Please allow us to quote the Editor’s Note as the introduction for this issue’s publication:
“Dear readers,

Welcome to Art Republik #8, the special issue commemorating the 100th anniversary of the Indochina School of Fine Arts! In settling on the theme “The centennial oath” – inspired by “The Tale of Kieu” – our editorial board aspires to curate and offer divergent perspectives and narratives concerning the Vietnamese identity in Vietnamese art, from past to present, addressing the collective existential question, “What constitutes us, during and after the past 100 years?”

Scholar An Tran will commence this discussion with the academic essay “A century of national identity”, kicking off the “[Art]Salon” series. Art researcher Ngo Kim Khoi offers new contexts on his grandfather Nam Son’s monumental legacy in the interview “Majestic shade: a mountain’s embrace”. From the National Gallery Singapore, chief curator Phoebe Scott unveils the creative and logistical visions behind the grand exhibition “City of Others: Asian Artists in Paris, 1920s–1940s”. Veteran artist Ngoc Linh sits down for a heartfelt conversation about the resilient yet resource-scarce Resistance Class. Representing the “Southern wave,” Prof Uyen Huy sheds light on Saigon-Gia Dinh art from 1954–1975, a period yet to be adequately recognised. Quynh Dong lifts her voice in “Karaoke with a diasporic” amidst the contemporary rhythm. At the Smithsonian National Air and Space Museum, conservator Vu Do recounts how he woke the kite up after 60 years of dormancy. Concluding this section is a roundtable discussion on the future of Art Republik among Vietnamese leaders across industries, held during the first “Friends of Art Republik” gathering.

The “[Art]natomy” section presents opinions chronologically along the historical current of Vietnamese fine art. In the realm of ancient art, Prof Tran Hau Yen The introduces the rahu design and its connection to our primal fear, while Prof Le Trong Nghia surveys spiritual connections in ancient Cham sculptures. Art Republik’s inaugural article on calligraphy will discuss Chau Hai Duong’s philosophy “shu hua tong yuan” from the “Allusive Panorama” exhibition. Notably, from Yet Kieu School, Prof Vu Huy Thong contributes a concise historical overview of the institution’s century-long legacy. From Tu Duyen to Pham Tran Viet Nam, and from Berlin to Brisbane and Hong Kong, our contributors will cast light on corresponding artists and happenings. In addition, two specialists contributed their perspectives: Tyler Vo analyses the art market and lawyer Ngan Nguyen provides a fundamental yet essential essay on art law.

In the “[Art]jacent” section, ikebana artist Do Thi Thu Phuong discusses the discipline through the way of flowers. Theatre-wise, Aaron Toronto and John Andrew Cunnington from Dragonfly open up on their practice and philosophy 15 years since their establishment. Drawing inspiration from the Asian lacquerware, the Chanel Métiers d’Art 2024/25 collection fashion shoot serves as a visual highlight. Last but not least, as is customary, the [Art]venture section will review prominent art exhibitions and events both domestically and internationally over the past six months.

This has been one of the most exciting yet challenging issues for our team. I would like to express my sincere thanks to our readers, our team members and collaborators, both local and overseas, who contributed to the publication. I wish you all good health and success!

Yours truly,
Ace Le
CEO & Editor-in-Chief
Art Republik Vietnam