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Painting has played a significant role in modern Vietnam. Postage stamps, billboards, and annual national exhibitions attest to its fundamental place in a country where painters may be hailed as national heroes and include among their number fervent nationalists, propagandists, even dissidents. As Vietnamese painting has gained prominence in the contemporary transnational art circuits of Southeast Asia, many artists have become millionaires, yet Vietnamese painting is generally overlooked in art history surveys of the region. Nora Taylor sets out here to change that. Painters in Hanoi engages with twentieth-century Vietnam through its artists and their works, providing a new angle on a country most often portrayed through the lens of war and politics. Drawing on interviews with artists, cultural officers, curators, art critics, and others in Hanoi, Taylor surveys the impact artists have had on intellectual life in Vietnam. The book shows them within their own complex community, one fraught with tensions, politicking, and favoritism, yet also a sense of belonging. It describes their education, the role of the government in the arts, the rise and fall of individual artists, their influence as active players in the politics of place and gender, the audience for their work, and how tourism and the international art market have influenced it.
Karaoke bars and noisy motorbikes, AIDS and capitalism, Buddhism and homosexuality, the allure of Western brands and a worn out country, marked by war?the works of Vietnamese artists Truong Tan, Nguyen Minh Thanh, Nguyen Quang Huy and Nguyen Van Cuong are both blunt and introspective, marked by fury and tenderness. Their work stands for a society on the brink of change?and they mark the beginning of a new art, the onset of contemporary art in Vietnam. Their unconventional works, their art performances and installations? the first ever in Vietnam?have established them as the most important protagonists of a free young art scene that emerged in Hanoi in the early 1990s. Their works have found their place not only in the collections of leading museums such as Singapore Art Museum and National Gallery Singapore, Solomon R. Guggenheim Foundation New York or Fukuoka Asian Art Museum; even recent art historical surveys in Vietnam itself now honor their names as ground-breaking artists. Four extensive artist sections are the core of the book. The archive of German artist Veronika Radulovic enables us to make these radical works accessible for the first time. Don?t Call it Art! tells the initial story of four artists and thereby bridge a gap in Vietnamese art history of the 20th century.
In The City in Time, Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually “postwar.” Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists’ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism. The City in Time traces the process through which collective memory and aspiration are mapped onto landscape and built space to shed light on how these vibrant Southeast Asian cities shape artistic practices as the art simultaneously consolidates the city as image and imaginary. Featuring a dynamic array of creative productions that include staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds.
"Published in conjunction with the exhibition of the same name, on view at the Smithsonian American Art Museum, Washington, DC, March 15, 2019 to August 18, 2019."
An introduction to the Vietnamese cultural and artistic experience in both Vietnam and the U.S.
The history of Vietnam lies in this bowl, for it is in Hanoi, the Vietnamese heart, that pho was born, a combination of the rice noodles that predominated after a thousand years of Chinese occupation and the taste for beef the Vietnamese acquired under the French, who turned their cows away from ploughs and into bifteck and pot-au-feu. The name of their national soup is pronounced like this French word for fire, as Hung’s Uncle Chien explained to him long ago. “We’re clever people,” his uncle had said. “We took the best the occupiers had to offer and made it our own. Fish sauce is the key—in matters of soup and well beyond. Even romance, some people say.” —from The Beauty of Humanity Movement (p 5) by Camilla Gibb Old Man Hu’ng has been making and selling pho to hungry devotees for nearly 70 years, continually adapting his recipe and the location of his food cart to accommodate the terrible demands of poverty, war and oppression that have plagued Hanoi throughout his long life. Cherished least of all his mother’s ten children thanks to an inauspicious facial birthmark, Hu’ng was sent in 1933 to apprentice at his Uncle Chien’s restaurant where he achieved mastery over broth and noodles. Inheriting the business from his uncle, Hu’ng’s sublime cookery and willingness to barter made him a favourite in the 1950s with the Beauty of Humanity Movement, a group of artists and intellectuals who dared question Communist rule, at great peril. Heading the Movement was Dao, a poet whose young son Binh would shadow Hu’ng at the restaurant, hungry not for noodles but for the attention that his own revolutionary father was too distracted to provide. When Dao was inevitably arrested, Binh’s mother whisked the boy into hiding, blinding him in one eye to avoid conscription. Hu’ng was forced to close his restaurant, but not knowing any other life’s work, he persisted in making and selling pho by pushing a food cart through the city, even when forced to make his noodles with scavenged pond weeds. Fifty years later, Binh is a middle-class Hanoi carpenter who once again consumes daily bowls of Hu’ng’s pho, following the old man to whatever location he has moved to in order to evade police beatings. Binh tries valiantly to protect Hu’ng, the gentle old man who is as close to a father as he has ever known. By extension Hu’ng is also a grandfather to Binh’s son Tu’, a somewhat aimless Nike-shod tour guide who wears his clothes and hair in modern fashion, and yet whose spirited idealism reminds Hu’ng of his revolutionist grandfather. Then one day Hu’ng’s improvised pho stand is visited by a beautiful stranger, Maggie, a foreign-raised Vietnamese art curator who was spirited out of Hanoi as a child during the fall of Saigon. Her artist father disappeared in those tumultuous times, and Maggie has returned to the country of her birth to learn his fate. Hearing of Hu’ng’s reputation, she has come to plead for answers—did he know her father? Hu’ng’s memory is failing, but he dearly wants to help this young woman, whose beauty sends him back to a time long ago, when he loved a girl whose betrayal he has never forgiven. . . Steeped in rich and highly evocative language, Camilla Gibb’s The Beauty of Humanity Movement is a nuanced and gentle paean for Vietnam, a poignant testament to the strength and resiliency of love and art in overcoming terrible hardship.
A constellation of thoughts by 25 established and emerging scholars who plot the indices of modernity and locate new coordinates within the shifting landscape of art. These newly commissioned essays are accompanied by close to 200 full-colour image plates.
Presents never-before-published drawings, poems, letters, and oral histories by ten of the most celebrated Viet Cong war artists.