‘Will your silence hear us?’ Poetry Video 2024 MA Intercultural Practices Showcase Central Saint Martins London UK
Inter-intimacy is a concept that I am developing to encounter the other using poetry as a vehicle. It refers to the proximate space of closeness built up between two entities as they coexist and engage with one another through careful cultivation of empathy, listening, and mutual understanding.
The film is my effort to speak with the other amidst interconnected realities.
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The film is my effort to speak with the other amidst interconnected realities.
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‘Mọi thứ thật giản đơn’ Poetry Video 2024 Group Show NEW WORLD MAY DAY Lethaby Gallery London UK
The poem was written in 2020 during the pandemic time now represented in moving image form. A response for me hasn’t gone away yet with its simplicity. A reminder. A possibility in this linear time.
Through the lens of the others, we see different chaos from us. I am a product of culture, of time, of ancestors, of war, of existence, myself. For now, with the urgency of humanity, I sit down to ponder things slowly.
Everything is so simple, isn't it?
SOS, Mayday! I would send you the signal of possibilities for the future, the imaginations of our generation, our responsibilities, our commitment, our circle, and our community. I would sit with you in the uncertain, stirring the empathy.
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Everything is so simple, isn't it?
SOS, Mayday! I would send you the signal of possibilities for the future, the imaginations of our generation, our responsibilities, our commitment, our circle, and our community. I would sit with you in the uncertain, stirring the empathy.
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‘Love packages that crossed the border’ Installation 2024 Group Exhibition WELCOME TO THE UK Ugly Duck London UK
‘dó’ paper - a traditional Vietnamese paper. I would use the fountain pen as usual. This time I decided to carry out a mediated process of rewriting all of the documents I had to prepare for the VISA in the last three times. It was a hundredth page to certify, to notarize, to gaze, to sign, to give up sometimes. All now transform into letters, with thoughtful writing and thinking. The heavy paperwork is from ‘what they need me to prove’ which gives me questions of ‘am I a human?’. The work could be considered to emerge during the process for example deleting words, erasing drawings, responding by poems, or voice reaction...
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The UK is the first country that I have been abroad. It was February 2022, then later July 2022, April 2023, and will be April 2024 again. The purposes are different every time. Luckily, they haven’t ever rejected my VISA. It is a joke that I become an expert now to know what documents to provide and what you should notice during the VISA process.
My reality is the heart of the work. It is never easy to explain in a few sentences what I have been through, with layers of paperwork coming from the Vietnamese system, then the UK system, and finally under the global framework of defining which rating that country is. Of course, there are more than this.
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My reality is the heart of the work. It is never easy to explain in a few sentences what I have been through, with layers of paperwork coming from the Vietnamese system, then the UK system, and finally under the global framework of defining which rating that country is. Of course, there are more than this.
‘dó’ paper - a traditional Vietnamese paper. I would use the fountain pen as usual. This time I decided to carry out a mediated process of rewriting all of the documents I had to prepare for the VISA in the last three times. It was a hundredth page to certify, to notarize, to gaze, to sign, to give up sometimes. All now transform into letters, with thoughtful writing and thinking. The heavy paperwork is from ‘what they need me to prove’ which gives me questions of ‘am I a human?’. The work could be considered to emerge during the process for example deleting words, erasing drawings, responding by poems, or voice reaction...
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‘58s’ with Ha Trang & Tam Do Poetry Performance 2024 Collective Donation Event For Palestine WATER HOPES Saigon Vietnam
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58s continues what has happened in Palestine through responses to two poems by two authors at two different times.
58s establishes unknown spaces from different realities, the displacement to live with sand, dust and water.
When it seems that nothing matters anymore or common sense does not make sense, hope is the only matter of survival.
Beyond the border of hope, any places can be home
flying pinky-ing home.
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Document by Triết và Yến
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things rooted in water but
is delimited
from water boundaries
from the river to the sea
from our land just
to farming
living together
from where
the body feel free?
Sometimes in the taste of bitterness and suffering, I forget where they come from, whether from myself or other sentient beings. The sweetest and coldest from where things are so-called art perhaps is to take a tiny courage to commit to the world even torturing it seems, feeling the heartbeat from those rocks, trees, leaves, veins, and flesh and blood from the air.
From here hope falls to the ground. We have hands, spreading the ritual of love, gathering the fragrance flow from the water to go further to the lands of freedom. From here, blurring the boundary brings peace back to the water. From here, forget the words to make wishes.
The request is hereby sent.
We spread hope by the ritual of love, sending our collective energy to the Earth through the water portal. Through our languages, we reach beyond the boundaries of good and bad, weaving a liberation that must come from different beings.
Encourage sharing, safety, and solidarity.
is delimited
from water boundaries
from the river to the sea
from our land just
to farming
living together
from where
the body feel free?
Sometimes in the taste of bitterness and suffering, I forget where they come from, whether from myself or other sentient beings. The sweetest and coldest from where things are so-called art perhaps is to take a tiny courage to commit to the world even torturing it seems, feeling the heartbeat from those rocks, trees, leaves, veins, and flesh and blood from the air.
From here hope falls to the ground. We have hands, spreading the ritual of love, gathering the fragrance flow from the water to go further to the lands of freedom. From here, blurring the boundary brings peace back to the water. From here, forget the words to make wishes.
The request is hereby sent.
We spread hope by the ritual of love, sending our collective energy to the Earth through the water portal. Through our languages, we reach beyond the boundaries of good and bad, weaving a liberation that must come from different beings.
Encourage sharing, safety, and solidarity.
58s continues what has happened in Palestine through responses to two poems by two authors at two different times.
58s establishes unknown spaces from different realities, the displacement to live with sand, dust and water.
When it seems that nothing matters anymore or common sense does not make sense, hope is the only matter of survival.
Beyond the border of hope, any places can be home
flying pinky-ing home.
Document by Triết và Yến
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‘What is in the Name?’ with Aparupa, Larissa & Lucia Postcard Stand Installation & Interview Collages Audio
2023 Group Exhibition EXCHANGING PROTECTION Transcultural Collaboration Program Share Campus C-Lab Taipei-Taiwan
An Orchid is not just a flower but a projection of layers of claims, imagination, and violence within and through time. Defined by a name, by categorization, by narratives, it becomes a symbol for things it may not have given its consent to. Name-giving is an act of claiming. Not only regarding objects, plants, and living beings but also regarding geographical territories. The act of name-giving often reflects forceful assimilation, imposition of authority and dominion, and erasure of intrinsic identity for the import of a new one.
“What’s in my Name?” looks at the process of how the Orchid was named, classified, and categorized and its evolution into a symbol for an island of the people, originally called Pongso No Tao, now officially carrying the name of the Orchid - Lanyu / Orchid Island. Since the orchid was named and categorized it was also being held in the greenhouse, where logics of protection unfolded. Furthermore, the careful dissection of the process of naming within this work deals with narrations that try to stabilize and protect implemented systems of power.
Conceived by Aparupa Saha, Anh Phuong, Larissa Platz, and Lucia Salomé Gränicher this work contains two components - a postcard stand with postcards, and an audio piece playing a collage of interviewed voices talking about the flower, the island, and the naming of both. The postcard stands as the visual element is symbolic of an outside view, a fragmented tourist gaze upon a place while the audio piece through its raw conversational character gives an inside glimpse into the complex Taiwanese identity.
Document by lovely Tings, Aparupa and me.
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“What’s in my Name?” looks at the process of how the Orchid was named, classified, and categorized and its evolution into a symbol for an island of the people, originally called Pongso No Tao, now officially carrying the name of the Orchid - Lanyu / Orchid Island. Since the orchid was named and categorized it was also being held in the greenhouse, where logics of protection unfolded. Furthermore, the careful dissection of the process of naming within this work deals with narrations that try to stabilize and protect implemented systems of power.
Conceived by Aparupa Saha, Anh Phuong, Larissa Platz, and Lucia Salomé Gränicher this work contains two components - a postcard stand with postcards, and an audio piece playing a collage of interviewed voices talking about the flower, the island, and the naming of both. The postcard stands as the visual element is symbolic of an outside view, a fragmented tourist gaze upon a place while the audio piece through its raw conversational character gives an inside glimpse into the complex Taiwanese identity.
Document by lovely Tings, Aparupa and me.
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The working methods chosen involved research, listening to people's voices, and a careful rearrangement of the many fragmented narratives related to Orchids and the Orchid Island. The group learned how to peel back layers of narratives to connect with a subject matter and present it with a bouquet of different facets while being aware of the unreachability of grasping the whole picture and thus making this exact contradiction the core of the artwork itself.
The Postcard Stand
The Interview Audio
My sincere appreciation to the amazing people from the group
Larissa Platz, studying curatorial practices, at Zürcher Hochschule der Künste, Zurich | Lucia Granicher, studying dramaturgy, at Zürcher Hochschule der Künste, Zurich | Aparupa Saha, studying Design Communication, at LaSalle College of the Arts, Singapore.