We are excited about representing as Vietnamese collection to discuss the responsibilities, challenges, risks, and alternative modes of public and private museums in the context of Southeast Asia and beyond. Although Post Vidai has been actively collecting, preserving and supporting Vietnamese contemporary art in the last 25 years, and we acknowledge the need of museum for contemporary art in the country, Post Vidai remains the decision not to have a space to display the collection to the public yet but find alternative ways to nurture the development of Vietnamese contemporary art.
Stream the video to learn more about PVD’s presentation and our colleagues in neighbouring countries such as Bellas Artes Projects (The Philippines), Singapore Art Museum (Singapore) and further in Europe the Glasgow International (Scotland) unpacking their institutions’ collaboration between the state and the private sectors.
Post Vidai is glad to welcome new artworks by Cian Duggan, Ed Smyth and soon by Wu Chi-Tsung to the collection. While Irish Cian and Ed have been based in Vietnam in the last years to be part of the blossoming Saigon art scene, well-acclaimed Taiwanese artist Wu Chi-Tsung stepped on board as part of Mot+++, to support local community. He is currently making different series of works on paper and video in Vietnam, during and after his residency at Mot+++. On collecting pieces by these artists, Post Vidai once again unsettles the definition of ‘Vietnamese-ness’ by considering this characteristic in the history of the country (think of Viet Kieu, the Vietnamese-origin who themselves or their families left Vietnam after the war) and in the context of the nation’s social changes (think of international artists based in Vietnam for personal or professional reasons).
Post Vidai has recently added new works to the collection by artist Dinh Q. Le and veteran war photographer Vo An Khanh. While Vo An Khanh’s photographs ‘Ripping The American Iron Bird’ and ‘Office Of Central Propaganda Department In Mangrove Jungle’ were captured in 1966 and 1971 reflecting the determination under hardship of revolutionary force National Liberation Front of South Vietnam, Dinh Q. Le’s sculptural installation ‘Adrift in Darkness’ is weaved from refugee trauma as the aftermath of Viet Nam War to the people. These acquisitions affirm Post Vidai’s emphasis on historical enrichment by learning it through art and culture. Complex perspectives on history are exposed critically as such declaration of image power.
Post Vidai congratulations artist Phan Thao Nguyen for her recipient of the highest position – the Grand Prize of $60,000SGD at 2018 Signature Art Prize.
Jurors included Ms Mami Kataoka, chief curator of Tokyo’s Mori Art Museum; Mr Bose Krishnamachari, president of the Kochi Biennale Foundation; Ms Joyce Toh, head of content and senior curator at the Singapore Art Museum; Dr Gerard Vaughan, who is director of the National Gallery of Australia; and artist and independent curator Wong Hoy Cheong.
The final selections were based on criteria including strength of the idea and concept; creative use of medium, material and technique; artistic insight and interpretation; and originality of artwork.
Tropical Siesta reimagines rural Vietnam as described by a French Jesuit missionary in the 17th century. Child actors are captured in farming work as well as re-enactments of a folktale. Jurors praised the “poetic” style of the work. Ms Toh called Nguyen “a powerful, poignant storyteller”.
She added: “Sensuously visual, the film pulls the viewer into its enigmatic world – a world governed entirely by children. Even as it explores a number of complex issues in Vietnamese history, the work feels fresh and very much alive.”
In the meantime, Phan Thao Nguyen’s ‘Boy sitting on a mirror’ is exhibited along with her video work and other paintings of the series ‘Tropical Siesta’ at Signature Art Prize 2018, organized by Singapore Art Museum. She is among the selected 15 finalists of the award.
Forbes October issue has featured a lengthy 6-page article interviewing our collection co-founder Olivier Mourgue d’Algue on his thoughts about art and art collecting, as well as briefly reflecting the current state of Vietnamese contemporary art. The article can be read online here.
Our Director & Curator Arlette Quỳnh-Anh Trần has sat down and talked to C. A. Xuan Mai Ardia about Post Vidai collection, private collecting and the current exhibition The Picture Will Still Exist for Art Radar – the only editorially independent online news source writing about contemporary art across Asia.
Post Vidai is very glad to announce our latest acquisitions with 3 strong voices of female artists, including Nguyen Phuong Linh, Phan Thao Nguyen & Sung Tieu. For Phan Thao Nguyen and Nguyen Phuong Linh, this is not the first time we are interested in their works. We have been following their artistic development through years: Phuong Linh’s Salt (2009) and Thao Nguyen’s 30 Days of Looking Down (2013). With Sung Tieu – German-Vietnamese artist, Post Vidai adds 2 major works of hers to the collection, marking our firm belief in the emerging talent.
Sunshower – rain falling from clear skies – is a frequently-seen meteorological phenomenon in Southeast Asia. The post-WWII decolonization led the countries to democratization and internationalization despite periods of turmoil, but with the rapid economic and urban development that they have undergone in more recent years came truly drastic changes. It thus serves as a poetic metaphor for the region that has passed through various vicissitudes as well. This exhibition seeks to explore the development of contemporary art in Southeast Asia since the 1980s against the backdrop of the currents and fluctuations of the times from 9 different perspectives, and aims to capture its dynamism and diversity.
Post Vidai congratulates artist Nguyen Phuong Linh for a major milestone in her career with a new art prize from Hans Nefkens Foundation.
Chinese artist, Tao Chao, was the first inaugural in 2013 with Anup Mathew Thomas, Indian artist who won the second biennale in 2015. And in 2017, Linh Phuong Nguyen, the first woman conquering the third Han Nefkens Foundation-BACC Award for Contemporay Art, was selected from 7 finalists by 6 juries, that is; Han Nefkens, Luckana Kunavichayanont, Hilde Teerlinck, Eugene Tan, Dihn Q. Le and Erin Gleeson. The committees had unanimous resolution that Linh Phuong Nguyen is the winner as the jury statement below;
“Linh Phuong Nguyen has been chosen unanimously for her potential of exploring and expanding her practice. Her most recent works at the Singapore Biennale gave juries the glimpse of future direction of her work. Juries believe that following her current practice, together with the residency she will be having in Bangkok, she will develop fruitfully through the new environment.”
Anticipating her potential, Post Vidai started to acquire Phuong Linh’s works in her first themed exhibition ‘Salt’ since 2009. Read more of Nguyen Phuong Linh’s works in the collection here.