Untitled, Soft Extraction

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Untitled, Tightrope

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Untitled, Hidden – Exposure

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Untitled, Broken – Hang On

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Untitled, Attack – Sculpture – Protect

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Pass-Pause

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Untitled, Harder – Softer

Funny, punning and intricate are the adjectives that one can think of Hoang Duong Cam’s Fat-free Museum (2006) photograph series. Even its name implies a puzzle, when the artist assigned the word ‘fat-free’, which refers to dairy products, to ‘museum’ – the academic and solemn shrine storing essence of human culture. Hoang Duong Cam piled multiple layers of images onto the original photographs, capturing landscapes or iconic Western art pieces at Metropolitan Museum in New York. Randomly integrated image layers are the artist’s fingers or face, and classic Vietnamese artworks. The contrasts between blur – clarity, or close-up – wide view of the image, the degree of recognition of international – local classics, are affiliating relationships on the surface of the work.

Extra-curriculum Political Science Class

In a subconscious way, Vo An Khanh set his work in the midst of the boundaries of artistic photography and reportage photography. Originally a war journalist during the Vietnam War, Vo An Khanh operated in Ca Mau – the southernmost Vietnam where the resistance troops were hiding in dense mangrove forests. Contrary to the urgency often seen in war photographs, most of the characters appearing in Vo An Khanh’s photos are very static, and did not reveal their emotion so clearly. People and scenery like frozen, or even, are in a performing scenario. With the extremely accurate and superlative layout and lighting, the characters in the ‘Extra-curriculum Political Science Class’ and ‘Mobile Military Medical Clinic’ scenes appeared as if be on a staged theater. Vo An Khanh’s works become surreal: they are both cinematic and theatrical due to its fictional aesthetic structure and political realism due to the context in which it took place.

Mobile Military Medical Clinic

In a subconscious way, Vo An Khanh set his work in the midst of the boundaries of artistic photography and reportage photography. Originally a war journalist during the Vietnam War, Vo An Khanh operated in Ca Mau – the southernmost Vietnam where the resistance troops were hiding in dense mangrove forests. Contrary to the urgency often seen in war photographs, most of the characters appearing in Vo An Khanh’s photos are very static, and did not reveal their emotion so clearly. People and scenery like frozen, or even, are in a performing scenario. With the extremely accurate and superlative layout and lighting, the characters in the Extra-curriculum Political Science Class and Mobile Military Medical Clinic scenes appeared as if be on a staged theater. Vo An Khanh’s works become surreal: they are both cinematic and theatrical due to its fictional aesthetic structure and political realism due to the context in which it took place.