NGUYEN PHUONG LINH Born 1985 in Hanoi. Lives and Works in Hanoi
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Media Release Singapore Art Museum Reveals Singapore
Media Release Singapore Art Museum Reveals Singapore Biennale 2016 Artists and Artwork Highlights ‘An Atlas of Mirrors’ Explained Through 9 Curatorial Sub-Themes Singapore, 22 September 2016 – The Singapore Art Museum (SAM) today revealed a list of 62 artists and art collectives and selected artwork highlights of the Singapore Biennale 2016 (SB2016), one of Asia’s most exciting contemporary visual art exhibitions. Titled An Atlas of Mirrors, SB2016 draws on diverse artistic viewpoints that trace the migratory and intertwining relationships within the region, and reflect on shared histories and current realities with East and South Asia. SB2016 will present 60 artworks that respond to An Atlas of Mirrors, including 49 newly commissioned and adapted artworks. The SB2016 artworks, spanning various mediums, will be clustered around nine sub-themes and presented across seven venues – Singapore Art Museum and SAM at 8Q, Asian Civilisations Museum, de Suantio Gallery at SMU, National Museum of Singapore, Stamford Green, and Peranakan Museum. The full artist list can be found in Annex A. SB2016 Artists In addition to the 30 artists already announced, SB2016 will include Chou Shih Hsiung, Debbie Ding, Faizal Hamdan, Abeer Gupta, Subodh Gupta, Gregory Halili, Agan Harahap, Kentaro Hiroki, Htein Lin, Jiao Xingtao, Sanjay Kak, Marine Ky, H.H. Lim, Lim Soo Ngee, Made Djirna, Made Wianta, Perception3, Niranjan Rajah, S. Chandrasekaran, Sharmiza Abu Hassan, Nilima Sheikh, Praneet Soi, Adeela Suleman, Melati Suryodarmo, Nobuaki Takekawa, Jack Tan, Tan Zi Hao, Ryan Villamael, Wen Pulin, Xiao Lu, Zang Honghua, and Zulkifle Mahmod. SB2016 artists are from 18 countries and territories in Southeast Asia, South Asia and East Asia. -
Download SB2016 Exhibition Guide
ORGANISED BY COMMISSIONED BY SUPPORTED BY SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016 ARTISTS AHMAD FUAD OSMAN 59 KENTARO HIROKI 21, 49 SHARMIZA ABU HASSAN 27 MALAYSIA THAILAND/JAPAN MALAYSIA MARTHA ATIENZA 31 HTEIN LIN 46 DO HO SUH 28 PHILIPPINES/NETHERLANDS MYANMAR SOUTH KOREA/UNITED STATES/ UNITED KINGDOM AZIZAN PAIMAN 41 JIAO XINGTAO 59 MALAYSIA CHINA ADEELA SULEMAN 49 PAKISTAN RATHIN BARMAN 51 SAKARIN KRUE-ON 61 INDIA THAILAND MELATI SURYODARMO 23 INDONESIA HEMALI BHUTA 26 MARINE KY 57 SEA OF INDIA CAMBODIA/FRANCE EDDY SUSANTO 25 JAPAN INDONESIA SOUTH KOREA JAPAN BUI CONG KHANH 50 PHASAO LAO 35 VIETNAM TCHEU SIONG NOBUAKI TAKEKAWA 48 LAOS JAPAN YELLOW SEA DAVID CHAN 54 CHINA SINGAPORE H.H. LIM 21 JACK TAN 47 MALAYSIA/ITALY SINGAPORE/UNITED KINGDOM CHIA CHUYIA 41 MALAYSIA/SWEDEN LIM SOO NGEE 20 MELISSA TAN 42 PAKISTAN SINGAPORE SINGAPORE CHOU SHIH HSIUNG 29 TAIWAN MADE DJIRNA 27 TAN ZI HAO 28 EAST INDONESIA MALAYSIA CHINA SEA ADE DARMAWAN 48 TAIWAN BANGLADESH INDONESIA MADE WIANTA 25 TITARUBI 34 HONG KONG INDONESIA INDONESIA DENG GUOYUAN 34 INDIA TROPIC OF CANCER MYANMAR CHINA MAP OFFICE 23 TUN WIN AUNG & WAH NU 32 LAOS HONG KONG/FRANCE MYANMAR DEBBIE DING 55 SINGAPORE/UNITED KINGDOM MUNEM WASIF 42 RYAN VILLAMAEL 36 BANGLADESH PHILIPPINES 3 PAGE THAILAND PHILIPPINES PATRICIA PEREZ EUSTAQUIO 22 PHILIPPINE SEA PHILIPPINES PHUONG LINH NGUYEN 33 WEN PULIN 43 VIETNAM BAY VIETNAM ZANG HONGHUA OF SOUTH BENGAL FAIZAL HAMDAN 47 CHINA CAMBODIA CHINA SEA BRUNEI NI YOUYU 30 CHINA WITNESS TO PARADISE 2016: 44 ANDAMAN DEX FERNANDEZ 26 NILIMA SHEIKH, PRANEET SOI, SRI LANKA SEA PHILIPPINES PERCEPTION3 55 ABEER GUPTA & SANJAY KAK SINGAPORE INDIA MALAYSIA BRUNEI FYEROOL DARMA 33 SINGAPORE PALA POTHUPITIYE 24 XIAO LU 20 SRI LANKA CHINA SINGAPORE SUBODH GUPTA 54 INDIA QIU ZHIJIE 29 PANNAPHAN YODMANEE 31 EQUATOR CHINA THAILAND GREGORY HALILI 30 PHILIPPINES NIRANJAN RAJAH 50 HARUMI YUKUTAKE 22 MALAYSIA/CANADA JAPAN HAN SAI POR 37 SINGAPORE ARAYA RASDJARMREARNSOOK 36 ZULKIFLE MAHMOD 24 INDONESIA JAVA FLORES SEA SEA THAILAND SINGAPORE AGAN HARAHAP 32 INDONESIA S. -
Locating Vietnamese Contemporary Art Scene
Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public. -
Luggage Store Gallery, Where 40% of the Surrounding Neighborhood Population Is of Southeast Asian Descent
Sept 7th 2012 - September 29th 2012 Opening Reception Friday Sept 7th, 6pm - 8pm - Closing September 29th Gallery Hours Wednesday - Saturday, 12 noon - 5pm, or by appointment HINTERLANDS aims to merge faraway places. We have transported the hinterlands of Hanoi, through the art and artists that engage with Nha San Studio, Vietnam’s longest running experimental arts space, to a kindred space in San Francisco - The Tenderloin National Forest / Luggage Store Gallery, where 40% of the surrounding neighborhood population is of Southeast Asian descent. HINTERLANDS is The Luggage Store’s first artistic exchange involving artists born, raised and based in Vietnam. HINTERLANDS constists of a three month residency project in which four artists work in collaboration. This project culminates in an exhibition of new works by two of Hanoi’s most exciting young artists. Nguyen Phuong Linh and Nguyen Tran Nam join Lu Yang, a multi-media artist from Shanghai and Gabby Miller from The Bay Area. Hanoi, which translates to “the hinterland between the rivers” is located in the Red River Delta, in the center of Northern Vietnam. The hinterland is the uncharted areas beyond a coastal district or a river’s banks. It is the part of a country where only a few people live and where the infrastructure is weak. The hinterland is beyond what is visible and known, the back country of the mind, the not yet imagined. It is the far-a-way place. www.luggagestoregallery.org 1007 Market Street Graphic Design by Japheth Gonzalez San Francisco, CA 94103 Tel. 425 255 5971 www.luggagestoregallery.org The Luggage Store - www.luggagestoregallery.org The Luggage Store is one of San Francisco's leading nonprofit multidisciplinary arts organizations established in 1987, with three venues in downtown San Francisco; the luggage store (1007 Market Street), the luggage store annex (aka 509 Cultural Center) at 509 Ellis Street and the adjacent Tenderloin National Forest in Cohen Alley (a green community commons for for public art and social interventions). -
RU Newsletter June 2019
Like Tweet Pin +1 in JUNE INCOMING RU RESIDENTS RU is pleased to announce this month’s residency cohort of US-based artists: Arghavan Khosravi (MA ) and Serge Serum (LA), both selected for residencies focused on discrimination and marginalization issues. This program made possible with funding from NEA/Artworks and NYC Cultural Affairs. We also welcome incoming artists Takayuki Matsuo (NYC/Japan) and Sebastien Berger (Germany). RU JUNE PUBLIC PROGRAMS -June 1, 4-7pm at Chashama Midtown, COCOONS, open studio with Eduardo Navarro, discover the prolific production of this Panamean artist and a unique site-specific installation; -June 8, 12-5pm at Equity Gallery, RU Exhibition Closing: Dynamis, with Rashwan Abdelbaki, Chantal Feitosa, Kyung-jin Kim, Cansu Korkmaz, and Angélica Maria Millán Lozano; curated by RU alum Luciana Solano and hosted by Equity Gallery. -June 13, 1pm at RU, Meet Over Lunch: Queer Forever! and the contemporary art scene in Vietnam, by visiting Hanoi-based artist and curator Nguyễn Quốc Thành, co-founding member of the Nha San Collective (NSC). In conversation with Bartek Remisko; -June 19, 1pm at RU, Meet Over Lunch: RU artist Gabriella Ciancimino presents her mural project Smell in Dialect and the key role of community engagement for Smell in Dialect, commissioned by NYC Health + Hospitals/Kings County for the pediatric unit; -June 29, 1pm-5pm, RU Exhibition: RU Argentinian artist and muralist Joaquin Zavaleta unveils a site-specific mural commissioned by the City Reliquary Community Museum in Williamsburg, Brooklyn. DONATE TO RU OTHER NEWS Artists nominations for upcoming residencies: Selected through the Open Call: International Residencies for Saudi-based Artists, Ahaad Alamoudi will spend two months at RU this Fall with support from ATHR, a contemporary art project space and gallery in central Jeddah whose new cultural exchange scheme with international artists and curators is part of its commitment to promoting cultural dialogue between Saudi Arabia and the rest of the world. -
An Atlas of Mirrors” Marks the Fifth Edition of the Singapore Biennale
Media Release Singapore Art Museum Announces Singapore Biennale 2016 Title “An Atlas of Mirrors” marks the Fifth Edition of the Singapore Biennale Singapore, 16 March 2016 - The Singapore Art Museum (SAM) today unveiled the title for the fifth edition of the Singapore Biennale - An Atlas of Mirrors. Through this title, Singapore Biennale 2016 (SB2016) will explore curatorial and artistic themes that pivot on Southeast Asia, but also encompass East and South Asia. Taking place from 27 October 2016 to 26 February 2017, the four-month long international contemporary art exhibition is organised by SAM and commissioned by the National Arts Council of Singapore. SB2016 will feature several site-specific and commissioned contemporary works never seen before on the biennale circuit. SB2016 Title - An Atlas of Mirrors For centuries, atlases and mirrors have been instrumental in humankind’s exploration of the world as we navigate and map our journeys into the unknown. While the atlas helps to chart paths of discovery, the mirror offers reflections and perspectives which can be, at times, skewed and distorted. Bringing together the atlas and mirror as an imagined new ‘device’ creates possibilities for unexpected ways of thinking and seeing. An Atlas of Mirrors will draw on diverse artistic viewpoints that trace the migratory and intertwining relationships within the region, and reflect on shared histories and current realities with East and South Asia. SB2016 examines the challenges of the region’s contemporary conditions, and positions Southeast Asia as the vantage point from which the world can be pictured anew. The full curatorial statement can be found in Annex A. -
2005 Martell Contemporary Art Research Grant R
MEDIATINGMEKONG THE 2005 Martell Contemporary Art Research Grant R. Streitmatter-Tran for the Asia Art Archive Ho Chi Minh City, Vietnam Contents Precursors: A River Runs Through It Mediating the Mekong The Mekong Vacuum Infrastructures and Superstructures Cambodia Myanmar Vietnam Laos Thailand The Future Flow References The research for this report, made possible by the 2005 Martell Contemporary Asian Art Research Grant and the Asia Art Archive in Hong Kong, was conducted between July 2005 and September 2006. I would like to thank the team at the Asia Art Archive for their support, in particular Phoebe Wong and Claire Hsu for their encouragement and advice throughout the life of the project and for the opportunity to have presented the research in Hong Kong in June 2006. The report would not have been realized without the contributions of the many artists, curators and arts organizations in Cambodia, Vietnam, Laos, Myanmar and Thailand who provided information, media and honest opinion. It is my hope that this report may assist as an entry point for those wishing to explore further this unique and often overlooked region. Richard Streitmatter-Tran, artist Ho Chi Minh City, Vietnam September 2006 Mediating the Mekong It begs to ask why what a Thai actress allegedly says about Cambodia really matters at all? For those familiar Martell Contemporary Asian Art with this region of the world, it is clear. Economically, Research Grant the mass exportation of Thai culture (programming, entertainment and media) has increasingly become an Final Report for the Asia Art Archive issue of national concern for Laos and Cambodia who share close cultural and linguistic similarities. -
The Roles and Responsibilities of Museums in Civil Society
CIMAM 2017 Annual Conference Proceedings The Roles and Responsibilities of Museums in Civil Society CIMAM 2017 Annual Conference Proceedings Singapore 10–12 November 2017 1 CIMAM 2017 Annual Conference Proceedings Day 1 3 Day 3 56 Friday 10 November Sunday 12 November National Gallery Singapore National Gallery Singapore Art And The City: From Local To Transnational? What Do Museums Collect, And How? Keynote 1 4 Keynote 3 57 Nikos Papastergiadis Donna De Salvo Director, Research Unit in Public Cultures, Deputy Director for International Initiatives and Professor, School of Culture and and Senior Curator, Whitney Museum of Communication, University of Melbourne, American Art, New York, USA Melbourne, Australia Perspective 7 69 Perspective 1 13 Adriano Pedrosa Ute Meta Bauer Artistic Director, São Paulo Museum of Art, Founding Director, NTU Centre for São Paulo, Brazil Contemporary Art Singapore, Singapore Perspective 8 75 Perspective 2 18 Tiffany Chung Chen Chieh-Jen Artist, Vietnam/USA Artist, Taiwan Perspective 9 81 Perspective 3 24 Suhanya Raffel Andrea Cusumano Executive Director, M+, Hong Kong Deputy Mayor for Culture of Palermo, Italy Speakers Biographies 86 Day 2 27 Colophon 90 Saturday 11 November National Gallery Singapore Re-Learning Southeast Asia Keynote 2 28 Patrick D. Flores Professor of Art Studies, University of the Philippines, Manila, Philippines Perspective 4 40 Ade Darmawan Artist, Curator and Director, ruangrupa, Jakarta, Indonesia Perspective 5 45 Gridthiya Gaweewong Artistic Director, Jim Thompson Art Center, Bangkok, Thailand Perspective 6 50 Post-Museum Jennifer Teo & Woon Tien Wei Artists, Singapore Note: Click on any of the items above to jump to the corresponding page. -
TUAN MAMI (B.1981, Vietnam)
YEO WORKSHOP Gillman Barracks 1 SG + 65 6734 5168 [email protected] Lock Road Singapore www.yeoworkshop.com 108 932 TUAN MAMI (b.1981, Vietnam) EDUCATION 2002–2006 Hanoi Fine Art University 2000–2002 Graphic Design, Hanoi Open University SOLO EXHIBITIONS 2018 ‘In One’s Breath-Nothing Stands Still_No.3’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam 2017 ‘In One’s Breath-Nothing Stands Still_No.2’, Framer Framed, Rotterdam, Netherlands ‘In One’s Breath-Nothing Stands Still’, Heritage Space, Hanoi, Vietnam 2016 ‘Hunt the Hunters’, Snail Night, Amsterdam, Netherlands 2013 ‘Physicality’, Nha San Collective, Hanoi, Vietnam ‘Protest Against the Void’, Defibrillator Performance Art Gallery, Chicago, United States ‘24 Hours Tension’, PØST, Los Angeles, United States 2011 ‘Celebration of our moment and farewell party’, Halle 6, Munich, Germany ‘What’s mom waiting for?’, Hooyong Performing Arts Centre, Gangwon-do, South Korea 2010 ‘22398 steps- 35 hours- 45 square meters- 35 Chinese's Ink litters’, Organhaus Art Space, Chongqing, China 2009 ‘The Cover 4’, Yunart Gallery, Kunming, China 2007 ‘growing up’, Performance, Ryllega Gallery, Hanoi, Vietnam GROUP EXHIBITIONS 2017 ‘Asia in the Mirror’, Medo Art Space, Vienna, Austria ‘ADAM ’, Taipei Culture Foundation, Taiwan ‘21c Democracy’, Hooyong Performing Arts Centre, Gangwon-do, South Korea ‘Replay’, Flamingo Art in The Forest, Vinh Phuc, Vietnam YEO WORKSHOP Gillman Barracks 1 SG + 65 6734 5168 [email protected] Lock Road Singapore www.yeoworkshop.com 108 932 2016 ‘Krísis’, -
Download the Program for EWV #8
The 8th "Engaging with Vietnam - An Interdisciplinary Dialogue" Conference Engaging with Vietnam through Scholarship and the Arts | October 4-10, 2016 www.engagingwithvietnam.net & www.engagingwithvietnam.org Engaging With Vietnam Through Scholarship and the Arts 4th-10th October 2016, University of Hawaiʻi at Mānoa, Honolulu ---------------------------------------------------------------------------------------------------- Pre-Conference Activities: Tuesday, 4th October 6-8 pm: The 2016 College of Education Carl and Alice Daeufer Education Lecture “Pedagogic Possibilities of Cosmopolitanism” given by Professor Fazal Abbas Rizvi (University of Melbourne, Australia). Professor Fazal Abbas Rizvi is also delivering a keynote speech at the 8th Engaging with Vietnam Conference. See the rest of the program for details. Location: Architecture Auditorium, University of Hawaiʻi at Mānoa The lecture is free and open to all UH and EWC affiliates. 1 The 8th "Engaging with Vietnam - An Interdisciplinary Dialogue" Conference Engaging with Vietnam through Scholarship and the Arts | October 4-10, 2016 www.engagingwithvietnam.net & www.engagingwithvietnam.org Pre-Conference Activities: Wednesday, 5th October 2016 2- 4.30 pm: Queer Vietnamese Film Festival’s Film Screening and Q&A, co-sponsored by Engaging with Vietnam and Center for Southeast Asian Studies (CSEAS) Location: Moore 258, hosted by Paul RAUSCH, Associate Director, CSEAS The film screening is free and open to all UH and EWC affiliates. 2 The 8th "Engaging with Vietnam - An Interdisciplinary Dialogue" Conference Engaging with Vietnam through Scholarship and the Arts | October 4-10, 2016 www.engagingwithvietnam.net & www.engagingwithvietnam.org Main Conference Day 1: Thursday, 6th October 2016 The main conference days 1 and 2 are free and open to all UH and EWC affiliates. -
Vietnam's Virtual Charm Offensive
DIPLOMAT MAGAZINE November 2020 Vietnam’s Virtual Charm Offensive Vietnam made the best of a difficult situation in carrying out its ASEAN chairmanship amid a pandemic. By Nguyen Phuong Linh and Nguyen Khac Giang When Vietnam’s Prime Minister Nguyen Xuan Phuc received the symbolic gavel from his Thai counterpart Prayut Chan-o-cha in the ASEAN chairmanship handover ceremony in November 2019 in Bangkok, he did not know what challenges his country would face just a few months later. Vietnam, despite its success in fighting against the COVID-19 pandemic, has had an unprecedentedly difficult year as the ASEAN chair. The year’s theme was “Cohesive and Responsive ASEAN,” yet the chaos of the pandemic threatens to throw the country’s hopes away. Despite Hanoi’s lobbying for a traditional form of physical ASEAN meetings to be held in Da Nang in April, the event eventually took place via video conferencing for the first time since the founding of ASEAN in 1967. The new format challenged the host country’s ability to set the agenda and process important negotiations. “ASEAN diplomacy is privately led; it is famously known for making major agreements on the golf courses, at the karaoke halls, and having drinks on sideline meetings... When you don’t have these actual in-person meetings... virtual events will dilute the ‘ASEAN way’ of doing thing and ASEAN will suffer for it,” a Bangkok-based, Southeast Asia-focused scholar noted earlier this year, expressing low expectations for Vietnam’s achievements during its ASEAN chairmanship. However, while its neighbors are still struggling with the pandemic, Hanoi has been surprisingly creative in its diplomatic actions and made the best out of the situation, not only for itself but also for the ASEAN community. -
Exhibition Essay by Gabby Quynh Anh Miller
Exhibition Essay by Gabby Quynh Anh Miller Toi khoc nhung chan troi khong co nguoi bay Toi lai khoc nhung nguoi bay khong co chan troi I cry when skylines do not have flying people I cry again when flying people do not have skylines -Tran Dan (Written 1987/8, published 2007) This tiny poem paints a bleak portrait of a place with no room for the imagination, a muffled lament for a landscape purged of artists. It was written in the early years of doi moi, the set of ‘open door’ economic policies that catapulted Vietnam into becoming one of the fastest growing economies in the world. At that time, Hanoi was a city ‘in the dark’, isolated from the world outside the communist block, impoverished, with few streetlights illuminating the night. As Tran Dan (1926-1997), the author of this poem, experienced, the cultural landscape was grim. A former soldier-poet, Tran Dan was a central figure in the Nhan Van-Giai Pham movement (Humanism and Works of Beauty)1 - a “brief flourish of dissent which burst forth in 1956”2 Tran Dan was thrown into jail, sentenced to hard labor, expelled from the Artists Association3, banned from publication, publicly denounced and socially ostracized. In her book “A World Transformed: The Politics of Culture in Revolutionary Vietnam” Kim Ninh makes a convincing argument that “Tran Dan became a focal point around which a number of intellectual concerns coalesced, and the state's violent reaction to him marked the moment when simmering intellectual questions burst into the open” 4 Published twenty years after scribbled into his ‘dusty notebooks’, our title poem is one of fifty-odd “mini poems”, many of which are experimentations with sound and meaning, often attempting to create sounds that have no meaning at all.