LOCK ROUTE - A PUBLIC ART SHOWCASE AT GILLMAN BARRACKS

I will be participating in this public art exhibition Lock Route.   

13 JAN 2017 - 30 JUN 2017  OPEN 24 HOURSFEE: FREELOCK ROUTEOfficial launch during Art After Dark 13 January 7PMVarious locations around Gillman BarracksOpen 24 hours to the publicGillman Barracks' public art showcase, LOCK ROUTE, opens off…

13 JAN 2017 - 30 JUN 2017  OPEN 24 HOURS

FEE: FREE

LOCK ROUTE

Official launch during Art After Dark 13 January 7PM

Various locations around Gillman Barracks

Open 24 hours to the public

Gillman Barracks' public art showcase, LOCK ROUTE, opens officially during Art After Dark on Friday 13 January 2017. Curated by Khairuddin Hori, LOCK ROUTE takes inspiration from Gillman Barracks’ address and the 24km long route march common in the training of ‘graduating’ army recruits in Singapore, harking back to Gillman Barracks’ history of being a former military barracks.

LOCK ROUTE features 16 arresting outdoor artworks by 15 world-renowned and emerging international and Singapore artists, including several new commissions. The artworks consist of site-specific installations, sculptures and murals, and visitors are invited to traverse the grounds of Gillman Barracks and experience a closer encounter with art out in the open.

Scry at Manzi Artspace

Opening: Fri 16 Dec 2016, 6.30 pm
Exhibition: 16 Dec 2016 – 16 Jan 2017
Artist talk: Sat 17 Dec 2016, 3 pm
Manzi Art Space

Sous la Lune/Beneath the Moon at ICAS Singapore

I will be participating in this group exhibition curated by Khairuddin Hori, and organized by the Institute of Contemporary Arts Singapore and the Palais de Tokyo.  The exhibition runs from 11 December 2015 through 3 February 2016.  

Group exhibition

7 March 2014

I am participating in a group exhibition at the Goethe Institut in Hanoi.  Please come by if you are in town.  For more information please see http://www.goethe.de/ins/vn/han/ver/en12367132v.htm

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KVT reviews Palimpsest Exhibition in Hanoi

15 May 2013

"KVT in palimpsest with Phi Phi Oanh"

Source: http://hanoigrapevine.com/2013/05/kvt-phi-phi-does-it-yet-again/​

Phi Phi Oanh never ceases to amaze me as she experiments with the properties of traditional lacquer, bending and breaking the rules, opening new pathways and bewildering the purists. It’s little wonder that I’m one of her biggest fans…

At L’Espace Phi Phi has mounted a daring exhibition of lacquer works called ‘Palimpsest’ which is one of those hard to pronounce without getting your tongue tied in knots words and which comes from Ancient Greek (palimpsestos) sort of meaning scraped clean.

The Romans used to work on wax coated tablets that could be smoothed and re-used and Cicero used the term palimpsest to describe the practice. Later it referred to parchment (in the days when parchments and paper were expensive scarcities) that was scraped of its original text so that a new one could be written or drawn on it. Often, and over time, the original text was often visible by transparency, a palimpsest.

You can still occasionally buy those magic slates for kids that erases the text when you lift the plastic coated page you initially wrote on. However you often find that the palimpsest of previous fun appears like a phantom.

Gore Vidal’s memoir is evocatively titled ‘Palimpsest’ and fits this remarkable novelist so well as it scrapes away the present to reveal images of the past, scratched and uneven and present a transparent truth

The word crosses many boundaries and in archeology it is used, simplistically, to describe repetitions of designs on the various layers of a dig.

It can be used to describe the lines left when an appliance is removed (a picture frame from the wall!)

I guess those urban walls that are plastered and re-plastered with posters could use the term and in Paris a permanent street art project is named Palimpsest and local and international artists coat and recoat Francois Mitterrand Mall with works on paper that are eventually covered by another’s paper work.

And I also like this piece, of the same name, commissioned for the San Francisco Museum of Modern Art and for the aging baby boomer rockers here’s an attempt by Palimpsest 9 to reconstruct a Cure hit:

And a You Tube clip of a palimpsest performance during Superformances in Strasbourg which pushes the term into the avant garde.

Which brings me back to Phi Phi and her ‘Palimpsest’ exhibition which definitely stretches her lacquer concepts and techniques into the avant garde.

Phi Phi uses pieces of her last year’s exhibition at L’Espace…lacquer on transparent film, and uses pieces of these as slides in redesigned projectors that use led lights. Like slides of medical specimens they are projected onto silk screens stretched over extra large wooden frames in a blacked out room.  The slides are changed during the day so that the macro/micro images are never the same and so that I don’t get my non scientific mind tied up in more knots than my tongue, I’ll follow with 3 images of Phi Phi’s wall statement that have a blurred enough touch to them to be interpretations of palimpsest statements.  The screens can be viewed from a variety of angles and are almost palimpsest echoes of the very brilliant lacquered metal tunnel she exhibited to enormous acclaim locally and at a triennale in China.

Pieces used as slides are displayed in a side cabinet as are originals, from the previous show in the same venue. 

Ever the exciting innovator and inventor, Phi Phi’s intent was to have her palimpsest images projected, from the interior of L’Espace, onto the windows at night, creating a huge screen to be viewed by passersby. Unfortunately the bright street lights made this almost impossible so she re-invented, almost on the spot, and constructed the present black box arena with slides projected onto 3 parallel silk screens by nine modified projectors…and for those keen to see how traditional mediums and concepts can be pushed and plasticized, then it’s an exhibition that is sure to excite and fire imaginations.

As always, I can hardly wait for the next installment.

Kiem Van Tim is a keen observer of life in general and the Hanoi cultural scene in particular and offers some of these observations to the Grapevine. KVT insists that these observations and opinion pieces are not critical reviews. 

Palimpsest at L'Espace, Hanoi, April-May 2013

17 May 2013

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Exposition de Nguyễn Oanh Phi Phi - 17 avr./24 mai 2013 - Hall d'exposition de L'Espace

Palimpseste est développé sur la base de la précédente exposition de Oanh Phi Phi à l’Espace où elle a présenté la peau laque (ou son ta sur un film transparent)

Palimpseste est développé sur la base de la précédente exposition de Oanh Phi Phi à l’Espace où elle a présenté la peau laque (ou son ta sur un film transparent), un concept et une technique qu'elle a développés de l’image de laque dématérialisée. Cette fois-ci, la laque est montrée par l’intermédiaire de diapositives projetées à l'aide de projecteurs spécialement réaménagés sur des écrans de soie tendus sur des cadres en bois. Ces projeteurs "modernisés" avec les LED n’abîment pas les laques dématérialisées qu’ils projettent et sont économes en énergie.
 

Vernissage :
17.04 – 18h00
Exposition : 
17.04>24.05

Entrée libre

Source: http://www.ifhanoi-lespace.com/programmati...

Phi Phi participates in Resonant Uruwashi group exhibition

​14 September 2012

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​For more information, please visit: http://urushi-uruwashi.com/English.html

Source: http://urushi-uruwashi.com/English.html

Hanoi Grapevine Reviews Fragmentation of Space at L'espace

16 January 2013

"KVT Lacquered and Mapped"

Source:  http://hanoigrapevine.com/2012/01/kvt-phi-phi-thu-that-su-tuyet-voi/

I’m glad that I got back to Hanoi in time for the crush that comes with pre-Tet. I really enjoy the bustle and cold and color… and just as glad that I got back to see Oanh Phi Phi’s and Vu Kim Thu’s 

collaborative exhibition at L’Espace.  I guess we’d call it an exhibition of drawings, but whatever noun we use, the correct adjective would have to be scintillating. Now I’m pretty biased because I’m Phi Phi’s biggest fan and her delicate lacquer skins suspended throughout the airy space have drawn lots of awed wows from me.  Phi Phi always stretches the concept of traditional lacquer usage every which way, and this way at L’Espace is truly beautiful.  At times the architectural images are transparent and some fool you because the reverse image is entirely different.

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Now, again, I’m pretty biased because I’ve watched with interest over the past 6 years as Thu has taken her journey with ink on paper throughout the world, adding new dimensions and maturity to her conceptual ideas each time she returns to Hanoi.  Her work on show here picks up on themes she’s explored before and adds aerial mapping to her doodling expertise.  The maps are explored in 2 dimensions and also twisted and warped to give unexpected vantage points. Some are suspended in Perspex boxes on Perspex platforms and float and sway like flat planets. I love the one in which the ‘maps’ are piled in small cubes.

Both artists have an ability to make grand statements. Who could ever forget Phi Phi’s immense ‘Specula’ or her series of lacquer coffins (both of which are on my indelible list of the ten best things Hanoi art has had to offer). Thu’s incredible adventure at Bui in 2010 after an incredibly potent residency in India was a memorable viewing adventure.

Both artists have an ability to pull back and create things that seem to come from quiet interior spaces and this exhibition is one of quiet and calm reflection.

I’m really glad that I caught it… and if you brave the gorgeous chaos that seasonally swells around us, with cumquat and peach trees bobbing up and down amidst the surging traffic, and get to L’Espace before mong mot, Jan 23, then I bet that you’ll be just as glad.

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Kiem Van Tim is a keen observer of life in general and the Hanoi cultural scene in particular and offers some of these observations to the Grapevine. KVT insists that these observations and opinion pieces are not critical reviews. 

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Source: http://hanoigrapevine.com/2012/01/kvt-phi-...