APB Foundation Signature Art Prize, venue partner National Museum of Singapore, 25 May - 2 Sep 2018

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25 May – 2 September 2018

Inaugurated in 2008 by the Asia Pacific Breweries (APB) Foundation and the Singapore Art Museum, the triennial APB Foundation Signature Art Prize returns for its fourth edition in 2018. Recognising outstanding examples of contemporary art from both emerging and established artists over the previous three years, the prize puts the spotlight on the most compelling, cogent and complex works of art from the Asia-Pacific rim to the region of Central Asia.

The APB Foundation Signature Art Prize is worth SGD 100,000, with SGD 60,000 awarded to the Grand Prize winner and SGD 15,000 each to two Jurors’ Choice Award winners. A People’s Choice Award of SGD 10,000 will also be offered to the work that receives the highest number of public votes on-site.

The 15 finalists of the 2018 installment will be announced by early 2018, and the APB Foundation Signature Art Prize finalist exhibition will take place from 25 May to 2 September 2018 at the National Museum of Singapore, venue partner for the Prize. The awards ceremony will take place on 29 June 2018.



Galeria, May 20 2018 onwards at the Factory Contemporary Art centre, Ho Chi Minh City, Vietnam  

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Selected paintings from Phan Thảo Nguyên’s haunting and alluring watercolor series ‘Voyage de Rhodes’, together with pieces from her body of sculptures ‘Your daughter is a traitor (Magical bow)’, will again grace our summer Galeria (starting from 20 May onwards). Forming part of her solo exhibition ‘Poetic Amnesia’ (showcased at The Factory 15 Apr – 2 June 2017), these works reflect Thảo Nguyên’s longtime fascination with how and why the Vietnamese language was given a Romanized script, a history the artist uses to project her imagined world, a memory re-called or entirely made anew. Dancing across the walls in the back room are Đạt Vũ’s photographs from of his ongoing project ‘Muted Conversations’ (first shown in an exhibition of the same name at The Factory 10 Aug – 15 Sept 2017). Taken during Đat’s extensive travels throughout the country, these (sur)real images show how local people, across diverse regions, perform rites and rituals in sacred spaces and in daily life; in public and in private; and how they incorporate and maintain these traditional spiritual practices in the constant flux of changes between historical heritage and new influences from contemporary life.

The Factory operates as a social enterprise, whereby all profit from sale of art and business on the property supports the running costs of its art-related programs. For more information, please contact the reception desk or call the hotline: +84 (0) 283 744 2589.


Joan Jonas and Thao-Nguyen Phan, Rolex Mentor and Protégé in Visual Arts, 2016-2017

Phan Thao Nguyen interview for Post Vidai contemporary art collection 

Phan Thao Nguyen shares her thoughts behind her works in the Post Vidai Vietnamese contemporary art collection

A Beast, a God and a Line, Para Site, Hongkong, Mar 17 - May 20, 2018  

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Opening Reception
March 16, 2018
7:00 – 9:00pm
Para Site
22/F, 6/F Wing Wah Industrial Building

Nabil Ahmed, Anida Yoeu Ali, Malala Andrialavidrazana, Joël Andrianomearisoa, Au Hoi Lam, Pablo Bartholomew, Daniel Boyd, Sarat Mala Chakma, Rashid Chowdhury, Christy Chow, Cian Dayrit, Ines Doujak, Gauri Gill, Simryn Gill, Sheela Gowda, Garima Gupta, Taloi Havini, Su Yu Hsien, Dilara Begum Jolly, Jrai Dew Collective (curated by Art Labor), Jaffa Lam, Jiun-Yang Li, Charles Lim Yi Yong, Idas Losin, Lavanya Mani, Moelyono, Mrinalini Mukherjee, Manish Nai, Sarah Naqvi, Nguyen, Trinh Thi, Jakrawal Nilthamrong, Nontawat Numbenchapol, Jimmy Ong, Etan Pavavalung, Paul Pfeiffer, Thao-Nguyen Phan, Sheelasha Rajbhandari, Joydeb Roaja, Norberto Roldan, Zamthingla Ruivah, Ampannee Satoh, Chai Siris, Praneet Soi, Simon Soon (with RJ Camacho and Celestine Fadul), Truong Công Tùng, Raja Umbu, Chiara Vigo, Munem Wasif, Apichatpong Weerasethakul, Ming Wong, Lantian Xie, Sawangwongse Yawnghwe, Trevor Yeung, Tuguldur Yondonjamts

Para Site is delighted to present A beast, a god, and a line. This expansive travelling exhibition is co-produced with the Samdani Art Foundation and the Museum of Modern Art in Warsaw, and is woven through the connections and circulations of ideas across a region. This geography - arbitrary as any mapping, not least as it appears in contemporary art exhibitions - is commonly called the Asia-Pacific, but it could also be epitomised by several other definitions, which the exhibition explores and untangles. Overlapping and sometimes conflicting or barely discernible beneath the strident layers of contemporaneity, and the modern waves of destruction, these worlds are still the pillars of a region that is going through a process of replacing its colonial cartographic coordinates, a process this exhibition proudly serves. It does so by putting forward political, art historical, and aesthetic interrogations, all of them reflected in the subject matters of the exhibition, as well as in the aesthetic languages it gathers, and in the art historical narratives around the featured artists, who all belong to vastly different generations and backgrounds. 


Poetic Amnesia, Rolex Art Weekend, 3-4 February 2018, Gemäldegalerie, Berlin 

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A beast, a god and a line, Feb 2-10 2018, Dhaka Art Summit, Dhaka, Bangladesh

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A beast, a god and a line considers Bengal's position at the core of different geographical networks, reflecting the circulation of people of the Austronesian world to the histories of globalisation beginning in the early 16th century, the exhibition unfolds in several chapters, positioning the materials histories of textiles as a central thread that carries the trace of these exchanges. This exhibition co-produced by Dhaka Art Summit, Para Site, Hong Kong and the Museum of Modern Art, Warsaw and will also tour to TS1 Yangon in 2018.


The Life of Things, 19 Jan - 1 April 2018, Jendela Visual Arts Space, the Esplanade, Singapore

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Poetic Amnesia, solo exhibition, Dec 13-Dec 24 2017, Nha San Collective, Hanoi, Vietnam 

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Poetic Amnesia - Artist talk with Phan Thao Nguyen, 12 May 2017 

Speaker: Artist Phan Thảo Nguyên
Date: 12 May 2017

Time: 7PM – 9PM
Location: The Factory Contemporary Arts Centre
15 Nguyễn Ư Dĩ, Thảo Điền W., D.2, HCMC

‘Phan’s artistic methodology is akin to a 21st century social scientist, employing anthropological means of observation and categorization, re-shuffling the systems and symbols of culture and society into differing, at times utterly abstract, visual and textual figurations.”

At this artist talk, Phan Thao Nguyen will share with us her unique journey of exploration and creation, looking at historical sources of inspirations and the wide range of artistic media utilized for the realization of ‘Poetic Amnesia’. This talk will also see the launching of the exhibition catalogue, with high-quality printed imagery and curatorial essay by Zoe Butt.

This talk is presented in English and Vietnamese. Entrance is free. 



Poetic Amnesia, solo exhibition, 15 April - 2 June, 2017, the Factory contemporary art centre, Ho Chi Minh City, Vietnam 

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ArtistPhan Thảo Nguyên
Curator: Zoe Butt
Exhibition date: 15 April – 2 June 2017
Location: The Factory Contemporary Arts Centre
15 Nguyễn Ư Dĩ, Thảo Điền W., D.2, HCMC, Vietnam

In Phan Thao Nguyen’s first solo exhibition in Vietnam we will see her passion for storytelling take new direction and form. Inspired by particular historical texts – such as the writings of French missionary Alexander de Rhodes as he traveled across Vietnam, or the earliest mythical tales written in the Vietnamese Romanized script by Catechist Bento Thien – Thao Nguyen weaves her own poetry using their memories as her landscape. Figures in watercolor dance across pages; symbols of love and betrayal are transformed into sculpture; while oil paint sketch scenes on x-ray film backings. In ‘Poetic Amnesia’ an imagined world is conjured, a world that may be truth or fiction, a memory re-called or entirely made anew.


The Making of an Institution — Artistic Research. Talk by Thao-Nguyen Phan (Vietnam), Artist-in-Residence

The Making of an Institution — Artistic Research. Talk by Thao-Nguyen Phan (Vietnam), Artist-in-Residence

March 1 from 7:30 to 9pm 

Studio #01-04, Block 37 Malan Road

As part of The Making of an Institution, Artist-in-Residence Thao-Nguyen Phan explores what artistic research means in the context of her practice and how it has been developing over the years. Interweaving past and recent works that engage with the history of Vietnam, she will discuss her interest in educational patterns and the power of narrative in the transmission of knowledge. She will also talk about the projects she developed with Art Labor, a collective she co-founded in 2012.

The talk will take place in the artist’s studio.

This Workshop is part of the public programme of The Making of an Institution.

Through a combination of painting, video, performance, and installation, Thao-Nguyen Phan (b. 1987, Vietnam) creates provocative artworks focusing on historical events, traditional narratives, and minor gestures that challenge common assumptions and social conventions. Recent exhibitions include Concept Context Contestation, Art and the Collective in South East Asia, Goethe Institut, Hanoi, Vietnam (2016); Haunted Thresholds: Spirituality in Contemporary Southeast Asia, Kunstverein Göttingen, Germany, (2014). Phan is also a member of the collective Art Labor.


Artist talk with Joan Jonas and Phan Thao Nguyen 12 Feb 2017 

Joan Jonas and Phan Thảo Nguyên
Date: 12 February 2017

Time: 4.00PM – 6.00PM
Location: The Factory Contemporary Arts Centre
15 Nguyen U Di, Thao Dien Ward, D.2, HCMC


A passionate discussion on art between Rolex Mentor Joan Jonas and Protégée Phan Thảo Nguyên to be held at The Factory Contemporary Arts Centre in Vietnam

Internationally acclaimed, pioneering American performance and video artist Joan Jonas will share the stage with visual artist Phan Thảo Nguyên, her protégée in the Rolex Mentor and Protégé Arts Initiative, at a lecture and discussion held from 4pm, on 12 February at Ho Chi Minh City’s Factory Contemporary Arts Centre.

As part of the lecture, “Mentorship: Revealing an Artistic Practice”, Jonas will relate her experiences in a career that spans over nearly a half century and reveal her views on society in light of contemporary art. Following the lecture, Phan Thảo Nguyên, herself a multimedia artist from Ho Chi Minh City who uses painting, installation, video and performance to depict historical and contemporary concepts, will discuss her artistic interaction with the legendary Jonas over the past 10 months.

In particular, the event will highlight the creative dialogue between these two artists of different generations and cultures.

The Factory Contemporary Arts Centre is an independent art centre that creates and hosts interdisciplinary contemporary art and cultural activities in order to introduce and expand knowledge of art and cultural trends, both past and present, in Vietnam.

Joan Jonas

Described by London’s Guardian newspaper as a “titan of the American avant garde”, the internationally acclaimed, New York-based, performance and video artist Joan Jonas has made an indelible mark on the visual arts over nearly a half century – and continues to do so. Performance opened things up in the art world, says Jonas, whose pioneering works in New York’s late-1960s downtown art scene drew inspiration from a variety of artistic genres and cultures. Trained in art history and sculpture at Mount Holyoke College in Massachusetts, the School of the Museum of Fine Arts, Boston, and at New York’s Columbia University, where she received an MFA in Sculpture in 1965, she soon abandoned her career as a sculptor and turned to the relatively unexplored area of performance and video, incorporating multimedia and featuring a variety of themes from mythological narratives to mirrors. Beginning in the late 1960s, she performed the groundbreaking Mirror Pieces that uses mirrors as a visual device. This was followed by, among other works, Organic Honey’s Visual Telepathy (1972), which explores women’s shifting roles. In the 1990s, in pieces such as the My New Theater series, Jonas moved away from a dependence on her physical presence. A major retrospective of her work, Light Time Tales, was showcased in 2014-2015 at Milan’s HangarBicocca. Her multimedia installation, They Come to Us Without a Word, evoking an ecologically challenged world, drew huge crowds to the US Pavilion at the 56th Venice Biennale in 2015. A solo exhibition at DHC/Art in Montreal ran from April to September 2016. Winner of numerous honours, including a 2009 Lifetime Achievement Award from the Solomon R. Guggenheim Museum, Jonas taught at the UCLA School of the Arts and Architecture and was a professor at Stuttgart’s State Academy of Art and Design and for 17 years at MIT (Massachusetts Institute of Technology), where she is Professor Emerita in the MIT Program in Art, Culture and Technology.

Phan Thảo Nguyên

Phan Thảo Nguyên has pushed the boundaries of contemporary art in Vietnam. Through literature, philosophy and daily life, she observes ambiguous issues in social convention, history and tradition. An honours graduate from Singapore’s Lasalle College of the Arts in 2009, four years later Phan Thảo Nguyên received an MFA in Painting and Drawing from the School of the Art Institute of Chicago (SAIC). Today, in addition to her work as a multimedia artist, she has joined forces with artist Trương Công Tùng and curator Arlette Quỳnh-Anh Trần to form Art Labor. This collective explores cross-disciplinary practices and develops art projects that will benefit the local community. Phan Thảo Nguyên is expanding her “theatrical fields”, including what she calls performance gesture and moving images, under the guidance of pioneering visual artist Joan Jonas whom she considers the “ideal mentor”. Phan Thảo Nguyên has exhibited widely in Southeast Asia.

The Rolex Mentor and Protégé Arts Initiative is a philanthropic program that was set up in 2002 to make a contribution to global culture. The program seeks out gifted young artists from all over the world and brings them together with artistic masters for a year of creative collaboration in a one-to-one mentoring relationship. In keeping with its tradition of supporting individual excellence, Rolex gives emerging artists time to learn, create and grow.

Over the past decade, Rolex has paired mentors and protégés in dance, film, literature, music, theatre, visual arts and – as of 2012 – architecture. In the decade since it was launched, the mentoring program has evolved into an enriching dialogue between artists of different generations, cultures and disciplines, helping ensure that the world’s artistic heritage is passed on to the next generation. 


Residencies OPEN: Art After Dark!  13 Jan 2017, Fri 07:00 PM - 11:00 PM at Gillman Barracks, Singapore


Artist in Residency at NTU CCA Singapore, January and March 2017

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3 January – 26 January 2017

22 February – 24 March 2017


Through a combination of painting, video, performance, and installation, the artistic practice of Thao-Phan Nguyen (Vietnam) focuses on historical events, traditional narratives, and minor gestures producing a refined imaginary that challenges common assumptions and social conventions. She has the ability to condense the manifold references to history, literature, philosophy, and theory that always frame her research into subtly poetic artworks that open up news spaces for reflection. Since 2016, she is the protégé of American artist Joan Jonas within the Rolex Mentor and Protégé Arts Initiative, a programme which pairs gifted young artists with internationally recognised masters, sponsoring them to spend a year in a one-to-one mentoring relationship. Her recent exhibitions include Concept Context Contestation, Art and the Collective in South East Asia, Goethe Institut, Hanoi, Vietnam (2016); Haunted Thresholds: Spirituality in Contemporary Southeast Asia, Kunstverein Göttingen, Germany, (2014). and Tâm Tã, Hanoi Fine Arts Museum, Vietnam (2014). In 2012, she founded the collective Art Labor together with artist Truong Cong Tung and curator Arlette Quynh-Anh Tran Phan.


Thao-Nguyen Phan will expand her research on the introduction of the Latin alphabet as a writing system in Vietnam, exploring how the same transition occurred in other Southeast Asian countries such as Singapore, Malaysia, Indonesia, and the Philippines. In Vietnam, the Romanised script was first introduced in the 17th century by catholic missionaries to spread Christianity, playing a significant role in the process of colonization of the country. While official accounts celebrate the adoption of the Latin alphabet as a symbol of modernity, the implications of this historical process are far more complex and tell stories of cultural loss and gain, national amnesia, and violence.


Embedded South(s)

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Embedded South(s)
An online moving-image exhibition
November 3–6, 2016


Artists: Bani Abidi (Germany/Pakistan); Fernando Arias (Colombia); Kannan Arunasalam (Sri Lanka); Sammy Baloji/ Lázara Rosell Albear (DR Congo/Cuba); Tiffany Chung (Vietnam/USA); Bakary Diallo (Mali); Andrew Esiebo/Annalisa Butticci (Nigeria/The Netherlands); Shanaka Galagoda (Sri Lanka); Ayrson Heráclito (Brazil); Sasha Huber (Switzerland/Haiti); Claudia Joskowicz (Bolivia/USA); Amar Kanwar (India); Mikhail Karikis (Greece/UK); Jompet Kuswidananto (Indonesia); Dinh Q Lê (Vietnam); Giovanna Miralles (Bolivia); Nguyễn Hương Trà (Vietnam); Nguyễn Thị Thanh Mai (Vietnam); Nguyễn Trinh Thi (Vietnam); David-Douglas Masamuna Ntimasiemi (DR Congo); Phan Thảo Nguyên (Vietnam); Renata Padovan (Brazil); Chulayarnnon Siriphol (Thailand); Sutthirat Supaparinya (Thailand); Kidlat Tahimik (The Philippines); Trần Lương (Vietnam); Trương Công Tùng (Vietnam); Vandy Rattana (Cambodia/Japan)

Co-curated by Zoe Butt (Executive Director and Curator, San Art, Ho Chi Minh City), Gabriela Salgado (Independent curator, London), and Lê Thuận Uyên (Independent researcher, Hanoi)

Embedded South(s) is an online moving-image exhibition examining particular cultural phenomena, within the complex social geographies of those who identify with a "south." Screened across three continents from November 3–6, 2016, with unique thematic each night, this program showcases the work of 29 artists from South Asia, South East Asia, Latin America, and Africa.

By "south" we understand this to be a geo-political terminology that labels a particular "tropic," often economically considered "developing" and culturally suffering the trauma of coloniality. However, we also understand this "south" to be a mobile entity in its diaspora, with many "souths" now in transference within the global flows of migration (forced, voluntary, political, or economic).

Anywhere but Here 

September 14 - November 5, 2016

Opening: Tuesday, September 13, 2016, 6-9pm

Felix González-Torres, Hàm Nghi, Thao‑Nguyen Phan, Pratchaya Phinthong, Vandy Rattana, SAAP (Singapore Art Archive Project), Khvay Samnang, Albert Samreth, Sa Sa Art Projects, Shui Tit Sing, Shooshie Sulaiman, Tran Minh Duc, Vuth Lyno

Curators : Mélanie Mermod & Vera Mey

Anywhere But Here (N’importe où sauf ici, គ្រប់ទីកន្លែង លើកលែងទីនេះ) brings together art­works that seek out some cir­cu­la­tions of objects, fig­ures or ges­tures in rela­tion to Cambodia, and more broadly within the geopo­lit­ical con­text of Southeast Asia. With a focus on deter­ri­to­ri­al­iza­tion – whether they would be forced or driven by free will, con­se­quences of uncon­trol­lable slip­pages or trans­fers care­fully orches­trated – these col­lected sto­ries of move­ments draw van­ishing points within pre­vailing pro­cesses of his­tory-making and pat­ri­mo­nial her­itage.

Numerous shifts of power in Cambodia have repeat­edly recast the con­cep­tion of cul­ture and his­to­ri­al­iza­tion of facts and pat­ri­mony, including the seem­ingly time­less and ongoing ten­sions with its neigh­bors Vietnam and Thailand, the colo­nial French Protectorate (1863-1953), the 1970 coup leading to the assump­tion of power of Lon Nol, the fol­lowing four years of civil war (1970-1974), mean­while the rise South-East Asian Communist par­ties and the geno­cidal rule of the Khmer Rouge Regime (1975-1979), to the Vietnamese ruled People’s Republic of Kampuchea (1979-1991), the rule of United Nations Transitional Authority over the country (1992-1993), which led to the auto­cratic rule of Prime Minister Hun Sen (since 1998).

The works pre­sented in Anywhere But Here address marginal move­ments devel­op­ping within his­tor­ical moments, such as the forced exile or vol­un­tary dis­place­ments of intel­lec­tuals to France and its colonies (Hàm NghiTran Minh Duc). The works of Thao-Nguyen Phan evoke the after-effects of French and Japanese intru­sions on the evo­lu­tion of agrarian land­scape and def­er­ence ges­tures, while others invent new sce­narios in pat­ri­mo­nial spaces (Shooshie SulaimanPratchaya Phinthong). Some works trace the inti­mate tra­jec­to­ries of objects and anony­mous per­sons (Felix González-TorresKhvay SamnangVuth Lyno), while others take as their starting point former artists’ jour­neys that lie ambigu­ously between a quest for dis­ori­en­ta­tion or a quest of tan­gible ori­gins (Albert SamrethSingapore Art Archive ProjectVandy Rattana).


Rolex mentors and protégés in visual arts, 2016-2017

The legendary Joan Jonas accepted Rolex’s invitation to be a mentor because, she says: “I enjoy meeting young artists and am curious about their concerns in this chaotic and difficult time. I hope to have a dialogue that might clarify thoughts and ideas. Also to exchange with another, information previously hidden – and to visit unknown spaces.” Moved by Jonas’s “extraordinary power to reinvent, being so groundbreaking from one work to the next”, protégée Thao-Nguyen Phan believes the mentorship will be “double-layered by the intimacy between two artistic souls and the complexity of shared history between Vietnam and the United States”. 


Workshop and exhibition at Villa Iris, Santander, Spain, organized by Foundation Botin, 6-23 June 2016


The American artist Joan Jonas (New York, 1936) will direct Fundación Botín’s 2016 Visual Arts Workshop, to be held at Fundación Botín’s Villa Iris in Santander from June 6 to 23.

The 15 selected artists will both participate in the production of a new work by Joan Jonas and develop individual work that will focus on the subject of landscape, whether rural or urban. Using different approaches and perspectives, the artist will discuss the issue of sustainability in rural areas, taking into account “biodiversity and the conservation of traditions, architecture and landscape.” The resulting work will be presented at Villa Iris for two weeks as of June 23, while Fundación Botín’s exhibition space will feature the new work by Joan Jonas from June 24 to October 16.

Artists wishing to be considered for this workshop are invited to reflect upon the part landscape plays in their work. While this notion can of course be interpreted in different ways according to one’s interests and/or medium, the issue of sustainability in a rural area is an important one, whether from the standpoint of biodiversity, the preservation of traditions, architecture and landscapes. The issues implied are shared all over the world, as habitats are misused or disappear. One may choose any detail in the social network of nature to focus on. This might include certain systems such as roads or rivers, trees or wildlife.

Artist selected: Saverio Bonato (Italy); Sara Bonaventura (Italy); Aliansyah Caniago (Indonesia); Santiago Diaz Escamilla (Colombia); Galia Eibenschutz (Mexico); Ariel Elisabeth Gout (France); Allison Janae Hamilton (USA); Sonja Silke Hinrichsen (Germany); Noriko Koshida (Japan); Alessandra Messali (Italy); Carolina Redondo (Chile); Mara Danielle Streberger Elizalde (USA); Yusuke Taninaka (Japan); Phan Thao-Nguyen (Vietnam); Xavier José Cunilleras(España).

Art talk: Nguyen Manh Hung & Phan Thao Nguyen at gallerie Quynh

Galerie Quynh is pleased to invite you to an informal discussion with Nguyen Manh Hung and Phan Thao Nguyen on the occasion of Hung’s current solo exhibition at the gallery Farmers Got Power. We are thrilled to continue supporting educational programming – an important part of Galerie Quynh’s activities over the last decade.