http://www.jacquelinehoangnguyen.com Jacqueline Hoang Nguyen Tue, 18 Oct 2011 16:15:36 +0000 http://www.jacquelinehoangnguyen.com en http://www.jacquelinehoangnguyen.com/1967-A-People-Kind-of-Place http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/1967-A-People-Kind-of-Place Tue, 18 Oct 2011 16:15:36 +0000 Jacqueline Hoang Nguyen 1615220 1967: A People Kind of Place (Trailer) from Jacqueline Hoang Nguyen on Vimeo. Work-in-Progress 1967: A People Kind of Place, 2011 - 2012 (expected completion) Installation composed of archival material and a film (super 8 film, home videos and archival material transferred to HD Video) In the multifaceted project 1967: A People Kind of Place, the artist investigates a forgotten monument built in the Canadian prairies. The small community of St. Paul, located north east of Edmonton in Canada, inaugurated the world’s first UFO Landing Pad on June 3, 1967 as part of Canada’s Centennial, with the aim to symbolically welcome the whole world, and even inter-galactic beings, to Canada. With this gesture for unconditional hospitality in mind, the artist's focus revolves around the intersection of the discourses of the UFO landing pad and the shift in Canadian immigration policies, occurred that same year, with the implementation of the point base system which posited Canada as the instigator of multiculturalism. Here, the UFO landing pad functions as a conceptual vessel for addressing issues around the ideological formation of multiculturalism and the multiple readings of the word "alien." <img src="http://payload.cargocollective.com/1/0/17649/1615220/final_coin1s.jpg" border="0" width="670" height="670" width_o="800" height_o="800" src_o="http://payload.cargocollective.com/1/0/17649/1615220/final_coin1s_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/1615220/final_coin2s.jpg" border="0" width="670" height="670" width_o="800" height_o="800" src_o="http://payload.cargocollective.com/1/0/17649/1615220/final_coin2s_o.jpg" align="left" /> http://www.jacquelinehoangnguyen.com/The-Voice-Might-Bring http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/The-Voice-Might-Bring Tue, 18 Oct 2011 15:42:39 +0000 Jacqueline Hoang Nguyen 2167351 <img src="http://payload.cargocollective.com/1/0/17649/2167351/the voice might bring-small.jpg" border="0" width="640" height="480" width_o="640" height_o="480" src_o="http://payload.cargocollective.com/1/0/17649/2167351/the voice might bring-small_o.jpg" align="left" /> The Voice Might Bring, 2011 Audio walk, 9 minutes The absence of sound, in the Hollywood film industry, is 'death,' as sound itself is often described as adding life to picture. The introduction of sync sound transformed the nature of viewership, it did not only organize space, time, and narrative, but it created a more commanding authority over the viewer, enforcing a new kind of attention. It changed the role of or place of the spectator from watching the action to being in the role of an 'invisible guest'. So, the advent of sound coincides with what Guy Debord suggests as perhaps the beginning of the society of the spectacle in his essay of 1967, Commentaires sur la société de spectacle. In A Voice Might Bring, Greta Garbo's voice is used to explore the transition from silent films to talkies, as she is one of the few Hollywood actresses who survived this technological shift, and how the coming of sound with the recording of voice shaped a new truth in cinema which escapes the field of vision. Sources: Grand Hotel (1931) Mata Hari (1931) As You Desire Me (1932) Queen Christina (1933) The Painted Veil (1934) Anna Karenina (1935) Camille (1936) Ninotchka (1939) Two-Faced Woman (1941) This project is a site-specific audio walk for The Woodland Cemetery by Greta Garbo's graveyard. http://www.jacquelinehoangnguyen.com/Study-the-Lonely-Planet http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Study-the-Lonely-Planet Wed, 02 Jun 2010 10:30:24 +0000 Jacqueline Hoang Nguyen 195909 <img src="http://payload.cargocollective.com/1/0/17649/195909/stlp_small.jpg" border="0" width="566" height="400" width_o="566" height_o="400" src_o="http://payload.cargocollective.com/1/0/17649/195909/stlp_small_o.jpg" align="left" /> Research-based installation, 2005 Video installation and posters This research aims to unveil the colonial legacy and voice of the widely-used Lonely Planet guidebooks for shoe-string travellers. Offering a discourse for travels that promise a genuine encounter with locales, the popularity of these travels books creates an accompanying industry surrounding the suggested sites by the Lonely Planet. Study the Lonely Planet is divided into two main facets. First, a video installation produced in Sweden consisting of a reading of the introduction text from the Lonely Planet Sweden by participants belonging to the margins. Secondly, a posted mapping the country of origins of the authors of these traveller-friendly publications is distributed free of charge to visitors. © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/Space-Without-Room http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Space-Without-Room Tue, 20 Apr 2010 07:52:01 +0000 Jacqueline Hoang Nguyen 194512 <img src="http://payload.cargocollective.com/1/0/17649/194512/space_without_room.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/0/17649/194512/space_without_room_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/194512/space_without_room_ext.jpg" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/0/17649/194512/space_without_room_ext_o.jpg" align="left" /> Space Without Room, 2008 Eight-channel sound installation approximately 400 x 500 x 250 cm Space Without Room is a dynamic eight-channel sound installation by Jacqueline Hoang Nguyen, guest artist at the Department of New Media at the Royal University College of Fine Arts in Stockholm. It is a sonic fiction that, through its richly textured soundscape, offers the viewer the chance to experience an evaded past. Comprised of an aural panorama, which fills the entirety of the space, and an old car, the work's minimal material aims to couple architectural sound and storytelling. This dynamic sound-installation is inspired by the writings of French philosopher Emmanuel Levinas, and by the experience of an encounter with the "Other". According to Levinas, the irreducible interaction, the experience of a face-to-face encounter with another, is a privileged phenomenon in which the other person's proximity and distance are strongly felt. Interpreters & Collaborators: Artist, Director, Script Writer & Interactive Developer | Jacqueline Hoang Nguyen (CA); Script Editor | Alex Bickel (US); Actors | Paula Blomqvist (SE), Samantha Hookway (US), Frank Sanderson (US/SE) ; Music | Hans Appelqvist (SE), Vera November (UK); Sound Engineers | Martin Johansson (SE), Nathalys Salas (SE) © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/UNCLASSIFIABLE http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/UNCLASSIFIABLE Thu, 15 Apr 2010 23:51:51 +0000 Jacqueline Hoang Nguyen 361459 <img src="http://payload.cargocollective.com/1/0/17649/361459/unclassifiable_imagelogo.jpg" border="0" width="670" height="411" width_o="1506" height_o="924" src_o="http://payload.cargocollective.com/1/0/17649/361459/unclassifiable_imagelogo_o.jpg" align="left" /> UNCLASSIFIABLE, 2005-2008 Video Exhibition and screening Curated by Jacqueline Hoang Nguyen & Jenny Yurshansky UNCLASSIFIABLE showcases video work that steps outside the frames that define video art, cinema, the documentary, and pop-culture. Divided into four hypothetical groupings such as Pop Goes The Video, Re-Sampling Hollywood, Shifting the Fulcrum, Tangential Documentaries, the featured artists in this curatorial project have crossed over the boundaries of these groups, leaving us to question the limits facing creative practice today. Pop Goes The Video Rehashing: remixing, redefining; an anti-commodification of pop-culture. Desaturate and become more than just a boob in front of the tube; Re-Sampling Hollywood: Hollywood is the ultimate machine churning out desire, utopia/dystopia, and commodification. In a role reversal we find this Goliath being bent to the will of the art world’s Davids; Shifting the Fulcrum: What is the difference between an indie flick and an art flick? If the Hollywood machine is out of the equation and they both follow the short film format, then what is the distinction?; Tangential Documentaries: They slide, they veer, and they are more than a mocumentary. This twist on the documentary will give you the how and what but will leave you pondering the why. Along with the exhibition UNCLASSIFIABLE, the workshop The Straight Story: Back to Basics was offered as a complementary tool for visitors so that they may gain insight into the exhibition’s premise. The contributing presenters were Tim Christensen and Khaled D. Ramadan. A selection of the artists who have participated in various editions of this curatorial project are: Eija-Liisa Ahtila (FI), Jo-Anne Balcaen (CA), Miriam Bäckström (SE), Johanna Billing (SE), Candice Breitz (ZA), Erik Bünger (SE), Nathalie Djurberg (SE), Joshua Callaghan (US), Nanna Debois Buhl (DK), Rä di Martino (ITA), Johan Grimonprez (BE), Ashley Hunt (US), Henrik Lund Jørgensen (DK/SE), Jesper Just (DK), Tellervo Kalleinen and Oliver Kochta Kalleinen (FI/DE), Liisa Lounila (FI), Tova Mozard (SE), Kevin Murphy (US), My Barbarian (US), Anu Pennanen (FI), Jenny Perlin (US), Axel Petersén (SE), Adrian Piper (US), Planningtorock (Janine Rostron) (UK), Khaled D. Ramadan (LB/DK), Jani Ruscica (FI), Egill Sæbjörnsson (IS), Salla Tykkä (FI), Jeffrey Vallance (US). <img src="http://payload.cargocollective.com/1/0/17649/361459/Berlin.jpg" border="0" width="670" height="440" width_o="2048" height_o="1345" src_o="http://payload.cargocollective.com/1/0/17649/361459/Berlin_o.jpg" align="left" /> Photograph by Rodrigo Vazquez © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/Somewhere-Over-the-Rainbow http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Somewhere-Over-the-Rainbow Tue, 22 Dec 2009 23:58:52 +0000 Jacqueline Hoang Nguyen 197878 {image 1}<img src="http://payload.cargocollective.com/1/0/17649/197878/MANA_4_5_2009.jpg" border="0" width="670" height="426" width_o="2048" height_o="1303" src_o="http://payload.cargocollective.com/1/0/17649/197878/MANA_4_5_2009_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-06-33.jpg" border="0" width="670" height="425" width_o="1626" height_o="1033" src_o="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-06-33_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-07-14.jpg" border="0" width="670" height="426" width_o="1626" height_o="1034" src_o="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-07-14_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-07-42.jpg" border="0" width="670" height="426" width_o="1625" height_o="1034" src_o="http://payload.cargocollective.com/1/0/17649/197878/Snapshot 2009-12-23 00-07-42_o.jpg" align="left" /> Somewhere Over the Rainbow, 2009 Editorial and Curatorial Project Contributors : Claire Bishop, Föreningen JA!, Raimi Gbadamosi, Kuratorisk Aktion, Carol Yinghua Lu Artists : Stefan Constantinescu, Raimi Gbadamosi, Jens Haaning, Adrian Piper, Agneta Strindinger Guest editor and curator : Jacqueline Hoang Nguyen and Nadia Mazzoni Both a magazine and an exhibition, this issue of Swedish anti-racist magazine MANA is a twofold investigation taking into account the importance of today's creative practice in elaborating discourses which negotiate and challenge existing boundaries in the current political climate. The dual sites aspire to examine antiracist thinking and gestures in contemporary art in the spirit of Paul Gilroy and to move away from antiracism’s tarnished vocabulary while retaining much of the hope to which it was tied. This project aims to map out many of the essential shifts and tendencies in reaching collective space that is not conditional to national identity and/or belonging, but rather a symbolic gesture of invitation as described by Anne Dufourmantelle and Jacques Derrida in "Of Hospitality" as "a place originally belonging to neither host nor guest, but to the gesture by which one of them welcomes the other". By no means an attempt at locating a Utopian site, this project is rather a venture into finding the many contact points between groups and communities by challenging some of the existing borders. "Somewhere Over the Rainbow" explores the many meeting points between cultures for (re)negotiating spaces of visibility allowing for both difference and dialogue. The selected theorists and artists examine concepts around curatorial and artistic strategies in today’s global culture, alongside the problems tied to national representation. Fundamental to this issue is the investigation into how the plethora of artistic manifestations are often attempts – without aspiring to definite answers – at understanding the world through an economy of exchange, an eco-system of relationships or an organic pool of dialogues, which are composed of sets of knowledge beyond reductive national boundaries. This project has been made possible with the kind support of KulturKontakt Nord and Letterstedska Foundation. Illustration by Michel Ducourneau Graphic design and layout by Jan Petterson © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/Documentation-for-An-Epidemic-Resistance http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Documentation-for-An-Epidemic-Resistance Sun, 20 Dec 2009 01:50:31 +0000 Jacqueline Hoang Nguyen 195924 <img src="http://payload.cargocollective.com/1/0/17649/195924/For_An_Epidemic_Resistance_.jpg" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/0/17649/195924/For_An_Epidemic_Resistance__o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/195924/For_An_Epidemic_Resistancel.jpg" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/0/17649/195924/For_An_Epidemic_Resistancel_o.jpg" align="left" /> Documentation for an Epidemic Resistance, 2008 Silent black&white video 2 minutes This video explores the strategies used for the making of the dynamic sound installation For An Epidemic Resistance, exploring the contagious quality of laughter. A number of participants from the workshop Àpart! (Montreal, July 2008) acted as subjects for this experiment. Videos of laughing people were presented on a computer monitor while the camera captured the minute movements of the subjects’ facial expressions. <img src="http://payload.cargocollective.com/1/0/17649/195924/DocForAnEpiRes.JPG" border="0" width="670" height="376" width_o="2048" height_o="1152" src_o="http://payload.cargocollective.com/1/0/17649/195924/DocForAnEpiRes_o.JPG" align="left" /> © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/Do-You-Remember-Olive-Morris http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Do-You-Remember-Olive-Morris Sun, 20 Dec 2009 01:17:35 +0000 Jacqueline Hoang Nguyen 195914 <img src="http://payload.cargocollective.com/1/0/17649/195914/DYROM-005.jpg" border="0" width="670" height="446" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/17649/195914/DYROM-005_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/195914/DYROM-001.jpg" border="0" width="670" height="446" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/17649/195914/DYROM-001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/195914/DYROM-003.jpg" border="0" width="670" height="446" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/17649/195914/DYROM-003_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/195914/DYROM-004.jpg" border="0" width="670" height="446" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/17649/195914/DYROM-004_o.jpg" align="left" /> Do You Remember Olive Morris?, 2009 Oral history archive and library Size variable The exhibition Do you remember Olive Morris? uncovers the largely untold history of Brixton-based activist Olive Morris (1952-1979). Developed by London-based artist Ana Laura Lopez de la Torre and the Remember Olive Collective (ROC), this exhibition is the culmination of three years of artists and community-led research inspired by this remarkable figure in South London’s recent history. The exhibition brings together art works, films and historical photographs documenting the movements and campaign groups with which Olive Morris was associated. My role in ROC was multifaceted. Alongside with organizing regular presentations and run fund raising activities at cultural and political events, festivals and fairs, I undertook an extensive online library project, including research in archives, and oral history interviews and transcriptions leading to the creation of the Olive Morris Collection, which is now available to the public at the Lambeth Archives in London (UK). Parallel to the exhibition and together with ROC members Ashley Whitefield, Rakhee Kewada and Altair Roelants, we organized the round table Self-Education: On Alternative Strategies of Education. In Olive Morris’ Brixton, self-education initiatives challenged the failings of standard comprehensive education for Black children. Members of ROC were joined by a diverse group of educators to explore and exchange different approaches towards learning, across sectors and communities. This open, round table discussion was initiated by a film screening. Contributions by educators included Frances Williams, South London Gallery Education and Outreach Manager; Deepa Nalik and Trenton Olfield, This is not a Gateway; Ditte Lyngkaer Pedersen, HOMEWORK and rum46; Leslie Barson, Home-Schooling Expert/Runs Annual Home-Schooling Fair; Claudia Moseley and Ed Shuster, Tree house gallery; Harriet and Neil, Carbon Citizens and Ella Ritchie & Sam Jones, Intoart. Photographs by Kristel Raesaar © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/Seizing-Hold-of-a-Memory-as-It-Flashes-Up http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/Seizing-Hold-of-a-Memory-as-It-Flashes-Up Sun, 20 Dec 2009 01:05:10 +0000 Jacqueline Hoang Nguyen 195906 <img src="http://payload.cargocollective.com/1/0/17649/195906/_MG_9663_1.jpg" border="0" width="670" height="498" width_o="800" height_o="595" src_o="http://payload.cargocollective.com/1/0/17649/195906/_MG_9663_1_o.jpg" align="left" /> Seizing Hold of a Memory as It Flashes Up, 2010 Blind embossing Edition of 175 prints, 559 × 762mm Seizing Hold of a Memory as It Flashes Up is a blind embossing print using the speech of twelve-year old Severn Suzuki, daughter of Japanese Canadian science broadcaster and environmental activist David Suzuki, delivered at the 1992 Earth Summit. In 1992 Ms. Suzuki together with her friends and members of E.C.O., the Environmental Children’s Organization, fundraised the money to travel from Vancouver to Brazil, so they could attend the United Nations Conference on Environment and Development (UNCED) in Rio de Janeiro. At the Earth Summit, Severn Suzuki delivered her speech before 172 representatives of different countries, 108 heads of state or government, some 2400 representatives of non-governmental organizations (NGOs), and 17000 people attended the parallel NGO “Global Forum” had Consultative Status. This particular meeting of the UN was particularly important because one of the significant achievements was an agreement on the Climate Change Convention which in turn led to the Kyoto Protocol. Photograph by Guy L'Heureux © Jacqueline Hoang Nguyen http://www.jacquelinehoangnguyen.com/For-An-Epidemic-Resistance http://www.jacquelinehoangnguyen.com/following/jacquelinehoangnguyen.com/For-An-Epidemic-Resistance Fri, 18 Dec 2009 10:22:58 +0000 Jacqueline Hoang Nguyen 194529 <img src="http://payload.cargocollective.com/1/0/17649/194529/DSC_0223.JPG" border="0" width="670" height="445" width_o="2048" height_o="1362" src_o="http://payload.cargocollective.com/1/0/17649/194529/DSC_0223_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/0/17649/194529/DSC_0247.JPG" border="0" width="670" height="445" width_o="2048" height_o="1362" src_o="http://payload.cargocollective.com/1/0/17649/194529/DSC_0247_o.JPG" align="left" /> For An Epidemic Resistance, 2009 Twenty-five channel sound installation approximately 500 x 600 x 300cm An unexplained laughter epidemic disease-phenomenon occurred in central Africa in 1962 is used here as a conceptual framework in which to situate the installation For An Epidemic Resistance. The social malady commenced on 30th January, 1962 at a mission-run girls’ middle school in the village of Kashasha. An explosion of laughter took place over the course of six months and contaminated several hundred people in the infected community and neighboring villages. I encountered this incident while listening to the WNYC, the New York Public Radio, Radiolab program the episode on laughter. Ellen Horne, senior producer of Radiolab, investigated on-site and her search for an explanation brings us to the idea that laughter is a social mechanism that responds to more than comedy, and it communicates more than mere merriment. According to cultural theorist Marjolein’t Hart, it functions as a true “weapon of the weak.” <img src="http://payload.cargocollective.com/1/0/17649/194529/DSC_0242.jpg" border="0" width="670" height="1006" width_o="2725" height_o="4096" src_o="http://payload.cargocollective.com/1/0/17649/194529/DSC_0242_o.jpg" align="left" /> Photographs by Leo Sjölund © Jacqueline Hoang Nguyen