Cristina NualART

Tag: Asia

Book review: Southeast Asian photography

Photography in Southeast Asia. A Survey is a book by Zhuang Wubin that I  highly recommend. My full book review can be read on Third Text.
The book is published by National University Singapore (2016), and will be of particular interest to lovers of photography and/or Southeast Asia.

ThirdText web view SEA

In short: this work is the result of an ambitious body of research that spans ten countries in Southeast Asia. Zhuang Wubin packs a lot of information into his book, limiting and neatly condensing what could easily be a far bigger volume. To contextualise each country, he gives only the bare bones of socio-historical facts, but the fascinating background information on each photographer is fast-paced with personal details, anecdotes and excerpts from interviews that give us a rounded sense of the person…

Research paper: Queer Art from Vietnam

My paper Queer art in Vietnam: from closet to pride in two decades is an open-access publication by Palgrave.

 

Palgrave-paper

ABSTRACT:

Male and female artists in Vietnam from the early 1990s to the new millennium have contributed art that gives visibility to non-normative lifestyles that go against the traditional values espoused by national rhetoric. This article explores some of the first manifestations of queer art in contemporary Vietnam, outlining a short history of artworks that may be considered “queer” because of their subject matter, irrespective of whether they were made by straight or queer identified artists. Many of these artworks are not made in traditional media, or they break conventions in the local artistic canon. Frequently they have performative characteristics, an art form that arose in Vietnam in the 1990s, the beginning of the timeframe explored here. Photography, another medium not long or firmly established, is also extensively employed. The narrative attends specifically to the dissidence, in content or format, of selected artworks, and points to a correlation over time to an increased tolerance of homosexuality.

Rubble Mural featured in Word magazine

Word_Art_City_w

The rubble mural I made for the LIN community centre in Saigon is featured in the August 2014 issue of Word Vietnam magazine, pages 83 to 87.

The Hong Kong – Vietnam art connection

HK-VN_WordJuly14This article was published in Word Vietnam magazine, July 2014, pp.88-90.

 

HK_cnualart_BuiCongKhanhBui Cong Khanh’s installation The Past Moved (2010) at Hong Kong Art Basel 2013.
Art galleries continue to invest in expensive Hong Kong floorspace to show Vietnamese artworks. Why is so much Vietnamese art shown in Hong Kong? Is it time to bring the trade back home, or is the Chinese metropolis the locus of success?

Half of the Vietnamese alive today weren’t born when all this started
For most of the 20th century, no country outside of Vietnam (and a few in the Eastern Bloc) ever saw contemporary Vietnamese art. Despite a rich 70 year tradition of painting, much art was under wraps even in Vietnam, where mistrust and censorship kept things lying low for decades. In Hanoi, art ‘collectors’ were friends of the artists, who mainly bought the artworks to help the painters survive. That changed in 1991, when a Hong Kong art gallery, Plum Blossoms, presented Uncorked Soul, a group exhibition of Vietnamese artists. ‘The exhibition had a startling effect, if not an immediate one’, says Nora Taylor, art historian at the Chicago School of Art, ‘it took a few years for galleries and museums elsewhere to notice Vietnamese contemporary art.’ But foreign collectors jumped at the opportunity.

In the early 90s, Hong Kong’s yuppies travelled to Hanoi for exotic weekends away. For investment and pleasure, they would buy ten or twelve Vietnamese paintings at a time, recalls Suzanne Lecht, an art consultant. Suzanne’s life was transformed by Vietnamese art. Graduates from the Hanoi Fine Arts University were the first generation that, from the early 1980s, could choose to paint something other than propaganda art. When Suzanne encountered the art of ‘the Gang of 5’, as five of the graduates called themselves, she was inspired to make their art her mission. With no time to waste, Suzanne moved from Japan to Hanoi in 1993, the same year that Vietnamese art was exhibited internationally for the second time, in Holland.

Plum Blossoms are not just for Tet
Plum Blossoms was the first foreign gallery to introduce Vietnamese painters abroad. Over ten artists from the north, centre and south were chosen for Uncorked Soul. Many of the artists had worked with the first government owned art gallery in Hanoi, founded in 1965. At that point, not one was known outside Vietnam.   In 1991, the Vietnamese authorities had just lifted the ban on abstract art. At the Plum Blossoms exhibition, abstract paintings shone radiantly in their newfound freedom. Figurative works had transitioned from Socialist Realist iconography into more expressive images. New artistic forces were born.   Instrumental to the Uncorked Soul show was the hardback catalogue. It wasn’t just a book to be judged by its stylish cover. Today one might say it was an effective marketing tool. But the text, by writer Jeffrey Hantover, enlightened the outside world on how modern Vietnamese painting – that obscure and exciting art – had evolved. Interviews with the artists and some historical background helped art lovers see the importance of what these artists were looking at. It probably contributed to more than one investment in art, and at high returns, no doubt.

NguyenTrung_UncorkedSoulNguyen Trung featured in the Uncorked Soul exhibition catalogue.
Nguyen Trung’s uncorked soul
Mekong Delta artist Nguyen Trung, now in his seventies, was one of the artists whose work first made it to Hong Kong. In his youth, wanting to see French art at its best, Nguyen Trung had tried to escape to Paris in the 1960s. His plan failed the first time, but the painter did get to Paris 30 years later. Many of the paintings he made in his year Paris in 1990 were exhibited in Uncorked Soul. In Hong Kong, Trung also had the opportunity to discover powerful artworks by Chinese artists, and this made an impression on his eager soul.

Other Vietnamese artists were also excited to visit what was then a British territory. In 1997, Suzanne Lecht organised another exhibition in Hong Kong, The Changing Face of Hanoi, taking all five exhibiting artists with her. For most of them, it was their first trip outside of Vietnam. This show was smaller in scale and scope than the exhibition at Plum Blossoms gallery a few years earlier, but it kept Vietnamese art from slipping back into invisibility during the transformative Doi Moi decade.

Hong Kong makes Hanoi look up and Hanoi makes Hong Kong look around
Vietnam transformed in all directions. A Hong Kong company in 1995 had built the first high rise in Hanoi, the Central Building (31 Hai Ba Trung). Suzanne had assisted the developer, a supporter of Vietnamese art, to procure two large bronze statues by sculptor Le Cong Thanh for the building’s entrance. Hong Kong investors gave Hanoi something to look up to.

Another First
Whilst the Uncorked Soul exhibition was a phenomenal promotion for Vietnamese art, international fairs are the best publicity. The people milling about at art fairs, dealers, collectors, museum curators and general art lovers are the first ones to notice changes and new developments in the art world. The first Vietnamese gallery to participate in an international art fair was Galerie Quynh. From 2010 to 2012, Quynh had a yearly booth at Art Hong Kong, the original Hong Kong art fair. ‘In those 3 years we saw very few Vietnamese visitors’, laments Quynh. But she did sell to a small number of Vietnamese from the diaspora, and, of course, to foreigners. Now in their tenth year of operation, the gallery is working hard in Vietnam to build trust with affluent locals, who are increasingly keen to learn about art.  

HKArtFair11_HoangDuongCam_cnualart_GQLightning in U Minh Forest  by Hoang Duong Cam. Galerie Quynh, Hong Kong Art Fair 2011.

VN art in the noughties
From the nineties to the noughties Vietnam got richer. Not evenly or consistently, but abundantly enough to energise the country with buying buzz. Expensive handbags, however, are higher up the Vietnamese shopping list than paintings, comments Shyevin, owner of Vin Gallery in HCMC.

Like most other gallerists, Shyevin, although based in Vietnam, knows that sales will often be better elsewhere. She has done art fairs in Korea, Singapore and, of course, Hong Kong.  Hers was the only Vietnamese art gallery in the luxury Hong Kong hotel that hosted the Asia Contemporary Art Fair in May this year. Vin Gallery received visits from a few Vietnamese who live in Hong Kong. ‘They were very happy to see our gallery there, and came to say hello,’ Shyevin is pleased to say. But they don’t buy, she notes, ‘they think is cheaper back home’. Foreign visitors were curious about Vietnamese art, surprised to actually see some. Lots of questions were asked, especially about lacquer painting. Sales were made, with Hanoi landscapes making it to the bestseller list omeprazole dosage. Vin Gallery had competition at the fair. A number of Hong Kong galleries who deal in Vietnamese art were also exhibiting at Asia Contemporary.

Another Saigon-based professional, Craig Thomas, knows this. The Craig Thomas gallery, which shows Vietnamese art exclusively, participated in the Affordable Art Fair in Hong Kong this year, and will be returning next year. The well-organised fair, he said, attracted a large number of buyers from China.

Decades after the Plum Blossoms success, artist Nguyen Trung’s work is still shipped to Hong Kong. His latest abstract canvases and new sculptures were admired merely weeks ago, in Art Basel. Cuc Gallery from Hanoi was the only Vietnamese gallery to participate in one of 2014’s most prestigious art fairs worldwide.  Asian collectors, savvy about the cultural and historical value of Trung’s work, took out their credit cards.

HK_cnualart_CucCuc at her booth, surrounded by Nguyen Trung’s artworks in Hong Kong Art Basel 2014.

Evidently, art collectors are interested in Vietnamese art. But all the gallerists mentioned here agree on one thing, that the collectors of Vietnamese art are rarely Vietnamese.‘Hong Kong is the biggest banking centre in the world. It’s a good market’, says Suzanne Lecht, ‘Vietnam is a small market’. She compares the situation to Japan in the 1980s. Rich Japanese would only buy artworks by Mattisse or other famous names because the worth would be known. ‘It’s the same in Vietnam now’, she says. Like Shyevin, she sees that the shopping priorities of wealthy Vietnamese are geared towards status symbols. The solution to keeping the best Vietnamese art in Vietnam, then, must be to brand Vietnamese art as an object of desire on a global scale.

HK_cnualart_PropTalkSan Art curator Zoe Butt and The Propeller Group talking at Hong Kong Art Basel 2014.

 

Text and photos (2011-2014) by Cristina Nualart

 

We Are Asia – Art Stage Singapore 2014

This article was cross-posted on the Hanoi Grapevine.

<span style="line-height: 1 read here.5em;”>marinabaysandssilouhette_cnualart‘We Are Asia’ was the title of the 4th edition of Art Stage. Of the many art fairs mushrooming all over Asia, Art Stage Singapore has probably chosen the most glamorous venue: Marina Bay Sands. Yet the 4th edition of this fair tried to counteract the elitism that the artworld sometimes lounges in.

Art Stage attempted to bridge the gap between high-brow collectors and the general public. For a commercial art fair, it offered more tours than many museums. Art stage organisers planned a strong educational programme to attract a middle class audience that might otherwise shy away from all the glitz and price tags with lots of zeros.

Many of the scheduled tours focused on the regional platforms, as they termed 8 mini-exhibitions on Southeast Asia, India, China, Taiwan, Japan, Korea, Australia and Central Asia. Commissioned to specialist curators, the platforms were a commercial venture (all the works were for sale) but with a clear aim to highlight regional characteristics of the art from each area.

artstage2014_cnualart_janelee

The platforms served also as a welcome respite from the aisles of eye-catching but barren works that populate art fairs: quirky sculptures, embroidered canvases, Manga style figures, gloss and glitter. Below is a selection of the more intellectually captivating artworks from these platforms.

From China, artist Qiu Zhijie presents a multi-artist project on fantasy sculptures, and this ink drawing:  The Politics of Laughing (detail), 2013, 145 x 220 cm. Take a moment to read some locations and wonder at the real places you would give each name to.
artstage2014_cnualart_qiuzhijie

Korean photographer Seung-Woo Back has done an analogue remix in Utopia, a wall-to-wall photograph framed in strips. Each strip was developed in a different country, which explains the colour variations. The cityscape of monolithic, sterile buildings is of North Korea. The cold colours and lack of people add a fearsome tint to the massive skyscrapers.
artstage2014_cnualart_utopia

The Australian Platform was the weakest, with inconsistent topics, quality and approaches. The only remarkable piece was this video installation called Syria. This timely piece by Lebanese-Australian Khaled Sabsabi is a remix of Damascus footage cut to move in neverending islamic patterns.
artstage2014_cnualart_KhaledSabsabi

From the Philippines, Mark Justiniani recreates traditional wooden boats, inventing a low-tech way to create optical illusions of baffling perspective and depth.
artstage2014_cnualart_justiniani

Singaporean artist Donna Ong uses hand cut pictures from old books in her commissioned furniture lightboxes titled And We Were Like Those Who Dream. Patient handcrafting gives the objects a magical appearance that is really heart warming. The pieces work as little treasure troves, like Orhan Pamuk’s memorabilia in the Museum of Innocence.
artstage2014_cnualart_donnaong

Taiwanese artist Tu Wei-Cheng supports in vintage furniture his optical illusions. The Emperor’s Chest is the story of how forgotten Victorian toys and other antique devices become alive again in cabinets and dressing tables. Like in The Nutcracker, once the toys are alive, they become real. The people are contemporary dancers in a multilayered cityscape, a theatre of the absurd. artstage2014_cnualart_tuweicheng

FX Harsono, from Indonesia, authored one of the most powerful artworks in the whole fair. He also uses furniture, but combines multiple message channels in the installation: from the artist’s own poetry, to LED light displays, to book covers. The Raining Bed splashes political commentary in a direct, clever and visually evocative way. The books asleep on the bed have titles like ‘The Smug General’, ‘The Rise and fall of the Great Powers’, or ‘The History of Malaysia’. The poem scrolling on the wall can be read in Indonesian and English. It says ‘In my sleep I entangled the past, at the tip of the pen history is predicted, at the tip of the gun history is deceived, at the end of the fountain history washed away.’
artstage2014_cnualart_fxharsono

Another exciting piece uses old books from the artist’s personal childhood library. Crammed with nostalgia, Haslin Ismail’s Book Land is an imaginative jungle of landscapes, adventurous people and mysterious territories waiting for a reader to discover them. The artwork appears to be a carved and folded homage to the pleasure of literature. The Malay artist, however, confesses that he hates reading, but is in awe of the power of books to fill the mind with stories and knowledge. By making books more tactile and sculptural, he controls the worry experienced by reticent readers.
artstage_haslinismail

Soe Naing, from Myanmar, locked himself in a large glass box, inside which he hung daily sketches. In reference to the censorship that has vetoed so much art in his country, the viewer can barely see the sketches, as the glass is painted black. The artist, from the inside, scratches away at the black paint, from which squinting onlookers try to see the drawings. The piece is called Intermission on Stage, and it does what it says.
artstage2014_cnualart_soenaing

The Southeast Asian platform was the largest and richest, not surprisingly since the hosting country is at the heart of the vivacious region. What was surprising was the lack of Vietnamese artists. It would be very difficult to curate a representative show that included every country, and token presences would be detrimental, but one has to wonder why no Vietnamese artist made it to the final selection.

However, Cuc gallery from Hanoi was the first Vietnamese gallery to participate in Art Stage. The booth featured abstracts by Nguyen Trung and Duong Thuy Lieu and figure paintings by Do Hoang Tuong and Ly Tran Quynh Giang.

artstage2014_cnualart_cuc

Another Vietnamese artist, Nguyen The Dung, is represented by Hong Kong based AP gallery.
artstage2014_cnualart_nthedung

Mylyn Nguyen is an Australian artist of Vietnamese heritage. She filled the Brenda May gallery booth with environmental concerns, buzzing around in an installation of minute paper bees, some with micro houses on their backs.
artstage2014_cnualart_mylyn

 

Photography had a strong presence across many of the booths in Art Stage. Photographs with manipulated, collaged or threaded interventions are testament of the medium’s evolution in the Fine Art sphere, and amongst art buyers in Asia.

In all, the fair was a successful event for the participants, and a welcome art experience for the general public. It was not packed with striking new discoveries, but it offered sufficient new ideas to keep regular art fair goers on their toes. And the mission to engage a wider audience with thematic tours is something more in the art establishment should consider doing.

 

 

Vietnam’s 2013 art scene ends with a bang: Tiffany Chung

This article was published in Word Vietnam magazine, January 2014, p.16.

tiffanyarticle_word_vn

In Vietnam, it is rare to see exhibitions of the most prominent Vietnamese artists. The stars of the country’s artworld are in high demand in art fairs, biennials and museums of other parts of the globe. In her career spanning little over a decade, Tiffany has, on average, exhibited 1 solo show and 2 groups shows every year, and participated in 1 biennial or triennial every 2 years. Her art has travelled from cities across the US, to Asia, Australia, Europe, and the Middle East.

The last time Tiffany’s paintings and sculptures were shown in Vietnam was 5 years ago, at Galerie Quynh, HCMC, where her new show An Archeology Project for Future Remembrance can be seen until 10 January 2014.

tiffanychung13_cnualart3

This exhibition is possibly the first in Vietnam that shows the type of interdisciplinary research that is making waves in intellectual circles. At some point in the second half of the 20th century, the modernist admiration for the instinctual genius of the artist gave way to a trend for intelligent artworks that demonstrated the artist’s ability to articulate theories and illustrate concepts. Saigon resident Tiffany Chung’s brainpower seems to be switched onto hyperactive all the time.

Tiffany speaks with energy and sharp insight. Her research is a solid back up for her unapologetic opinions. For a long time, she has been a good friend of Erik Harms, assistant professor of Anthropoly at Yale. In the Dong Khoi space, the collaboration between the artist and the anthropologist is presented linearly. Excerpts from Erik Harms next book are glossy art objects. Selected passages of colonialist propaganda and historical descriptions of Saigon are also readable art. But the research is not just text, it is drawn into the maps and crafted into the sculptures.

tiffanychung13_cnualart7

tiffanychung13_cnualart

The drawings on vellum paper, velvety and translucent, are based on historical maps or futuristic maps projecting urban plans of areas yet to be built. The gleeful layers of the drawing, minute doodley patterns in pretty colours, deceive us into thinking they are imaginative fabrications. Their hidden research tells other stories. The maps – a trademark of her art practice – critique the political decisions that shape borders, lead to wars, construct artificial communities or displace people. The six map drawings in this show are specifically about areas in South Vietnam, mostly referencing the forced evictions of people who lived on land the government wants to turn into a fancy financial district. The 3 channel video art also comments on that issue.

tiffanychung13_cnualart8

 The gem of the exhibition is the hanging installation Stored in a jar: monsoon, drowning fish, color of water, and the floating world. The piece was commissioned by the Singapore Biennale in 2011. On glass puddles, dozens of miniature houses, houseboats and boats are aligned with neat gardens reminiscent of a middle-class American suburb.

tiffanychung13_cnualart4

Detailed architectural models are inspired by traditional Asian design and materials. Rather than glorifying colonial architecture, Tiffany’s art admires older vernacular architecture. Not for sentimental reasons, however. The design of her mini housing project is informed by in depth research, adapting ideas from all over the region, from Japan to Thailand as well as Vietnam, and crafting the models with cutting-edge technology. The modern and the traditional coexist.

The overall magical appearance of this calming and poised artwork is a plan for a portable model of sustainable urbanism. Wooden houses, some on stilts, have solar panels and rainwater collectors. One of Tiffany’s pet topics is climate change. The evidence, she illustrates, is that the Mekong region will be in knee-deep trouble in coming decades. Floods will increase their devastating capacity, so we should prepare for it. Perhaps creating floating communities.

tiffanychung13_cnualart5
tiffanychung13_cnualart6

Ha-ha! A graffiti artist’s magical trip to Saigon

This article was published in Word Vietnam magazine, December 2013, p.16.

haha_wordarticle
haha_by_cnualart

How do you explain your job to people? In a recent interview, a non-starving artist based in South East Asia said he is ‘a dancing poodle for the 1%’.  Another artist, Ha-ha has a business card that says he is an ‘alien theorist’. Being an artist has its perks.

Ha-ha believes that aliens can help us achieve solar consciousness, which is a step above from planetary consciousness, which is what we would achieve if we connected with trees, fish and all living beings on earth. Connection is a word Ha-ha uses a lot, both in relation to technology, and, I infer, a metaphysical form of bonding with others. Think Avatar, but without the Smurf blue.

haha_by_cnualart4Aliens are just like us’, says this graffiti artist. On his first visit to Vietnam, Ha-ha talked extensively about collective consciousness, archetypes, alternative realities, and other uncommon phenomena. I should have asked him if he has met many aliens, but my mind was clouded with visions of Age of Aquarius predictions.  I learnt, for example, that since Disney has acquired Star Wars, future episodes of the series will become a form mind control.

The original Star Wars film, Ha-ha believes, is a veritable encyclopedia of archetypes. After seeing the film in childhood, he began to draw pictures of spaceships and of Darth Vader, whom he thought was a good character, not an evil one. Prophetic…

The nickname Ha-ha comes from another media character: a boy in The Simpsons series who bleats ‘ha-ha’ when he hits other kids.

Ha-ha’s real name, Regan Tamanui, rings of his Maori ancestry. Fed magic mushroom soup by his grandmother from the age of 5, Ha-ha decided early on that he was going to be an artist. His career started taking off in his 20s, after he moved to Australia. There he joined the first group of Stuckists that formed outside of England. The Stuckists advocated for a return to good, old fashioned painting. Ha-ha made oil paintings.

The he tried spray-paint, and things took a turn for the better. He is now ranked as one of the world’s most influential street artists. He doesn’t say ‘street art’ though, he deplores that elitist way of referring to graffiti.

His artistic trademark is to merge two separate stencil portraits, overlapping two faces. These stencil fusions began as a way to illustrate archetypes. The bond in relationships  -between couples, people and robots, people and animals-  is an archetype. The pair is more than the sum of its part. This unity, easy for all of us to understand, is a small-scale version of collective consciousness. Ha-ha hopes we will elevate and ‘connect to a higher consciousness. Hopefully it will be a love consciousness.’

haha_by_cnualart5Acetate is Ha-ha’s tool. The artist cuts the transparent film into templates for spray-painting. For some portraits, he needs to cuts over 60 sheets of acetate to get all the detail. The front of his sketchbook is tattooed with rows of numbers. They’re not numerological charts. He notes how many metres of acetate he gets through, and how many cuts he makes. It’s a trick to keep focused. Ha-ha practices art as a form of meditation.

In October 2013, Ha-ha was invited, quite spontaneously, to be the first artist in residence at Saigon Outcast. It was quick and easy to bring him over from Singapore, where he was exhibiting, to live and work in one of the shipping containers overlooking a wasteland in District 2 for a month. Ha-ha enjoyed his first visit to Vietnam, and devoted himself to creating a series of portraits of Ho Chi Minh. The works, sprayed on walls or on paper, show the figurehead of a young man, or as the unmistakable legendary president.

hochiminh_archetype_haha

haha_by_cnualart2

haha_by_cnualart3

‘With the internet, and the global collective consciousness, we are manifesting this god, a god that is there and has answers for us. If you want something, you can just, like, order a pizza online, and it gets delivered in 20 minutes.’

 

 Text and photos by Cristina Nualart

 

Taipei Art Photo: the newest art fair model

tap1a_cnualart

Taiwan, a little island that is the third richest country in Asia, last week hosted its first art photography fair in the spacious Expo Dome in central Taipei. Chuan Hui-hua is the director of Taiwan’s first specialist art photography gallery, and the man behind Taipei Art Photo. The focus was slightly different to other art fairs that prioritise the art dealers. Galleries and publishers were present at TAP, but the aim of this fair was to give the individual creators their own spaces. Most booths were a mini solo exhibition of a single photographer, although some galleries showed works from their stable of artists.

tap1c_cnualart

Hand made photography books and rare editions could be handled with cotton gloves in a special section for this purpose. 50 artists from 14 countries showed their work in booths or display cases, or during presentations and talks. Below I introduce some of my favourites.

Ajay Kumar Sharma is a painter and experimental artist that came from India to show his hand-made photos on rugged Fabriano paper. He uses a little-known process called Van Dyck brown, similar to gum bichromate, to create sepia images that feel 100 years old, but are presented in highly contemporary ways. The simple framing of many photos to create a wall-size image, unframedphotos that hang diagonally or purposefully leaving out one part of a multiple image make it impossible for us to confuse these artworks with antiques.

tap2a_aksharma_cnualart

tap2b_aksharma_cnualart

 

Nick Veasy makes stricking black and white X-ray photos, which are more laborious to make than one might think. See what Nick thinks about X-ray radiation and how as he makes these works in his TED talk.

tap4_veasey_cnualart

 

Emma Hack is partly responsible for the fair’s music. Gotye’s Somebody That I Used To Know was heard often, because she is the photographer that painted Wally and Kimbra in the much-shared music video.

 

From Taiwan, Huang Wen-Yung overlaps or juxtaposes photographs that have a grungey tint. The beautiful pieces come in varied formats. They are not abstracts, but nonetheless delight with the powerful shapes.

tap3_huangwenyung_cnualart

Hsu Yi-Tzu is a young Taiwanese artist who answers to Cathy. I found her art project fascinating. She takes old family negatives from her childhood, and stores in glass jars, where they decompose as the photographic gelatin peels off the film. These bottles end up as little sculptures, perfectly displayed and lit. The ‘rusty’ looking negatives generate a 2D photographic image, invariably dark and textured like the earth seen from space. Some digital manipulation adds enough information to completely mislead the viewers. The large prints with selected boxed areas are reminiscent of mapping software, speaking of the place in the big world that each person can get lost in.

 

tap5_hsuyitzu_cnualart

 

Japanese photographer Kento Morikawa sits in front of her silver gelatin prints of botanical gardens, hanging low because she wants the low light to fall vertically, recreating the feeling of walking under cherry trees.

tap7_kentomorikawa_cnualart

 

Ting Ting Chen, from Taiwan, showed photographs that require a close look. The 2 metre long Lambda prints of close-ups of piles of negatives have titles like I am a housewife and I would have to give birth to a male baby so my mother would be happy.

tap6_tingtingchen_cnualart

The fair will run again next year, so look out for it art photography is something you enjoy. It’s a friendly event!

tap1b_cnualart

 

Art shop in Taipei

<img class="ngg-singlepic ngg-none alignleft" alt="taipeiartshop_cnualart" src="http://cristinanualart click here to read.com/wp-content/gallery/blog-posts-2013/taipeiartshop_cnualart.jpg” width=”317″ height=”417″ />Last week I participated in Taipei Art Photo 2013. Read about the fair here.

While I was in the calm and down to earth capital of Taiwan, I went to buy some art supplies. The shops near the National University are full of calligraphy brushes, hand made paper and other gems.

Saigon snapshot

Things that the streets of Saigon has in abundance: sunshine, motorbikes, electricity cables and fresh drinks in plastic cups (coffee and fruit/veg juices)

vn_street_cnualart

Photo © Cristina Nualart 2013

Playing with toy diggers in ‘New Saigon’

I’m creating a mural of Saigon made from rubble from the houses demolished in what will be the future ‘New Saigon’, a financial district for this developing metropolis. Today I took my toy diggers to play on what used to be a house in this disintegrating community. And to collect more rubble omeprazole capsules.

 toydiggersissy_cnualart-jpg

 Watch movie online The Transporter Refueled (2015)

 Watch movie online The Transporter Refueled (2015)

How to save a village and age more rapidly

This exhibition review was published in the August 2013 issue of Word Vietnam magazine.

Artist Le Hien Minh’s use of Vietnamese dó paper

lehienminh_by_cnualart-jpg‘I don’t know how to use a drill, I don’t know how to cut wood,’ says the artist who refuses to call herself a sculptor because she doesn’t know how to use workshop machinery. And yet Le Hien Minh’s exhibition is full of surprising 3D objects.

Le Hien Minh labels ‘real’ sculpture as a noisy activity requiring power tools. Her artwork consists mostly of squashing paper softened with glue into shapes. It can be done quietly, with no tools except her hands. But this simple activity makes her partly responsible for keeping afloat the few Northern villages that still handcraft dó paper, a thin, soft paper made from tree bark.

Over five hundred kilos of traditional Vietnamese dó paper were needed to make one of the installations here. One thousand hand-made dictionaries in a neat labyrinth cover the floor of the largest room at the back of the 1930’s building.

Dictionaries were the tools of Minh’s father, a linguist. Her father passed away ten years ago, but the exhibition title, Dó10, refers to the ten years that Minh has been creating art using dó paper. After training in lacquer painting in Saigon, Minh studied art in America. Far away from family, Minh received a surprise parcel containing some dó paper. Her mother’s gift was more influential than either of them might have guessed at the time. Minh felt immediately connected to her homeland’s traditional paper, and started painting on it.

lehienminh_by_cnualart3-jpgA few more experiments resulted in the first sculptures, and she’s never looked back. ‘I wouldn’t know what to do if I didn’t have dó paper,’ she reflects.

Each finished sculpture is put outside to dry and to age. The weathering effects of sun, humidity and wind change their surface. After a few months, the paper objects look like ceramics, stones or other treasures unearthed from the dusty depths of history.

This process gives a solid, weighty appearance to the hollow art objects. The weight is also psychological. She laments that women carry a heavy load in life. ‘Do we have to carry that much weight with us? We don’t know! We’re always asking ourselves,’ she exclaims, pointing to the sculpture of a woman floored by her struggle with ropes hanging down on her.

Weight doesn’t floor Minh, though. She sometimes wonders if, being a woman, she carries too much baggage, but as a feminist, she looks for balance. The underlying concept for all her artwork, she shares, is looking for balance. Not just the balance of a fair society, but internal balance as a person, and balance with nature. Minh makes work that will return to earth. ‘The paper will disintegrate and disappear, like me. Accept and make peace with nature.’

Hanoi-born artist Le Hien Minh exhibited at the Ho Chi Minh City Fine Arts Museum (20-25 July 2013). Some of the artworks in this show have appeared in previous exhibitions in Hanoi, HCMC, Korea and the US.

lehienminh_by_cnualart2-jpg

 

Unless otherwise specified, text and images © 2017 Cristina Nualart

Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.



Welcome to my little home on the world wide digital jungle. Previous versions of this site, with different designs and URLs, have existed since 2002.
You'll be delighted -even surprised- that this site does not brainwash you with advertising, bake cookies or spy on your digital data.
This site is also low in bullshit (excuse my colourful language...) due to a personal aversion to it.

Back to top