Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)

THROUGH the case study of Trương Tân – arguably one of the most misunderstood figures in Vietnamese contemporary art, this paper highlights the tendency to globalise and politicise queer artists from Southeast Asia via editorial and curatorial categorisation. By taking a contextualityoriented appr...

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Main Author: Le, Ace Duc Phuong
Other Authors: Marc Gloede
Format: Thesis-Master by Coursework
Language:English
Published: Nanyang Technological University 2022
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Online Access:https://hdl.handle.net/10356/157125
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-1571252023-03-11T20:03:18Z Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s) Le, Ace Duc Phuong Marc Gloede School of Art, Design and Media marc.gloede@ntu.edu.sg Visual arts and music::Art museums and galleries THROUGH the case study of Trương Tân – arguably one of the most misunderstood figures in Vietnamese contemporary art, this paper highlights the tendency to globalise and politicise queer artists from Southeast Asia via editorial and curatorial categorisation. By taking a contextualityoriented approach, it also aims to further bridge the academic gap between queer theory and art history, art criticism and curatorial practices in Vietnam. Archival content analysis found that Trương Tân has been consistently labelled as a queer artist who makes homoerotic art by media, galleries, institutions and scholars – either via explicit sensationalisation or implicit association – over the last three decades. Formal and comparative analysis found the artist’s most critical works to be multi-faceted across style, message and medium. A more holistic framework was then proposed to re-evaluate Trương Tân’s practices by looking at the converging identities of the subordinated – not specific to just the gay male – in his art, as they manifested along the multiplicity of anti-aesthetics aesthetics and exhibitive physicalities, and how such have evolved to subvert even themselves in the last three decades. When and where queer elements were detected, such were interpreted alongside the artist’s personal cultural, historical and socio-political contextualities. By dissecting the unsynchronised realities between the external attention on Trương Tân’s works and their intrinsic ground-breaking fundamentals, this paper problematises the lack of agency from artists in general – especially those from an underprivileged region – in framing and projecting their art within the globalised, capitalist dynamics of contemporary art. Master of Arts (Museum Studies and Curatorial Practices) 2022-05-10T13:42:15Z 2022-05-10T13:42:15Z 2021 Thesis-Master by Coursework Le, A. D. P. (2021). Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s). Master's thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/157125 https://hdl.handle.net/10356/157125 en application/pdf Nanyang Technological University
institution Nanyang Technological University
building NTU Library
continent Asia
country Singapore
Singapore
content_provider NTU Library
collection DR-NTU
language English
topic Visual arts and music::Art museums and galleries
spellingShingle Visual arts and music::Art museums and galleries
Le, Ace Duc Phuong
Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
description THROUGH the case study of Trương Tân – arguably one of the most misunderstood figures in Vietnamese contemporary art, this paper highlights the tendency to globalise and politicise queer artists from Southeast Asia via editorial and curatorial categorisation. By taking a contextualityoriented approach, it also aims to further bridge the academic gap between queer theory and art history, art criticism and curatorial practices in Vietnam. Archival content analysis found that Trương Tân has been consistently labelled as a queer artist who makes homoerotic art by media, galleries, institutions and scholars – either via explicit sensationalisation or implicit association – over the last three decades. Formal and comparative analysis found the artist’s most critical works to be multi-faceted across style, message and medium. A more holistic framework was then proposed to re-evaluate Trương Tân’s practices by looking at the converging identities of the subordinated – not specific to just the gay male – in his art, as they manifested along the multiplicity of anti-aesthetics aesthetics and exhibitive physicalities, and how such have evolved to subvert even themselves in the last three decades. When and where queer elements were detected, such were interpreted alongside the artist’s personal cultural, historical and socio-political contextualities. By dissecting the unsynchronised realities between the external attention on Trương Tân’s works and their intrinsic ground-breaking fundamentals, this paper problematises the lack of agency from artists in general – especially those from an underprivileged region – in framing and projecting their art within the globalised, capitalist dynamics of contemporary art.
author2 Marc Gloede
author_facet Marc Gloede
Le, Ace Duc Phuong
format Thesis-Master by Coursework
author Le, Ace Duc Phuong
author_sort Le, Ace Duc Phuong
title Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
title_short Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
title_full Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
title_fullStr Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
title_full_unstemmed Attestation before attention: unclaiming queer from Trương Tân's art (1990s-2010s)
title_sort attestation before attention: unclaiming queer from trương tân's art (1990s-2010s)
publisher Nanyang Technological University
publishDate 2022
url https://hdl.handle.net/10356/157125
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