Friday, December 08, 2006
A difficulty of SAIGON OPEN CITY, a report form Vietnam
Reports from

U.S. president George W. Bush has just completed his visit to Vietnam, but he’s missing the opening of a massive, two-year-long art exhibition. Titled "Saigon Open City," the event kicks off with an exhibition called "Liberation," Nov. 26, 2006-Jan. 31, 2007. Organized by Thai artist Rirkrit Tiravanija and Thai curator Gridthiya Gaweewong, the show features works by 40 artists dating from 1946 to the present. Westerners in the show include Liam Gillick, John Giorno, Martha Rosler, Nancy Spero and Mary Stevenson, while the host of Vietnamese and other Asian artists in the show includes Dinh Q. Le and Montien Boonma. The exhibition takes place at four locations throughout Saigon: the War Remnants Museum, the Southern Women Museum, the Ho Chi Minh City Fine Arts Museum and the Ton Duc Thang Museum.

Future shows in the three-part exhibition focus on themes of "Unification" and "(Re)construction." A special show of works by Yoko Ono is guest curated by David Ross. More information is available at

G- Reports on KQED- Pacific Times (kinda like this short but mischievous report):
Thu, Nov 30, 2006 -- 6:30 PM
Pacific Time 2006-11-30 : Art vs. the Authorities in Vietnam (yeah, that's it, okie, calm down, or i would be censorred!!!)
The international art show Saigon Open City just opened in Vietnam -- at least sort of. The invitations couldn't be sent out. The four-page program guide was reworked at the last minute and had only two afternoons of performances. Paintings and installations couldn't be mounted in the museums and galleries as planned. All because the authorities wouldn't issue approval for the exhibition.

Tricky Anonymous
read more here
Tuesday, December 05, 2006

When "Orbited Objects" was in public: a notice from artist

When I did my sketch, like a musician practices his or her music before entering to public stage, I imagined of the reality within my world without an actual reality how my art work will be transformed through the eyes’ of audiences.

This is what I have mentioned above before the show.

This work is created after the fact when one group of scientists had proved that Pluto planet isn’t in our solar system. The knowledge becomes a pattern of imagination but not fact anymore. With this new work "Orbited Objects", audiences can move stars and create a new form of constellation by themselves in a cosmic tent.

In this work, I invited audiences to be part of the work by adjusting new form of constellations in the cosmic tent. Once it opened for public, the constellations have been changed to various forms by audiences in the tent.

I don’t mind when the work has been transformed from my origin idea and form since it has belonged to public. The origin idea and form had become a seed of growing conversation between art work and audiences.

As I took care of the audiences during the show, I found many feedbacks and saw how “Orbited Objects" had been changed and been completed in unexpected ways. There are some interesting notices that I found during the show.

1. Position of constellation before the show was random all around the cosmic tent. Then it had turned into form of messages and shapes which were related to creators’ identities or into something they were interested. For example, a navy student posted a form of an anchor in the cosmic tent.

The cosmic tent became a tool/ platform of audiences’ expressions in the umbrella of PLATFORM exhibition. Another thing that I thought was these expressions similar to how unidentified/ ghost artists posted messages and forms on the public wall as what we call “graffiti”. However this work had rapidly been changed by in-out audiences without leaving any evidences on the wall but could be recorded by photographing them at that time. It is a changeable graffiti in temporary moment.

2. Some groups spent a lot of time in the cosmic tent just to adjust the entire constellation and appreciated them by sitting or lying and looking at the stars around the tent.

3. Some audiences asked me of how to create it at home.

4. Some audiences who entered the cosmic tent without reading the instruction and without flash lights. They went in with wonders and went out with confusion.

Poor them! Sorry the work needed you to be completed by participating. Some audiences went in with flash lights just only to have a look at it without knowing that they were allowed to touch and adjust the form of the work.

Besides, some of them were not familiar with the situation that they could be part of the art work and they were allowed to touch it as most of art works in the museums or galleries treat their guests (audiences) to be separated from them like they are holy objects.

Thus, I saw that the constellations become holy objects for audiences too with the sense of proud of their creativities in the sky and investigation of new forms of the earlier ghost guests/artists.

5. Photography:
I think the audiences who took photographs in the cosmic tent were the most enjoyable with this work since he or she would view the cosmic wall in every visual level which was different from what they could view the cosmic wall by bare eyes or with flash light only. Some audiences also experimented taking photos with various techniques to create images with their cameras. Some audiences showed me the strange images and video clips they got. For example, some audiences took photographs with flash and without flash, some shook their cameras while taking photographs, and some got the images like shooting stars.

They make me think of having a photo contest of this work or let them print their images out and put on the wall out side the cosmic tent or just simply ask them to put the files (rename the files into their names) into a computer outside and run them on slide show. The slides show outside would helped to encourage and explain audiences to participate the work without any explanations. This way, we could have documented of the work automatically by audiences, how’s cool!

Som ss
Chiang Mai, den 1.dec.06


COM.PASSION is happy to announce the scheduled opening of Cambodia’s first Art & Communication Center META HOUSE on the 12th of January 2007 – in cooperation with the International Academy (INA) at the Free University of Berlin. From January to April 2007 META HOUSE (?meta“ in khmer: ?compassion“) hosts the first phase of the multi/media/art exhibition and event series INTERCITY: URBAN ARTS FOR ASIA - under patronage of the German Ambassador to Cambodia, H. E. Pius Fischer.
Within the second phase (2008) several SE Asian cities and artists are linked throughout an exchange program and workshops. The third phase (2009) will result in a catalogue, an interactive DVD and an exhibition in Berlin/Germany.
On three floors and a roof top terrace overlooking Phnom Penh META HOUSE will welcome participants, friends and guests from all around the globe.

INTERCITY artists are (more to be confirmed…)
PHNOM PENH, CAMBODIA: Chhim Sothy, Chhoeun Rithy, Chan Pisey,
Nico Mesterharm, Stephane Janin, Vandy Rattana

HO-CHI-MINH-CITY, VIETNAM: Bertrand Peret, Julie Tseselsky,
Bui Cong Khahn, Ly Hoang Ly, HMC CREW, Motoko Uda, Rich Streitmatter-Tran, Sandrine Llouquet

CHIANG MAI, THAILAND: Sutthirat Supaparinya
SINGAPORE: Kerstin Duell
SYDNEY, AUSTRALIA: Melita Koulmandas
PARIS, FRANCE: Nicolas Lainez
BERLIN, GERMANY: Chris Zippel, Dieter Stadler, Hildegard Knef, Igor Paasch, Jana Teuchert, Lila Space Creations, Lothar Winkler, Lutz Mattstaett, Ollie Peters & Sven Zuege, Walter Dietmann, Wolfgang Brueckner
AURICH, GERMANY: Herbert Mueller
BEOGRAD, SERBIA: Nikolai Todorovic
CHICAGO, USA: Maurice Oliver and Diana Krause-Oliver

more info here

som's blog

hope this info is useful!

Total Reader

Powered by Blogger.