关于分享者 ABOUT SPEAKER

杜蒋玲（VN），出生于1987年，是一名驻越南河内的艺术研究员和策展人，她的工作主要集中在观念艺术，后殖民研究以及艺术与政治之间的关系。毕业于越南美术大学，并获得伦敦大学亚非学院亚洲和非洲当代艺术与艺术理论硕士学位。她是六空间（www.sixspace.vn）的联合创始人兼艺术总监，该空间是位于河内的一个艺术家自主运行的场所。杜蒋玲曾参与过各种本地和国际艺术项目和合作，例如“地形背后”（旅展于印度尼西亚），“越南和日本”（2017年至2018年）；“SEA Currents”，英国伦敦（2017年）；艺术空间网络驻留于亚洲文化中心，韩国光州（2018年）；“编辑就是抵抗！非洲艺术书展”，La Colonie，法国巴黎（2018年）；东南亚地区与空间（2018年至2020年）；SEA湄公河文化中心（2018年至2019年）和亚洲艺术行动主义活动（2018年至今）。

Do Tuong Linh/Đỗ Tường Linh (b.1987) is an art researcher and curator based in Hanoi, Vietnam, whose work concentrates on conceptual art, post-colonial studies and the relationship between art and politics. Graduated from Vietnam University of Fine Arts and received her M.A. in Contemporary Art & Art Theory of Asia and Africa from SOAS, University of London. She is the co-founder and artistic director of Six Space (www.sixspace.vn), an artist-run venue in Hanoi. Linh has been participating in a wide range of local & international art projects and collaborations, such as "Behind the Terrain" - Traveling exhibition in Indonesia; Vietnam & Japan (2017-2018); "SEA Currents", London, UK (2017); Arts Space Network Residency at Asia Culture Center, Gwangju, Korea (2018); "To Edit is To Resist! The Art Book Fair of the Africas", La Colonie, Paris, France(2018); Site and Space in Southeast Asia (2018-2020); SEA Mekong Cultural Hub (2018-2019) and Asia-Art-Activism (2018-present).

关于嘉宾 ABOUT GUEST

黄小鹏，1960生于中国山西。1983广州美术学院本科毕业。1992英国伦敦大学斯莱德美术学院研究生毕业。曾任广州时代美术馆黄边站（当代艺术研究中心）负责人, 兼华南师范大学美术学院教授。其录像和公共装置作品主要探索“复制”和“转换”过程中出现的错位和对文化理解和翻译局限性的问题，并通过将语言翻译推倒极端的方式，来试探测意义的边界。

Huang Xiaopeng, born 1960, China. He studied for an MA at the Slade in London(1990-92). He used to be the director of HB STATION ( contemporary art research centre ), Guangzhou Time museum and Professor in South China Normal University, Guangzhou, China. His video and public installation works explores inevitable dislocations as a consequence of translating, copying and transforming, to test the boundaries of meaning. 

丁博，艺术工作者，最近的愿望是了解更多其他亚洲国家的文化与艺术情况、历史和议题。

Bruce Bo Ding is an art practitioner. His recent aspirations include learning more about the status, history and issues of art and culture in other Asian countries.

正确的错误：1986年后越南当代艺术实践中政治艺术与再现政治的对立

The right kind of wrong: The antagonism of the art of being political and the politics of representation in Vietnamese contemporary art practices post-1986

2019年06月05日19:30
2019.06.05, 7:30pm

陈朗（VN），蒸米饭男（茅河煤矿项目）
数字打印、视频
Tran Luong, Steam rice men
(part of Mao Khe coal mine Project)
digital prints with video, 2001


黎氏兄弟（VN），356天项目，摄影
Le Brothers, 356 Days Project, photography, 2014



“想像旅行记”放映海报，由杜蒋玲（VN）策划
the poster of screening Le Voyage Dans L'imaginaire
curated by Do Tuong Linh,
bottomspace, Guangzhou, China, 2018




关于合作机构 ABOUT COOPERATION

bottomspace是一个位于广州的驻留地。
bottomspace is a residency place based in Guangzhou.

本次分享将回顾丁启乐（胡志明市）和陈朗（河内）两位艺术家和一个艺术家二人组黎氏兄弟（顺化）的创作理念以及美学定位。这些艺术家来自越南的不同地理位置，我们试图对他们的作品在当代东南亚艺术语境下的美术馆以及画廊中获得卓越地位提出质疑。我质疑1986年作为越南现代艺术和当代艺术实践中普遍认为的过渡时期的相关性，我认为，在没有批判性研究的情况下，1986年以后的时期被认为是理所当然的原型，不仅影响下一代艺术家的实践，以及全球艺术机构对越南当代艺术实践的期望。这种缺失，加上在越南快速发展的全球化环境下，使人们怀念越南先锋派“不断定义、重新定义”的概念，并影响了当今年轻艺术家的创作方式。在越南或东南亚艺术中，前卫意味着什么？越南和东南亚，或与中国、日本、印度等亚洲国家，是否有跨国思想交流？越南先锋派或否只是对西方先锋派的怀旧投映？这些问题是分享会中希望提出讨论的，并以此与广州的艺术和其他文化工作者交流，互励共勉。

This presentation revisits the conceptual and aesthetic positioning of three artists/artist duos: Dinh Q Le (HCMC), Tran Luong (Hanoi) and the Le Brothers (Hue). These artists originated from different geographical locations in Vietnam, which poses questions about how their works achieved eminence in the museum and gallery contexts of contemporary South East Asia. Questioning the relevance of 1986 as the commonly perceived transitional moment in modern and contemporary art practices in Vietnam, I argue that this post-1986 period has been taken for granted, evidenced by the absence of a critical research, which would a prototype that informs not only the practices of subsequent generations of artists, but also the global art establishment's expectations regarding contemporary art practice in Vietnam. This absence, together with the fast-growing globalization of modern Vietnam, has created nostalgia for continually defining and re-defining the notions of the Vietnamese avant-garde and impacting the way young artists are making works today. What does it mean to be avant-garde in Vietnamese or Southeast Asian art? Was there a transnational exchange of ideas between Vietnam and Southeast Asia – or with other Asian countries, like China, Japan, or India? Or is the Vietnamese avant garde only a nostalgic reflection of Western avant-garde? These are the questions the discussion would like to raised up and be in conversation with other art and cultural practioners in Guangzhou.