CURRENT AND UPCOMING

Group exhibition SOFT POWER, San Francisco , San Francisco, USA October 26, 2019 – February 17, 2020

Journey Beyond the Arrow, curated by Zoe Butt, Sharjah Biennial, United Arab Emirates March 7 - June 10, 2019

TUAN ANDREW NGUYEN

Born in 1976 in Saigon, lives and works in , Vietnam ARTWORK DETOUR: LIVED WORLDS, 2018 EXHIBITION, ART021 FAIR

Detour examines the consequences of and the return to regionalism in the Pacific Rim through the stories of its people. The Pacific Rim—the countries that surround the Pacific Ocean—has been long used as a military and economic term that encompasses a vast history of trade and migration. The region was also the starting point for Detour: Lived Worlds, a special section of Art021, a contemporary art fair in Shanghai. The works in the section are as varied as the regions which they represent. At Páramo, Tuan Andrew Nguyen, a Vietnamese-American artist who left Vietnam in the ‘70s, took the refugee blankets given by NGO workers to those out at sea to create imaginary cartographies that represent their homes. Detour: Lived Worlds, 2018 Exhibition view, Páramo | ART021 Image courtesy of ART021 Contemporary Art Fair Engulfed (detalle), 2018 Resin and space blanket on canvas 142.4 x 212.4 x 4 cm Tattered, 2018 Punctured, 2018 Resin and space blanket on canvas Resin and space blanket on canvas 44 x 65 x 4 cm 58 x 86 x 4 cm EMPTY FOREST, 2017 EXHIBITION

Empty Forest is a body of work comprising objects and videos that explore the relationships between mythology, worship, animal extinction, human consumption and political protest. Can the concept of extinction become tangible, acting as a material that can serve as a conduit for understanding our belief systems?

There are beliefs in Vietnam originating from centuries of influence from traditional Chinese medicine that consuming rhino horn can cure cancer amongst a variety of other illnesses. Rhinos have recently become extinct in Vietnam. Beyond the region, this belief has created a global environmental emergency regarding rhinoceros populations all over the world, having the most impact specifically in South Africa. Tons of illegal rhino horn from South Africa are seized on route to Vietnam and China in recent years. Similarly, another species, the pangolin, is seeing the same plight. Because their scales are believed to treat a multitude of illnesses, illegal pangolin poaching, and trading is leading it towards extinction of the species in Southeast Asia, India and West Africa.

It is that layer of social psychology in which mythical animals, like the dragon, the kirin, and the phoenix are believed to be auspicious in certain cultures and to have influence on the different factors of one’s life, such as health, financial success and longevity that add layers of complexity to the human and animal relationship.

This project pits traditions of worship against practices of consumption. These objects play between the fantastical imaginaries of the past and new imaginations of the future to explore the complexities of our relationship with the natural world as well as the possibilities of an alternative connection to mythology and nature world. Empty Forest, 2017 Exhibition view The Factory Contemporary Art Center, Ho Chi Minh City, Vietnam Feng Shui Monster (Buy Me I’ll Bring Good Fortune), 2017 The Nouveau Riche Wanna Eat Everything, 2017 Concrete, ceramic, brass, porcupine quills with custom pedestal Composite, bamboo and fabric 37.7 x 33.8 x 20” / 96 x 86 x 51 cm 61 x 26.7 x 23.6” / 155 x 68 x 60 cm The Things That Are Living Are Dead No. 5, 2017 Diptych: Photographic ink-jet print 35.4 x 19.6” / 90 x 50cm (sheet, each) 36.2 x 20.4” / 92 x 52cm (frame, each) Ed. 1/5 + 2 AP THE ISLAND, 2017 SHORT FILM; 42 MIN

The Island is a short film shot entirely on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. The artist and his family were some of the 250,000 people who inhabited the tiny island between 1978 and 1991; it was once one of the most densely populated places in the world. After the United Nations High Commissioner for Refugees shuttered the camp in 1991, Pulau Bidong became overgrown by jungle, filled with crumbling monuments and relics.

The film takes place in a dystopian future in which the last man on earth - having escaped forced repatriation to Vietnam - finds a United Nations scientist who has washed ashore after the world’s final nuclear battle. By weaving together footage from Bidong’s past with a narrative set in its future, Nguyen questions the individual’s relationship to history, trauma, nationhood, and displacement.

Tuan Andrew Nguyen’s The Island was part of the selected artworks for the 2017 Whitney Biennial. Portrait of a Refuge as a Refugee II, 2017 Inkjet on photo paper (stills from short film) 40 x 71 cm / 15.75 x 27.95” The Island, 2017 Exhibition view Páramo, Guadalajara, Mexico Portrait of a Refuge as a Refugee I, 2017 Portrait of a Refuge as a Refugee VI, 2017 Inkjet on photo paper (stills from short film) Inkjet on photo paper (stills from short film) 40 x 71 cm / 15.75 x 27.95” 40 x 71 cm / 15.75 x 27.95” Edition of 3 + 2APs VIET NAM THE WORLD TOUR, 2017 PROJECT

Viet Nam The World Tour began in 2010 as an attempt to create a “rogue-nation-unbranding” campaign. It appropriates marketing language, graffiti strategies, hip-hop vernacular, and internet video distribution platforms to re-associate a historically colonized and mediated national identity with an entirely new mediated history. Very soon after its initial installment in Amsterdam and Paris, it became part of a collective project by The Propeller Group, enabling it to expand to something more like a large-scale campaign.

This online media platform is an attempt to create a mechanism that re-works and problematize ideas of nation-hood and nation-branding by becoming its nation- branding campaign that sets out on a challenge to re-associate a historically saturated icon with renewed meaning. If history is an immense archive determined by the printed/written word, impenetrable, how does one overcome its hold on the current state of relations? How can one interject into that archive to re-adjust or counter- balance its favoritism? If George Orwell was correct in saying, “Who controls the past controls the future. Who controls the present controls the past.” How then can we interject into this dialogue?

Viet Nam The World Tour collaborates with leading street dancers, graffiti artists, public muralists, thinkers, writers, designers and artists and brings them on tour around the world; creating public interventions, performances, interactive events and workshops, and giving away t-shirts, stickers, and other memorabilia.

The Propeller Group’s most recent iteration of the project, entitled Birds of No Nation, is a traveling mural that features a collaboration between El Mac of and Shamsia Hassani of Kabul, Afghanistan.

The 7-meter-wide mural [enamel and acrylic on canvas] is a portrait of Shamsia painted by El Mac in his unique style using spray cans. The design elements depicted by Shamsia are an extension of her graffiti work. The poem, written in Pashto by Shamsia reads: “Birds of no nation / All are captive / Like me / Without voices to sing”. Viet Nam The World Tour, 2017 Ongoing project Location: Paris, France Viet Nam The World Tour, 2017 Viet Nam The World Tour, 2017 Ongoing project Ongoing project Location: Los Angeles, USA Location: Ho Chi Minh City, Vietnam TEMPORARY PUBLIC ART GALLERY, 2010 PUBLIC ART

This public intervention, initiated with an Art Matters Foundation grant, explores matters concerning public space, public art, privatized commercial space and the politics of censorship behind the regulation of these spaces in Ho Chi Minh City. The aim was to act as an advertising agency, rent a commercial billboard at ground- level and curate it as a public art gallery. Members of The Propeller Group as well as other artists practicing in the local context were asked to submit ideas and images for this public space.

As all visual elements in the landscape, from public art to advertisement, are controlled through different censorship bodies, public art in Viet Nam has been limited in the last few decades to marble sculptures in the park and some old propaganda signage attached to various walls throughout different cities. However, the landscape has been shifting from having more propaganda to now having more advertising, while public art remains innocuous, inaccessible, and limited by these censorship bodies, attempted to circumnavigate these limitations, trying to locate a loophole in the system by renting out advertising space to curate artworks in public; challenging notions of public space, advertising, and public art in Viet Nam. Temporary Public Art Gallery, 2010 Public art Temporary Public Art Gallery, 2010 Public art ENEMY’S ENEMY: A MONUMENT TO A MONUMENT, 2009

In this work, an image of a burning monk is meticulously carved into the barrel of a baseball bat, the engulfing flames eating away at its wooden strength. This carefully crafted sculpture refers to the self-immolation of the Buddhist monk Thich Quang Duc on June 11, 1963, bringing attention to the repressive and discriminatory policies against Buddhists by the Catholic Diem regime (which was set up by the American government). Ironically, a memorial erected on the site of this human sacrifice in Ho Chi Minh City, even though under Communism, religion is considered irreconcilable with the desire to transform the social class. By acknowledging this historic act with a nationally recognized site, the Vietnamese Communist government is as sympathetic with the victims of the American ‘puppet’ Diem, despite its party policies at times securing an equal level of repression. The carving of this act on an instrument celebrated as a spectator sports tool that unifies the social classes of America —a game that acts like a typical vehicle through which politics and social issues continue to rise—is deliberate. American military presence has had a habit of leaving baseball, the all-American past time, in its wake. The cultural symbol of baseball and the deceptive act of making a monument to the 1963 immolation may come from diverse contexts. However, both have come to serve particular agendas beyond the reason for their occurrence. The role of religion and sport as a social phenomenon that brings a community together is also the mode through which great divide can be wrought. Enemy’s Enemy: A Monument to a Monument, 2009 Carved wooden baseball bat [Louisville Slugger, Northern White Ash, Chromed metal base plate] 87cm x 6.5cm [diameter]; base 12 cm x 12 cm x 2.5 cm HIP-HOP HISTORY SAMPLING HIP-HOP HISTOY: THE RED REMIX, 2008 PERFORMANCE AND EXHIBITION

One of three works in a body of works called Quiet Shiny Words / Cultural Doppelgangbangers made in collaboration with Wowy SouthGanz and Alan Hayslip.

This work begins with an ongoing collection of over 60 songs by American rap artists that all contain the word “Vietnam.” The verses referencing Vietnam mixed into a sound piece, partly reminiscent of hip-hop sampling, somewhat reminiscent of sound art, slightly suggestive of a music archive.

In these songs, “Vietnam” is referenced mostly as a moment of conflict, a violent historical media phenomenon that created a crossover that leads to a “connection.” A moment of “connection” as rap artists, black and white, attempt to connect and align with Vietnam through “mutually understood” moments of violence and hardship.

The mix played through a large custom-built super-glossy speaker placed on the back of an old bicycle. This bicycle is similar to the bikes that are navigated through the streets of Vietnam, blaring slogans to get the attention of possible buyers of such things as mousetraps, home electronics, and vegetables. The bicycle also references the past methods of spreading communist propaganda in Vietnam as well as the early images of DJ Kool Herc (hailed as the founder of hip-hop) who placed large speakers on the back of his car and rode through the streets of the Bronx in .

In addition to the bicycle, photographs of Vietnamese rapper, Wowy, pushing the bike through the streets of Ho Chi Minh City, while blaring the music remix, also hang in the space. Quiet Shiny Words/Cultural Doppelgangbangers, 2008 Exhibition view Galerie Quynh, Ho Chi Minh City, Vietnam Quiet Shiny Words/Cultural Doppelgangbangers, 2008 Quiet Shiny Words/Cultural Doppelgangbangers, 2008 Performance Performance Galerie Quynh, Ho Chi Minh City, Vietnam Galerie Quynh, Ho Chi Minh City, Vietnam LETTERS FROM SAIGON TO SAIGON, 2008 EXHIBITION

Wowy is a young rapper who was born and raised in quickly modernizing Ho Chi Minh City, formerly known as Sai Gon. Wowy keeps up with the latest movements in the rap world through the Internet. Through his searches, he came upon an emerging African-American rapper from New York who has taken on the name, “Saigon” as his rap moniker. Wowy discovered that Saigon is a star rising on the rap charts, then represented by Atlantic Records.

Letters from Saigon to Saigon is a series of photographs taken of Wowy’s hand-written letter to the rapper Saigon. These photographs capture an attempt by a young aspiring Vietnamese rapper and his desire to open communication lines with an African American whose loaded rap name has sparked a desired personal connection. The letter speaks of a want to connect with a larger persona and concept of a ‘Saigon,’ that goes beyond the visual landscape Wowy understands. Saigon associates the African American struggle for independence from racial oppression with the experience of Black soldiers who fought in the Vietnam War, particularly their stories not told in the grand tale of History—such as the Viet Cong pamphlets which fluttered down during the battle: ‘This ain’t your war. Go home. Our problem is not with you; it’s with the American government and the White man’. The adoption of this name ‘Sai Gon’ by an African American rapper calls forth a special presence. A particular historical consciousness reckoned with, now not a ‘lost’ American war, but a phenomenon in the hip-hop world, a medium where a new sense of the past internationally articulated, circulated, obsessed over and re-interpreted, re-aligned to new imaginings by the very subject in which it inspired. The complexity here rests in the power of voice, understanding the need to be heard—whose voice gains relevancy to speak of the past? Can our creation of a popular culture effectively translate and appropriate the context of history for those ‘quiet shiny words’ to appear in their other reflections?

This work is part fan-letter, part foreign diplomacy, touching upon the overlapping moments of pop-culture, politics, and history. This “memorial-like” gesture towards the complexities of language, American pop culture, and the legacy of Vietnamese history simultaneously becomes larger-than-life and scaled down to something more genuine. Letters from Saigon, 2008 Exhibition view Carré D´Art-Musée D´Art Contemporain, Nîmes, France TAKE COVER TAKE CARE, 2008 PERFORMANCE AND EXHIBITION

Two sewage drain covers were taken from the streets of Ho Chi Minh City. One carved on the underside with lyrics from the Tupac Shakur’s song, “I Don’t Give a Fuck,” taken from his first solo album entitled “2pacalypse Now”. The lyrics read:

Fuck bailin’ hate / I bail and spray with my A-K / And even if they shoot me down / There’ll be another nigga bigger / from the mutha-fuckin’ underground

On the underside of another sewage drain cover are carved lyrics from young, aspiring Vietnamese rapper named Wowy. This sewage drain cover put in the place of the original sewage drain cover in front of Galerie Quynh, Ho Chi Minh City. The English translation of Wowy’s lyrics reads:

My mom said that i was born to the wrong house / but i just quietly smile and answer that it’s okay / i know my mom won’t understand ‘cause the things i say have so much subtext / when my mom is me then she’ll understand the words of the underground

[original Vietnamese lyrics]

Má tao nói tao đe lon nhà vì cách song và nói cua tao / Nhung tao thì chi lang cuoi và tra loi rang chuyen đó không sao / Tao biet má se không hieu vì loi tao nói se mang an ý / Khi má là tao thì me se hieu nheng tu ngu cua underground.

This work is a memorial and vandalism, calling upon the sincerity of gravestones but ironically hidden and buried like the lives that those very gravestones signify. It blurs the line between the ‘monumental’ and the ‘underground’ giving way to more complex understandings of American hip-hop and the ways in which the youth in Vietnam have connected with it.

On display in the gallery is a photograph of the new sewage drain cover moments before it was laid down in place of the original. Take Cover Take Care, 2008 Performance Quiet Shiny Words / Cultural Doppelgangbangers, 2008 Quiet Shiny Words / Cultural Doppelgangbangers, 2008 Exhibition view Exhibition view Galerie Quynh, Ho Chi Minh City, Vietnam Galerie Quynh, Ho Chi Minh City, Vietnam UH..., 2006 VIDEO

Made in collaboration with Phunam, The Propeller Group.

This life-size video projection that features the moniker, “Uh…” written as a graffiti tag on various public walls throughout Ho Chi Minh City. As traffic whizzes along the streets and pedestrians stroll past Uh’s work, we realize that the tag isn’t part of the physical landscape at all. The sudden disconnection made apparent when physical bodies walk “behind” the graffiti, is at once humorous and disturbing. Through a simple video layering technique, the distance between the viewer and the subject becomes at once collapsed and extended, creating a moment of confusion in positioning.

In English, the vocal utterance signified by “uh” could be understood as expressing hesitation or uncertainty, sometimes as a drawn-out pause connecting two words or ideas while in Vietnamese, the “uh” acts as an affirmative expression, similar to “yeah,” “agreed” or “okay.” This duality is of interest to us. This video work is a piece in a more substantial body of work that explores the quickly changing cultural and physical Vietnamese landscape and the youth culture that are trying to navigate these changes as they adapt and develop new strategies for individual self-expression; taking on imported sub-cultures such as the various rock genres, modern American graffiti, and hip-hop. Uh..., 2006 Single channel video projection [3m wide] 1920 x 1080. 25p. Color. Stereo Link to video PRESS

BIO TUAN ANDREW NGUYEN The Island, Páramo, Guadalajara, Mexico 2008 Quiet Shiny Words, Gallery Quynh, Ho Chi Minh City, Vietnam 2004 While Dodging Fake Bullets in the Dark, Voz Alta Projects, San Diego, USA

Tuan Andrew Nguyen (b. 1976) was born in Saigon, and currently lives and works in Ho Chi Minh City, Vietnam. Andrew Nguyen is a multimedia artist who explores identity, memory, and history and GROUP EXHIBITIONS AND PERFORMANCES their complex interrelationship within the context of exile and cultural estrangement. He earned a BFA from the University of California, Irvine, in 1999, and received his MFA from the California Institute 2019 SOFT POWER, San Francisco Museum of Modern Art, San Francisco, USA of the Arts in 2004. He co-founded Sàn Art, an artist-run exhibition space in Ho Chi Minh City (est. Where The Sea Remembers, The Mistake Room, Los Angeles, USA 2007) and is a founding member of the artist collective The Propeller Group (est. 2006). The group Temporal Topography: MAIIAM’s New Acquisitions; from 2010 to Present, curated by appropriates marketing and advertising strategies to investigate power structures and economic Kittima Chareeprasit, Maiiam Contemporary Arts Museum, Chiang Mai, Thailand systems, and often focuses their work on Vietnam and the rapid rise of capitalism in this formally Journey Beyond the Arrow, curated by Zoe Butt, Sharjah Biennial, United Arab Emirates Communist country. 2018 Believe, The Museum of Contemporary Art, , Canada Detour: Lived Worlds, Art021 contemporary art fair, Shanghai, China Thailand Biennale, Krabi, Thailand EDUCATION 2017 Whitney Biennial, Whitney Museum of American Art, New York, USA 127, Páramo | 127, New York, USA 2004 Master of Fine Arts, California Institute of the Arts, Valencia, USA The Propeller Group, Phoenix Art Museum, Phoenix, USA 1999 Bachelor of Arts, University of California, Irvine, USA 2016 The Propeller Group, Museum of Contemporary Art Chicago, Chicago, USA The Living Need Light, The Dead Need Music, James Cohan, New York, USA 2015 Göteborg International Biennial for Contemporary Art, Göteborg, Sweden CURRENT AND UPCOMING All the World’s Futures, 56th , Venice, Italy After Utopia, Singapore Art Museum, Singapore Group exhibition Fairy Tales, Museum of Contemporary Art, Taipei, Taiwan SOFT POWER, San Francisco Museum of Modern Art, San Francisco, USA 44th International Film Festival Rotterdam, Rotterdam, October 26, 2019 – February 17, 2020 2014 Prospect.3: Notes for Now, New Orleans Triennial, New Orleans, USA SeMA Biennale Mediacity Seoul 2014: Ghosts, Spies, and Grandmothers, Seoul Museum Temporal Topography: MAIIAM’s New Acquisitions; from 2010 to Present, curated by Kittima of Art, Seoul, South Korea Chareeprasit, Maiiam Contemporary Arts Museum, Chiang Mai, Thailand Unlearn, Tradition (un) Realized, Arko Art Center, Seoul, South Korea March 30, 2019 – March 30, 2020 Residual: Disrupted Choreographies, Carre d’Art, Nimes, France Transmission, Jim Thompson Art Center, , Thailand 2013 In Between, Beit HaGafen - Arab Jewish Culture Center, Haifa, Israel SOLO EXHIBITIONS Home Away, Armory Center for the Arts, Pasadena, USA

2018 Tuan Andrew Nguyen: Letters from Saigon to Saigon, Asia Society, New York, USA ASEAN Media Arts Festival, traveling exhibition, , Japan My Ailing Beliefs Can Cure Your Wretched Desires, 10 Chancery Lane Gallery, Hong Unknown Forces, MSGSÜ Tophane-i Amire Culture and Arts Center, , Turkey Kong Cities of Ancient Futures, Changwon Asian Art Festival, Changwon, South Korea Tuan Andrew Nguyen: The Island, The Mistake Room, Los Angeles, USA No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim 2017 Empty Forest, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam Museum, New York, USA; Asia Society Hong Kong Center, Hong Kong Yebisu International Festival for Art & Alternative Visions: Public Diary, Tokyo, Japan 2006 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Metropolitan Museum of Photography, Tokyo, Japan Modern Art, , Australia 2012 Impakt Festival 2012: No More Westerns!, Utrecht, Netherlands 26th Louis Vuitton Hawaii International Film Festival, Honolulu, USA 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Imaginary Country, Shoshana Wayne Gallery, Santa Monica, USA Modern Art, Brisbane, Australia Diaspora, Esplanade Concert Hall, Singapore The Unseen, 4th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China 2005 Bangkok Democrazy, 4th Bangkok Experimental Film Festival, Bangkok, Thailand Six Lines of Flight, San Francisco Museum of Modern Art, San Francisco, USA US ASEAN Film Festival, Falls Church, USA Made in L.A., Los Angeles Biennial, Hammer Museum, Los Angeles, USA American Film Market, Santa Monica, USA The Ungovernables, New Museum, New York, USA 18th Annual Singapore International Film Festival, Singapore Bangkok Experimental Film Festival, Bangkok, Thailand Short Shorts Film Festival Asia, Tokyo, Japan 2011 Video, An Art, A History, Singapore Art Museum, Singapore 2004 Under the Couch Film/Video Festival, Los Angeles, USA 2010 Night Festival, National Museum of Singapore, Singapore In Place of Place, One Night Gallery, Los Angeles, USA Art Paris + Guests, 10 Chancery Lane Gallery, Grand Palais, Paris, France e-flux video rental project, e-flux, New York, USA Projects 93, The Museum of Modern Art, New York, USA There’s No Place Like Place, One Night Gallery, Tel Aviv, Israel Against Easy Listening, 1A Space, Hong Kong Supersonic, The Windtunnel, Pasadena, USA 8th Shanghai Biennale, in collaboration with Superflex, Shanghai Art Museum, Shanghai, Los Angeles Asian Pacific Film & Video Festival, Director’s Guild of America, Los Angeles, China USA Kuandu Biennale, in collaboration with Superflex, Kuandu Museum of Fine Arts, Taipei, 2003 Vietnamese International Film Festival, University of California, Irvine, USA Taiwan MINE, Lombard Freid, New York, USA Porcelain / Mánh Ghép Cuôc Đòi, in collaboration with Superflex, Sàn Art, Ho Chi City re: fresh; re-thinking the relationship between hip hop and art, California Institute of the Arts, Minh, Vietnam Valencia, USA Project 35, Independent Curators International, New York, USA FAX, Para Site, Hong Kong 2009 Lim Dim, curated by Tran Luong, Stenersenmuseet, Oslo, Norway Palais Project, Vienna, COLLABORATIONS AND OTHER PROJECTS Austria International Short Film Festival Oberhausen, Oberhausen, 2007 Co-founder Sàn Art, Ho Chi Minh City, Vietnam (Board Member, 2009–2016) What’s the Big Idea?, Yerba Buena Center for the Arts, San Francisco, USA 2006 Established the artistic collective The Propeller Group 2008 Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China transPOP: Korea Vietnam Remix, Arko Art Center, Seoul, South Korea 2nd , Singapore CONFERENCES, LECTURES AND WORKSHOPS Gwangju Biennale, Gwangju, South Korea The Farmers and The Helicopters, Freer / Sackler, Smithsonian Institution, Washington D.C., 2018 Not Seeing is Believing, Visiting Artist Lectures, University of Oregon School of Art + Design, USA Oregon, USA 2014 Creative Time Summit, , Sweden 2007 Requiem for a Wall, Galerie Quynh, Ho Chi Minh City, Vietnam 2013 MFA Lecture Series, USC Roski School of Fine Arts, University of Southern California, Los The History of a Decade That Has Not Yet Been Named, Lyon Biennial, Lyon, France Angeles, USA Vietnamese International Film Festival, Los Angeles, USA No Country: Regarding South and Southeast Asia, symposium, co-presented by the Depiction Perversion Repulsion Obsession Subversion, International Film Festival Rotterdam, Solomon R. Guggenheim Museum and Queens Museum, New York, USA Witte de With, Center for Contemporary Arts, Rotterdam, Netherlands 2012 Yebisu International Festival for Art & Alternative Visions: Public Diary, Tokyo, Japan Fiss, Karen. The Propeller Group: We Are Restless, But We Will Not Rest (Even After Death). Metropolitan Museum of Photography, Tokyo, Japan Art Practical, February 13, 2018. PUBLIC INTEREST: Projects & Prototypes, LACE and Otis College of Art & Design, Los Ha Thuc, Caroline. Tuan Andrew Nguyen: Animal Tales and the State of War. COBO Angeles, USA social, January 26, 2018. Art Matters grantee panel discussion, Los Angeles, USA Thao Nguyen, Vuong. Empty Forest: Dissecting the Fraught Relationship Between Man and 2008 transPOP: Korea Vietnam Remix panelist, Seoul, South Korea Animal. January 22, 2018. 2007 Claire Trevor School of Art, University of California, Irvine, USA 2017 Luong, Ruben. The Progressive Director. Art Asia Pacific, May/Jun 2017. California Institute of the Arts visiting artist, Valencia, USA Farago, Jason. A User’s Guide to the Whitney Biennial. The New York Times, March 8, 2006 White Cube Black Box, guest speaker, Queensland Art Gallery | Gallery of Modern Art, 2017: (https://www.nytimes.com/2017/03/08/arts/design/a-users-guide-to-the-whitney-biennial.html?_ r=0) Brisbane, Australia 2013 In Between. Exh. cat. Beit HaGafen - Arab Jewish Culture Center, Haifa, Israel Viveros-Faune, Christian. The Propeller Group Take on the Art World’s Celebrity Fixation. The Village Voice, September 25, 2013: (http://www.villagevoice.com/2013-09-25/art/no-country-for-poor-men) COLLECTIONS Cities of Ancient Futures. Exh. cat. Changwon Asian Art Festival, Changwon, South Korea The Museum of Modern Art, New York, USA Mehta, Diane. The Propeller Group. Bomb Magazine online, February 21, 2013: Solomon R. Guggenheim Museum, New York, USA (http://bomb site.com/issues/1000/articles/7073) Los Angeles County Museum of Art, Los Angeles, USA Yebisu International Festival for Art & Alternative Visions: Public Diary. Exh. cat. Tokyo Queensland Art Gallery / Gallery of Modern Art, Brisbane, Australia Metropolitan Museum of Photography, Tokyo, Japan Singapore Art Museum, Singapore 2012 7th Asia Pacific Triennial of Contemporary Art (APT7). Exh. cat. Queensland Art Gallery | Kadist Art Foundation, San Francisco, USA, and Paris, France Gallery of Modern Art, Brisbane, Australia The Burger Collection, Hong Kong The Unseen: 4th Guangzhou Triennial. Exh. cat. Guangzhou, China Asia Society, New York, USA Knight, Christopher. Art review: The Hammer biennial ‘Made in L.A. 2012’ succeeds. Los Angeles Times, June 8, 2012: (articles.latimes.com/2012/jun/08/entertainment/la-et-hammer-biennial-review-20120609/2) Made in L.A. 2012. Exh. cat. Hammer Museum, Los Angeles, USA BIBLIOGRAPHY Salz, Jerry. Big-Government Conservatives. New York, February 24, 2012: 2019 Chiang Mai’s contemporary art museum tells its tale, The Nation, Thailand Portal, April 1, (http://nymag.com/ arts/art/reviews/ungovernables-new-museum-saltz) 2019. Nguyen, Mic. For The Propeller Group, Talking about Art Is an Art. Hyphen, March 30, Bailey, Stephanie. Sharjah Biennial 14: Leaving the Echo Chamber, OCULA Magazine 2012: (http://hyphenmagazine.com/blog/2012/3/30/propeller-group-talking-about-art-art) online, March 15, 2019. Joo, Eugenie. The Ungovernables: The 2012 New Museum Triennial. Exh. cat. New 2018 Binlot, Ann. The long, layered narrative of the Pacific Rim, Document Journal, November 9, Museum, New York, USA 2018. 2011 Video, an Art, a History: 1965–2010. A Selection from the Centre Pompidou and Axworthy, Nicol. Art Exhibit Examines Vietnam’s Treatment Of Animals. VegNews, July 5, Singapore Art Museum Collections. Exh. cat. Singapore Art Museum, Singapore 2018. Negotiating Home, History and Nation: Two decades of Contemporary Art in Southeast Tsui, Enid. Vietnamese artist’s Hong Kong exhibition on endangered species gives this meat- Asia 1911–2011. Exh. cat. Singapore Art Museum, Singapore. loving city something to think about. South China Morning Post, July 02, 2018. 2010 FAX: The Hong Kong Works, Para Site, Hong Kong. Rose, Frank. Is It an Art Collective or a Vietnamese Ad Agency? Yes and Yes. New York Butt, Zoe. The Pilgrimage of Inspiration – Artists as Engineers in Vietnam: The Propeller Times, February 23, 2018. Group Interview with Tuan Andrew Nguyen, Phu Nam Thuc Ha, and Matt Lucero. Independent Curators International: Dispatch, May 13, 2010: (http://curatorsintl.org/images/assets/propeller.pdf). Giao, Vu Thi Quynh. Vietnam the World Tour: The Propeller Group, diacritics, October 9, 2010: (http://diacritics.org/?p=1127). 2008 ArtAsiaPacific Almanac 2008. Vol. 3, New York, USA 2007 Lyon Biennial. Exh.cat. Lyon, France TUAN ANDREW NGUYEN IS REPRESENTED BY PÁRAMO FOR MORE INFORMATION PLEASE CONTACT THE GALLERY AT [email protected]

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