Jun Nguyen-Hatsushiba 阮初芝淳Jun Nguyen阮初芝淳
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[楼主] 嘿乐乐 2006-08-07 04:44:10
Jun Nguyen-Hatsushiba


Jun Nguyen-Hatsushiba is a Vietnamese/Japanese/American artist based in Ho Chi-Minh City, Vietnam. He draws on Vietnam’s complex history as a starting point for his conceptual objects, installations and films. At the same time his works emphasise history’s lack of geographical boundaries and indifference to time through his use of visual poetry and metaphors. Nguyen-Hatsushiba allows these memorial projects to point towards the present and future just as much as towards the past. In addition to exhibiting two video works from the start of this decade, he will also produce a new installation for his exhibition at Malmo Konsthall.


[沙发:1楼] 嘿乐乐 2006-08-07 05:33:10
Memorial Project Minamata:

Neither Either nor

Neither - A Love Story

The installation "Memorial Project Minamata: Neither Either nor Neither - A Love Story" is comprised of scenes both in and out of the water, each a key component in this complex piece. Clips of orange smoke disrupt a shot of children playing and then a haunting "dance" takes place in an underwater dream world suspended within an unwieldy and collapsible sphere. A young woman lies in a small room outside of mosquito netting and next a dizzying scene of a dance club with loud Techno music appears inter cut with animated shots from underwater. This was the artist's most difficult film shoot to date because cooperation between the divers was crucial in creating the slow continuous motion.

这个装置作品“或其中一个或没有-- 一个爱情故事”由两个在水中和水外的部分组成,两个部分都非常复杂。一个被黄色的烟雾打断小孩游戏的片断和在梦幻般水底下诡异的舞蹈的场景。一个躺在小房间里蚊帐外老太太和一个播放着电子音乐的昏睡般的舞池突然被水底动画打断的场景。这是艺术家最艰难的录像作品,因为在水底下和潜水员的德配合在这里是最关键的。
[板凳:2楼] 嘿乐乐 2006-08-08 04:31:55
[地板:3楼] 嘿乐乐 2006-08-08 05:48:34
[4楼] 嘿乐乐 2006-08-08 05:50:38
[5楼] 嘿乐乐 2006-08-07 05:03:19

[6楼] 嘿乐乐 2006-08-07 05:04:50
[7楼] guest 2006-08-07 05:17:26
[8楼] 嘿乐乐 2006-08-07 04:47:04
Happy New Year -

Memorial Project

Vietnam II, 2003

Video projection

7 divers move a traditional New Year's dragon. Self-opening paintballs escape like bullets from a lottery wheel.

In his most recent work, Happy New Year-Memorial Project Vietnam II (2003), completed for this exhibition, Nguyen-Hatsushiba affirms his position as one of the most innovative young Southeast Asian artists on the international scene today. This video explores a key event in modern Vietnamese history: the Tet Offensive of 1968, a series of surprise attacks by North Vietnamese troops during the celebration of the Lunar New Year, when both sides were thought to have laid down their arms to celebrate the country's most important holiday. A traditional New Year's dragon puppet, supported from beneath by seven divers, twists and turns beneath the waves while a script recalls the celebration and devastation of the Tet Offensive. The dragon's sinuous movement is contrasted with that of the Fate Machine, a giant skeletal orb that shoots small balls at random intervals toward the water's surface. As the balls reach the air, they burst into clouds of colored powder, signifying a sudden release from a state of danger.

[9楼] 嘿乐乐 2006-08-07 04:51:18
Ho! Ho! Ho! Merry


Battle of Easel Point - Memorial Project Okinawa
Single-channel video
Duration: 15 min.
Edition 4/8







"Ho! Ho! Ho! Merry Christmas: Battle of Easel Point - Memorial Project Okinawa" references an American military base with strategic access to Southeast Asia. In this film, divers go underwater carrying easels and armed with paint to participate in a painting "battle." Commenting on the representation and interpretation of war, the divers in this film struggle to create portraits of Hollywood actors who starred in glamorized films about the Vietnam War, but there are no winners and the futile mission cannot be completed.

[10楼] 嘿乐乐 2006-08-07 04:55:41
Memorial Project Nha

Trang, Vietnam

[11楼] 嘿乐乐 2006-08-07 05:02:49

Please introduce yourself. Where did Jun Nguyen-Hatsushiba come from?

A quick tour: Born in Tokyo 1968 to a Vietnamese father and a Japanese mother. I lived nine years in Japan, eight years in Vietnam and eighteen years in the U.S. Sounds like a prison record.

Your work first gained international recognition at the Yokohama Triennial with Memorial Project, a video in which cyclos race underwater. And the one I saw at the New Museum in NYC, Memorial Project Vietnam Part II showed a Lunar New Year dragon puppet controlled by divers underwater. Please tell us about the water setting.

About nine years ago, I had this thought about how it would be to paint or to make an installation piece up in outer space with no gravity. Can you imagine throwing the blob of paint across the empty space or trying to keep it from wobbling? How wonderful it would be if NASA would consider the creativity of artists to be explored in space? I could think of many experiments. That was my inspiration in some ways to explore the underwater condition, but I never thought I would be learning how to dive two weeks before the filming production and plunge myself into the real sea with real fish and real whatever is down there. I was really worried. But the desire to pursue an idea under abnormal condition and setting -- for us humans, anyway -- gave me the go.

You also explore the "boat people" in your work. Please tell us about that as well.

I have been exploring this topic since my school years. Something about the unwanted and the leftovers. Immigrants ending their journeys [because they are] unwanted by the new society when they were only hoping for was happiness. To have to leave their home to gain happiness seems absurd. I am talking about leaving for good. To really change everything, the environment, status, lifestyle, culture, friends...

Dealing with topics such as migration, do you feel like you also take from your own experiences knowing that you've also moved around?

When I am in Japan, I am not quite Japanese. The same in Vietnam, not quite Vietnamese. Also in America, not so American. So my own experience translates into my work in some way. It is not a problem of identity that I am in. It is something else because I find my way to adapt. That's one reason I can live in Vietnam, I believe.

You have been described as one of the most innovative Southeast Asian artists on the international scene -- what do you say to that?

I am flattered. I guess teaching a course on Creative Development helps. But of course, it's having the dream that helps.

What's next on your calendar?

My next showing is at the Istanbul Biennial in Turkey. I recently completed filming production in Okinawa, Japan. I am editing the story now. I will premiere it in Rome on the first week of December [2003]. Then a show in cold Tokyo in February [2004] and some other group shows elsewhere.

What are the other themes you are exploring in future projects?

Ghosts, mosquitoes and more memorial projects for humanity.

When you're not working and traveling to your exhibitions, what do you like to do?

Go shopping with my wife so that she would massage my feet later. Or try to get my three year-old daughter to be nice to me. It's very hard!

Do you have a wallet? If you do, what's in it right now?

I am not sure how much, but enough for a sushi lunch tomorrow.

Do you like rice?

Yes, I like the taste of plain cooked sticky rice. I used to make art with it in graduate school. Those works got me the traveling fellowship where I chose to make my return to Vietnam in 1994.
[12楼] guest 2008-11-30 12:46:25
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[14楼] 红色m豆 2008-12-03 20:58:20

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