hanoi, Vietnam. Half, Friends Gallery, Hanoi, Vietnam. How to Be an Angel, Thavibu Gallery, Bangkok, Gallery, Hanoi, Vietnam. Bielefeld, Germany. • 2012 Vuong Duy Bien Thailand. • 2008 Icons of your Time, Salon Natasha, Hanoi, But Is It Landscape?, Mai Gallery, Hanoi, Selected group exhibitions • 2005 Wonders, Singapore Biennale 2008, Singapore. Vietnam. Vietnam. Born in 1958 in Hanoi, Vietnam. • 2013 The Dancer, Ryllega Gallery, Hanoi, Vietnam. 10+, 10th anniversary of Nhà Sàn, Khoang Cach an Toan, The Substation, • 2011 Grapevine Selection. Volume 1, Vietnam Fine • 2004 Nhà Sàn Studio, Hanoi, Vietnam. Singapore. Nothing New under the Sun, Hanoi Selected solo and group exhibitions Arts Museum, Hanoi, Vietnam. Ryllega Gallery, Hanoi, Vietnam. Special Globe Exhibition of EurAsian, • 1994 Contemporary Art Center, Hanoi, Vietnam. • 2002 • 2010 • 2002 Art Cologne, Cologne, Germany. Asia Art Fair, Gallery Red River, • 2007 Solo exhibition of lacquer paintings, A City in ART, Goethe-Institutes, Vietnam. Vay cuoi – Wedding Dress, Nhà Sàn Studio, • 2007 Hong Kong. Peacefulness, Bookworm, Hanoi, Vietnam. Germany. • 2008 Hanoi, Vietnam. Come in, Vietnam University of Fine Arts, Hanoi, Red and Yellow, Salon Natasha, Hanoi, • 1997 DOI MOI, Singapore Art Museum, Singapore. • 2000 Vietnam. Vietnam. Selected group exhibitions Vietnam Contemporary Art Exhibition, Beijing, • 2007 Espace Châteauneuf, Tours, France. Saigon Open City, Southern Women’s Museum, Zeitgenössische Malerei in Vietnam, • 2014 China. Vietnamese Modernism, St. John’s University, L’humanité, Galerie les Singuliers, Paris, France. Ho Chi Minh City, Vietnam. Goethe-Institut, Frankfurt, Germany. Worlds of Paper and Wood, Store Street Gallery, Solo exhibition of silk paintings, Chaumont, New York City. • 1999 • 2004 Avant-Garde, Exhibition Space 29 Hang Bai, London, UK. France. Tableclothes, Cité internationale des Arts, Paris, Gap Hanoi, Goethe-Institut, Hanoi, Vietnam. Hanoi, Vietnam. Pulau Ketam International Art Festival, Pulau • 1996 Awards France. Vietnam Today, Galerie Amber, Leiden, A Silent New History, Exhibition Space Ketam, Malaysia. Solo exhibition of silk paintings, Hanoi, Vietnam. • 2011 Water, Fire, Wood, Asian Fine Art Gallery, The Netherlands. of Artists Association, Ho Chi Minh City, • 2013 Solo exhibition of silk paintings, Paris, France. Bui Xuan Phai Fine Arts Prize 2011. Berlin, Germany. • 2003 Vietnam. Young Artists, Mai Gallery, Hanoi, Vietnam. • 1995 • 2010 Renaissance, Galerie les Singuliers, Paris, France. Green, Red & Yellow, Goethe-Institut, Hanoi, • 1993 Worlds of Paper and Wood, Store Street Gallery, Asian Art Exhibition, Osaka, Japan. Hanoi Fine Arts Prize. • 1998 Vietnam. Living Lacquer, Alliance française, Hanoi, London, UK. Solo exhibition of silk paintings, Warsaw, L’art est mort, Cité internationale des Arts, Paris, Room Zoom, Nhà Sàn Studio, Hanoi, Vietnam. Vietnam and Thailand, Vietnam Fine Arts Poland. France. Vietnam. • 1992 Museum, Hanoi, Vietnam. • 1993 AIDS-HEART, Gallery 4A, Sydney, Australia. • 2002 Fondation Franco-Vietnamienne, • 2011 Solo exhibition of silk paintings, Hanoi, Vietnam. • 1997 All things fall and are built again, Liverpool Vietnam University of Fine Arts, Hanoi, Young Artists Festival, Hanoi, Vietnam. Document, Galerie du Chai, Saint-Brieuc, Biennale, Liverpool, UK. Vietnam. Emergency Room, Vietnam University of Fine Awards France. • 2000 • 1985–90 Arts, Hanoi, Vietnam. • 2015 Transition, Place de la République, Paris, France. Messagers de la Terre, Espace Rur Art, Rouille, Vietnam National Exhibition, Van Ho Exhibition Polygon II, Vietnam Fine Arts Museum, Hanoi, Awarded People’s Artist title by the Government Galerie les Singuliers, Paris, France. France. Center, Hanoi, Vietnam. Vietnam. of Vietnam. 278 279 Curators Serenella Ciclitira has an Honours Degree in Niru Ratnam is Director of the Global Eye Art History from Trinity College, Dublin and has Programme and Fair Director for START Art Fair. worked extensively with artists and galleries He holds over twenty years of experience in throughout the world. With her husband, the arts industry, working for both private and David Ciclitira, she is the co-founder of Global public bodies. Niru has held senior gallery and Eye Programme and a member of its curatorial art fair positions; most recently, Head of Gallery board. She has been an Honorary Fellow at Development and Head of External Projects at the Royal College of Art in London, and since Art13 London, London’s global art fair. Prior to 1990 has been awarding the Parallel Prize for this, he held roles with the Arts Council England Painting and the Serenella Ciclitira Scholarship and Aicon, as well as founding the gallery for Sculpture. Winner of the Parallel Prize Gillian STORE that specialized in discovering emerging Carnegie was later nominated for the Turner artists such as Ryan Gander, Bedwyr Williams Prize and Benedict Carpenter and Gereon and Margaret Salmon. Krebber went on to win the prestigious Jerwood Sculpture Prize. Martin Westwood, a former Parallel Prize winner, was featured in the Art Now exhibition at the Tate Britain in 2005.

Nigel Hurst is Director and Chief Executive of the Saatchi Gallery in London. He graduated from Goldsmiths College, London University in 1986 and since then has curated numerous international exhibitions. He joined the Saatchi Gallery as a curator in 1997, working on Sensation at the Royal Academy of Arts, London, the Nationalgalerie at the Hamburger Bahnhof, Berlin and the Brooklyn Museum of Art in New York. More recent exhibitions have focused on Asian contemporary art, including The Revolution Continues: New Art from China (2008), Unveiled: New Art from Middle East (2009), The Empire Strikes Back: Today (2010), The Silk Road in collaboration with the City of Lille, France (2011) and Korean Eye (2012). He has also been a member of the Royal Borough of Kensington and Chelsea Public Art Advisory Board since 2009; furthermore, he is a collection advisor for Chelsea & Westminster Hospital and sits on the Development Council of University of the Arts London.

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