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In The City in Time, Pamela N. Corey provides new ways of
understanding contemporary artistic practices in a region that
continues to linger in international perceptions as perpetually
"postwar." Focusing on art from the last two decades, Corey
connects artistic developments with social transformations as
reflected through the urban landscapes of Ho Chi Minh City and
Phnom Penh. As she argues, artists' engagements with urban space
and form reveal ways of grasping multiple and layered senses and
concepts of time, whether aligned with colonialism, postcolonial
modernity, communism, or postsocialism. The City in Time traces the
process through which collective memory and aspiration are mapped
onto landscape and built space to shed light on how these vibrant
Southeast Asian cities shape artistic practices as the art
simultaneously consolidates the city as image and imaginary.
Featuring a dynamic array of creative productions that include
staged and documentary photography, the moving image, and public
performance and installation, The City in Time illustrates how
artists from Vietnam and Cambodia have envisioned their rapidly
changing worlds.
Karaoke bars and noisy motorbikes, AIDS and capitalism, Buddhism
and homosexuality, the allure of Western brands and a worn out
country, marked by war – the works of Vietnamese artists Truong
Tan, Nguyen Minh Thanh, Nguyen Quang Huy and Nguyen Van Cuong are
both blunt and introspective, marked by fury and tenderness. Their
work stands for a society on the brink of change – and they mark
the beginning of a new art, the onset of contemporary art in
Vietnam. Their unconventional works, their art performances and
installations – the first ever in Vietnam – have established
them as the most important protagonists of a free young art scene
that emerged in Hanoi in the early 1990s. Their works have found
their place not only in the collections of leading museums such as
Singapore Art Museum and National Gallery Singapore, Solomon R.
Guggenheim Foundation New York or Fukuoka Asian Art Museum; even
recent art historical surveys in Vietnam itself now honour their
names as ground-breaking artists. Four extensive artist sections
are the core of the book. The archive of German artist Veronika
Radulovic enables us to make these radical works accessible for the
first time. Don’t Call it Art! tells the initial story of four
artists and thereby bridge a gap in Vietnamese art history of the
20th century.
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