V.I.E...
The exhibition V.I.E... with more than 35 artworks on display at A2Z Art Gallery, Saint-Germain des Pr茅s, Paris, curated by L锚 Thi锚n B岷, depicts part of the ongoing art scene in Vietnam in this decade. Most of the works borrow the shape of familiar still-lifes to anchor the history flow. The exhibition space is arranged with the intimacy of a house, where artistic work coexists with everyday life.
In French, "vie" means life/to live. In Vietnamese users' computers, VIE is a keyboard typing mode created to integrate 29 Latin letters and 6 different tones in this language. Vietnamese language, like Vietnamese art, is a mixture of cultures from China, Champa, France and America.
After nearly two decades since the US normalised relations with Vietnam in 1995, along with the development of the internet, Vietnamese contemporary art has massively embraced the world's radical theories and ideas. Having been recruited for the mission of political propaganda in wartime, artists are now inadvertently further manipulated by expectations from foreign institutions and funds.
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The exhibition V.I.E... with more than 35 artworks on display at A2Z Art Gallery, Saint-Germain des Pr茅s, Paris, curated by L锚 Thi锚n B岷, depicts part of the ongoing art scene in Vietnam in this decade. Most of the works borrow the shape of familiar still-lifes to anchor the history flow. The exhibition space is arranged with the intimacy of a house, where artistic work coexists with everyday life.
In French, "vie" means life/to live. In Vietnamese users' computers, VIE is a keyboard typing mode created to integrate 29 Latin letters and 6 different tones in this language. Vietnamese language, like Vietnamese art, is a mixture of cultures from China, Champa, France and America.
After nearly two decades since the US normalised relations with Vietnam in 1995, along with the development of the internet, Vietnamese contemporary art has massively embraced the world's radical theories and ideas. Having been recruited for the mission of political propaganda in wartime, artists are now inadvertently further manipulated by expectations from foreign institutions and funds.
