Growing up in an artistic family and living in a circle surrounded by artists, it doesn’t seem surprising that you would take the path of art practice. But how did that happen to you? Did you ever imagine becoming the artist you are today?
The moment of choosing art for me was not quite apparent, as I just kept creating one work after another, as if steadily and persistently walking on a path. When I was young, I didn’t think much of the future. I was just concerned about planning short-term journeys, thinking about where to go, meeting inspiring folks, taking some paid gigs to continue traveling and live independently. Traveling is rather important to me; it must have been these trips that made me who I am today.
In the 90s, Nha San Duc was one of the first art spaces that was very active in intercultural activities and contemporary art exchanges with the global scene. How have these activities affected your perception of art and life in general?
When my father converted our home into a space of creative experimentation, I discovered my parents’ pure and warm dedication to their friends and to art. I am grateful to my parents for giving me so much freedom as a teenager. I met people that I considered to be my teachers at Nha San, each of whom appeared at a certain stage in the process of my growing up: there were earlier artists at Nha San such as Truong Tan, Minh Thanh, and even overseas artists as Danh Vo, Simon Starling. Until now, my Nha San Collective (NSC) fellow mates are still with me the most. This understanding, acceptance, and togetherness sustain us in the creation and in life.
My opinion on art is also nothing special; it is not different from any other profession. There are days of boredom, and days of chancing upon something; there are jokes, and it’s still all about how to live as each day shuffles by. Life is the original, each work is a copy, oh wow, after three copies, there will be seven different versions… (a play on Tran Dan’s poetry: “The work is the original, life is a copy, oh wow, after three copies, there will be seven different versions…” ).
In the 2000s, Nha San’s second-generation artists discussed frequently to find a direction towards independence, away from the overwhelming influence from the first. Along the stages of Absorbing – Fighting – Breaking Away, what helped you craft your own path?
I can’t recall participating in such discussions. To me, Nha San was a family unit with many legacies, misunderstandings, and generational conflicts like any other family, where disagreements take place. Regardless, I never had the need to affirm myself by criticizing the previous generation or intentionally set any directive to be different from the seniors. My colleagues and I in NSC just do what we believe is necessary and appropriate, and such would naturally set us apart from others, and even from our past selves.
After 10 years, NSC has become an expanded entity. Most of the associates we work with are from outside of Nha San. Nha San’s first generation functioned in a vertical model, from the art director/curator down to artists. We grow horizontally, summing individual parts.
Most of the artists practicing at this time are also self-taught and self-learned. Could you tell us about your first artwork?
“Allergy” – a bra set full of nails was made in 2004. I was 19 years old then. I am not sure how the audience reacted and what they thought about me; perhaps the way they saw me was similar to how I knew myself as a young rebel, eager to expose the body. After that, I still made various works about the female body. Perhaps my curiosity about gender edged me on?
Looking back, which works of yours are you most satisfied with? Why?
Satisfied might not be the proper word, maybe when I get older I will be able to answer this question. It could be said that practicing art helps me see myself better. Back then, I thought I changed through different stages of art making: when I was young, I was interested in gender issues; when I was an adult, history and geography. I now learn that the core of my field research projects is not different from that of my bra set. I’m just older and more experienced. My interest is still about the body, its endurance in space, time, weight and vacuum, memory and forgetfulness, ephemerality. I am still fascinated by fundamental geometric shapes: square, circle, triangle. I still love to inject gentleness and humour into my art.
In 2022, Nha San Collective will be the first Vietnamese artist group to participate in Documenta. What beliefs or expectations do you have for Vietnamese contemporary art?
I have neither beliefs nor expectations for it. More and more Vietnamese artists participating in major events in the West is a natural course of development and globalisation. These grand events, and the new, professionally equipped spaces and dedicated collectors in Vietnam present opportunities and a market for artists, but do not make them great. A foundation of solid education, inspiring teachers, and life itself are the conditions for raw talents to become great artists.
Thank you Phuong Linh, and hope to see you in Kassel!
