艺术家：Jedsada Tangtrakulwong(泰国)，Nguyen Huy An（越南）, Hoang Minh Duc（越南）, Vu Duc Toan（越南）
这是第四次邀请越南艺术家参与我们小组的艺术家驻地项目。对于越南当代艺术，我们“交往”不长，但已经是老友了。2008年我们小组一行第一次到河内做交流时，最早接触的越南当代艺术空间就是“Nha San Studio”。 这个空间是越南最早的当代艺术试验场，艺术家自营空间，由越南当代艺术领军人物陈龙和艺术家/古董修复师Nguyen Manh Duc主持，这为越南当代艺术家们提供了一个稳定持续的当代艺术实践场所。而这个空间其实就是Nguyen Manh Duc的家，他同时也是一位从事越南传统佛像雕刻的艺术家，所以，对于越南当代艺术的探访就是从这个堆满各种佛像金刚的堂屋开始的奇妙旅程。我们小组对于越南当代艺术的观察可以从我和943另一成员：石头的一段对话窥见一斑。
Reception: 17 – 21pm, July 2, 2011
Performance start at 19:30pm
Duration: July 2 – 9, 2011
Sounds of dust
By Liu Lifen and Shi Zhijie
It is the fourth time for 943 Studio to invite Vietnamese artists to involve in the Artist-in-residency program. In fact, we have been old friends with Vietnamese contemporary art even though our contact with them is not that much long. The first Vietnamese contemporary art we contacted with when we went to Vietnam in 2008 for the art exchanging program is Nha San Studio. It was founded in 1998 by Artist/Antique restorer Nguyen Manh Duc and Tran Luong, a leading artist in Vietnam. It is an independent art space run by artists and the earliest experimental contemporary art space in Vietnam, providing a stable and sustaining place for Vietnamese contemporary art. The Studio is actually Duc’s home. Nguyen Manh Duc is an artist who is engaging in traditional Vietnamese wood carving of Buddha. Therefore, the exploration of Vietnamese contemporary art was such a fantastic journey started from this room which is full of wood carving of Buddha and vajra. Our observation of Vietnamese contemporary art can be seen from a conversation between me and Stone, another member of 943 Studio.
Liu Lifen: After the Mekong Lab-Conference of Southeast Asia’s Contemporary art Collaboration, Chiangmai, in 2003, I have been feeling that Yunnan has a lot in common with south-eastern countries both in geographical and cultural aspects. Therefore I wanted to have continuous collaboration in 943 Studio’s Artist-in-residency program with south-eastern art communities, especially for Vietnam, which is always attractive for me in many ways. Perhaps it is because I sensed somewhat friendliness and gentleness from the first time of contacting it. Starting from Vietnamese, I believe there will be many more south-eastern artists accepted in our Artist-in-residency program in the future. And Jedsada Tangtrakulwong is the first Thai artist involved in the program in 2011.
Shi Zhijie: I can tell the exhibition of “Yunnan-Vietnam Female Artists exchange” in 2008 was very good and the later exchange in Vietnam was very valuable for it was the first time that Vietnamese Female Artists had their exhibition in China. It was the early 1990s that Vietnamese contemporary art started to be paid attention to. Nevertheless, it was still in a marginalized situation, let alone the exchange of group female artists. For some extent, “Yunnan-Vietnam Female Artists Exchange” project opened a door of long-term collaboration and exchange. Either they come out to view us or we go to observe them closely is a great opportunity.
Liu Lifen: The Vietnamese contemporary art itself is actually attractive to me all the time. It has a vigorous nature. For the reason of breaking out after accumulating for years, it always presents in a frank and strong way either in its attempt or in its exploration.
Shi Zhijie: Yes, it is a very precious nature. I appreciate very much their material context in their art creation. You know, when the artists create their work in a difficult circumstance, their body or those wasted cheap materials are powerful tools for them to express themselves. On the other hand, the “cruel poetry” hidden in Vietnamese nationality can be presented through their special expression.
Liu Lifen: During the past 3 years, majority artists we contact with are all focusing on installation and performance art, I would rather say that they like this kind of cheap way to keep themselves all the time in the course of seeking and creation.
Shi Zhijie: In my eyes, these young contemporary artists are all very diligent in different kind of attempt of non-frame artworks every day. There is no exception among those Vietnamese young artists I contact with.
Liu Lifen: In the processing of co-working with them, I found that their attitude towards the materials is so earnest, nearly stubborn. They usually put extreme attention in those trivial materials they have collected; sometimes they even pay a great deal of attention to those tiny dusts, such as moss and lichen, studying and testing them again and again.
Shi Zhijie: Yes. They can use whatever they got in their art creation. In their eyes, these moss and lichen are same as the forest.
Liu Lifen: Exactly, these dusts also have the ability of singing.
Shi Zhijie: If the art can be paid so much passion like this, all the dust will be able to have its own sounds and to say something. None of them is wasted.
June 28, 2011
Pictures from the performance and exhibition:[/lang_en]
Nguyen Huy An（越南）, Hoang Minh Duc（越南）, Vu Duc Toan（越南）
集体行为 Performance Art
2011年6月15 – 7月1日
[lang_zh]Jedsada Tangtrakulwong(泰国) 成长 47 x 9 x 814cm（整件作品尺寸）47 x 8.6 x 10 cm ( 单件尺寸)
特定场域装置 1mm冷轧薄钢板，油漆 2011年5-6月 [/lang_zh]
[lang_en]Jedsada Tangtrakulwong(Thailand) “Growth” 47 x 9 x 814cm（overall dimensions） 47 x 8.6 x 10 cm (Each)
Site Specific Installation 1mm. cold rolled steel plate, oil paint 2011 [/lang_en]