Students at EMASI interpret themes from the People, Victory and life After the War exhibition
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April 2021
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An art tour with Nhi Duong and Bill Nguyen
How would an art tour unfold if it were guided by the viewers and listeners, where you become an agent in deciding how and when to ‘dissect’ each layer of material and form, then reassemble and create meaning for the artwork? How would the roles of curators, artists, or organizers – typically tasked with the responsibility of being ‘storytellers’ who explain the semantics of the work – change? Could switching roles between the creators and audience bring fresh experiences, viewpoints, and reflections capable of renewing our approaches to art?
Participating in the tour, audiences had the opportunity to directly interact with materials as well as elucidate the artwork’s significance, alongside the guidance of curator Bill Nguyen and gallery assistant Nhi Duong.
“The exercises have changed my perspective on contemporary art, opening a new door to engage with art rather than continuing to be bound by my preconceptions and barriers,” shared participant Dung Nghi.
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In absence, presence is not merely a one-dimensional experience, but rather a vibrant network between actors and actants* that are interlinked and constantly interacting. In this network, materials serve as both the main and supporting actors. Positioning art as a connector rather than the sole focus, the public programs revolving around In absence, presence uses physical materials to respond to cultural and social issues beyond the white cube. Let your eyes be deceived, your sense of touch misled by illusory textures, to break down any preconceptions and embark on a journey of self-interpretation and continuous meaning-making.
This event is part of a series of public and education programs initiated by Nhi Duong in co-curation with Bill Nguyen, in association with In absence, presence, an exhibition organized by Nguyen Art Foundation.
*Bruno Latour, in Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford, 2005)