Chương-Đài VÕ

Juin-juillet 2019

Chương-Đài Võ is a Researcher at Asia Art Archive, specializing in modern and contemporary art in Southeast Asia. Her research and curatorial interests include the developments of modernisms and performance based practices. In thinking through the construction of regional and global art histories, she also is looking at exchanges between Southeast Asia and Eastern Europe. Her PhD dissertation is on socialist and post-socialist Vietnamese/diasporic literature, films and art. Her writing can be found in publications such as Afterall Journal, Revues culturelles (working title, forthcoming), Southern Constellations: The Poetics of the Non-Aligned, Taipei Fine Arts Museum’s Modern Quarterly, the anthology Film in Contemporary Southeast Asia, and Journal of Vietnamese Studies. She is a former Mellon Postdoctoral Fellow at Massachusetts Institute of Technology. In addition, she has received fellowships and grants from Asian Cultural Council, Fulbright Program, University of California Pacific Rim Research Program, and the U.S. National Endowment for the Humanities.


“Vietnamese Modernisms: Hanoi Socialist Realism and Saigon Internationalism, 1950s-1970s,” Revues Culturelle (working title), Institut national d’histoire de l’art, Paris, 2019.

“Spirits of Resistance: Asia in the 1950s to 1990s.” Southern Constellations: Poetics of the Non-Aligned. Ljubljana: MG+MSUM, 2019.

 “Line Form Colour Action.” Afterall Journal, No. 46 (Autumn/Winter 2018): 14-25.

 “The Ground Underneath: On Ho Tzu Nyen’s The Nameless.” Ideas, Asia Art Archive. 16 Oct 2017.

 Beyond, Special issue of Asian American Literary Review: (Re)Collecting the Vietnam War 6: 2 (Fall 2015): 59-120.

“An Archive of Displacement.” Modern Art Quarterly 174 (September 2014): 62-71.

 “When Memories Collide: Revisiting War in Vietnam and the Diaspora.” Film in Contemporary Southeast Asia: Cultural Interpretation and Social Intervention. Eds. David Lim and Hiroyuki Yamamoto. London and New York: Routledge, 2012. 73-92.

“Memories That Bind: Đặng Thùy Trâm’s Diaries as Agent of Reconciliation.” Journal of Vietnamese Studies 3: 2 (Summer 2008): 196-207.

 “Vietnamese Cinema in the Era of Market Liberalization.” Political Regimes and the Media in Asia: Continuities, Contradictions and Change. Eds. Krishna Sen and Terence Lee. London and New York: Routledge, 2008. 70-84.


In my study of art in 20th century Vietnam, I am interested in how French colonialism was instituted through the establishment of arts education, and how the artists-to-be reproduced and challenged ideas about what constitutes “art.” I will examine the Victor Tardieu Archive and other material related to Indochina. Tardieu (1867-1937) served as the first director of L’École des beaux-arts de I’Indochine from its founding in 1925 until his death in 1937. Built on the French academic model, the school replaced the family and the guild as the site of knowledge production and arts training. French arts education taught the idea that local practices are “craft”, and therefore less refined than “art.” I am interested in how these ideas were taught at L’École des beaux-arts de I’Indochine, and how the artists-to-be went on to shape ideas about “modernism”.


Au cours de son séjour à l’INHA, Chương-Đài Võ donnera des conférences au MG+MSUM (Ljubljana, Slovénie), du 29 au 30 mai, dans le cadre du projet « Glossary of Common Knowledge », sur le terme « Southeast Asia [Asie du Sud-Est] » et ses implications dans l’écriture de l’histoire de l’art et dans l’organisation d’expositions ; au KITLV – Royal Netherlands Institute of Southeast Asian and Caribbean Studies (Leyde, Pays-Bas), le 13 juin, sur les collections de l’Asia Art Archive ; et à la Haus der Kunst (Munich, Allemagne), du 27 au 28 juin, où elle dialoguera avec Nora Taylor et donnera une conférence sur les pratiques fondées sur la performance en Asie du Sud-Est, en particulier au travers des Archives Lee Wen et du projet The Critical Dictionary of Southeast Asia [Le dictionnaire critique de l’Asie du Sud-Est] de Ho Tzu Nyen.