FINDING A PLACE IN SOCIETY
Phan Cẩm Thượng
Translated by Ph.D Nguyễn Long
NEW FORM – A SCULPTURE PROJECT
EXHIBITION: NEW FORM 1; November 8 – December 6, 2013
Vietnam Sculpture Gallery; 12 Quan Su Street Hoan Kiem District, Hanoi
Hours: Daily, 9 AM – 9 PM
Opening Reception: 6 PM, November 8, 2013
Art Discussion: 2 PM, November 10, 2013
(All events are open to the public.)
8 groups of sculptors: Nguyễn Huy Tính, Khổng Đỗ Tuyền, Thái Nhật Minh, Lê Lạng Lương, Trần Trọng Tri, Phạm Thái Bình, Nguyễn Hữu Thái, Phạm Bảo Sơn.
We are making art on a land that is emptied of both culture and money. It is perhaps an overstatement that there is nothing advantageous to the artists such as sculptors. There is no social structureto support sculptor, they have no market, receive no investment and financing, and do not evenhave an audience for their works. Such harsh realities require the sculptor to mete out outstanding efforts to assert themselves in society and build a cultural environment for sculpture, which is a seemingly unnecessary industry in a market economy but provides many suggestions for design, architecture and the thinking about shapes and everyday space.
Vietnam Sculpture Gallery ra đời cùng với buổi khai mạc triển lãm New Form 1
The traditional villages in Vietnam are being destroyed and transformed into small, unplanned urban centers with all sorts of colorful houses and the large urban developmentsthat were done in an upside-down manner, with buildings being constructed before the road and underground work, while it is supposed to be in reverse order. In such construction environment, there is no place for art and cultural objects, so sculpture is in an abandoned, helpless status. The sculptoris supposed to come from an architectural background, to think like an architect, and perceive themselves as an architect-in-spirit. It is not easy to identifythose perception wherein the sculptor develops his personality and impose his individualityonto the social space. Spatial aspects of social life is organized by the architect and sculptor.
Tác phẩm “Những con mèo” Giấy bồi, Keo, Dây thép của Thái Nhật Minh
We are escaping from a direct, specific look and the sculpting of specific muscles. Depending on the individual short or long escape, probably within the last 5 years to 20 years, we are exploring new forms, new spaces, and the relationship between them, exploring the material in daily life, not necessarily the traditional sculptural material. Now all that is called material can be used to build a sculpture, as well as all the shapes can become a sculpture; they do not even depend on sculpture. Beside this, there still lacks a personality, a unique individual who can overwhelm the crowd, forcing them to either accept his aesthetic, or admit their perfect inability to see it.It is still missing because it depends entirely on one’s daring commitment to live for oneself and go for the art alone. Sensual suggestion for the sculptor still come from the village, a certainfeeling of regret in the hearts about the bamboo hedge, the river, the thatch roof, and the peacefulness in the sound of the temple bell.
Tác phẩm “Kết hợp 7″ Gỗ, Thủy tinh, Composit, Đèn Led của Phạm Bảo Sơn
Criteria set out in direction NEW FORM project include:
Even though the shaping method of traditional sculpture differs from that of the modern sculpture taught in the Indochina Fine Arts College, they both basically are realism that emphasizes on the description of the human body.The Western way relies on natural science and the exact anatomical volume while the Eastern way as seen in the village house, temple, and shrine more often portrays a symbolic representation of the subject. Many contemporary artists view this as a barrier to the naturalization of the language of sculpture rather than the molding of sculpted shapes to reflect the human body. The use and avoidance of the two approaches while may bring good results can also lead one away from the so-called sculpture if one lacks the grasp of the‘mental’ space. The traditional sculpture space is prescribed by religious architecture, the modern and contemporary sculpture space on the other hand is regulated by the office, square, villa, and art galleries and mostly prefers circular object. The apparent failure of the monuments in Vietnam shows the inability of the sculptors to understand, control, and gain the administrative rights to the environment where they placed their statues. The sculptorswho participate in this NEW FORM project, besides having their own sculpture studios, exert no control on the sculptural space because it lacks professionalism and the display rooms in museums and galleries are unable to meet the professional requirement. This insufficiency of the sculptural space is reflected on the imagination and idea prior to the forming of concept for the work and lead to the dependency and the adjustment of the sculptural creation to fit an already established space.
Tác phẩm “Phong cảnh I”, Nhôm, Giấy bồi, Sắt Hàn của Lê Lạng Lương
Tác phẩm “Phong cảnh II”, Nhôm, Giấy bồi, Sắt Hàn của Lê Lạng Lương
The use of new material brings freedom to the current sculptors. They can use the materials that the sculptors in the past never thought of, such as glass, paper, plastic, electric lights, liquids, and metal pipes. In short, the freedom with shapes and the concept of what is a sculpturealso paved the way for the use of multiple materials in the contemporary sculpture. However, limitation in space, money, and technology easily leads to the poor use of materials in ways that first appears to be new. It is clear that the NEW FORM sculptors are far from achieving the level of using advanced technology and computer-based design programs in modern sculpture.
Tác phẩm “Những cái kén” Dây đay, Dây thép, dây đồng của Khổng Đỗ Tuyền
Tác phẩm “Bình Phong” In nox, Đèn Led của Nguyễn Huy Tính
I do not know whether the NEW FORM sculptor consider light to be a material or a space, or an interaction between the sculpture and the environment, but I really see it as a material for sculpture.It is a material that cannot be captured but also can be made entirely into a sculpture. Obviously this path is wide and still unfolding with many options, but it also requires the guidance of ideas to prevent it from becoming a game or an art installation.
Tác phẩm “12 m thẳng đứng” Ống Sắt, Composit, đèn led của Trần Trọng Tri
Tác phẩm “Đợi bố về” Đồng, Gỗ, Composit, Đèn Led của Phạm Thái Bình
Anbert Camus said : one cannot choose our society, but one can choose whom one wants to be in the society. In feudal time, under the king, there were only four classes of workers to choose from: scholar, farmer, craftsmen, and trader. In the flat world of today information age, inequality still remains, and even deepens, however, the artisthas more opportunity to see and understand their colleagues who live and work in other parts of the world and to experience the latest artistic values as well as the invariance of the people, without having to feel the guilt of being too advanced or backward at all.
Our NEWFORMneed to emerge and enter the world, and the people, with such a strong attitude. Go ahead and develop our individual self even in an environment that has nothing to reward the individual and art, and do not refuse anything around us – this miserable piece of land is also fertile for the artistic life.
Một số hình ảnh của buổi khai mạc New Form 1
Phan Cẩm Thượng
Translated by Ph.D Nguyễn Long
- (Tiếng Việt) 2013. Triển lãm nhóm 10 nghệ sĩ trẻ -Davines Art Series số 1 tại TTTM Vincom Royal City, Hà Nội, Việt Nam.