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NGUYỄN THÁI TUẤN: MÀU CỦA TÂM TRẠNG Bài viết trong lúc triển lãm “Sự thiếu vắng tràn đầy” đang diễn ra tại Sàn Art (3 Mê Linh, Q.Bình Thạnh, TP.HCM), khai mạc tối 10. 11. 2011 và kéo dài hơn 1 tháng.
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ALTERNATE SPACES, MAINSTREAM PROBLEMS Alternative exhibition spaces are striving to develop in Vietnam 20 years after they first came on the scene. Artists are famous, if not notorious, for their need to be free from constraints the others might not even see as constraints. They need the space to be spontaneous, a space that does not confine them. The boundaries of this space are drawn and redrawn over time. One such redrawing of the space is taking place in Vietnam, and it has caught the attention of many artists and art critics here.
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![]() ![]() Ông Jos Schellaars Tổng lãnh sự vương quốc Hà Lan tại TP. HCM trao giải thưởng Prince Claus cho nghệ sĩ Lê Quang Đỉnh (trái). August 8, 2011 NGHỆ SĨ LÊ QUANG ĐỈNH NHẬN GIẢI THƯỞNG PRINCE CLAUS Giải thưởng Prince Claus là giải thưởng cho những sáng tạo mang tính khai phá và những cống hiến cho nghệ thuật đương đại. Giải thưởng thuộc quỹ Hoàng thân Claus vì văn hoá và phát triển (Prince Claus Fund for Culture and Development) của vương quốc Hà Lan
On Monday August 8, at the home of the Dutch Consulate in Ho Chi Minh City, artist Dinh Q Le was awarded the Prince Claus Laureate Prize in recognition of his art and commitment to supporting the local arts community in Vietnam through his activities with independent art space, San Art. A festive evening took place, in the company of 60 press representatives from across the country, including local supporters from the artistic and business community. Dinh Q Le and San Art extend their thanks to all for their support.
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Why? “In Vietnam, there is no government support for contemporary art of the style and concepts relating to current international ideas of art history. The tourist commercial market dictates much of the artistic presence you find in the galleries in the city centre of Hanoi and Ho Chi Minh City. The majority of museums across the country are ailing in disrepair, possessing collections questionable in provenance and catering largely towards Vietnamese historical and ‘modernist’ art. Universities are also sadly still ill equipped (restricted due to government policy and gross lack of funds) with next to no visual resources post-1975 concerning art and culture. Here, artists must work doubly hard in their artistic endeavors as they not only face economic and educational hurdles, but also social dilemmas in a society that increasingly values the dollar in isolation of how culture can contribute to economic innovation. Determined to find their own voice in a country where all cultural events fall under the jurisdiction of the Cultural Ministry, artists continue to struggle to gain a wide social relevancy in their experimentation with their ideas. The founders of Sàn Art – Dinh Q Le, Tuan Andrew Nguyen, Phu Nam Thuc Ha and Tiffany Chung – are all considered Viet Kieu ‘overseas Vietnamese’ artists. This term also has an alternate derogatory meaning as a ‘Vietnamese sojourner’, implying a person who has betrayed their ‘Mother Land’. In 1975, during the closing days of the Vietnam War, many people in the South fled Vietnam and took to the sea in search of freedom. This community is often historically termed ‘boat refugees’. There were many others who fled to safe havens aided by friends and family living abroad. The founders of Sàn Art are a part of this complex history. Educated abroad, aware of the benefits of comparative learning and being encouraged to think critically about the meaning of their art, they returned to Vietnam feeling a duty to share their knowledge and experience. Sàn Art was established in recognition of the integral role that art spaces (galleries, museums, artist‐run initiatives) play in nurturing critical dialogue within artistic communities. Its programs address the great lack of access to resources and expertise in areas of art history, theory, exhibition making, curatorial practice, multi‐discipline ideas of art making and criticism. |
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TRANH SƠN DẦU TRONG MỸ THUẬT ĐƯƠNG ĐẠI CHÂU Á Đó là chủ để của buổi nói chuyện chuyên đề do cô Zoe Butt (Giám đốc Sàn Art và curator của Sàn Art) trình bày, được tổ chức tại Trường ĐH Mỹ thuật Tp.HCM vào chiều ngày 17 tháng 3 năm 2011 với sự tham dự của đông đảo giảng viên và sinh viên các khoa trong Trường... |
Nov 27, 2010 |
Nov 30, 2010 |
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