2021 coi rieng o virtual private realm

An exhibition by Lananh Le Din Sama Nguyễn Đức Huy mi-mimi Nghĩa Đặng Trịnh Cẩm Nhi Hà Ninh Curated by Hà Ninh & Vân Đỗ 19.03 - 19.04.2021 Manzi Art Space 14 Phan Huy Ích, Hà Nội Level Level Exhibition Map Index Exhibition map Curatorial essay 18 List of works 40 Biographies 44 Acknowledgements Lananh Le Din Sama Nguyễn Đức Huy mi-mimi Nghĩa Đặng Trịnh Cẩm Nhi Hà Ninh The exhibition ‘Virtual Private Realms’ brings together the works of artists: Lananh Le, Din Sama, Nguyễn Đức Huy, mi-mimi, Nghĩa Đặng, Trịnh Cẩm Nhi, and Hà Ninh, with a focus on their painting practice Belonging to the 9X (millennial) generation, these artists have contributed to a new wave of practitioners in the Vietnamese art scene The works in the exhibition, while diverse in style, still share similarities in their visual lexicon: from the use of highly personalized symbols, a dismissive attitude towards macro-narratives, an arrangement of virtual spaces, to a layering of complicated psychological flows - all of which have been flattened, projected, and pinned down on the surface of paintings ‘Virtual Private Realms’ mostly introduces the artists’ most recent creations, coupled with experimentations that expand the boundaries of paper, canvas, the act of drawing, and other fundamental elements that constitute the language of painting ### fishbowl-like simulacrum of an inner world containing fragments of personal memory, hybrid animals, dream imagery, wondrous geometry reflecting a state of mind Perhaps it would be fitting to enter the ‘virtual private realm’ of this exhibition through the surreal, ghostly, and immaterial world of Lananh Le To peer into the mind of this artist friend, whom we missed the chance to meet in real life, we can only rely on images scattered on the Internet or a few exchanges preserved by others from semi-intimate conversations with Lananh But the most poignant pieces would be the memories retold by Lananh’s friends, those who have spent a part of their lives with her Lananh usually inundates her ‘canvas’ with unexpected subconscious outbursts Unpolished and without meticulous calculations of meaning or composition, the symbols in her works resemble oracles from a dream Fantastic combination of irregular visual choices that constantly shift — objects of dense cultural meanings (chandelier, altar, temples, and bursts), animals that step out from the wilderness (tiger, zebra, lizard, varan, and snake), peculiar brush strokes (that depict faces—both familiar and strange, or a deity that manifests from squiggly lines on grid paper), the symbols in her works function like a kaleidoscope To convert, categorize, or impose a foreign system (usually language-based) onto these symbols seems to diminish their own sacredness, since they themselves exude a condensed ambience of chaos – a synthesized world swirling and tantalizing in darkness that refuses Excerpt from Lananh Le’s statement for the digital painting series in the exhibition ‘frozen data’ (MọT+++, 2020) This also serves as the primary source of inspiration for Nathan Collis, our exhibition designer, also a friend of Lananh, to design the visual branding for ‘Virtual Private Realm’ You can read the rest of the statement here: http://motplus xyz/2019/12/31/lananh-le/ any explanation In this exhibition, we are fortunate to be able to introduce safari (2019) and guanyin (2019), from the series of digital paintings that Lananh once showed at her solo exhibition ‘frozen data’ at MoT+++ in early 2020 While still in pursuit of mental waves that ebb and flow without regulation, her handling of the works in this exhibition somewhat diverged from her usual spontaneous techniques in oil painting, which she juggled with the materials physically on her canvas Lananh gathered a myriad of materials (photographs, sketches in pencil/pen, watercolor, and oil paint), then cast a digital spell to layer and hybridize them using Photoshop The end result is a moving-image piece that continues to palpate through a projector, undulating with the exhibition’s opening-closing rhythm The life of Lananh’s works, thus, perpetually exists in between two states: awake - asleep In a similar mode of ‘personal myth-making’2 is Hà Ninh’s world of maps Hà Ninh utilizes one of the most mechanical techniques of painting - mark-making/drawing Yet, in contrast to Lananh, Hà Ninh constructed a world crisscrossed with rules and standards, backed by a complicated lexicon That world harbors a history (its own past), with its foundation embedded in his long-term project called ‘My Land’ This is one of the most significant projects with which to embark on that journey for those who are interested in exploring Hà Ninh’s art world While studying abroad in the USA in 2017, and caught in the chaotic snare of cultural clash and conflicting ideologies, Hà Ninh poured Using Lananh’s own word ‘personal mythmaking’ (ibid) all of his efforts into building ‘My Land’ with the end purpose of having absolute autonomy in the real world, which he felt as if he had limited decision-making power ‘My Land’ begins with an arbitrary statement: this territory bears no resemblance to any human culture; thus, all standard paradigms in said world will be self-referential and only make sense within the boundaries of its imagined landscape The exhibition showcases [mothermap], the backbone of ‘My Land’, which acts as a compass, guiding the viewers through Hà Ninh’s labyrinth [mothermap] is updated annually by the artist, partially reflecting the artist’s psychological unfolding and changing perspective during his own transitional periods Compared to the 2019 version, [mothermap]’s 2020 iteration marks the shift in landscape construction: from a more logical calculation to a more organic approach The sky and water have merged, allowing the stars to “swim” freely and deeply into continents, creating an abundance of skyline in each location Looking at the most updated [mothermap] is akin to participating in a surgery, where the 8x8 grid system is no longer clearly visible, but rather faint points of reference that suggest the relative location of each construction - now transformed into bodily organs As Hà Ninh shared, this gradual departure from logical reasoning to move toward a more instinctual connection with the work is, in itself a self-soothing process to handle loneliness and human fragility against the infiniteness of space and time While Hà Ninh and Lananh set up a world densely packed with symbols, Nghĩa Đặng chooses a more condensed and succinct method to codify symbols and include narratives into a pair of paintings not too far (2020) and what’s too far (2020) The two paintings are drawn with charcoal on paper, one of the fundamental materials of painting, with references to conceptual prototypes - one of the artist’s foci in his practice Here, two prototypes are present: a pair of bulls and what the artist calls ‘father-thing’ Upon closer look, we are hit with the feelings that things are not the way they seem At the center of not too far, a scene where a female bull is nursing its cub, seems to reveal another primal aspect; the lush greenery, which creates the illusion of ancient forest, is in fact indoor plants (banana-leaf pothos, snake plant, pencil cactus, etc.) Even the paper canvas, seemingly intact, is actually a collage of paper units, a remnant of a stream-of-consciousness experiment with piecing apart - binding together The illusion of an ‘outside world’ continues eluding the seeker, who wishes to understand, explain, and control it, since ‘the natural world’ out there is no longer nearby Extending his private concern with construction of societal roles, as well as the continuous tug-ofwar between masculinity and femininity, Nghĩa Đặng “plants” an imaginary garden through intertextual practice, freely connecting 3According to the artist, ‘father-thing’, a word borrowed from philosopher Slavoj Žižek and psychotherapist Sigmund Freud, is a purely visual existence that is hard to explain ‘Father-thing’ stems from the subconscious, or an illogical reproduction of dreamlike or fear-induced images Žižek used ‘father-thing’ in his book ‘The Plague of Fantasies’, alluding to the desire for complete control as well as Oedipus complex, feeling of guilt, and the dominant tendency of the masculinity embodied by the paternal figure, where he is seen as a phantom that imposes himself upon external subjects such as the mother or the son 10 his inspirations from poetry and personal memories, to archival photography and people who have cast a shadow upon his subconscious Trịnh Cẩm Nhi too draws inspiration from ‘nature’, the central images of her paintings’ universe — a universe half surrealist (reminiscent of Giorgio de Chirico) half abstract (possessing the air of Hilma af Klint) — are flowers, the female figure, and finely-sliced spaces Fluctuating elegantly between imagination and the senses, between careful calculation and unforeseeable sensations from the physical body, Nhi timely captures the emotions that come to her She projects her sensitive spirit, records the complex movements of the psyche, transforms them into objects, and arranges them into the polished spaces of an eternal museum Seemingly concealed beneath her canvas is a humble feminist perspective With soft curves and sweetly-colored palette, the floral figures and the female body in Nhi’s paintings exude sensuality, yet it is not the sexualized sensuality where women are objects to be drawn/gazed at The female figure in her works does not abide with anatomical ratios or conventional standards of beauty upheld by society Regardless of whether she looks demurely at the viewers, or turns her back completely to avoid strangers’ gawk, she still proudly displays her body Similarly, Nhi’s flowers also delicately allude to the female reproductive organs Despite the dreamy tones, the ambience inside Trịnh Cẩm Nhi’s painting is neither romantic nor mystical: it is not a space of obsession, but rather one of uncertain narratives spun by a calm storyteller There exists a natural confidence in the way Nhi works with spaces that are disturbed, disjointed, splintered, and 11 collaged - something that her predecessors not take as natural; this is perhaps attributed to the role of the artist’s meandering between two cultures, Vietnamese and Italian, in her identityforming process If nature, or an illusion of nature, takes precedent in the dream world of Nghĩa and Nhi, then Nguyễn Đức Huy, with his series of oil paintings on paper, whisks the viewers away to a world of objects, specifically chairs Objects are usually created by humans to serve our needs However, in Huy’s world, objects possess a life of their own: they carve out their own characteristics and societal rules For Huy, the chairs are like ground on top of ground Curious as to why strokes only follow one direction, Huy has set his own regulation for the strokes in this series: each stroke will point toward a different direction, creating a net of zigzag movement that forms the chairs’ shape Originating from countless ‘rest’ periods in which the artist spent his time observing household objects and making friends with seemingly insignificant chairs in his private space, where he got to confront his own self, this series also reveals the parallel practices that the artist simultaneously pursues: animation, illustration, and graphic design Stepping out of Huy’s human-devoid world, the viewer is invited to a world of headless, or deformed-headed, humanoids created by mi-mimi Her works in this group exhibition come from the series of portraiture, yet all characters in the paintings either possess no head or a bizarrely misshapen ones This is due to mi-mimi’s thinking that the face - something easily attached to a person’s 12 image - actually is insufficient in pinpointing their identity Using different yet mutually complementing tools, mi-mimi works based on the rules and perspectives built on personal history (as an artist and as a lecturer on graphic design across many countries), including various ideological flows that have influenced her (the aesthetics of Pythagoras, Symbolism movement, and Kandinsky’s color theory) For this exhibition, mi-mimi showcases frames, including both painting and poetry – most of which directly peeled from the personal carnet that she carries with her everywhere, combined with fickle neon color tightly bound in flat shapes - a reminder of her graphic design practice When she paints, mi-mimi sees herself as gender-less, but in poetry she can don any gender that she deems fit She comes to poetry to release emotions within the limits of words, something unachievable in the rational infinity of paintings She said: “Poetry expresses things already felt, while paintings discover things not yet seen.” Despite having practiced art for a long period, Din Sama actively refuses to participate in the endless philosophical debates over art, and remains loyal to a child-like and instinctive painting practice - she considers reason an untrustworthy path Attached to the symbol of a skull since she was a fresh graduate, Din considers this image as a way to face the unexpected loss of a loved one Since she thinks of artistic practice as a constant world where she can seek private solace, only unchangeable things are allowed an existence in Din’s world The characters there cannot possess flesh, skin, or internal organs, as, according to Din, they are “dirty and finite.” However, animals are allowed to have fur, for the same reason 13 Din Sama’s works are haunted by constancy, a realm where she seeks refuge from the ever-changing reality in which people are demanded to adapt quickly While a symbol of death and loss in the beginning, eventually the skull becomes Din’s special companion in her practice; at the moment, Din probably has enough works to create a house full of skull paintings Born in Vietnam, Din attended the Fine Arts University here for a year before spending seven years in Japan studying printmaking - a practice where the hard-to-predict ‘process’ is what creates the artwork Thus, Din has learned to accept the world regardless of how quirky it can get, since it will always change at a faster pace than the individuals who create it ### At first glance, its physical form seems paradoxical toward the thesis set out and pursued through the conceptualization and building of the exhibition: almost everything happened in virtual spaces Before the exhibition, most of us had never met in real life; our only acquaintance was through the works and practice shown on social media (Facebook or Instagram), where each personal account is a private archive of scattered thoughts The members used to/ are still scattered throughout many geographic locations: the USA, Italy, Japan, Germany, and Vietnam (Saigon and Hanoi) As we entered chat boxes, we eventually formed a group of that has continued to chit-chat until now The Internet is the glue that binds us; the virtual space is the platform where our relationships take root and bloom When taking into account the shared context 14 where we grow up and mature, the virtual seems to play an even more crucial role Born in the 90s, we experienced childhood and early adulthood in a country that had long bade farewell to the war and started moving toward globalization Social media swept in without filters, bringing with it cultural food-for-thoughts from around the world: these intricate shifts and online sub-currents were what we grew up feasting on, yet we have never fully digested them While we all spent a great deal of time growing up in Vietnam, our personality and perspective are mainly shaped through different geo-cultural and psychological milieus, thanks to our swift mobility in approaching the outside world Yet, even though well-versed in technology and language, we have chosen to return or remain in Vietnam to build our careers At first, one of the ideas for the exhibition was to introduce a generation of young painters with an aesthetic that diverges from age-old narratives (of traditions, histories, or politics), where we are tasked with the burden of representing the nation, the people, or a ‘Vietnamese-ness’ However, at this point, we no longer find this necessary; even if it were necessary, then that was not what we would The original concept for ‘Virtual Private Realms’, as well as our curatorial decisions, are primarily instinctual, but after half a year working together, we have come to trust our gut feelings to guide us Through digital media, we find ourselves and recognize one another; it is a place for works that are yet to gain formal recognition, but have touched the souls of viewers across the globe: 15 followers on different social media platforms, each with a different cultural background And if we follow this line of thinking, then a physical exhibition for ‘Virtual Private Realms’ actually makes sense Our narratives remain our own, our private realms remain private; the only difference now is that we are aware of a ‘community’ out there who might share mutual concerns An exhibition like this also solidifies our belief that a community doesn’t exist purely based on shared mottos, constant activities, or mutual agreement as to aesthetic direction Each member can remain a solitary planet within our own orbit, maintaining our individuality and independence However, we naively believe that what we consider ‘tradition’ or ‘Vietnam’s’ (plural), or simply ‘community’, is built upon these separate yet genuine narratives With a respectful spirit toward individuality, an open and truthful attitude, we have the chance to work with like-minded individuals: without this exhibition, it would be a long time coming before we finally meet In that sense, we can consider the exhibition ‘Virtual Private Realms’ an opportunity to share with colleagues and peers in a physical space While our journey has not been long, the path that we have journeyed together is not only limited to exchanges during exhibition making, but extends to multiple daily-life and existential topics That shared journey is also an invitation for viewers to share the ‘private’ and ‘real’ worlds of the artists in this exhibition Vân Đỗ & Hà Ninh 16 17 Lananh Le guanyin 2019 Digital painting, format mp4, length 12 hours Courtesy of MoT+++ Lananh Le safari 2019 Digital painting, format mp4, length 12 hours Courtesy of MoT+++ 18 19 20 21 Trịnh Cẩm Nhi Vườn địa đàng 2021 Sơn dầu toan 180 cm x 120 cm 22 Trịnh Cẩm Nhi Cấu trúc cô đơn 2021 Sơn dầu toan 180 cm x 120 cm 23 Nguyễn Đức Huy Dấu chân 2021 Sơn dầu thỏi giấy 110 cm x 80 cm 24 Nguyễn Đức Huy Chuyển động ngưng 2021 Sơn dầu thỏi giấy 110 cm x 80 cm 25 Nguyễn Đức Huy Đối diện 2021 Sơn dầu thỏi giấy 110 cm x 80 cm 26 Nguyễn Đức Huy Sương mù 2021 Sơn dầu thỏi giấy 110 cm x 80 cm Nguyễn Đức Huy Buổi sáng 2021 Sơn dầu thỏi giấy 110 cm x 80 cm 27 28 10 10 11 11 mi-mimi Sự họa chân dung #1 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm mi-mimi Sự hoạ chân dung #25 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 22 cm x 15 cm mi-mimi Sự họa chân dung #24 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 22 cm x 15 cm mi-mimi Sự họa chân dung #26 (sự im lặng bầy đom đóm) 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 22 cm x 15 cm 29 30 12 13 14 14 mi-mimi Sự họa chân dung #23 (những lớp ký ức) 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 22 cm x 15 cm mi-mimi Sự họa chân dung #21 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 22 cm x 15 cm mi-mimi Sự họa chân dung #10 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm mi-mimi Sự họa chân dung #11 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm 31 15 15 16 17 mi-mimi Sự họa chân dung #9 (hồi ức đêm bão) 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm mi-mimi Sự họa chân dung #5 (đấng cứu từ chốn khác) 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm mi-mimi Sự họa chân dung #4 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm 15 mi-mimi Sự họa chân dung #8 (một đêm bão) 2020 Bút gốc cồn, bút gốc nước, bút mực, bút mực gel, chì giấy 23 cm x 16 cm 32 33 18 19 Nghĩa Đặng đừng xa 2021 Than giấy 132 cm x 100 cm 34 Nghĩa Đặng đâu xa 2021 Than giấy 132 cm x 100 cm 35 20 24 Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm 21 25 Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm 22 26 Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm 20 24 25 23 22 21 23 Din Sama Mảnh ghép 2021 Chì màu hộp gỗ phủ gesso 8.5 cm x 11 cm x 16 cm 36 26 37 27 Hà Ninh [bản đồ mẹ] 2021 Chì sơn acrylic giấy 97 cm x 136 cm 38 39 Lananh Le (sn 1993 - m 2020) nghệ sĩ đa chất liệu, tập trung vào lịch sử truyền miệng, thần thoại văn hóa ký ức công chúng Công việc cô thể thúc phải tạo ‘các sinh thái thần thoại’, giới khác nơi điều tra mối quan hệ thần thoại, hình thành sinh thái cách văn hóa đa dạng thể mối quan hệ họ với vũ trụ Cô tốt nghiệp Đại học Stanford với Cử nhân Dân tộc học vào năm 2015 trước trở Việt Nam sống làm việc TP Hồ Chí Minh 40 Trịnh Cẩm Nhi (sn 1996) tốt nghiệp cử nhân chuyên ngành Hội hoạ năm 2019 Học viện Nghệ thuật Roma, Ý (Accademia delle Belle arti Roma) Hiện cô hoạ sỹ Hà Nội Thực hành nghệ thuật Nhi tập trung khai thác hình ảnh hoa tính nữ, sử dụng nhịp điệu hình khối, khơng gian để mô tả chuyển động nội tâm Chủ yếu sử dụng chất liệu sơn dầu, acrylic màu nước tác phẩm.tại TP Hồ Chí Minh Nguyễn Đức Huy (sn 1995) nghệ sĩ thị giác, sống làm việc Tp Hồ Chí Minh Huy theo học ngành Hội hoạ Trường Đại học Mỹ thuật Việt Nam từ năm 2013 – 2015, sau dừng để theo đuổi việc tự học Huy thường thực hành hội hoạ, cụ thể digital art drawing tính chất tức thời chúng, cách để anh ghi chép dạng nhật ký, ngồi anh có thực hành với chất liệu khác video, đặt, nhiếp ảnh Thơng qua tác phẩm mình, anh thể quan tâm tới khái niệm bối cảnh, nhân vật, giới giả lập, nơi mà có quy luật, niêm luật riêng, từ phóng chiếu chúng với nhằm tìm kiếm kẽ hở độ vênh, sâu vào khám phá giới Với Huy, làm nghệ thuật cách để giải nốt phần dư thừa vấn đề mi-mimi (sn 1991) danh tính nghệ sĩ Lê Hương Mi (Hương Mi Lê) đến từ Hà Nội, nhà thơ nghệ sĩ thị giác Cô miêu tả việc làm nghệ thuật là, giống khoa học, để nhìn giai điệu cõi hỗn mang Thực hành nghệ thuật đưa cô đường xuyên qua cõi hỗn mang hành trình kiến tạo ‘con người’ Mi giảng viên môn Lịch sử Thiết kế Đồ họa môn Ký tự pháp (Typography) Học viện Nghệ thuật & Thiết kế Monster Lab, quản lý giáo dục Noirfoto Darkroom-Studio-Gallery, dịch giả biên tập sách, người tổ chức điều phối lớp học thảo luận nghệ thuật thiết kế Mi làm việc với Thái Hà Books, Viện Nghiên cứu HánNôm, VCCA, Sunday Art Club, iDesign, Pencil Philosophy… Mi theo học Thiết kế Truyền thông Frankfurter Akademie für Kommunikation und Design, Frankfurt Nhân học Đại học Khoa học Xã hội & Nhân văn, Hà Nội 41 Nghĩa Đặng (sn 1994) nghệ sĩ thị giác đến từ Hà Nội sống làm việc TP Hồ Chí Minh Thực hành nghệ thuật anh sử dụng hình thức điêu khắc mềm, đặt tranh vẽ để khám phá mối quan tâm tương quan tâm lý, ký ức, ảo mộng tàn dư chúng Những tác phẩm Nghĩa Đặng trưng bày số không gian nghệ thuật nước quốc tế Trung tâm Nghệ thuật đương đại The Factory (TP HCM), Galerie Quynh (TP HCM), Sullivan Galleries (Chicago, Mỹ),Richard Koh Fine Arts (Singapore) 42 Din Sama (sn 1991) nghệ sĩ thị giác chủ yếu sáng tác kỹ thuật printmaking Cô thưởng nghiên cứu kỹ thuật truyền thống khắc gỗ Nhật Bản, bồi giấy truyền thống, làm giấy … sáng tác tác phẩm mang hướng đại dựa kỹ thuật truyền thống Cô triển lãm Tokyo, Kyoto, Kawasaki, Chiba (Nhật Bản), London (UK), Dublin (Ireland) Hà Nội (Việt Nam) Trong trình du học Nhật tham gia có giải thưởng thi printmaking Din sinh Hà Nội tới Nhật để học đại học Cô tốt nghiệp cử nhân Đại học tổng hợp Wako khoa Nghệ thuật năm 2015 thành phố Tokyo Năm 2017, hồn thành Thạc sĩ trường Đại học Nghệ thuật Tokyo khoa Hội hoạ chuyên ngành Printmaking Hiện cô sống làm việc Hà Nội Hà Ninh (sn 1991) hoạ sĩ nhà điêu khắc đến từ Hà Nội, Việt Nam Tác phẩm anh khai thác cách thức mà xây dựng hình dung lãnh thổ từ phương xa Hà Ninh nhận Thạc sĩ khoa Sáng Tác Học Viện Mỹ Thuật bang Pennsylvania năm 2018 Cử nhân khoa Hội Hoạ Đại học Mỹ Thuật Việt Nam năm 2014 Hà Ninh tham gia lưu trú Skowhegan School of Painting and Sculpture, Yaddo, Wassaic Project, Marble House Project Tác phẩm anh triển lãm New York, Philadelphia (Hoa Kỳ), London (Anh), Kuala Lumpur (Malaysia), Singapore, Hà Nội TP Hồ Chí Minh (Việt Nam) Vân Đỗ (sn 1995) giám tuyển, người viết trợ lý giám tuyển làm việc Trung tâm Nghệ thuật Đương đại The Factory Các dự án Vân thực gần gồm: đồng giám tuyển với Bill Nguyễn triển lãm ‘Lần / Nằm / Vùi / Lộ trên’ (The Factory, 2021); giám tuyển buổi chiếu ‘Ca tụng (cõi) vi sinh’ (Dcine, 2020); biên tập với Linh Lê tạp chí Măng Ta (2020); đồng giám tuyển với Lê Thuận Uyên ‘Nhặt Lá Rừng Xưa’, triển lãm solo Võ Trân Châu (The Factory, 2020); giám tuyển ‘Lặng Yên San Sát’, triển lãm solo Đặng Thuỳ Anh (The Factory, 2019); sản xuất phim ‘Chiều tà’, ‘Phim số 3’ Tạ Minh Đức (2018-19) 43 Chúng chân thành cảm ơn Viện Goethe, Manzi Art Space Hội đồng Anh hỗ trợ dành cho triển lãm; chị Trần Thanh Hà MoT+++ cho chúng tơi mượn tác phẩm nghệ sĩ Lananh Le; Nathan Collis tận tâm đồng hành với chúng tơi Vân Đỗ gửi lời cảm ơn tới Bill Nguyễn, Lê Thuận Uyên Linh Lê đồng hành tinh thần chun mơn; Hà Ninh tin tưởng; nghệ sĩ triển lãm trở thành bạn Trịnh Cẩm Nhi gửi lời cảm ơn đến chị Thanh Hương hỗ trợ nơi làm việc suốt trình sáng tác hai tác phẩm có mặt triển lãm Biên tập: Vân Đỗ Thiết kế: Nathan Collis Chuyển ngữ: Dương Mạnh Hùng Hiệu đính: Linh Lê, Bill Nguyễn, Rory Gill Hình ảnh tác phẩm: MoT+++, Trịnh Cẩm Nhi, Nghĩa Đặng, Nguyễn Đức Huy, mi-mimi, Hà Ninh 44 45 Dành tặng Lananh Le 1993 - 2020 ♥ 46 47