In the series Untitled, Nguyen Thai Tuan uses many images of political landmarks in the country’s early-modern and modern history. However, most of them are in a derelict state. Notice that the works in the Untitled series are not numbered. They seem to belong to a dreamland, suspended, out of order, in which the disintegration gradually seeps into the hollow rotten walls, then spreads out into the land and air. Anonymous people hang around not knowing what they were looking for.
(Excerpt from the curatorial text of Waiting for the end of wind at Sàn Art, 2022)