Chương-Đài VÕChercheuse invitée

18 octobre au 18 décembre 2021

Chương-Đài Võ is a Researcher at Asia Art Archive. Her research and curatorial interests focus on narratives and genealogies, and how they affect our understanding of the modern and the contemporary. Her writing can be found in publications from MOMA Warsaw (forthcoming), Afterall, Institut national d’histoire de l’art, Moderna Galerija, and Taipei Fine Arts Museum. Recent curatorial projects include Form Colour Action: Sketchbooks and Notebooks of Lee Wen, and Ho Tzu Nyen’s The Critical Dictionary of Southeast Asia, Vol. 1: G for Ghost(writers). She has been a Mellon Postdoctoral Fellow at MIT, as well as a recipient of grants and fellowships from Asian Cultural Council, Fulbright Program, University of California Pacific Rim Research Program, and the U.S. National Endowment for the Humanities. She is researching the construction of modernisms in Vietnam, 1900-1975.

Selected Bibliography

• “From the Academy to Revolution.” In What Are Our Genealogies?, edited by Magda Lipska and Piotr Słodkowski, forthcoming. Warsaw: Museum of Modern Art, 2022.
• “VIVA ExCon: Itinerant Indeterminacy.” In Art and its Worlds: Exhibitions, Institutions and Art Becoming Public, edited by Bo Choy, Charles Esche, David Morris and Lucy Steeds. London: Afterall Books, 2021, 370-79.
• “Le réalisme socialiste d’Hanoï et l’internationalisme de Saigon au prisme de Giai Phẩm, Nhân Văn et Sáng Tạo, de 1956 à 1961.” In Sismographie des luttes, edited by Zahia Rahmani, 110-19. Paris: Institut national d’histoire de l’art, 2021.
• “Line Form Colour Action.” Afterall Journal 46 (Autumn/Winter 2018): 14-25.
• “The Ground Underneath: On Ho Tzu Nyen’s The Nameless.” Ideas, Asia Art Archive. 16 Oct 2017. https://aaa.org.hk/en/ideas/ideas/the-ground-underneath-on-ho-tzu-nyens-the-nameless.
• “An archive of displacement.” In Modern Art Quarterly 174 (September 2014): 62-71.
• “When Memories Collide: Revisiting War in Vietnam and the Diaspora.” In Film in Contemporary Southeast Asia: Cultural Interpretation and Social Intervention, edited by David Lim and Hiroyuki Yamamoto, 73-92. London and New York: Routledge, 2012.
• “Memories That Bind: Đặng Thùy Trâm’s Diaries as Agent of Reconciliation.” Journal of Vietnamese Studies 3, no. 2 (Summer 2008): 196-207.
• “Vietnamese Cinema in the Era of Market Liberalization.” In Political Regimes and the Media in Asia: Continuities, Contradictions and Change, edited by Krishna Sen and Terence Lee, 70-84. London and New York: Routledge, 2008.

Projet

This project will focus on what I call “Saigon Internationalism” during the Republic of Vietnam era (1954-1975). Most art histories of modernism in Vietnam focus on the genealogy established in Hanoi, and there is little research on what developed in Saigon. One important source is the periodical, which served as an essential platform for the propagation, formation and circulation of ideas and practices about the modern. Saigon was home to more than 40 daily newspapers, 1000 printing houses, and 150 publishing houses. Many artists wrote essays, short stories and art reviews, and created drawings and paintings specifically for periodicals. I will approach them as both primary and secondary sources as well as consult art and archival collections in Paris, Lyon and Aix-en-Provence.