唐人曼谷 | 黎光顶个展 “净土” 1月12日开幕

黎  光  顶

Dinh Q. Lê

净     土

Pure Land

策展人 Curator 

Loredana Pazzini-Paracciani 

开幕 Opening：2019.1.12  6 pm

对谈 Conversation：2019.1.13  4 pm

2019.01.12 - 03.01

当代唐人艺术中心 曼谷空间

Tang Contemporary Art Bangkok

当代唐人艺术中心曼谷空间荣幸呈现著名越南裔美国艺术家黎光顶的个展“净土”。“净土”是策展人、艺术家与当代唐人艺术中心曼谷空间协作一年多的成果。“净土”探讨了化武伤害的这一禁忌主题，通过艺术语言表现了精神和身体的创伤。

越战结束后的1978年，家人带着年仅10岁的黎光顶离开了越南。20世纪90年代，黎光顶回国定居，发现胡志明市住着很多行乞为生的畸形人，他们大多是因为直接接触橙剂或被橙剂污染的食物而致身体畸形。时至今日，人们对这一话题总是三缄其口。这种观念使得个人和集体始终无法与越南那段充满争议的历史达成和解。他对这一现象深深地感到震惊，并把这当做一个课题来研究。

无题#1  Untitled #1 (Light from darkness, truth always rises)

银乙烯基片打印  UV print on silver vinyl fabric

116cm x 174cm  2018 

在“净土”中，黎光顶通过发人深省的摄影和雕塑作品将这场战争的创伤可视化，畸形婴儿、连体双胞胎与莲花的交织，强烈体现了从“黑暗深处顿超至清净圣域”的佛教文化暗示。作品中，神性美学与战争暴行之间形成了鲜明的对比，而非传统材料的运用又拓展了艺术创作的边界，两者相互结合，在本次展览中召唤出一个天真纯洁的空间，从而挑战了畸形群体在社会上遭受的污名，进而直面战争的恐惧。

在新创作的“净土”雕塑作品中，黎光顶将真人大小的连体双生儿置于莲花宝座之上。作品的陶瓷表面精美光滑，体现了精湛的铸造工艺。艺术家将久负盛名的越南古窑炉和瓷器用于其中，以反映橙剂对当代越南社会所造成的深重而持久的伤害。

展览所推出的艺术家全新的摄影系列，形式为打印在银乙烯基片上的灰度照片。虽然这一合成媒介为作品赋予了“未来主义”维度，但照片本身的内容是基于西贡图杜妇产医院的档案图像创作而成的。作品中，艺术家以水下观察视角，将存在出生缺陷的婴儿图像和类似莲花的生物叠合在一起。本次展出的雕塑和摄影作品共同构成了一个颇具煽动性的场域特定装置，呈现了战争所造成的创伤和恐惧，使得作品兼具本土性和普适性，又令观众同时成为观察者和受害者。

“净土”个展配有综合出版物，内容包括参展作品的图片，Loredana Pazzini-Paracciani的策展文章，以及一篇艺术家访谈，其中谈到了他自身的艺术实践和新作品的创作情况。

黎光顶关于“净土”创作的访谈

A short talkshow about Pure Land

Tang Contemporary Art Bangkok proudly presents Pure Land, a solo show featuring newly commissioned works by acclaimed Vietnamese-American artist Dinh Q. Lê. Devised in line with Lê’s enduring interest in the notions of memory and trauma, Pure Land emerges from critical investigation of the ripple effect across Vietnamese society of Agent Orange, a herbicide used as a chemical weapon during the Vietnam War. As much as a memory of war, the ruinous effects of Agent Orange, from birth defects to physical deformities, are still considered a taboo subject, hindering personal and collective reconciliation with the country’s controversial past. For Pure Land, Lê visualizes the trauma of the war through thought-provoking photographs and sculptures of physical anomalies and conjoined twins intertwined with lotus flowers as a powerful Buddhist allusion to ascending from the murky depths.

无题#9  Untitled #9 (Light from darkness, truth always rises)

银乙烯基片打印  UV print on silver vinyl fabric

174cm x 116cm  2018 

The glaring contrast between this aesthetics of divinity and the atrocity of war, combined with the use of unconventional materials that push the boundaries of art-making, conjure in Pure Land a space of innocence and purity to challenge social stigma against deformity and abnormality, and to confront the horrors of war. At the same time the air of mysticism that imbues the works further fosters Lê’s remarkable artistic narrative and his ability to counterpoise art and social critique—“…and of course, then, only then learning can take place.”

Lê and his family left Vietnam in 1978 when he was 10 years old, following the end of the war. When he returned to live in Vietnam in the 1990s, much to his shock, Lê found Saigon District 1 populated by physically deformed people begging on the streets, many of whom victims of direct exposure to Agent Orange or contaminated food. As early as the 1990s when Lê started his research on this topic, he quickly realized the legacy of Agent Orange had acquired a spiritual dimension, whereby people prayed to the conjoined infants who died, believing they were pure spirits. In life, these infants were dreaded; in death, they are elevated among the deities of the Buddhist pantheon—if only for the people to appease their own fears.

延迟与革命 Delays and Revolutions

威尼斯双年展 Venice Biennale, Venice

2003

第13届卡塞尔文献展 dOCUMENTA (13)

卡塞尔 Kassel

2012

黎光顶大型个展“Projects 93”  Solo exhibition Projects 93

纽约MoMA现代艺术博物馆 MoMA, New York

2010

Conceptualized over one year in collaboration with Tang Contemporary Art Bangkok, Pure Land addresses this taboo subject, aestheticizing, through the works, the representation of mental and physical trauma. As such Lê creates life-size sculptures of conjoined twins resting on lotus blooms, cast in high resolution to achieve their fine porcelain finish in tune with local craft traditions. Vietnam is long recognized for its historical kilns and exquisite porcelain, which Lê adapts in his new series as a way to reflect the ongoing social plight of Agent Orange in contemporary Vietnam. Furthermore, the combination of the ancient medium of porcelain, with its resilience to time and pressure, and the new, cutting-edge finish of the figures confers a definitive historical narrative to the works. Alongside the sculptures, Pure Land also features a new series of grayscale photographs showing birth defects, printed on silver vinyl sheets. While the use of this synthetic medium imparts a ‘futuristic’ dimension to the works, the photographs themselves are based on archival images from Tu Du Maternity Hospital in Saigon. On the vinyl sheets the images are spliced and superimposed with the organic likenesses of lotuses, this time viewed from underwater. Together, the sculptures and photographs constitute a provocative, site-specific installation that is able to crystallize the trauma and horrors of war, rendering them both local and universal, and where the viewer becomes the observer and the victim all at once.

The exhibition is accompanied by a comprehensive publication featuring the newly commissioned artworks of Pure Land, including a curatorial essay by Loredana Pazzini-Paracciani, as well as an engaging interview with the artist about his practice and the production of this new body of works. 

黎光顶大型回顾展“真实旅途的回归” Solo exhibition True Journey Is Return

美国加州圣何塞艺术博物馆 San Jose Museum of Art, California

2018

黎光顶大型个展“明日追忆” Solo exhibition Memory For Tomorrow

日本东京森美术馆 Mori Museum,Tokyo

2015

当事物分崩离析 When Things Fall Apart

丹麦 Trapholt博物馆  Trapholt Museum, Denmark

2016

关于艺术家

黎光顶（1968年生于越南）的创作和艺术实践围绕着身份、历史和记忆三大主题展开。作品横跨多种媒介，包括代表性的编织照片、挂毯、手工纸、影像和混合媒介装置等，探讨图像的接收和消费以及视觉文化如何塑造国家身份等问题。黎光顶和家人于1978年离开越南，曾一度栖身泰国难民营之中，后迁居美国加州，并在当地艺术学校就读。其创作灵感源自世人对越战的普遍观点以及越战对越南人民造成的持续影响。

黎光顶曾受邀参加第50届威尼斯双年展以及第13届德国卡塞尔文献展。 于2012年在纽约现代艺术博物馆展出重要的个人项目。黎光顶参与了诸多国际性展览，近年的个展包括：美国加州圣何塞艺术博物馆（2018）；荷兰鹿特丹博伊曼斯·范伯宁恩美术馆（2017）；日本广岛当代艺术博物馆（2016）；日本东京森美术馆（2015）等。所参与的部分群展包括：美国纽约亚洲协会博物馆（2017）；丹麦科灵Trapholt博物馆（2016）；澳大利亚悉尼新南威尔士美术馆（2015）；法国尼姆方形艺术中心（2014）；美国德克萨斯州休斯顿美术博物馆（2012）；美国纽约布鲁克林博物馆（2012）；日本大阪国立美术馆（2011）等。目前，黎光顶在越南胡志明市工作和生活。

About Dinh Q. Lê 

Lê’s (b. 1968, Vietnam) work and art practice revolve around the themes of identity, history, and memory, which span various mediums from his well-known woven photographs and tapestries to handmade paper, and video and mixed-media installations that question the reception and consumption of images and how visual culture may inform a national identity. Lê and his family left Vietnam in 1978 and lived in refugee camps in Thailand before relocating to the United States. In California where he lived and went to art school, Lê was sparked by the prevailing perceptions of the Vietnam War and its lingering consequences on the Vietnamese people.

Lê has been invited to exhibit at the 50th Venice Biennial, as well as dOCUMENTA (13) at Kassel, Germany. In 2012 he exhibited a major solo project at the Museum of Modern of Art, New York. Lê has participated in numerous international exhibitions, recent solo exhibitions include San Jose Museum of Art, California, USA (2018); Singapore Tyler Print Institute (2018); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2017); Hiroshima City Museum of Contemporary Art, Japan (2016); Mori Museum, Tokyo, Japan (2015); San Francisco Camerawork, USA (2013). Selected group exhibitions include Asia Society and Museum, New York, USA (2017); Trapholt Museum, Kolding, Denmark (2016); Art Gallery of New South Wales, Sydney, Australia (2015); Carré d’Art, N?mes, France (2014); Houston Museum of Fine Arts, Texas, USA (2012); The Annenberg Space for Photography, Los Angeles, USA (2012); The Brooklyn Museum, New York, USA (2012); National Museum of Art, Osaka, Japan (2011).Dinh Q. LE works and lives in Ho Chi Minh city, Vietnam.

关于策展人 

Loredana Pazzini-Paracciani是东南亚当代艺术独立策展人、作家和讲师。其研究和策展实践围绕东南亚社会政治的重要问题展开，也包括她与艺术家和其他艺术专业人士的持续对话，倡导反霸权和非西方中心主义话语。 近期，Loredana与MAIIAM当代艺术博物馆共同策划了展览“大离散：东南亚的出路、流放和‘出埃及记’”（2018），并担任展览出版物的编辑。该出版物以一系列文章探讨了非主流的艺术和社会。近年参与策划的展览还包括：与纽约泰戈尔画廊合作的“首还是尾？当代泰国的不确定性和紧张局势”（2017）；与曼谷吉姆汤普森艺术中心合作的“游戏/越南—黎氏兄弟”（2016）；与纽约皇后区博物馆合作的“建筑景观：东南亚在最前沿”（2015）。曾于多家学术机构的期刊上发表文章，如新加坡国立大学亚洲研究所（ARI）期刊，英国圣安德鲁斯大学期刊《Frames Cinema Journal》；新加坡南洋艺术学院《New Asian Imagination》等。 于新加坡拉萨尔-金史密斯艺术学院获得亚洲艺术史硕士学位，目前正在伦敦大学亚非学院攻读艺术与考古史第二硕士学位，研究方向为理论和跨文化研究。现在英国伦敦和泰国曼谷两地生活。

About Loredana Pazzini-Paracciani

Loredana Pazzini-Paracciani is an independent curator, writer and lecturer of Southeast Asian contemporary art. Complemented by continuous dialogue with artists and art professionals, her research and curatorial practice revolve around critical sociopolitical issues in Southeast Asia, advocating a counter-hegemonic and non-Western-centric discourse. Loredana currently curates Diaspora: Exit, Exile, Exodus of Southeast Asia (2018) with MAIIAM Contemporary Art Museum, and edited the accompanying publication, a collection of essays that examine art and society at the periphery. Her other recent exhibitions include Heads or Tails? Uncertainties and Tensions in Contemporary Thailand (2017) with Sundaram Tagore Gallery, New York; The Game/Viet Nam by LE Brothers (2016) with Jim Thompson Art Center, Bangkok; and Architectural Landscapes: SEA in the Forefront (2015) with Queens Museum, New York. She has published in numerous academic journals, such as Asia Research Institute (ARI), National University of Singapore; Frames Cinema Journal, University of St Andrews, UK; and New Asian Imaginations, Nanyang Academy of Fine Arts, Singapore, among others. Loredana received her MA in Asian Art Histories from LASALLE-Goldsmiths College of the Arts, Singapore, and she is currently undertaking her second master’s degree in History of Art and Archeology at SOAS (School of Oriental and African Studies), London, with a focus on theoretical and cross-cultural studies. Loredana lives in London, UK, and Bangkok, Thailand. 

曼 谷 | 北 京 | 香 港

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