Les Fleurs d’intérieur

2009 - Sculpture (Sculpture)

Danh Vo

location: Berlin, Germany
year born: 1975
gender: male
nationality: Vietnamese and Danish
home town: Ba Ria, Vietnam

The work “Les Fleurs d’intérieur” (which gives its name to the exhibiton presented at Kadist Art Foundation from May 30 to July 13, 2009) is a brass plate engraved with the inventory list of the works included in the show. From this moment, Dahn Vo will use this brass plates as a systematic element for all his exhibitions.


Danh Vo’s personal history of migration and adjustment is an important reference point for his artistic practice. In his work, he explores themes ranging from identity, authorship, sexuality, and ownership to origin. He uses intimate, personal material to show that identity is a construction of projections, assumptions and attributed values. Vo embarks upon a subtle investigation of the Western fascination for the exotic and unknown with an exquisite conceptual style. For Vo, appropriating the history of others is a way of unraveling monolithic ideas about identity. And he does so with great verve, generally initiating the journey with himself. In addition to his classifiable works, a certain mystified aura lingers around his actions: the artist has married, and subsequently divorced numerous people simply to add their names to his list, he has committed “crimes” later displaying their documentation as show, for example. In his installations he uses objects, photos and documentation that connects his family history to real memories intertwined with a complex imaginary. His refugee status has led him to attempt to reconstruct various derivations of identities, origins, and stories. This requires the questioning of social structures, the endorsement of different identities, the questioning of values, and the undermining of conventions in order set forth a groundwork for his personal depiction in the world of society at large. Born in 1975, Danh Vo is a Danish artist with Vietnamese origins. He lives and works in Berlin.


Colors:



Chu’u Mayaa
© » KADIST

Clarissa Tossin

2017

Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...

Fordlândia Fieldwork
© » KADIST

Clarissa Tossin

2012

In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...

The Transparencies of the Non-Act
© » KADIST

Mario Garcia Torres

Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...

Death at a 30 Degree Angle
© » KADIST

Bani Abidi

2012

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

Other related works, blended automatically  
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Good Life
© » KADIST

Danh Vo

2007

Good life (2007) is an installation displaying letters, documents, photographs and objects from a man named Joseph Carrier, and appropriated by artist Danh Vo...

Chu’u Mayaa
© » KADIST

Clarissa Tossin

2017

Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...

Fordlândia Fieldwork
© » KADIST

Clarissa Tossin

2012

In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...

A Flags-Raising-Lowering Ceremony at my home’s clothes drying rack
© » KADIST

Kwan Sheung Chi

2007

A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...

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Danh Vo, Where The Lions Are
© » KADIST

This publication was conceived on the occassion of the exhibition: Danh Vo, “Where The Lions Are” June 11- August 23, 2009 at the Kunsthalle Basel...

British Museum Launches Website To Recover Internally Stolen Artefacts
© » ARTLYST

Last August, 1,200 to 2,000 valuable objects were reported "missing, stolen or damaged" by officials at the British Museum...

“A Land Imagined” and The Ghosts We Forget
© » ARTS EQUATOR

"A Land Imagined" and The Ghosts We Forget | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo courtesy of Akanga Film Asia & Philipp Aldrup Photography Photo courtesy of Akanga Film Asia & Philipp Aldrup Photography February 21, 2019 By Alfonse Chiu (1200 words, six-minute read) The three definitions of the word “ghost” from the Oxford dictionary are as follows: the first, “an apparition of a dead person which is believed to appear or become manifest to the living”; the second, “a slight trace or vestige of something”; and the third, “a faint secondary image caused by a fault in an optical system, duplicate signal transmission, etc.” In all three, presence is a suggestion of memory, amenable to corrections by means of a quick scrub of one’s spectacles...

Weekly Southeast Asia Radar: Jakarta’s controversial Performance Art Club; Bangkok Art Biennale
© » ARTS EQUATOR

Weekly Southeast Asia Radar: Jakarta's controversial Performance Art Club; Bangkok Art Biennale | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar 69 Performance Club January 23, 2020 ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region...

Related works from the » 2000's created around » Berlin, Germany  
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The Left Hand Can't See That the Right Hand is Blind
© » KADIST

Douglas Gordon

2004

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Blind Spencer (Mirror)
© » KADIST

Douglas Gordon

2002

Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...

Ghost games
© » KADIST

Anri Sala

2002

Ghost Games , follows the enigmatic dance of crabs “steered” by a flashlight in the night of darkness of a South American beach...

This Exhibition
© » KADIST

Tino Sehgal

2004

Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space...

Other works by: » Danh Vo  
» see more

Good Life
© » KADIST

Danh Vo

2007

Good life (2007) is an installation displaying letters, documents, photographs and objects from a man named Joseph Carrier, and appropriated by artist Danh Vo...

Related works found in the same semantic group  
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Christie’s Sale of Items From Art Collector Adam Lindemann Makes $31.5 M. - via ARTnews
© » LARRY'S LIST

Part of the proceeds from the auctions are going to the Rockefeller Wing at the Met....