VietNamNet Bridge – The muster “The Picture Will Still Exist”, featuring photographs, paintings and video works comparison from Post Vidai Collection, will take place during 2nd Floor, 103 Dong Khoi Str, Dist 1, HCM City from Jun 22 by Aug 22.
The muster showcases 8 dynamic and rising Vietnamese artists and collective, including Dinh Q. Le, Hoang Duong Cam, Howard Henry Chen, Le Quy Tong, Ngoc Nau, Phuong Linh, The Propeller Group and Vo An Khanh.
A series of artworks, such as Dinh Q. Le’s WTC in 4 moments (2014), The Propeller Group’s AK-47 vs. M16 (2015) and Phuong Linh’s Sanctified Clouds (2012-2015), will be on arrangement for a initial time to a Vietnamese public.
Referring to photography, once a sketch is captured, it freezes a moment. It is a momentwhich will perpetually paint an angle of existence that a camera hilt is dynamic to shoot. Susan Sontag has argued that photographs are ‘memento mori’ – mortality, when they ‘testify to time’s relentless melt’. Indeed manifest artists have been regulating this middle as a approach to reflect, analyze, fictionalize and even hurtful reality.
“The Picture Will Still Exist” showcases how diversely artists can provide photography – metaphorically and physically. The politics of photography becomes manifest by a aesthetics and a routine formulating such aesthetics: for instance stretching an present of reduction than one second of a militant picture into 6 minutes; deliberately distorting a ancestral sketch to erase a strange context; or preserving a snippet of dual drifting bullets in a flesh-like jelly block.
“The Picture Will Still Exist” demonstrates Post Vidai, when one medium, photography, can be appreciated in mixed aspects of a collection. It hopes to move a viewers graphic and elegant worldviews from vast prolongation of photography in sold and manifest humanities in general.
The muster is curated by Arlette Quynh-Anh Tran, Director and Curator of Post Vidai.
Established in 1994, Post Vidai is a singular collection that focuses on a growth of Vietnamese contemporary art. ‘Vidai’ in Vietnamese means ‘great’ or ‘monumental’, that was used widely in promotion slogans and posters. The use of this tenure is a witty approach of collecting a artistic gestures after a investiture of ‘Doi Moi’, Vietnam’s ‘great’ mercantile reforms of a late 1980s.
Post Vidai is a pretension that provokes questions of ambition, to suppose a space and time desirous by a past though looking towards a moneyed destiny in Vietnam. It is also a word that reflects a concentration of a collection – a post Doi Moi generation, when contemporary art started a use and sermon in Vietnam.