Residencies OPEN: Art After Dark! 13 Jan 2017, Fri 07:00 PM - 11:00 PM at Gillman Barracks, Singapore
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.
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).
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 Nghi, Tran 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 Sulaiman, Pratchaya Phinthong). Some works trace the intimate trajectories of objects and anonymous persons (Felix González-Torres, Khvay Samnang, Vuth 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 Samreth, Singapore Art Archive Project, Vandy Rattana).
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”.
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).
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.
Date: 1st December ~ 30th December 2015
Venue: Gellery LOTUS, Youlhwadang Publishers, GyeongGi, Korea
Participant artists: Nguyen Trinh Thi, Phan Thao Nguyen, Phan Quang, The Propeller Group, Yang Yoonim, Yi Boram, Lee Sooyoung, Lee Wonho, Lee Changhoon, Joen Suhyun
Curated by Kim Jihye
Sàn Art to participate in the 14th Artist Fair Taiwan 2015, Taipei with works by Dinh Q. Le, Lena Bui, Le Phi Long, Pham Ngoc Lan, Phan Quang, Phan Thao Nguyen, Phunam, Tran Tuan and UuDam Tran Nguyen
Dates of Fair for San Art: 2 – 5 October, 2015
Zone D, Taipei Expo Park, Expo Dome
No. 1, Yumen St., Zhongshan Dist., Taipei City 104, Taiwan
Grand opening: 18:00 – 20:00, 2 October 2015
Opening hours: 11:00 – 19:30, 2 – 9 October 2015
Fair Organizer: Association of the Visual Arts in Taiwan (AVAT)
My works feature in the Fall issue of AALR, the Asian American Literary review, curated by Võ Hồng Chương-Đài
Being the longest river in Southeast Asia, the Mekong rises in China, crossing and bordering Myanmar, Laos, Thailand, Cambodia and Vietnam. For centuries these populations have depended on the river and its tributaries for food, water and transport, shaping their life and culture along its magnificent watercourse. Worldwide the Mekong is known for its arresting landscapes. From deserts to flourishing vegetation, the river offers life and death to its inhabitants. At the same time, the rapid transformation of its indigenous communities towards global societies and invasive human intervention is jeopardizing the river’s reach cultural identity. The artists and works featured in WATER/ Life Line – Photography and Video Art from Cambodia, Laos, Myanmar, Thailand and Vietnam bring together diverse stories from the Mekong countries about their relationship with water: how the river pervades their lives, its impact on the surrounding landscape and how this rapidly transforming region adapts to global expectations. By featuring an array of telling images and personal stories of the community living on the riverbanks, the viewer is immersed in the spectacle of nature, at times indulgent while at other times unforgiving.
Exhibition date: 27 February – 2 May 2014
Venue: Sàn Art 3 Me Linh, Binh Thanh Dist, Ho Chi Minh City, Vietnam
Artist talk: The value of artistic labor as a laboratory of ideas
Thursday, 24 April, 2014 at 6 pm at San Art
See more at: http://san-art.org/exhibition/unconditional-belief/
Where: Sàn Art, 3 Me Linh Street, District Binh Thanh, Ho Chi Minh City, Vietnam
When: 7th November 2013 to 24th January 2014.
San Art is pleased to present ‘Right Fiction’ – a group exhibition featuring painting, photography, installation and video by artists Nguyen Hong Ngoc and Phan Thao Nguyen that concludes their time with ‘San Art Laboratory: Session Three’.
13 December 2013 – 2 March 2014
Opening reception on Thursday 12 December 2013, 6:30 pm.
Press Tour 4:00 pm.
Live Performances by Artists from 7:30 pm.
Main Gallery, 8th floor
BACC exhibition Concept Context Contestation: art and the collective in Southeast Asia
A new exhibition about conceptual approaches to making art for, with, and about the collective and collective issues in Southeast Asia.
Celebrating ASEAN integration commencing in 2015, BACC is proudly presenting a new and specially BACC-commissioned exhibition of regional contemporary visual art, the biggest ever Southeast Asian contemporary art show produced in Thailand Concept Context Contestation: art and the collective in Southeast Asia.
With nearly 50 artworks by over 40 celebrated internationally-known Southeast Asian artists of three generations from eight countries; Thailand Sutee Kunavichayanont, Vasan Sitthiket, Manit Sriwanichpoom and new generation artists; Indonesia FX Harsono, Eko Nugroho and Daging Tumbuh and Popok Tri Wahyudi; Philippines Imelda Cajipe Endaya and Alwin Reamillo; Vietnam Vu Dan Tan; Malaysia Simryn Gill and Wong Hoy Cheong; Singapore Amanda Heng and Lee Wen; Burma and Cambodia, the show will chart one of regional contemporary art’s most important threads, locally-rooted conceptual thinking used to engage in ideas about and for the collective. It will investigate the close connection between conceptual approaches and social ideologies in Southeast Asian contemporary art of the last four decades and will offer art historical insights into our own regional visual culture of today. The exhibition will defend the idea that conceptual approaches used in contemporary art of Southeast Asia are not necessarily imported but rather can find their source in home culture.
Concept Context Contestation: art and the collective in Southeast Asia will be documented by a fully-illustrated ten-essay research catalogue by the curators and other specialists and will also feature a weekend of free public educational talks and panel discussions by experts in the field. The show will present media of all types including interactive forms designed to stimulate public engagement and create dynamic dialogue along the journey. Thus repeated visits can yield a different experience each time, so fully illustrating the way in which Southeast Asian contemporary art and life mesh.