Kuandu Museum of Fine Arts

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Kuandu Museum of Fine Arts
Memories and Beyond / 2010 Kuandu Biennale
 Nguyen Trinh Thi
 Loke Kian Whee, Justin
 Joshua Yang
 Fiona Koh
Nguyen Trinh Thi
 Nguyen Trinh Thi


2005: Master of Pacific International AffairsUniversity of California, San Diego (UCSD), USA.


1999: Master’s Degree in Journalism, University of Iowa, USA.


1994: Bachelor of Arts in Russian and English, Hanoi Foreign Studies College, Hanoi, Vietnam.


 Solo Exhibitions:

 2010: ‘Domestic Art’, Nhasan Studio, Hanoi, Vietnam


Group Exhibitions:

 2010:            ‘Sping Comes Winter After’ in ‘No Soul For Sale 2’, Tate Modern, London

            ‘Love Man Love Woman’, Vesoul Asian Film Festival, France.

2009:             ‘Spring Comes Winter After’ and ’93 Years, 1383 Days’ in ‘‘LIM DIM’, Stenersen Museum, Oslo, Norway

            ‘Spring Comes Winter After’ in “Time Ligaments”, 10 Chancery Lane Gallery, Hong Kong

‘Chronicle of a Tape Recorded Over’ in ‘The Making of the New Silk Roads’, ArtHub, Bangkok, Thailand

‘Love Man Love Woman’, Yunnan Multi Culture Visual Festival, China


2008: ‘Love Man Love Woman’, Festival Costante Cambiamento, Florence, Italy

93 Years, 1383 Days’ and ‘The Commons’ in “10+”, Nha San Studio, Hanoi

‘Love Man Love Woman’ in “Strategies from Within: An Exhibition of

Vietnamese and Cambodian Contemporary Art Practices”, Ke Center for

Contemporary Arts, Shanghai, China;

‘Kunming Stories” in “In the course of our exchange”, Yunart Contemporary Art Gallery, Kunming, China;

‘Bus Terminal’ in “Re-Imagining the City”, Hanoi Fine Art University, Hanoi

2007: ‘Love Man Love Woman’, Jean Rouch International Film Festival, France

           ‘Love Man Love Woman’, San Francisco International Film Festival, USA


Details of exhibited works
Title: Spring Comes Winter After
Dimension: single channel, 4:30, ratio 4:3  
Material : video, NTSC, DVD
Production requirements : playing LOOP

Artist Statement:

“Spring Comes Winter After” is one of my video works that utilize the visuals of death rituals as a vehicle to connect with the past and memories. The work used the footage captured at the public funeral of Le Dat, an important poet who was banned for decades in Vietnam. Le Dat was a central figure of 
a late-1950s literary and intellectual movement in Northern Việt Nam called ‘Nhan Van-Giai Pham (Humanism and Works of Beauty)’. Demanding freedom of expression for artists and writers under communism, the movement was soon repressed by the government. As avant-garde artists like Le Dat were forced to be silent, Vietnamese art and literature suffered decades of decay.


Connecting to the political and historical situation of the country, the piece provokes some questions still impermissible to be asked publicly in present-day Vietnam, one being – What if one can play history in reverse and then replay it again?