{"id":5777,"date":"2021-08-23T10:38:08","date_gmt":"2021-08-23T08:38:08","guid":{"rendered":"http:\/\/skaneskonst.se\/?p=5777"},"modified":"2022-01-12T16:25:29","modified_gmt":"2022-01-12T15:25:29","slug":"presence-in-absentia-3-disappearing-portraits","status":"publish","type":"post","link":"https:\/\/skaneskonst.se\/en\/presence-in-absentia-3-disappearing-portraits\/","title":{"rendered":"Jacqueline Ho\u00e0ng Nguy\u1ec5n: Presence in Absentia"},"content":{"rendered":"\r\n\r\n\r\n<h3>Jacqueline Ho\u00e0ng Nguy\u1ec5n<br \/>Presence in Absentia: 3 Disappearing Portraits<\/h3>\r\n<p><br \/>Sep 18\u2013Oct 17, 2021<br \/>Opening: Sep 18 sep<br \/>Performance and finissage: Oct 17<\/p>\r\n\r\n\r\n\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">Jacqueline Ho\u00e0ng Nguy\u00ea\u0303n\u2019s <em>Presence in Absentia<\/em> draws from the Buddhist tradition of mandalas: intricate, laborious designs that symbolize the universe\u2014and that are created to be destroyed. This work is an exploration of love, kinship, and power in the face of colonial violence, history, and the unyielding force of time.<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">The work features large-scale portraits drawn in colored sand. The artist based the images on family photographs inherited from her great-grandfather Nguy\u00ea\u0303n Kh\u01b0\u01a1ng (1894-1974). On October 17th, to mark the end of the exhibition, these portraits will be swept away in a performance by artist and choreographer Khamlane Halsackda.<\/div>\r\n<div>\u00a0<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\"><em>Presence in Absentia<\/em> is Nguy\u00ea\u0303n\u2019s latest work to emerge from her PhD research at Konstfack and KTH Royal Institute of Technology in Stockholm. But her examination of the fragility of the portraits and of their source materials\u2014of the stories and lives of those who appear in them\u2014go beyond artistic research and applied decolonial theory. These works also hold space for an experience familiar to many diasporic people: the paradox of constant loss and gain.<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">\u00a0<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">Curator: C. Grace Chang<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">\u00a0<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">ARTIST BIO<\/div>\r\n<div>\u00a0<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">Jacqueline Ho\u00e0ng Nguy\u1ec5n is a visual artist using archives and a broad range of media to investigate issues of historicity, collectivity, utopian politics and multiculturalism via feminist theories. Currently based in Stockholm, she is a PhD candidate in the \u2018Art, Technology and Design\u2019 program at Konstfack University of Arts, Crafts and Design and KTH Royal Institute of Technology. Nguy\u1ec5n previously completed the Whitney Independent Study Program, New York, in 2011, having obtained her MFA and a post-graduate diploma in Critical Studies from the Malm\u00f6 Art Academy in 2005, and a BFA from Concordia University, Montreal, in 2003.<\/div>\r\n<div class=\"cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle\">Her work has been shown internationally, including at the Bonniers Konsthall, Stockholm (2021); Trinity Square Video, Toronto (2019); The J\u00falius Koller Society, Bratislava (2019); CAMPLE LINE, Dumfries (2019); Sharjah Art Foundation, Sharjah (2018); Cantor Fitzgerald Gallery, Philadelphia (2018); MAMA, Rotterdam (2018); SAVVY Contemporary, Berlin (2017); EFA Project Space, New York (2016); Mercer Union, Toronto (2015); MTL BNL at the Mus\u00e9e d\u2019Art Contemporain, Montreal (2014); Kunstverein Braunschweig, Germany (2013); Apexart, New York (2013). In 2017, Nguy\u1ec5n was the Audain Visual Artist in Residence at Simon Fraser University in Vancouver, and participated in the fourth cycle of NTU Centre for Contemporary Art Singapore\u2019s Residencies Program.<\/div>\r\n\r\n\r\n","protected":false},"excerpt":{"rendered":"<p>Jacqueline Ho\u00e0ng Nguy\u1ec5n&#8217;s Presence in Absentia is a series of ephermal portraits. In this latest work, she explores love, memory, and the fragility of diasporic connections. More information TBA!<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[38],"tags":[],"class_list":["post-5777","post","type-post","status-publish","format-standard","hentry","category-utstallning"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["sv","en"],"languages":{"sv":{"title":true,"content":true,"excerpt":true},"en":{"title":true,"content":true,"excerpt":true}}},"acf":[],"_links":{"self":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/5777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/comments?post=5777"}],"version-history":[{"count":14,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/5777\/revisions"}],"predecessor-version":[{"id":6114,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/5777\/revisions\/6114"}],"wp:attachment":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/media?parent=5777"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/categories?post=5777"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/tags?post=5777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}