Director of Cuc Gallery, Ms Pham Phuong Cuc was interviewed by CGTN at ART SG in the article titled "Singapore Art Fair: International art heavyweights, old and new collectors, assemble for the inaugural ART SG" by CGTN's Miro Lu.

It is known that CGTN is a state-run English-language news channel based in Beijing, China. It is one of six channels provided by China Global Television Network, owned by the Chinese state broadcaster China Central Television (CCTV), under the control of the Central.

Before that, CUC Gallery's artists Tulip Duong (aka Duong Thuy Lieu) and Nguyen Thanh Truc were selected to be displayed at the ART SG 2023 exhibition

For full the article and full the video clip of the interview please click the button below:

CUC Gallery vui mừng thông báo nữ hoạ sỹ Nuyễn Bạch Đàn của chúng tôi đã được giới thiệu trong bài báo "Sự phù du trong nghệ thuật đương đại Việt Nam" trong chuyên mục Nghệ thuật / Nghệ sỹ của Luxuo.vn

Được biếtt, LUXUO là một trong những tạp chí kỹ thuật số về phong cách sống sang trọng phổ biến nhất tại Việt Nam với hơn 1.000.000 lượt xem mỗi tháng và một lượng lớn người theo dõi trên mạng xã hội.

Cũng trong bài báo đã nêu, cố hoạ sỹ Nguyễn Bạch Đàn đã được đề cập với tư cách là một người "nổi tiếng trong giới mỹ thuật nước nhà với chuỗi tranh thiên nhiên đơn sắc, mực Tàu trên giấy Dó và giấy Xuyến chỉ".

CUC Gallery is pleased to announce that our female artist Nguyen Bach Dan have been featured in the article "The ephemerality of contemporary Vietnamese art" in the Art / Artist category of Luxuo.vn

It is known that LUXUO is one of the most popular luxury lifestyle digital magazines in Vietnam with over 1,000,000 views per month and a large following on social media.

In the article, the late painter Nguyen Bach Dan was mentioned as a person "famous in the art world of the country with a series of monochrome paintings of nature, Chinese ink on dó paper and Xuyến Chỉ paper".

Also in the article mentioned, when introducing Lai Dieu Ha, the article evaluated Lai Dieu Ha's work "Bringing a strong sensory effect" and "is an event mentioned a lot by the press".

Thông tin đầy đủ về bài báo xem tại đây:

For more information please click on the link bellow:

Nhà sáng lập của Cúc Gallery - Phạm Phương Cúc vinh dự lọt vào Danh sách 21 phụ nữ của năm, được đề cử từ L'OFFICIEL Vietnam ở hạng mục Women of Art.

"Women of Our Time" - WOOT by L'OFFICIEL Vietnam (2022) là dự án đầy tự hào lần đầu tiên được tổ chức và sẽ trở thành sự kiện thường niên nhằm tôn vinh những người phụ nữ thành công, xinh đẹp và tràn đầy cảm hứng của L’OFFICIEL!

Với thông điệp “Honoring the Marvels of Women”, Ban Tổ chức muốn tôn vinh sức mạnh nội tại bên trong mỗi người phụ nữ đều là một nguồn cảm hứng. Những gì họ đã và đang làm cần được cộng đồng biết đến. Do đó, không chỉ những người phụ nữ trong danh sách mà L’OFFICIEL Vietnam đề cử, mà bất kỳ người phụ nữ nào cũng là một kiệt tác với những khả năng vô tận.

Đồng hành cùng WOOT 2022, bên cạnh những fashionista tầm cỡ, còn là những người phụ nữ mang trên vai niềm tự hào dân tộc, nữ doanh nhân, nhà sáng tạo,...

Nhà sáng lập của Cúc Gallery - Phạm Phương Cúc vinh dự lọt vào Danh sách 21 phụ nữ của năm, được đề cử từ L'OFFICIEL Vietnam ở hạng mục Women of Art.

Photos được chụp tại sự kiện "Women of Our Time" - WOOT by L'OFFICIEL Vietnam (2022)

Creative Director: Alex Fox
Executive Producer: Chau Vo
Editor: Hằng Nga, Tố Uyên
Art Director: Mega Blonde
Photographer: Minh Nhon
Retoucher : Nguyễn Công
Videograher: Huy Đào, Quốc Phú
Assistant Camera: Duy
Make-up Artist: Kyo Phan
Hair Artist: Đức Nhật
Stylist: Phạm Hoàng Yến
Styling Assistants: Lylen, My Phạm
Florist: Ribbon Florist
Fashion: Jenny K Tran

CUC Gallery, Hanoi, Vietnam is thrilled to present “I am the constellation of my own” series by Vietnamese artist Tulip Duong (b. 1959,Vietnam).

“I am the constellation of my own” series is an installation of sculptures made out of natural quartz and used gearboxes.

Akin to an organism, each sculpture consists of two parts: the lower part is a used gearbox. Its shape, form and color is kept intact; the upper part is a natural quartz. Quartz is a stone of harmony and is helpful in improving relationships. Thus, it contributes to forming connections that are indeed our constellations. The young quartz used in the Hybrid enhances spiritual growth, awareness, wisdom and revitalization, which we as human being need in the context of this current pandemic.

The gearbox is the transmission, an intermediary to increase or decrease the speed of an engine. All of the gearboxes were used and discarded during the most exciting time for the smokestack industry of Vietnam.

These two unique opposite singulars carrying their own histories and strengths were combined to form a hybrid species. While gearboxes are only a few decades old and created by human hands, quartz crystals are the product of Mother Nature that can take thousands of years to formulate. Though these two objects can never seem to go together nor have any kind of relationship, Tulip makes it possible.

The artist puts nature (quartz crystals) on top of the product by human(gearbox) to stress the ultimate power of nature over us. This has been proven by how small and vulnerable human beings are when reacting to the on-going impacts of global climate change and the current COVID-19 pandemic.

The 9 hybrid species formed a star map that simulates the Big Dipper, an asterism in the constellation Ursa Major. These star patterns are not random; they express how we choose to align in joining the dots.

“I am the constellation of my own” series by Tulip Duong are selected to be exhibited at S.E.A. FOCUS 2022 in Singapore

Please click HERE to see the whole “I am the constellation of my own” series by Tulip Duong at S.E.A. FOCUS 2022 in Singapore

S.E.A. Focus is a showcase of contemporary art from Southeast Asia. It will take place from January 15 to 23, 2022 at Tanjong Pagar Distripark in Singapore.

CUC Gallery is very delighted to inform that our female artist Tulip Duong was featured on ART BASEL in the article by Payal Uttam with the title: "Breaking new ground, S.E.A. Focus puts Southeast Asian art in the global spotlight."

Hereunder we made a screenshot of the extract of the paragraph about our artist Tulip Duong.

The text of the whole article is at the end of this post.

For the reading on ART BASEL website, please click HERE

P/S: Payal Uttam is a writer, editor and content strategist whose work has appeared in publications including: CNN, The Wall Street Journal, Quartz, Forbes, Women’s Wear Daily, The Art Newspaper, Artforum and Artsy among other international publications. She has been covering art and culture across the globe for more than a decade. Alongside contributing regularly to various publications, she edits and writes catalogue essays and art market reports. She began her career in Chicago where she studied at the Medill School of Journalism and The Art Institute of Chicago before completing a Master's degree in Art History at University of Illinois, Urbana-Champaign. Currently, Payal divides her time between Hong Kong and Singapore.

The whole article by Payal Uttam on ART BASEL is as follows:

Payal Uttam

BREAKING NEW GROUND, S.E.A. FOCUS PUTS SOUTHEAST ASIAN ART IN THE GLOBAL SPOTLIGHT

A flourishing showcase in Singapore returns for its fourth edition, highlighting the breadth of contemporary art in the region

In the Philippines, people often speak about bayanihan, which translates as ‘a spirit of unity and solidarity.’ ‘It means coming together as a community. So if someone moves house, for instance, the whole neighborhood will help them pack and settle in,’ says Isa Lorenzo, cofounder and director of Manila-based Silverlens Galleries. ‘This same idea is very real for art communities across Southeast Asia. The success of one artist is everyone’s success.’

The spirit of community has shaped the practice of many Southeast Asian artists. Lorenzo gives the example of the Malaysian artist Yee I-Lann, whose work is among the highlights of the boutique art platform S.E.A. Focus, which opens in Singapore in January, during the city-state’s annual art week.

Yee collaborates with the Indigenous people of Sabah in northern Borneo, inviting them to create traditional tikar, woven mats made of bamboo that Yee adorns with contemporary motifs. Historically, communities across the region have made mats that function as utilitarian and ceremonial objects used for social gatherings. Silverlens will be showing a series of Yee’s weavings on the S.E.A. Focus online platform that feature ampersands, a symbol the artist uses to represent the need for inclusivity and cooperation among people locally and globally. ‘I-Lann is conscious about acknowledging the weavers in the authorship of the artworks,’ says Lorenzo. ‘It’s very different from a Western or Chinese artist who has a monumental object fabricated by 50 people who remain in the background.’

Yee is just one example of the rich array of artists emerging from the region who are only now entering the global spotlight, among them Mit Jai Inn, who recently staged his first major solo European show at Ikon Gallery in the UK. ‘When we talk about Asia, artists from China, Japan, and Korea are more dominant, but it’s important to understand that the world of contemporary art does not stop there,’ says Emi Eu, Project Director of S.E.A. Focus and Executive Director of STPI – Creative Workshop & Gallery, the Singaporean non-profit organization that launched S.E.A. Focus in 2019. ‘Because of the diversity of countries in Southeast Asia, there is so much to discover.’

The platform, which is collaborating with Art Basel for the first time this year, is aiming to raise awareness about the under-recognized region. Curated by Singapore-based independent curator Joyce Toh, S.E.A. Focus is organized around the theme of ‘chance…constellations’ and will be held in Tanjong Pagar Distripark, an industrial complex in a historic port district. Taking the format of a large, free-flowing exhibition, it will feature work from 24 galleries, showing emerging and established artists from places ranging from Yogyakarta to Hanoi.

Unlike major global art hubs, art scenes in Southeast Asian cities suffer from a lack of institutional and government support, which has given rise to an art ecology built on grassroots community efforts. ‘Everyone has voiced concern about the situation, but this informal infrastructure has actually led to some fantastic artists coming out of Indonesia,’ says Jasdeep Sandhu, the founder of Singapore-based Gajah Gallery, who opens a new space in Jakarta in January. In 2012, Sandhu opened a foundry in Yogyakarta with the Indonesian artist Yunizar, called Yogya Art Lab (YAL), to foster the creation of large-scale works.

Another Indonesian artist, Uji Handoko Eko Saputro (aka Hahan) – known for his vivid paintings and embroidery work that fuses traditional Javanese mythology with the aesthetics of comic culture and street art – has been creating works using the foundry. Recently he has expanded his practice and created a bronze sculpture, The Irony of the Protester (HK UMP 40 series) (2021), which will be exhibited in a group show at Sandhu’s Singapore space, located in the same industrial complex as S.E.A. Focus. The work consists of birds with currency symbols engraved on their eyes perched on a German submachine gun with a twisted barrel. It critiques the blinding desire for wealth and prestige in the artworld while also alluding to the power wielded by the Western art market in comparison with the Indonesian art market, which remains on the periphery.

For many artists in the region, the personal and political are deeply entwined. Sutima Sucharitakul, founder and Director of the Bangkok-based gallery Nova Contemporary, highlights Thai and Burmese artists in particular. At S.E.A. Focus the gallery will be exhibiting Myanmar-born, Netherlands-based artist Sawangwongse Yawnghwe. His grandfather was Myanmar’s first elected president, who was assassinated during a military coup in 1962, after which his family was driven into exile. The oil painting Aung San and U Raschid (2017) draws on a historic photograph of the prominent Muslim student activist U Raschid, who held several ministerial positions, with his friend Burmese independence activist and revolutionary General Aung San (the father of Aung San Suu Kyi). Yawnghwe painted the work as a statement of acceptance of the Rohingya people and one of protest against the persecution of their community that began in the country in 2016. As the violence against the Rohingya people continues, the work resonates strongly today. Eschewing the accepted historical narratives often unpacked by contemporary artists in the West, artists such as Yawnghwe are unearthing critical fragments of their past and creating a valuable archive of counter-histories that have been deliberately erased.

Meanwhile in Vietnam, the impact of the war lingers in the mind of artists including Tulip Duong, who was raised during the Doi Moi period in the 1980s. Experiencing the fallout of the war, she bore witness to the rapid socioeconomic and cultural transformation of her homeland. Hanoi-based Cuc Gallery is showing nine new sculptures by Duong that are composed of striking crystalline quartz forms that sprout from gritty industrial gearboxes. ‘The mechanisms were used between the 1980s and 1990s, when the country was rebuilding and recovering from the war. They are symbolic of the new Vietnam,’ says Pham Phuong Cuc, Director of Cuc Gallery, of the found objects. In the wake of the pandemic, the gleaming quartz crystals, a durable material often associated with healing, also signal hope.

In contrast, political concerns take a backseat for several young artists in Singapore, who are reflecting on their place in a rapidly transforming young nation. ‘They are unafraid to address their identity, distinguishing themselves from the postcolonial West,’ says Audrey Yeo, founder of Yeo Workshop. Among the artists that Yeo Workshop is exhibiting at S.E.A. Focus is local artist Sarah Choo Jing, whose photography and video installations explore voyeurism and alienation in the city-state. After observing elderly people sleeping in hawker food centers, she was inspired to photograph individuals in the eateries. While these spaces are often touted as communal hubs promoting a common national identity, she discovered numerous isolated people there, which led her to create a digital print that is a poignant portrait of loneliness in the city.

A growing number of Southeast Asian artists are garnering attention for their powerful digital and video works. Reflecting this, S.E.A Focus has introduced a film sector, which will be hosted in a pop-up screening room, Projector X. ‘It’s an old disco club along the Singapore River that used to host drag performances,’ says Eu of the vibrantly lit venue. ‘Now it has been transformed into a screening room.’

Among the film program’s highlights is Cambodian artist Khvay Samnang’s critically acclaimed Preah Kunlong (The Way of the Spirit) (2016-17), first shown at documenta 14. The work was the result of an immersive research process, during which the artist spent months with the Indigenous Chong people, who live primarily in the Areng Valley in a southwestern province of Cambodia. At the time, the community and their land, home to several endangered animals, was under threat from the Chinese state-owned company Sinohydro, which planned to build a hydroelectric dam that would destroy the area (the project was later shelved due to strong local opposition). Samnang’s video shows semi-nude choreographer Nget Rady donning animal masks and dancing amid a striking waterfall and lush rainforest: a dramatic homage to the natural world and mystical beliefs of the Chong people.

Alongside Projector X, large-scale immersive video installations will take center stage at a new pop-up being held next door to S.E.A. Focus by the Singapore Art Museum (SAM) while the museum’s permanent buildings are being revamped. Highlights include Malaysian artist Gan Siong King’s playful video essay Kecek Amplifier bersama Nik Shazwan (Talking about Amplifier with Nik Shazwan) (2019), which loosely traces the making of a bespoke electric guitar amplifier, as well as a show featuring Thai artist Korakrit Arunanondchai’s cinematic installations.

While artists like Arunanondchai have exhibited widely in institutions across the globe, others in the region are struggling to get their voices heard. Gallerists such as Pham, however, remain optimistic. ‘We have so many stories to tell and so much to offer,’ she says. ‘With enough time and momentum, we will definitely grow.’

S.E.A. Focus is a showcase of contemporary art from Southeast Asia. It will take place from January 15 to 23, 2022 at Tanjong Pagar Distripark in Singapore.

Continuing our thread on our artist – Ly Tran Quynh Giang who has been selected to feature in Conduit issue 31, a literary magazine featuring highlighted art from Yayoi Kusama, Marina Abramovic, Leonora Carrington, Marcel Duchamp, Barbara Kruger, Louise Bourgeois, Andy Warhol, and many others. Immerse yourself in the Giang's third artwork (Inside of Me, 2017, Carved wood, 100 x 77 x 2 cm), accompanied by the poem “Found in Jane Kenyon’s Otherwise” by Polly Buckingham.

Found in Jane Kenyon’s Otherwise

Polly Buckingham

A photo of a parachute

above a black and white field.

A list of names and phone numbers:

people I invited to my sister’s funeral.

A bookmark from a store long closed.

A letter to a man: I can’t stop

imagining you turning toward me

in morning light, your wide chess

and curious hand. I’m sorry

I’ve never told you

I close the poems, pull the cover

over me in the morning chill

and watch the bees fumble

the new blossoms

of the apple tree

“Alone together” is the theme of this issue, specially tailored for this covid era.

* Conduit is a biannual literary journal that is at once direct, playful, inventive, irreverent, and darkly beautiful. Conduit publishes distinctive voices of literary merit—experimental to accessible, established to emerging—in snazzy volumes, featuring work that demonstrates originality, intelligence, courage, and humanity.

Conduit champions a fresh mix of writers. If that isn't enough, Conduit reaches beyond the literary by interviewing astronomers, ethno-botanists, artists, graphic artists, and historians, et cetera, believing a vigorous imagination is one that is cross-pollinated by diverse areas of human inquiry.

Continuing our previous post about Ly Tran Quynh Giang’s artworks featured in Conduit issue 31, please immerse yourself in the next artwork of Ly Tran Quynh Giang (Where they turn to, 2017, Oil on canvas, 150 x 120 cm) with the the poem “House of Body” by Pablo Saborio

House of Body

Pablo Saborio

I believe

in body

that made unity

its pharaoh

went underground

carrying a sun

as diverse

as the book of autumn

with exemplary gesture

made every word

a monument

and worshiped

every grain of sand

as a thousand years of change

* Conduit is a biannual literary journal that is at once direct, playful, inventive, irreverent, and darkly beautiful. Conduit publishes distinctive voices of literary merit—experimental to accessible, established to emerging—in snazzy volumes, featuring work that demonstrates originality, intelligence, courage, and humanity. Conduit champions a fresh mix of writers. If that isn't enough, Conduit reaches beyond the literary by interviewing astronomers, ethno-botanists, artists, graphic artists, and historians, et cetera, believing a vigorous imagination is one that is cross-pollinated by diverse areas of human inquiry.

It is the literary magazine featuring highlighted art from Yayoi Kusama, Marina Abramovic, Leonora Carrington, Marcel Duchamp, Barbara Kruger, Louise Bourgeois, Andy Warhol, and many others.

CUC Gallery is very proud to announce that 3 artworks of our artist – Ly Tran Quynh Giang have been selected to feature in Conduit issue 31, the literary magazine featuring highlighted art from Yayoi Kusama, Marina Abramovic, Leonora Carrington, Marcel Duchamp, Barbara Kruger, Louise Bourgeois, Andy Warhol, and many others.

“Alone together” is the theme of this issue, specially tailored for this covid era. Giang's each works is presented in pairing with a poetry curated by the editor.

A Little Bit Rain

Melissa Studdard

It seemed this bicycle was faster

when I first started. Now the afterlife

is gaining on me, and every billboard I pass

has the same five words. I know

you’d like to know what they say. But

if you’re ever going to build up those quads

you’ll to need to enter this race yourself,

I even hired the Rockettes to adorn the finish

line with their legs. All for you. That’s how much

I love you. The moon used to be yellow, but I

painted it green for your green-loving eyes, then

left a pack of cigarettes and two aspirin

on the nightstand. Maybe don’t get so drunk next

time, okay? I like it when you do that thing

with your tongue. It makes me want to get

matching tattoos. We could translate our bodies

into a new language. Your mouth a little

bit summer. My mouth a little bit rain

Conduit is a biannual literary journal that is at once direct, playful, inventive, irreverent, and darkly beautiful. Conduit publishes distinctive voices of literary merit—experimental to accessible, established to emerging—in snazzy volumes, featuring work that demonstrates originality, intelligence, courage, and humanity. Conduit champions a fresh mix of writers. If that isn't enough, Conduit reaches beyond the literary by interviewing astronomers, ethno-botanists, artists, graphic artists, and historians, et cetera, believing a vigorous imagination is one that is cross-pollinated by diverse areas of human inquiry.

The Third edition of S.E.A. Focus art fair gets thumbs up from gallerists and visitors in the very new special condition of the year 2021.

CUC Gallery Director Pham Phuong Cuc was interviewed by The seafocus.sg Singapore for her thoughts and experiences while participating in the S.E.A Focus Singapore 2021 from Jan 20 to Jan 31, 2021 and for her considering the Vietnamese Contemporary Art Scene.

Please have a look at the article by clicking the button below:

During the last few hours of 2020, CUC Gallery Director Pham Phuong Cuc was interviewed by ART REPUBLIK for her thoughts and experiences of 2020 – the year filled with turbulence of Covid -19.

Please take a look at the article below (on Art Republik #2):

Magazine Description:

ART REPUBLIK is Singapore's premier quarterly magazine for the art enthusiast. The magazine is focused on Southeast Asian artists and other key players in the art community, especially on up-and-comers from Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore, Thailand and Vietnam, with an eye on what's happening in Asia and the rest of the world. It aims to provide an inclusive and expansive exploration of the art world, from public museums to commercial galleries, and from policy-makers to artists as activists. With the tagline 'Elitism for All', the magazine provides insightful and engaging articles to inform and entertain, and is committed to making art accessible to one and all.

Về ART REPUBLIK:

Ra đời vào năm 2013 tại Singapore, ART REPUBLIK là tạp chí hàng đầu của “quốc đảo sư tử” dành cho những người đam mê nghệ thuật.

Cuốn tạp chí tập trung khám phá cộng đồng nghệ sĩ trong khu vực Đông Nam Á, đặc biệt là thế hệ mới nổi đến từ Campuchia, Indonesia, Malaysia, Phillippines, Singapore, Thái Lan và Việt Nam nhằm mở rộng phạm vi chuyển tải về những gì đang diễn ra ở châu Á và phần còn lại của thế giới.

Art Republik mở ra góc nhìn đa chiều về thế giới nghệ thuật. Với khẩu hiệu “Elitism for All” (Chủ nghĩa ưu tú dành cho tất cả), tạp chí cung cấp những bài viết sâu sắc và hấp dẫn, vừa mang tính thông tin cập nhật vừa mang tính giải trí – thường thức với cam kết lan tỏa cái đẹp nghệ thuật đến với mọi người.

Tại Việt Nam, Art Republik được phát hành dưới dạng Book-Magazine song ngữ nhằm phục vụ nhu cầu đọc, sưu tầm .....

Dưới sự hỗ trợ của công ty mẹ, Art Republik Vietnam sẽ được đặt tại 300 phòng tranh ở Singapore, Indonesia, Malaysia và Việt Nam.

#CUCGallery #Hanoi #HanoiArt #VietnamArt #contemporaryart

#Art_republik #Art_republik_Vietnam

#Artspace

A little bit throwback in the unsettling time of uncertainty (cont.)

In 2017 CUC Gallery was pleased to present a group exhibition “Personal Structures” with 5 Vietnamese contemporary artists organized by European Cultural Centre and GAA Foundation at Palazzo Bembo, Venice, Italy.

In the "Vietnam in Venice" exhibition (2017), Nguyen Trung had two works MA 1 (2015, acrylic on canvas) and The Light (2016, lamp, stretched canvas, acrylic) in which time relays through distances, as in "images from the past" which take a great length of time in gestation, in abstract works.

"Lodermeyer relates Heidegger’s “time is Dasein… Dasein always is in the manner of its possible temporal being… Dasein is its past, it is its possibility in running ahead to this past.” These lines may also be invoked to explain Nguyen Trung’s thoughts and painting practices. Indeed, as expounded by Lodermeyer, time as duration is understood as a temporality that is subjective, and following apprehension and movement that is not frozen in a moment or an order of sequence.
......
These works form a continuum to the paintings, framed within the same temporality of being. They also address Personal Structures’ interest in the issue of “space-relatedness”. In Nguyen Trung, space is the studio space as both physically bounded and aesthetically unbounded."

The text and interview presented here is part of research for the book titled Essence, written by Kwok Kian Chow*, published by CUC Gallery in 2017.

If you wish to learn more about the artist, please go to this link: http://www.cucgallery.vn/nguyen-trung
_____________________
*Writer, curator and museum consultant, Kwok Kian Chow is program leader and associate professor of arts and culture management, and director of the Wee Kim Wee Centre, Singapore Management University. Kwok was senior curator (1992-1994) of the National Museum of Singapore, Director (1994-2009) of the Singapore Art Museum, director (2009-2011) and senior advisor (2011-2015) of The National Gallery Singapore. He has published many books and articles on visual arts and cultural institutions in Southeast Asia, Singapore and China."