URL: https://apap.qagoma.qld.gov.au/viet-nam-and-the-asia-pacific-triennial/
The ninth Triennial (APT9) offered an opportunity to work with two Vietnamese artists who introduced a feminist perspective to the exhibition. Independent filmmaker and moving-image artist Nguyễn Trinh Thi’s subtle and brilliant installations juxtaposed non-fiction with popular movies, found photographs and her own recorded footage. Acknowledging the artist’s position of power behind the lens, Nguyễn’s practice addresses overlooked or misinterpreted histories. She focuses on the individuals from the Đạo Mẫu and Cham communities, as well as those oppressed by structures of power and patriarchy, including women, minorities and the colonised. In APT9, she premiered Fifth Cinema 2018, an important theorisation of an indigenous cinema combining her own moving images with found footage. Nguyễn explained the impetus for her works as empowerment:
I just want to give agency to the suppressed voices. So I think the most important gesture in this work is that of giving a woman a chance to speak.27
Ly Hoàng Ly presented a group of works in various media that addressed experiences of motherhood, domestic life, immigration and displacement. An artist ‘book’, boat home boat 2016 — part of her series of works titled 0395A.ĐC 2011–ongoing — took on the sculptural form of a concertinaed book, and was shown alongside Ashes 2013, a poetic collection of sculptures and paintings reflecting on essence, which used cow bones from Phð soup as a point of departure.
Ly Hoàng Ly, Việt Nam b.1975 / Ashes (installation view, with the artist, APT9, Gallery of Modern Art, 2018) 2013 / Cow bone, iron, ceramic, wood, canvas / 21 parts: 9 x 28 x 28 (each) / Courtesy: The artist / Photograph: C Callistemon, QAGOMA