From June 25th to July 25th, the Young Artists Club – Vietnam Fine Arts Association, in collaboration with the Vincom Center for Contemporary Art, introduces the exhibition “What Are We Playing With?” featuring 125 works by 103 young artists from across the country. This exhibition brings a lively and meaningful art playground amid these tumultuous times.
Based on the book “What Are You Doing With Your Life?” by renowned philosopher Jiddu Krishnamurti, the exhibition “What Are We Playing With?” serves as the voice of young artists about life, thoughts, and the stories that young people are concerned with and exploring. Here, “playing” refers to fresh experiments in artistic practice or questions that artists pose in the process of discovering themselves and their connection to the world.
Entrance hall to the exhibition “What Are We Playing With?” at Royal City
In today’s society, young people have various concerns and passions and have early on clearly defined the artistic path they will pursue. They embody a free spirit in thought as well as diverse expressions in various forms of art and materials, from traditional languages like painting, sculpture, and graphics to modern digital applications such as video art or installations. The themes of the artworks are also very diverse, including contemplations, observations of everyday life, deeply introspective ideas, or conflicts between reason and emotion. Each artwork is a genuine expression of a unique human perspective – a world that each artist creates, in search of their own artistic identity.
There are very direct, honest works reflecting life, such as: “Potted Trees” by Triệu Phương; “In the Hàng Trống Flower Garden” by Hoài Giang and Nguyễn Trang, but there are also deeply thoughtful and introspective works by young people seen in the triptych “Illusory Self”; “Primitive” and “Decay” by Vũ Tuấn Việt. On the other hand, there are profound conceptual works like “Mind of All Beings” by Lại Minh Huyên; “The Space Between Us” by Lê Yến Nhi; “Among Humans” by Hoàng Tiến Quyết, or the work “Source” by The Art Gang group.
NGUYỄN HƯNG GIANG – Me and Me, and Me, 2021. Oil on canvas
VÀNG HẢI HƯNG – Live, 2021. Oil on canvas
NGUYỄN TÚ QUYÊN – Quỳnh, 2021. Lacquer
NGUYỄN CẨM NHUNG – Sound, 2021. Silk
HOÀNG TIẾN QUYẾT – Among Humans 2, 2021. Lacquer (excerpt)
TRẦN HƯƠNG GIANG – Sun Painting 1 (excerpt), 2021
The exhibition also features familiar young artists such as Phạm Đình Tiến, Phạm Anh, Tử Mộc Trà, Đinh Duy Tôn, Vàng Hải Hưng, Cấn Văn Ân along with some promising faces like Khương Quyền, Nguyễn Ngọc Long, Kim Ngân, Dương Nguyễn, Đào Đức Lộc, Trần Thị Thu Thảo, Lê Nhật Anh, and Nguyễn Hải Linh. Ultimately, “What Are We Playing With?” is a creative and fresh response from genre to form, from traditional art forms like painting, sculpture, photography, installation to modern ones like graphics, multimedia, and video art. This is a positive answer from the talented young generation to the country’s contemporary art scene.
Commenting on the exhibition “What Are We Playing With?”, painter Lương Xuân Đoàn – President of the Vietnam Fine Arts Association wrote: “In any era, young people are often assisted with new perspectives, courage, and confidence to create new chapters for contemporary art. Our young artists are experiencing different days and seasons as the world flattens and cultural integration becomes global. Proudly upholding the pure beauty of the Vietnamese soul is their natural mission to navigate through this pivotal decade.”
Painter Đỗ Hiệp – former Head of the Young Artists Club, commented: “This year, the club has made a new change, participating in a larger, more expansive space with many more challenges for the first time. They are overcoming and rising with a refreshing spirit.”
LÊ THỪA HẢI – Excerpt from “Green”. 2020
BATZAYA Ulzii Orshikh – Nomadic Mongolia (excerpt). 2020. Oil on canvas
HÀ XUÂN HIẾU – Overcrowded 3 (excerpt). 2021
LÊ THỊ QUẾ HƯƠNG – Lazy Cat. 2021. Silk
NGUYỄN ĐÌNH VĂN – Forest Spirit. 2021. Lacquer
To delve into the authors and works in the exhibition “What Are We Playing With?”, we divided it into two parts: Painting and Sculpture-Video Art-Installation. Regarding the paintings on display, they predominantly explore themes of the colors of life, the self, and society with strong conceptual elements.
The works focusing on the colors of life largely depict the pure beauty of the landscapes and people where the artists live. Some notable works include the trio of landscape paintings “Old Street on a New Day” by Lê Anh Thư, “Blue” by Ngô Diễm Hạnh, and “Night Flowers” by Vũ Văn Tịch, which are displayed together at the beginning of the exhibition. In “Old Street on a New Day,” artist Anh Thư uses a realistic style and oil paints to portray the simple, familiar beauty of Hanoi: a corner of an old apartment complex with sunlit yellow walls, bougainvillea bushes, and street vendors. This scene, common in Hanoi, evokes deep emotions in those from the city. In contrast to “Old Street on a New Day,” although also a landscape, Ngô Diễm Hạnh’s “Blue” does not delve into details but uses shades of blue to evoke the beauty of a wall with shadows of trees. “Blue” is rich in impressionistic qualities, focusing on composition, shapes, and areas of color. Meanwhile, Vũ Văn Tịch’s “Night Flowers” uses lacquer, meticulously exploiting the distinctive language and techniques of lacquer art to vividly capture the movement of canna flowers at night. The red color used for the petals highlights the beauty of the flowers against the dark background. Through different materials and expressive styles, viewers can perceive the landscapes through the perspectives of these young artists.
The theme of the self and personal identity is arguably the most prominent, explored through many self-portraits. This is understandable as the artists, aged 20 to 35, are mostly at the beginning of their professional artistic journeys with a long time ahead to explore and discover. This period is when they most want to express themselves and seek answers to their thoughts and concerns on their path to finding their unique voice. Notable works include “Bound” by Lê Vũ, “Self-Portrait in Orange Shirt” by Hải Linh, and a series of self-portraits like “Me and Me, and Me” by Nguyễn Hưng Giang, “Alone” by Thảo Nguyên, “Sun Painting” by Trần Thị Hương Giang, and “The Journey” by Mạnh Trần. Lê Vũ’s “Bound” portrays the artist in a state of emotional confinement, painted during a three-day self-imposed isolation from the outside world, using painting as a means of release. “Self-Portrait in Orange Shirt” by Hải Linh was also created during the Covid-19 lockdown, a time when the artist decided to leave a full-time job to focus on creating art.
VŨ HOÀNG – Presence. 2021
PHẠM ANH – Waning Moon. 2021. Oil on canvas
NGUYỄN HÀ ANH – Dream. 2021
LẠI MINH HUYỀN – Void Series. 2021
VŨ TUẤN VIỆT – Decay 1. 2021. Oil on canvas
PHẠM THANH TUẤN – Reunion Day. 2020
Thus, the work reflects a state of both confusion and tranquility, with a direct gaze at the viewer creating a personal connection. Nguyễn Hưng Giang’s “Me and Me, and Me” depicts the artist in four emotional states: from despair and frustration to anger, then a central state of realization, depicted with upward-looking eyes and holding a brush, symbolizing the moment of understanding that pursuing art is the answer. The final state shows the artist standing, with a hand on the shoulder of the third state, symbolizing self-reassurance to pursue their desired path. Mạnh Trần’s “The Journey,” painted after the Covid-19 outbreak when travel became difficult, underscores the importance of journeys. Using a surreal and symbolic painting style, the artist captures the beauty of travel – experiences that broaden horizons and impart knowledge. With bright colors and a central sunset scene, the artist conveys a positive belief in a brighter future with controlled pandemics and resumed travels.
While the themes of the colors of life and personal identity are highly personal, the theme of society brings broader reflections on life and society at large. Notable works in this theme include Vàng Hải Hưng’s diptych “Competition” and “Living,” Đình Tuấn’s “Planning,” Phạm Anh’s “Waning Moon,” and Vũ Tuấn Việt’s triptych “Illusory Self,” “Decay,” and “Primitive.” Vàng Hải Hưng’s diptych uses the image of two fighting cocks in “Competition” as a symbol for humans, implying that life is a competition with winners and losers, always under the scrutiny of onlookers. The rooster flock in “Living” symbolizes individuals in society, a group subjected to uniform standards and control. Despite this, Hải Hưng maintains a positive outlook, depicted through the red tones symbolizing faith and hope. From afar, the myriad red combs resemble a beautiful, romantic red flower garden, conveying the artist’s faith in the future. Phạm Anh’s “Waning Moon” series also uses red tones to depict human suffering and frustration. However, these seemingly negative elements are artistically romanticized through delicate brushwork and smooth color transitions. Vũ Tuấn Việt’s triptych explores the relationship between the individual and society in a cubist style. In “Illusory Self,” he depicts a young woman at the peak of her beauty and power, surrounded by admirers seeking to share her light. In contrast, “Decay” portrays the same woman in her later years, her individual self shrinking as she reintegrates with her surroundings, becoming an observer of life. In “Primitive,” Việt seemingly self-portrays as a primal figure struggling to keep pace with societal changes.
Through diverse and profound expressions, these young artists bring viewers closer to their personal observations and reflections.
Regarding Sculpture-Video Art and Installations:
PHAN VŨ TUẤN – Village Bamboo Grove. 2021. Watercolor
NGÔ DIỄM HẠNH – Sweet. 2021. Oil on canvas
VŨ CÔNG MINH – Little Tiger. 2021
NGUYỄN PHẠM ĐÌNH TUẤN – Planning. 2021. Oil on canvas
THẢO NGUYÊN – Alone. 2021
Like the themes explored by young artists in their paintings, the Sculpture-Video Art and Installation works draw inspiration from personal identity, love, nature, and societal issues.
Firstly, works inspired by love, self-identity, and personal essence. In “My Love” by Đinh Duy Tôn, created during a period of love, the artist conveys intimacy and happiness. The stainless steel material is polished to a high shine, with two intertwined blocks suggesting an inner movement, symbolizing two people dancing closely. Similarly, Nguyễn Dương’s “Happiness,” inspired by the trending “Winx Magic” transformation theme popular on social media, brings light-hearted and fresh emotions to the audience. The piece features playful, chubby “fat bird” figures with small, delicate wings, symbolizing joy and freedom. Despite their small size and solitary nature, these figures, with their inherent responsibilities, never give up. In another perspective, “Happy” is part human body, part animal, part insect, evoking multifaceted associations. It suggests that appearances can be deceiving and understanding can be complex.
In contrast to the state of being in love, the emotion felt from a lonely, fragile young man is akin to “Flowers in the Wind”. The composition of the work appears “fragile” when viewed. This piece depicts a person standing before life, seemingly too small in a vast world, like delicate flowers in the wind. Reflecting on human emotions both in love and loneliness, Đinh Duy Tôn uses his personal feelings to convey his private thoughts through his artworks, drawing inspiration from love. The work “Wave Step” by Lê Trọng Thanh is inspired by waves, sometimes fierce, sometimes gentle, mirroring the unpredictable yet sometimes tender psychology of a girl in love. The artist uses materials like paper mâché, recycled newspapers, and glue to form a mysterious and alluring image of a girl sitting by the sea.
Phạm Đình Tiến, a lecturer in the Sculpture Department at the Vietnam University of Fine Arts, adds a personal and profound touch with “Each Day and One Day”. The two displayed works are mixed together to imply the existence and appreciation of life. “One Day” is a video recording the decomposition process of the work – a self-portrait of the artist, filmed 16 times with 16 self-portraits. Tiến first practiced direct filming at his solo exhibition in 2017, showing the audience this decomposition. Using rustic, close, but easily degradable materials, juxtaposed with a silver-plated portrait on glass reflecting back the self, the work is inspired by the song “Two Million Years” by rapper Đen Vâu. The precious material symbolizes the bitterness of life, conveying messages about life and the importance of living meaningfully.
Nguyễn Hữu Tùng – “Symbiosis”. 2020. Paper, aluminum, lacquer. 85x80x50cm
Bùi Thị Vân Anh – “Epiphyte”. 2021. Stainless steel, mica. 80x60x50cm
Lê Sinh Trưởng – “Rotation”. 2020. Stainless steel. 120x80x80cm
Vũ Tuấn Đạt – “Signature II”. Stainless steel. 60x90x25cm
In the works inspired by a love for life, the most notable is “Spreading” the good values and connecting each person’s inner self with life. Hoàng Thị Duyên’s “Spreading” draws from her inner self in the current rhythm of life. Life consists of different rotating motions we need to overcome. There are inevitable pressures and fatigue, but when we know how to spread the good things we have to others and learn to face difficulties, everything becomes easier to resolve. The work uses deliberately arranged curves, combining the hard material of iron with round steel balls to create the feeling of blooming flowers, both strong and soft, spreading to everyone in today’s life rhythm.
With “Signature II”, unique strokes have always been an inspiration I pursued since high school. I wanted to explore and create new characters to satisfy myself. It also led me to the path of art, realizing previous ideas. From characters on paper, I transformed them into three-dimensional forms so that everyone could perceive each angle and image, with each angle reflecting a different character in each person’s mind. I express the characters that evoke my emotions, bringing them to reality as a gift, embedding my thoughts in them. I hope many people will recognize and empathize with these emotions, or see the character that emerges in their feelings. Such interactions and perceptions of the work bring me great joy.
“Life’s Dance” by Đào Nhật Minh evokes the rise and vitality of life sprouts, or “Sea Dance” inspired by the waves of Phú Quốc. When the author quietly observed the rhythmic movements of water, they discovered the hidden allure beneath the sea surface. The artist used basalt from the Central Highlands to create a 130 kg solid form. Overall, it resembles the shape of a chambered nautilus showcasing itself, robust yet graceful.
Phạm Đình Tuấn – “Inside”. 2020. Copper. 90x45x45cm
Lê Trọng Thanh – “Wave Step”. 2021. Paper. 80x40x50cm
Phạm Ngọc Tú – “Peony”. 2021. Composite. 60x50x50cm
In addition to works inspired by love for oneself and nature, there are stories inspired by social issues such as Thanh Túc’s series “Distance and Connection”. “Winter – Winter Rain” by Trần Công Định conveys the emotions of laborers in the late afternoons, thinking about family burdens, worries, and sorrows lingering in their hearts. With concise, solid, and minimalist welded iron forms, Trần Công Định brings viewers emotions and empathy, making them feel closer. Unlike formally trained artists, multimedia practitioners Thanh Mai and Bằng Giang with “Fragrant Flowers, Strange Fruits” draw inspiration from issues of stigma, particularly body shaming. Through humorous yet dramatic play with fruits, using techniques like freezing moments and observing the rotting process over several days, they invite viewers to reflect on these fruits’ fate, which might not be the usual reaction in everyday life. Each fruit reacts differently over the same period of being “forgotten” and “neglected”. What settles? What remains? Throughout the storage process, the containers had to be slightly open to release gas and prevent explosions. But can this “venting” continue indefinitely? No one can maintain such a state of restraint forever. “Fragrant Flowers, Strange Fruits” is a practice of transformation, sending a message about appreciating life. In the video art “Old Dream” by the HH60 student group, they discuss valuing precious things, loved ones, and family while still young.
In conclusion, the exhibition “What Are We Playing?” is a creative and prominent response from young artists in the development stream of Vietnamese Contemporary Art.
