Tag Archives: Chuong-Dai Vo

1975 — featuring artists Anida Yoeu Ali, Amy Lee Sanford, LinDa Saphan, Curated by Chuong-Dai Vo — at University Gallery at UMASS Lowell

at University Gallery at UMASS Lowell
With artists Anida Yoeu Ali, Amy Lee Sanford, LinDa Saphan
Curated by Chuong-Dai Vo
Exhibition runs through Feb 27, 2016

Talk on Thursday, Feb 11, 2016 at 3h30-6h30pm:


The UMASS Lowell Dept. of Art & Design is pleased to present a panel discussion with the artists from 1975, an exhibit of work by Cambodian American artists who engage with themes of war, memory, displacement and globalization. The panel discussion with Anida Yoeu Ali, Amy Lee Sanford and LinDa Saphan will take place in the O’Leary Library room 222 from 3:30 – 4:45, followed by a reception for the artists in the University Gallery in Mahoney Hall. All of these events take place on the South Campus of UMASS Lowell. Please email the Gallery Coordinator, Deborah_Santoro@uml.edu for more information.


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Teaching the Legacies of the Vietnam War — AALR


April 30, 2015 marks the 40th anniversary of the Fall of Saigon, the end of a war that claimed the lives of an estimated 58,260 American troops and over 4 million Southeast Asians across Vietnam, Laos, and Cambodia. In the U.S. today, “Vietnam” signifies not a country but a lasting syndrome that haunts American politics and society, from debates about foreign policy to popular culture. And what of the millions of Southeast Asian refugees the War created? What, in this moment of commemoration and reflection, are the lasting legacies of the Vietnam War / American War for Southeast Asian diasporic communities?


(Re)Collecting the Vietnam War, a special issue of The Asian American Literary Review slated for release in fall 2015, poses these questions to leading artists, writers, and thinkers. Novel in form and approach, the issue is an innovative teaching tool, contemplating the conflict as both remembered and traumatic event through a wealth of original multimedia art, a sweeping flipbook animation running the length of the collection, spreads of critical-creative cartography, and more. Guest-edited by Cathy J. Schlund-Vials and Sylvia Chong, with guest curation by Mariam Lam, Viet Le, and Chuong-Dai Vo, the issue features contributions byMonique Truong, Lan Cao, Kao Kalia Yang, Nick Ut, Yen Le Espiritu, Maya Espiritu,Anida Yoeu Ali, Emily Hue, Sayon Syprasoeuth, Soul Vang, Bryan Thao Worra, An-My Le, Yong Soon Min, Hoi Trinh, Viet Nguyen, Phothyzan Bounpaul, Sovan Philong, Frederic Sanchez, Vandy Rattana, Andre Yang, Nguyen Tan Hoang, Cathy Linh Che,Bao Phi, Mai Der Vang, Jai Arun Ravine, Bee Vang and Louisa Schein, Thi Bui, and Simrat Kang, among others.




(Re)Collecting the Vietnam War forms the core of a teaching program that will virtually connect university classrooms across the country to teach and learn together about the War and the worlds it created. You teach the special issue, and we’ll provide dynamic resources and opportunities for interaction with other classrooms. We’ll have in place “digital extras,” videos and podcasts by editors, curators, and contributors, as well as a shared curriculum of activities and projects building from the issue, including interactive virtual spaces designed to put students in conversation with one another. We’ll also help seed one-on-one videoconferencing between classes for those interested. The goal is a national conversation that builds academic community, a dialogue among students and teachers across the U.S. and beyond that challenges and grows our understandings of the War and its complex aftermath.



To accommodate a wide variety of schedules and class needs, we’re making the commitment open-ended: we’ll have the program live throughout the fall and early winter of 2015, from September through mid-December, with curricular materials and exchange possibilities available throughout—but your class can participate for anywhere from a week to the entire academic term.



10 professors at 9 universities have already pledged to participate, and we expect many more as the program develops: Cathy J. Schlund-Vials, University of Connecticut • Sylvia Chong, University of Virginia • Mimi Khúc, University of Maryland • Lawrence-Minh Bùi Davis, University of Maryland • Catherine Fung, Bentley University • Y-Dang Troeung, Southeast Asia Research Centre, City University of Hong Kong • Caroline Hong, Queens College, City University of New York • Audrey Wu Clark, U.S. Naval Academy • Ma Vang, University of California, Merced • Sue Kim, University of Massachusetts Lowell



This special issue and its teaching program are proudly sponsored by:


Institute for Asia and Asia Diasporas at Binghamton University of the State University of New York • University of Connecticut Asian and Asian American Studies Institute • University of Maryland Asian American Studies Program • Southeast Asia: Text, Ritual and Performance • Race and Ethnic Studies, St. Olaf College • Asian/Pacific/American Institute at New York University • University of California, Berkeley Ethnic Studies Department • Department of English and the Division of Arts and Humanities at Queens College, City University of New York (CUNY) • Department of American Studies, University of Maryland, Baltimore County • University of California, Irvine Department of Asian American Studies • Northwestern University Asian American Studies Program • University of Massachusetts Lowell Center for Asian American Studies • University of Pennsylvania Asian American Studies Program


If you’re interested in joining the teaching program, sponsoring or otherwise supporting the issue, or learning more, please contact us at editors@aalrmag.org.



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Far from Indochine exhibition at the New Art Center — curated by Chuong-Dai Vo

Far from Indochine: Schedule of FREE Events

  • September 12 – October 18, 2014: Gallery open TuesdaySaturday, 1-6pm.
Far from Indochinecurated by Chương-Đài Võ
      The 40th anniversary of the Vietnam War’s end will be in 2015. This exhibition presents three contemporary projects about Cambodia, Laos and Vietnam that engage with the myths and ideas that formed the backdrop of the war.Artists: Dewey AmbrosinoPatty Chang and David KelleyFrédéric Sanchez
Curatorial Opportunity Program exhibition selection.
PanelPanel Discussion:
      Join the exhibition curator, some of the exhibiting  artists, and a visiting MIT history professor as they discuss art production and the relationship between art and politics in Southeast Asia.
OpenStudioArtist in Residence Open Studio with Frédéric Sanchez:
      Come to the open studio of French painter Frédéric Sanchez, New Art Center’s artist in residence during the Far from Indochine show run. He will be working in the Holzwasser Gallery on an installation of a billboard-sized painting that conflates Radical Painting minimalism; the residue of Vietnamese Socialist Realism; and the language of road signs and advertisements.
FamilyDropInFamily Drop in Visit:
      Stop by the gallery for a hands-on art experience with an art expert or use a self-guided gallery tour filled with art activities and games. Complete your day by creating an artwork inspired by your favorite piece on display.
DeweyDewey Ambrosino lives and works in Los Angeles. He received a BFA in Sculpture and a BFA in Industrial Design from University of Illinois, Chicago and an MFA in Art from CalArts; he is currently faculty at Art Center College of Design. His practice examines the relationship between aesthetic phenomena and cultural conditioning through a wide variety of media. His work has been included in exhibitions throughout the U.S., Europe and Asia.

ChristopherGuest panelist Christopher Capozzola is an Associate Professor of History at Massachusetts Institute of Technology, where he teaches U.S. history and U.S.-Southeast Asian relations. He is currently finishing Brothers of the Pacific, a history of Filipino soldiers in the U.S. armed forces in the twentieth century. He is the author of two units on photography in the colonial Philippines for MIT’s Visualizing Cultures website, and is a regular contributor to Art New England.

PattyPatty Chang lives and works in Boston. She works with performance, video, narrative, empathy, the unknown and the document. She is a 2014 recipient of the Guggenheim Fellowship and has exhibited her projects both nationally and internationally.DavidDavid Kelley lives and works in Boston and is Assistant Professor of Art at Wellesley College. He works primarily with photography, video and performance. His projects are a hybrid of documentary and ethnographic practices that make use of imaginary, choreographic and performative strategies. A 2010 resident in the Whitney Museum of American Art Independent Study Program, Kelley received an MFA from University of California, Irvine.
FredericFrédéric Sanchez was born in Auxerre, France. His work is influenced by Radical Painting, as exemplified by Olivier Mosset, and issues of globalization. His first solo show took place in Hanoi, Vietnam, where he often travels to develop his research. His work has been shown in Europe, Asia and the U.S. Curation is also a part of his art process; he co-founded the nomad gallery “L’Éclair” to present collective projects (www.l-eclair.fr). In 2013, he curated a show about the color red in the context of Vietnam (The Observatory, HCMC) and China (Bazaar Compatible Program, Shanghai).

ChuongDaiChương-Đài Võ is an independent curator and writer based in Southern California. Her research and curatorial interests focus on decolonial aesthetics, diaspora, war, assemblage, and alternative practices. Among her curatorial projects are On the Streets, an apexart Franchise Program selection, and the forthcoming An Aesthetics of Slowness, a Curatorial Programs selection at Dorsky Gallery in New York City. She has received fellowships and grants from Asian Cultural Council, Fulbright Program, Mellon Foundation, National Endowment for the Humanities, and University of California Pacific Rim Research Program, among others.
Patty Chang and David Kelley, Route 3
Patty Chang and David Kelley, Route 3, 2011,
3-channel synchronized HD video projection, 27:21 min

Image courtesy of the artists

About The New Art Center 

     The New Art Center supports the development of visual artists and cultivates a community that appreciates art.

     We serve over 2,500 students annually in hundreds of classes and workshops. We offer an inclusive, multi-generational approach to art education that has served children, teens and adults at all skill levels since 1977. We also mount critically acclaimed exhibitions along a spectrum from the local community to the international art world.

Gallery Hours: Mon-Fri, 9am-5pm; Sat 1-5pm. The Main Gallery is wheelchair accessible. Please call (617)964-3424 for more information.


Address: 61 Washington Park, Newtonville, Massachusetts 02460

Transportation: The nearest T stop to the New Art Center is Newton Highlands on the Green Line (D/Riverside), then take the #59 bus on Walnut Street, exit at CVS. Call the MBTA at (617) 722-3200 for schedules + fare information. The NAC is also accessible from the Mass. Pike, Route 128, or the Newtonville stop on the commuter rail (Framingham line). 

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1975: Group Exhibition of Diasporic Cambodian Art — Kickstarter campaign!

A Kickstarter campaign to support the exhibition “1975” Group Exhibition of Diasporic Cambodian Art at Topaz Arts in Queens, NY

1975 kickstarter

What is this fundraiser for? 

An exhibition titled 1975, featuring works by Anida Yoeu Ali, Amy Lee Sanford, and LinDa Saphan, and curated by Chuong-Dai Vo.

Opening reception: April 27, 2013, 6pm-8pm
On view: April 27-May 26, 2013, by appointment & Saturday Noon-4pm
Location: Topaz Arts, 55-03 39th Avenue, Queens, NY 11377

What is the exhibition about? 

This exhibition brings together three diasporic Cambodian, woman artists whose works exemplify the dynamic contemporary art scene in Phnom Penh: Anida Yoeu Ali’s photographs and video installation recall life in a refugee camp following the fall of the Khmer Rouge; Amy Lee Sanford’s video and prints share with viewers the process of uncovering a difficult history, the turmoil of the late 1960s and 1970s, as told in letters written by a father she never knew; and LinDa Saphan’s drawings of apartment buildings and architectural monuments in current-day Phnom Penh take us back to her mother’s memories of living there.

Why is this exhibition important?

The Khmer Rouge regime killed 1.7 million people and left another one million as refugees; 90% of the country’s artists were killed or were forced to flee. In the last three decades, a new generation of artists has been rebuilding the country and creating a new cultural scene.

This exhibition is planned to coincide with Season of Cambodia, an unprecedented initiative bringing more than 125 Cambodian artists to New York City, to highlight the post-1979 rebirth of the arts in the Southeast Asian country.

This exhibition, 1975, is historically significant because it is the only visual art event that foregrounds the contributions of woman artists and diasporic Cambodian artists to the construction of a post-war and post-genocide society. Although the dates for the exhibition coincide with the Season of Cambodia festival, the exhibition is independently organized and funded.

There are few exhibitions of contemporary Cambodian art in the world in general, and in the U.S. in particular. Your contribution will help us make this exhibition happen!

Who are the artists in the exhibition?

Anida Yoeu Ali is an artist and scholar whose works span performance, installation, video, poetry, public encounters, and political agitation. Utilizing an interdisciplinary approach to artmaking, her installation and performance works investigate the artistic, spiritual and political collisions of a hybrid transnational identity. She is a collaborative partner with Studio Revolt, an independent artist-run media lab in Phnom Penh, Cambodia, where she currently resides. For further details about her work and process, visit www.studio-revolt.com.

Amy Lee Sanford is a Cambodian American visual artist who works cross media, from drawing and sculpture to performance and video. Her art addresses the evolution of emotional stagnation, and the lasting psychological effects of war, including aspects of guilt, loss, alienation, and displacement. She was born in Phnom Penh during the Lon Nol government of the early 1970s; her father, an intellectual, sent her out of the country with his American wife nine months before the Khmer Rouge took over the country. Currently, she is an artist-in-residence with the Lower Manhattan Cultural Council, through the Season of Cambodia events taking place in New York. Her work can be seen at www.amyleesanford.com.

LinDa Saphan was born in Phnom Penh, Cambodia. Fleeing the Khmer Rouge regime, she and her family lived for more than two decades in Canada and France. In 2005, Saphan co-organized Visual Arts Open, a landmark contemporary art festival that introduced Cambodian artists to the international art market. Recognizing a lack of resources to support women artists in Cambodia, she established the “Selapak Neari” program the same year, providing workshops, networking opportunities, and an exhibition space for emerging women artists. At the same time, she curated the first group exhibition at the Ministry of Fine Arts and Culture. Saphan earned a PhD in Social Anthropology from the Sorbonne in 2007. Her work can be seen atwww.saphan.info.

Who is the curator?

Chuong-Dai Vo is an independent curator and writer based in NYC and a Visiting Scholar at MIT. Her curatorial and scholarly work focus on how war and diasporic migrations affect the production of literature, cinema and visual culture, in particular in the circuits between Asia and the U.S. She has received fellowships from the Mellon Foundation, the Fulbright Program and the University of California Pacific Rim Research Program, among others. Her most recent project was a co-curated group exhibition titled War is for the Living.

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