Dinh Q. Lê's Photo-Weavings Confront Atrocity at 10 Chancery Lane

A posthumous survey of Dinh Q. Lê, curated by David Elliott, is on view at 10 Chancery Lane in Hong Kong from March 20 to May 23, 2026. The exhibition, titled 'Remembrance: A Tribute to the Work of Dinh Q. Lê,' features Lê's signature photo-weavings that slice and stitch iconic images to disrupt easy consumption of trauma. Key works include 'Untitled 1' and 'Untitled 2' (2013), which intervene on Nick Ut's 'The Terror of War' (1972) depicting Phan Thị Kim Phúc fleeing a napalm strike. Lê's weavings block parts of the photograph with colored grids, forcing a delayed recognition. Also on view is 'Skin on Skin Black Mixed No. 9' (2018), a tapestry of Western pornography fragments that critiques Vietnam's tacit tolerance of adult content after internet legalization in 1997. An early work, 'Self Portrait #5 (Portraying a White God Series)' (1989), on loan from Katie de Tilly, interlaces Lê's self-portrait with a Crucifixion scene, reflecting his engagement with Renaissance masters. 'Portrait (from Cambodia Series)' (1998) merges a Khmer Rouge victim's portrait with a stone Buddha at Angkor Wat, drawn from Lê's series 'Cambodia: Splendor and Darkness' after his 1994 return to Southeast Asia and visit to Tuol Sleng Genocide Museum. Lê, who arrived in Los Angeles as a refugee in 1979, developed his weaving technique from grass sleeping mats learned from his aunt. The exhibition is a compact, tightly edited memorial that asks viewers to look longer at images of pain.