Calligraphic Regimes in 1990s Vietnamese Art
In a recent article in ARTMargins, Pamela N. Corey examines the transformation of the Hanoi art scene during the 1990s. Artists such as Vũ Dân Tân, Trương Tân, and Nguyễn Văn Cường shifted their styles by integrating text into their artwork, moving away from the strict confines of socialist realism. Corey relates these developments to the influences of globalization and the exploration of personal identity. She highlights the distinctive visual landscape of urban Vietnam during this postsocialist era, marked by historical texts, advertising, and propaganda, which reshaped the perception of art within this dynamic environment. The article is included in Volume 13, Issue 3.
Key facts
- Essay published in ARTMargins, Volume 13, Issue 3, pp. 13-35.
- Author: Pamela N. Corey.
- Focuses on 1990s Hanoi contemporary artists.
- Artists discussed: Vũ Dân Tân (1946-2009), Trương Tân (b. 1963), Nguyễn Văn Cường (b. 1973).
- Examines written form as crucial to pictorial logic.
- Links emergence of contemporary art in Vietnam to globalization and selfhood.
- Highlights postsocialist graphic regime: historical inscriptions, commercial signage, propaganda posters.
- Argues (calli)graphic regime marked radical shift in art perceptions.
- Available at MIT Press with subscription.
- Published October 15, 2024.
Entities
Artists
- Vũ Dân Tân
- Trương Tân
- Nguyễn Văn Cường
- Pamela N. Corey
Institutions
- ARTMargins
- MIT Press
Locations
- Hanoi
- Vietnam