Les Fleurs d’intérieur
2009 - Sculpture (Sculpture)
Danh Vo
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:
Related works featuring themes of: » Collective History, » Contemporary Conceptualism, » Cross-Cultural Dialogue, » Globalization, » Vietnamese and Danish
© » KADIST
Clarissa Tossin
2017Clarissa 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...
© » KADIST
Clarissa Tossin
2012In 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...
© » KADIST
Hank Willis Thomas
2012Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
© » KADIST
Cildo Meireles
1975Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
© » KADIST
Ho Tzu Nyen
2011The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
© » KADIST
Rodney McMillian
2013In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
© » KADIST
Julio Cesar Morales
2011Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
© » KADIST
Edgar Arceneaux
2006Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
© » KADIST
Runo Lagomarsino
2020On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
© » KADIST
Carlos Amorales
2014Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
© » KADIST
Hank Willis Thomas
2013The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
© » KADIST
Julio Cesar Morales
2006Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
© » KADIST
Carlos Amorales
2005Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
© » KADIST
Nalini Malani
2012Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...