Installation (Installation)

On September 22, 1940 the French signed an accord, which granted Japanese troops the right to occupy Indochina. The Japanese presence in Indochina lasted until the end of World War II and during the occupation, jute supplies from India were interrupted. Jute was used to make sacks as well as gunpowder, a crucial material for the war industry.

Film & Video (Film & Video)

Tropical Siesta begins in a rural landscape of Vietnam. Very quickly, painted images of students sleeping on their school benches appear. A text speaking of how the communist regime has placed agriculture at the center of its economy reads alongside the images.

Film & Video (Film & Video)

Like many Asian countries, Vietnam has lost an immense amount of natural environment and rural landscape to economic growth and industrial development. The single-channel video Waltz of the Machine Equestrians is a response to the overwhelming number of motorbikes and scooters overtaking the streets of Vietnam as small agrarian communities have been displaced by the construction of skyscrapers. The video shows 28 “equestrians” on motorbikes and scooters arrayed into a rainbow cavalcade held together by strings clipped onto brightly colored ponchos.

Photography (Photography)

To produce her photo and film works, Diane Severin Nguyen makes amalgam sculptures from found materials, both natural and synthetic. She captures these ephemeral constructions at close range, enlarging minute tensions. Nguyen uses transient, prosthetic lighting—the glow of sunset, an iPhone flash, battery-powered LEDs, fire—so that the camera intervenes moments before these temporary arrangements and their lighting change.

This work presents the image of an immolated monk engraved on a baseball bat. The flames surround him eroding the extremity of the bat. The delicate sculpture refers to the sacrifice of the Buddhist monk, Thich Quang Duc, who immolated himself on June 16th 1963, in reaction to the discrimination and the repressive politics of the Diem Catholic regime (regime installed by the Americans) towards the Buddhists.

Painting (Painting)

In the “Black Paintings” series, although the human body is only suggested, it plays an important role. Some body parts are absent, mostly the faces which are usually an affirmation of the individual. The characters recall ghosts testifying as to the traumas of war.

Film & Video (Film & Video)

Set in the haunting space of an ex-colonial rubber plantation in Central Vietnam, Phuong Linh Nguyen’s film Memory of the Blind Elephant is a tender portrait of the complex economies of interspecies trauma and resilience in the face of continued extraction and destruction. Formerly present in the coronation of Potau Apui (the Jarai King of Fire), in Dr. Yersin’s exploratory crew during the colonial period, and now a major draw for tourists, the figure of the elephant is ailing, grievous, as though haunting its habitat. Intrigued by the reality she observed, Phuong Linh gathered, documented, altered, repositioned the local materials of ceaseless exploitation of natural resources: raw rubber, ferrosols, and aluminium to assert a critical proposition.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

To produce her photo and film works, Diane Severin Nguyen makes amalgam sculptures from found materials, both natural and synthetic. She captures these ephemeral constructions at close range, enlarging minute tensions. Nguyen uses transient, prosthetic lighting—the glow of sunset, an iPhone flash, battery-powered LEDs, fire—so that the camera intervenes moments before these temporary arrangements and their lighting change.

Film & Video (Film & Video)

The essay film How to Improve the World by Nguyen Trinh Thi takes us into an indigenous village of the Jrai people in the Central Highlands of Vietnam, in Gia Lai province. It begins with sound – perhaps a hammer, or a gong – the lack of image making its identification difficult. A landscape emerges of an open field where a farmer tends his grazing cow herd.

Installation (Installation)

Landscape Series no. 1 presents landscape as a “quiet witness of history.” It began with searches of online archives of Vietnamese news-media, for images of figures in landscapes “pointing, to indicate a past event, the location of something gone, something lost or missing.” The uniformity is striking but the sequence is subtly structured: the typology hints at narrative progression, though of an uninformative narrative, lacking details.

Film & Video (Film & Video)

Filmed underwater, this is the third video in Nguyen-Hatsushiba’s “Memorial Project” series which began in 2001. The title already implies the cultural complexities about to be ironically unravelled: Ho Chi Minh is parodied and Okinawa (where this was filmed) was a battle site in Japan during World War II which then became an American training base during the Vietnam War. To a remix of James Bond movie tracks composed by Quoc Bao, no less than thirty divers in wet suits and full gear advance against the water resistance armed with cartridges of color.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Photography (Photography)

A Soldiers’ Garden by Nhà Sàn Collective is a night portrait series located in an army camp outside Hanoi. Here new recruits assemble for basic training during the first months of their military service, before they are relocated to their assigned battalion. Night is the only time the soldiers in training have a few moments for themselves.

Film & Video (Film & Video)

In Excerpts from the Analects of Confucius , Peng Hung-Chih explores the relationship between Confucianism and religion. Specifically, the piece questions the influence of Confucian teachings on the role of the intellectual in contemporary Chinese society. While Confucianism has its own ritual systems and temples, it is not known to be overly concerned with supernatural beings such as gods and demons.

Drawing & Print (Drawing & Print)

The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement. These drawings were created during the trial of political activists pursued by the government that the artist would regularly attend. During the tribunal, the artist would let his pen slide freely across his notebook, replicating the automatic drawing techniques of the surrealists.

Installation (Installation)

Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials. One of the nine parts of this work is Page 22 (Half Folded Library) , a site-specific installation for which Pak covertly folded dog-ears on page 22 of every second book (a total of approximately 15,500 books) in the 58th Street Branch Library in Manhattan. By claiming it as a “solo exhibition,” Pak intentionally turned a public institution into a private and personal museum where his works are more or less a “permanent collection.” Being open-ended as far as further interpretation (or not) by readers who encounter the folded pages, the project tests the political and social potential of personal gestures in the public realm.

Film & Video (Film & Video)

The Third Seal—They Are Already Old. They Don’t Need To Exist Anymore is part of The Seven Seals , Tsang’s ongoing series of digital videos that are projected as installations onto the walls and ceilings of dark rooms. Using texts and computer technology, the series draws its reference from various sources—the Bible, Judeo-Christian eschatology, existentialism, metaphysics, politics, among others—to articulate the world’s complexity and the dilemmas that people face while approaching “the end of the world.” The Third Seal is a nineteen-by-twenty-seven-foot projection on a single wall that, together with sound, creates an immersive and dynamic environment.

Sculpture (Sculpture)

Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong. Intrigued by the accidental preservation of historical building material by renovations and rebuilding, Wong began paying attention to the experience conveyed by layered forms accreted to affect the visual historicity of a space. The geometric forms in the piece are welded together as a composite replica of a metal grate from a children’s playground next to Wong’s studio, a security grate door from his apartment complex, and the latticework that holds an air conditioner from an electronic store, and a front grate from an elementary school on his bus route.

Photography (Photography)

The two large-scale stereoscopic photographs in That’s That’s Alright Alright Mama Mama depict a recreation of Elvis Presley’s recording studio in Memphis, Tennessee. This study in doubles is underscored by its title, which repeats and doubles Elvis’s original song title. The images are hung in a specially angled wall and the viewers are provided special 3-D glasses in order to contemplate the image.

Photography (Photography)

Kastura (2012) is an installation consisting of 24 black-and-white photographs of the Katsura Imperial Villa in Kyoto bequeathed by Kimura’s grandfather; free-standing structures on which they are hung; and ornamental plants. The photographs appear to have been taken in late 1950s soon after tours of the villa were first offered to the public. Then, as today, visitors were led by a guide and could only follow a designated route.

Sculpture (Sculpture)

Known But to God: The Dug Up, Dissected, and Disposed for the Sake of Medicine by Doreen Lynnette Garner is a small, suspended sculpture composed of glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, and whiskey. At once attractive and repulsive, the sculpture combines objects of adornment with what appears to be viscera. The sculpture’s curious delicacy evokes a ritualistic catharsis, in response to persistent forms of medical racial violence and objectification for Black people in America and around the world.

Installation (Installation)

The work Sarta (String) by Reyes Santiago Roja is part of a larger series of works that examine the commercialization of the tobacco plant and its relationship to the meaning and use of tobacco by Native American tribes such as the Mayas, Aztecs, Incas or Tainos, which attributed spiritual qualities to tobacco such as the smoke carrying one’s thoughts and prayers to the sprits. In this work the artist studied the forms of tobacco leaves native to Latin America and recreated their shapes with commercial tobacco packaging from such global brands as Marlboro or Camel to the most popular Colombian brand Pielroja. The leaves made of the packaging material are lined up on a string as if they are hung out to dry as in traditional tobacco making processes.

Film & Video (Film & Video)

The short video Inside the Studio by Neïl Beloufa follows a humorous Toy Story -esque conversation between the artworks inside the artist’s studio. In the personless space, two animated paintings express their hopes for their future, contemplating the beverage options at the exhibition opening at which they intend to be presented, while a third painting forgoes such superficial conversation to consider their significance and purpose in the context of the art institution and the public’s perception. Interrupting their conversation, the artworks become the backdrop for an in-studio interview with the artist and a film crew.

Sculpture (Sculpture)

22022021, Yawnghwe Office in Exile by Sawangwongse Yawnghwe belongs to a body of work made in response to the Myanmar military coup that began in February 2021. The work employs traditional Burmese textiles, which have been employed by protesters harnessing the power of old Myanmar lore. It is said that women’s bodies and the garments that cover them sap men of their power.