Along with video art and body art, installation art started developing in Viet Nam in the 1970s. It has gained in popularity over the years and has been the catalyst for the rapid development of contemporary arts across the country. Artists attempting to break through in this particular area play a risky game as there are many difficulties and potential failure ahead of them. Dang Thi Khue, one of the pioneers of installation art, will help us enter it's fascinating world. Can you give a brief description of installation art?
It is the artistic language of the era we are living in which is able to express all aspects of life.
You are a veteran painter of Vietnamese fine arts but have pursued installation art since its conception. What makes you so passionate?
I didn't meant to be a pioneer. I came across it accidentally when the term ‘installation art' was not really defined and there was little information about it in Viet Nam.
I got acquainted with installation art without realising it. Naturally, I tend to use various materials, expressions and techniques in my work. I want my audience to contemplate my works from different perspectives. Sometimes, I even shorten the distance between visitors and artwork to help them gain a better understanding of the pieces.
While I find ways to develop my art and to satisfy my passion for installation art, I realise that traditional art has many unique values. You can see some traditional elements displayed in contemporary artworks.
The discovery of this form of art made me determined to dedicate myself to installation art.
Installation art seems to be a luxurious hobby as it takes a lot of time and money and it's not easy to sell finished works because they are difficult to understand. What do you think about this?
Creativity is to find something new, that hasn't been shaped, so it is always attractive. Artists work hard but sometimes gain nothing. Adventurous and non-profitable, they're the pure and noble values of art.
In some countries, this kind of art receives sponsorship not only from the Government, but also from private organisations. I believe that this policy will be introduced in Viet Nam.
Would you share your opinions about the relationship between Vietnamese installation with the rest of the world, as well as your prediction about the art's development in the country?
Vietnamese art is quite special and unique but we lack experience, creative power and the ability to use materials, especially in large-scale artworks.
Art can't be programmed and predicted. It always changes, just like life. I believe that installation art will be a main and important factor in contemporary art development in Viet Nam.
Installation art has its position in Viet Nam, thanks to the tireless efforts of the artists. Many Vietnamese artists have participated in international exhibitions and displayed their artworks abroad.
However, the public are yet to fully comprehend the work, due to a lack of awareness.
The number of visitors who don't understand installation art is large. Who is responsible for that?
The public is not at fault if they do not understand the art's meaning. To make an artwork become a bridge between its artist and the audience, the artist has to give them a key to decode the work, especially in installation art, a new language, which needs to be approached in a different way to other arts.
Visitors are accustomed to understanding an artwork through its name, content and image, now they have to know the process of creating the work, and use all their senses to find out. So in contemporary art, apart from the creator's expressions, the role of curators – organisers, the connectors between artists, artworks and the public – is very important.
The first curator training courses have been launched but it's also important to say that the role of the media is indispensable in popularising the new art. — VNS