Alumni Events Around the World
The song ‘Where have all the flowers gone?’ by Pete Seeger, heard on repeat as part of the flowers artwork, is listed as one of the top 20 most influencing political songs and an anti-war song from the 60s era. It is inspired by Mikhail Sholokhov’s novel The Quiet Flows the Don, and by three lines of an Ukrainian folk song: ‘where are the flowers, the girls have plucked them. where are the girls, they’ve all taken husbands. where are the men, they’re all in the army.’
Composed of the word ‘flowers’ in rose coloured neon light writing mounted on the simple cardboard box of a popular Vietnamese instant noodle brand, the work exudes a gentle and tender air. the noodle box is nostalgic and humble, an allusion to childhood years in the subsidized period, when the artist’s mother sold coffee and food to earn a living in hard times. Coming out from the box, a small set of headphones play the song like an echo; its sound creating a heady audio essence that emanates from within. Together, in a modest ode, these elements accentuate the interchange between the physical and intangible factors at play in the work, and slowly unfurl the complex notions of beauty and peace.
about the artist:
Tran Minh Duc (b.1982, Vietnam) is a visual artist based in Ho Chi Minh City, Vietnam working with the mediums of performance, photography, collage and installation. through a multidisciplinary approach, Tran seeks to explore collective memory and cultural archives by investigating historical narratives, the effects of colonialism and imperialism, and the lasting impacts of war and migration. He is interested in the interactions between the collective and individual, and the local and the foreign; his work forms a personal interrogation of what it means to be Vietnamese in the intricate fabric of contemporaneity. Tran graduated with a BA in painting from the College of Culture and Arts of Ho Chi Minh City, and has since exhibited widely in Vietnam and internationally. Tran is an alumnus of ACC -- in 2017, he received a fellowship from the Asian Cultural Council to be in residence at Art in General in New York City, USA. His artwork flowers was previously exhibited with MoT+++ in 2015, and is part of the Post Vidai, a Vietnamese Art Collection.
Grantee: Tran Minh Duc
Curated by ACC grantee Jinglun Zhu, Ilana Harris-Babou’s solo exhibition "Clean Lines" presents a new installation that draws on the branding strategies of luxury home-goods companies and the language of twentieth-century zoning laws in the US. The installation activates the surfaces and depths of the window display by expanding on the visual tactics and multilayered contents of her previous video work, Red Sourcebook (2018). In this new iteration, Harris-Babou juxtaposes the sleek lines and aspirational rhetoric of home-furnishing advertising with color-coded maps and texts from the exclusionary policies that continue to shape real estate development in the present.
Grantee: Zhu Jinglun
The Performance 'Welcome (Back) to Saigon, We are from Củ Chi' is a multi version performance work by Đức. The work is inspired by a photograph taken at Địa đạo Củ Chi (The Cu Chi Tunnels site) which is posted on Wikipedia information page of this site. The photograph represents 3 ladies getting dressed up in South Vietnamese traditional costume áo bà ba, khăn rằn and green soldier hat showing that they are playing role of Củ Chi guerrillas at the site now became well-known by tourists who come to Saigon. Vietnam and Saigon Ho Chi Minh City specifically in the recent decades of market oriented economy has shown many positive changes but also interferences in social political history, of the past and the presence.
The three young performers in the performance, this time with Performance festival program Transient Creatures taking place in HCMC in June, will state their welcoming message 'Welcome Back to Saigon' to any people who joins the events to start the conversation(s). Even if one is a veteran coming back to Saigon to search for the traces from the past or they are just very young people who make their first trip to Vietnam as well as multi-national cooperations, they are all Welcomed Back to Saigon by three young citizens saying they are from Củ Chi.
Grantee: Tran Minh Duc
Cry Joy Park—Gardens of Dark and Light investigates the history and social landscape of Charleston, a cultural capital of the American South, and an exemplar of its complex opulence and beauty. The exhibition creates an immersive, multi-sensory experience that explores the juxtaposition of utopia and dystopia. Cry Joy Park is an ongoing series of work following Paradise Interrupted, an installation opera conceived, designed, and directed by ACC alumna Jennifer Wen Ma, which made its world premiere at Spoleto Festival 2015.
Grantee: Jennifer Wen Ma
Flowers Gallery is delighted to present the first major UK solo exhibition by New York-based Chinese artist Shen Wei, an ACC alumnus. The exhibition brings together works from several series from 2009 to the present day, incorporating photography and moving image.
Responding to his conservative upbringing in China, Shen Wei’s self-portraits, nudes and sensuous landscape photographs explore notions of identity, memory and sexuality. This exhibition draws connections between the influence of Chinese culture and his own personal process of self-discovery.
Grantee: Shen Wei, Photographer
“Same Same but Different” THAILAND Country & Region Exhibition focuses on Life Matter by communicating Thai people’s attitude towards society, art, culture, and belief through the eyes of theatre practitioners, artists, designers, and art enthusiasts together with communities, interpreting events or aspects in everyday life that drive a society, encourage a smile or raise a topic that make an artist question the past, present and future. When life is a collective experience and performing art is an art that concerns other people’s problem, shared space installation is a form of exhibition in Thailand that explores human and space by a sharing of space between artists and designers, reflecting their views towards events in Thailand and its people’s trends. Exhibition viewers are invited to share their experience through this shared space. #PQ2019 #PQThailand2019 #PQTeamThai #SameSameButDifferent
Grantee: Nikorn Sae Tang
Some Exterior Presence 1977 Film (16mm), 9 min, color. My first experimental film, structured on the 4 handed nature of film and electron theory: original footage —“outtakes” from a television documentary I had directed in the spring of 1975 in South Bronx and Brownsville boroughs of New York City — manipulated, then optically printed, then manipulated again. 4X4x4
“The hands are at once linear——the parallel fingers moving across the table as though measuring lengths of film—as well as rounded and expressive, almost touching by the end of the work. These two extremes are somehow mediated by the figure in the white suit who forever undergoes the ritual of entering a dark doorway with linear slats of light. He stands or moves somewhere between these two domains: the exterior linear world and the other world which it houses, where exists the presence of softness and the possibility of touch…” Linda Dackman, Cinemanews 1977
Peripeteia I 1977, film (16mm), 10 min, color. A landscape movie, filmed while living in the Oregon coastal rain forest, fall 1976. A digressive eco-attendance contrasting the camera’s fixed sight with in-site movement. Navigation ecstatically spiraling sunwards.
Peripeteia II 1978, Film (16mm), 10 min, color. Returning to and extending from Peripeteia I, a navigation by light, again contrasting the camera’s fixed sight with “in site” movement. A sculpture of glass, mirrors and film vies with the choreography of the cardinal points: dense shelter, rain, red emulsion. Filmed in the Oregon Coastal forest, June 1977.
Daylight Test Section 1978 Film (16mm), 4 min, color. Recurring emergence of narrative. The “loaded “image becomes the determinant feature for reading otherwise unemotional footage; a first experiment in what is an ongoing investigation.
Pacific Far East Line 1979, Film (16mm), 12min, color.Another landscape film, in this case urban. The work constructed from materials gathered over two years looking out at downtown San Francisco from a loft on Folsom Street. The elements are "folded" and mixed, Time redefines Space: the erector and helicopter appear as toys within a schizy motor-oil-ized ballet mechanique.
Ornamentals 1979, Film (16mm), 10 min, color. In North Indian classical singing, the approach (up or down) to the note; also the bushes with red berries that grow in Northern California. Footage gathered over many years organized along the color spectrum in a structure of expansion. The concern is abstraction, surfacing representation, increasing connotation through what repeats in time and what is seen —shocks stretched on impressions’ edge to undermine habit. The film was crucial to my understanding of composition, to my desire for an encyclopedic construction (the world out there) and reaffirmed my allegiance to rhythm.
Grantee: Abigail Child