![]() In addition to connecting with families in Senegal who sent him the archival photographs installed at the exhibition’s entrance, Nguyen collaborated with the descendants of the Senegalese soldiers who, during the 1940s and ’50s, were sent by the French to fight anticolonial uprisings in Southeast Asia, and the Vietnamese wives they brought back home with them. Nguyen explains, “I use the archive as a counterpoint to what I’m doing, creating a counternarrative and working with people that are marginalized or have been disregarded in the dominant narrative to bring their stories to the forefront.” Still from Tuan Andrew Nguyen, The Specter of Ancestors Becoming, 2019 Still from Tuan Andrew Nguyen, The Specter of Ancestors Becoming, 2019 He clarifies that he’s referring to official records, which often preserve only one side or a partial version of history. “I would go out on a limb and say that the archive is quite useless,” he tells the exhibition’s curator Vivian Crockett in a conversation for the accompanying catalog. While research remains integral to Nguyen’s practice, he also understands its limits. In Radiant Remembrance, Tuan Andrew Nguyen’s first solo exhibition in a US museum, the Vietnamese artist expands the possibilities of collective memory and storytelling through film and video installations, as well as archival material and sculptures. Installation view of Tuan Andrew Nguyen: Radiant Remembrance, New Museum, New York, 2023. These moments, spanning several decades, represent generations of the Vietnamese Senegalese community in Dakar, whose stories have often gone untold or have been deliberately suppressed. It’s easy to imagine the mix of black-and-white, sepia, and color prints in the background of someone’s living room, rather than hanging on a gallery wall. Her work is included in the collections of Yale University, the Philadelphia Museum of Art, MIT Library, the Seattle Art Museum, the Walker Art Center Library, and the Museum of Modern Art Library.On the third floor of the New Museum in New York, the elevator doors part to reveal a series of framed photographs in which uniformed soldiers stare stoically at the camera, a groom wraps an arm around his smiling bride on their wedding day, women and children pose for formal studio portraits, and extended families gather around dining tables eating and laughing. She has exhibited at the Rubin Museum, The Factory Contemporary Arts Centre in Vietnam, and the Bronx Museum, among others. Nguyen received an MFA from Yale in 2013 and was awarded the Van Lier Fellowship at Wave Hill in 2014. ![]() The year following, she received a Fulbright scholarship to study lacquer painting in Vietnam, where she remained and worked with a ceramics company for three years thereafter. Born in San Francisco, Nguyen received a BFA from Cooper Union in 2007. She is the founder of Passenger Pigeon Press, an independent press that joins the work of scientists, journalists, creative writers, and artists to create politically nuanced and cross-disciplinary projects. Intersecting geopolitical realities with fiction, her practice addresses lesser-known histories through a blend of myth and visual narrative. ![]() ![]() Tammy Nguyen is a multimedia artist and writer whose work spans painting, drawing, silkscreen, and publishing. ![]()
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