Dear readers,<\/p>\n
As we continue on our journey of exploring the tapestry of Vietnamese art, issue #10 of Art Nation celebrates \u201cThe Art of Patronage\u201d \u2013 the fundamental force that sustains and nurtures our rich creative legacy. From the historical royal court patronage of traditional arts and crafts, the colonial government\u2019s public projects of modern Indochinese aesthetic, to the present-day institutional initiatives and private collections, patronage has long shaped and continues to define the developmental trajectory of Vietnamese art. And as the artistic landscape has evolved over time, so, too, has the role of the patron. No longer separated by well-defined roles, artists are now actively becoming patrons, and patrons are stepping out of their fiscal-only role to become collaborators and partners in the creative process.<\/p>\n
Recognising the importance of art patronage in Vietnam from the earliest times to future developments, issue #10 raises a deeper issue that is becoming more urgent than ever: that art is not only an object of admiration or acquisition, kept in the white box of modernity or fetching increasingly higher prices at auctions. It is, fundamentally, a vital part of society that requires collective nurturing, appreciation, protection, and developmental planning. In the burgeoning patronage system in Vietnam, the contributions of both private and public patrons have thus gone beyond material support. They foster environments for artistic creation and engagement with the wider communities through art residencies, public exhibitions, education programmes, grants, etc. This holistic approach is a key driver to ensure that Vietnamese art remains innovative and dynamic both domestically and internationally.<\/p>\n
In this issue, we showcase stories of visionary patrons and patronage incentives with clear and strategic visions for the Vietnamese artistic and cultural landscape. Combining local and global models, we gain inspirations from how the Patron of the Year Award has built a robust Singapore art scene over four decades, how the city of Kanazawa implements a city-wide patronage of kogei as a historical and artistic treasure at the Triennale of Kogei in Kanazawa (Japan), or the dynamic collaborations of MAP project\u2019s 2025 exhibition \u201cArrival?\u201d between Hanoi and Berlin (Germany). Rebranding strategies for the contemporary art fair Taipei Dangdai (Taiwan), private donation and curatorial direction of Dib Bangkok (Thailand), and the model of art patronage in schools by Nguyen Art Foundation (HCMC) \u2013 are all valuable insights into how contemporary patronage is breaking down traditional barriers to encourage cross-cultural exchanges.<\/p>\n
Through these stories, Art Nation invites you to reflect upon the importance of art patronage in shaping the future of Vietnamese art \u2013 whether arts and crafts, sculptures, theatre, or photography. May this issue inspire new forms of patronage and collaborations in Vietnam, and let us celebrate the spirit of support and solidarity that keeps Vietnamese art alive and thriving.<\/p>\n
Warm regards,
\nAce Le
\nEditor-in-Chief<\/p>\n
_______<\/p>\n
BOARD OF DIRECTORS<\/strong> EDITORIAL<\/strong> CONTRIBUTORS<\/strong> CREATIVE<\/strong> MEDIA<\/strong> REPRESENTATIVES<\/strong> Issue #10 of Art Nation celebrates \u201cThe Art of Patronage\u201d \u2013 the fundamental force that sustains and nurtures our rich creative legacy. As the artistic landscape has evolved over time, so, too, has the role of the patron.<\/p>\n","protected":false},"featured_media":8213,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[262],"product_tag":[],"class_list":["post-8203","product","type-product","status-publish","has-post-thumbnail","product_cat-art-nation-10","first","instock","taxable","shipping-taxable","purchasable","product-type-variable"],"acf":[],"yoast_head":"\n
\nAce L\u00ea
\nTr\u1ea7n Th\u1ea3o Nguy\u00ean
\nT\u0103ng B\u1ea3o Quy\u00ean<\/p>\n
\nEditor-in-Chief: Ace L\u00ea
\nManaging Editor: Chukim
\nEditors: Nh\u1eadt Anh, Ally L\u00ea, H\u1ed3ng \u00c1nh<\/p>\n
\nWriters & Translators: Alna Bay, \u0110o\u00e0n Minh, H\u00e0 Ch\u00e2u B\u1ea3o Nhi, Ho\u00e0ng L\u00ea Giang, Ph\u1ea1m C\u00f4ng Lu\u1eadn, Ph\u1ea1m Minh Qu\u00e2n, T\u00e2m Ph\u1ea1m, Vinh Ph\u00fa Ph\u1ea1m, L\u00ea Huy, Mary L\u00ea, L\u01b0u B\u00edch Ng\u1ecdc, L\u01b0u Nguy\u1ec7t Linh, Th\u1eafng Mai, Nh\u1eadt Thu, Trao, Nguy\u1ec5n L\u00ea Th\u1ee7y Ti\u00ean, Xu\u00e2n Qu\u1ef3nh, Y\u1ebft Y\u1ebft<\/p>\n
\nStudio Manager: Cao Qu\u1ed1c Huy
\nGraphic Designer: Ng\u1ecdc H\u00e2n<\/p>\n
\nMedia Executive: Tr\u1ea7n V\u0169 Minh Ph\u00fac<\/p>\n
\nHanoi: T\u00e2m Ph\u1ea1m
\nBangkok: Mary L\u00ea
\nSingapore: Nguy\u1ec5n L\u00ea Th\u1ee7y Ti\u00ean
\nHong Kong: Ally L\u00ea
\nTaipei (China): Xu\u00e2n Qu\u1ef3nh
\nTokyo: H\u00e0 Ch\u00e2u B\u1ea3o Nhi
\nBerlin: L\u01b0u B\u00edch Ng\u1ecdc
\nBrussels: Tr\u1ecdng Gia Nguy\u1ec5n
\nParis: Th\u1ea3o Tr\u1ea7n
\nLong Beach City: Brian \u0110o\u00e0n<\/p>\n","protected":false},"excerpt":{"rendered":"