Image: Thao Nguyen Phan First Rain, Brise-Soleil video still 2021. Courtesy of the artist. Produced by Han Nefkens Foundation.

Image: Thao Nguyen Phan First Rain, Brise-Soleil video still 2021. Courtesy of the artist. Produced by Han Nefkens Foundation.

5 February – 2 May 2022
Open Tuesday to Sunday 10.00–16.20 until 28 February 2021, then open Monday to Sunday 10.00–17.20
For public information call +44 (0)20 7887 8888, visit tate.org.uk or follow @Tate #ThaoNguyenPhan
Supported by the Thao Nguyen Phan Exhibition Supporters Circle

The production of First Rain, Brise Soleil is kindly supported by the Han Nefkens Foundation

In February 2022, Tate St Ives will stage Thao Nguyen Phan’s most extensive UK exhibition to date. Phan is internationally renowned for her poetic, multi-layered artworks which explore the historical and ecological issues facing her homeland Vietnam, while speaking to universal ideas surrounding ideas of tradition, ideology, ritual and environmental change. Through storytelling, mixing official and unofficial histories, her work challenges what she describes as political amnesia. This exhibition will bring together a selection of Phan’s videos, paintings and sculptures from the past five years, alongside new work exhibited for the first time. This includes First Rain, Brise Soleil 2021, a major new multi-channel film commission, and an accompanying series of paintings.

Phan’s mesmerising work intertwines mythology and folklore with urgent issues around industrialisation, food security and the environment. The threat posed by the destruction and excessive consumption of Earth’s resources is a recurring theme across her practice. Her recent projects have expanded on ‘the beauty and suffering’ of the Mekong River, which runs through Tibet, China, Burma, Thailand, Laos and Cambodia before meeting the sea on the coast of Vietnam. Phan’s latest moving image work First Rain, Brise Soleil 2021 will continue this exploration of the Mekong, proposing a new way of being that draws on indigenous knowledge and respect for the ecosystem.

The exhibition at Tate St Ives will additionally include Becoming Alluvium, Phan’s 2019 video which tells an unfolding story about destruction, reincarnation and renewal of not only the Mekong, but of the necessity for human life to live in respect and awareness of the tangible and intangible world. Composed of video, animation and found imagery, it explores the environmental and social changes caused by the expansion of farming, overfishing, dam construction and the looted heritage as an aftermath of colonialism. The video will be exhibited with the accompanying work Perpetual Brightness (2019–ongoing), a multi-part screen made using traditional Vietnamese silk and lacquer painting techniques. Made in collaboration with artist Truong Cong Tung, the paintings tell imaginary stories of the Mekong and its human and non-human inhabitants.

Also featured will be Mute Grain 2019, Phan’s three-channel film interpretation of the Vietnamese famine of 1945, which took place during the Japanese occupation of French Indochina (1940–45) and killed an estimated 2,000,000 people. The work revolves around a young woman named Tám (August), who becomes a hungry ghost unable to move to the next life, and her brother Ba (March), who anxiously searches for his sister. March and August represent the poorest months of the lunar calendar, when farmers once borrowed money and worked side jobs to sustain themselves. Mute Grain weaves together oral histories with elements of Vietnamese folk tales and the literature of Yasunari Kawabata to reflect on issues of colonialism, agriculture and food security. The exhibition will also present Dream of March and August (2018–ongoing), Phan’s series of suspended watercolour on silk paintings, which expand on Mute Grain’s tale of the two siblings.

Tate St Ives’s exhibition galleries will be transformed into a darkened environment, dividing the film and static works with an installation of hanging jute stalks. During the Second World War, Japanese troops forced Vietnam farmers to grow jute for military supplies instead of rice, contributing to the devastating 1945 famine. This organic, interactive installation, titled No Jute Cloth for the Bones 2019, references the historical and ongoing destruction of Vietnam’s collective consiousness.

Thao Nguyen Phan is curated by Anne Barlow, Director of Tate St Ives, with Giles Jackson, Assistant Curator.

For press information contact kitty.malton@tate.org.uk or call +44(0)20 7887 8730. High resolution press images can be downloaded from Tate's Dropbox.

THAO NGUYEN PHAN

Thao Nguyen Phan (b.1987, Vietnam) lives and works in Ho Chi Minh City, Vietnam. Trained as a painter, she started working in film when she began her MFA in Chicago. Phan exhibits internationally, with solo and group exhibitions including New Museum Triennial, (New York, 2021), Chisenhale Gallery (London, 2020); WIELS (Brussels, 2020); Rockbund Art Museum (Shanghai, 2019); Lyon Biennale (Lyon, 2019); Sharjah Biennial (Sharjah Art Foundation, 2019); Gemäldegalerie (Berlin, 2018); Dhaka Art Summit (2018); Para Site (Hong Kong, 2018); Factory Contemporary Art Centre (Ho Chi Minh City, 2017); Nha San Collective (Hanoi, 2017); and Bétonsalon (Paris, 2016), among others. She was shortlisted for the 2019 Hugo Boss Asia Art Award. In addition to her work as a multimedia artist, she is co-founder of the collective Art Labor, which explores cross-disciplinary practices and develops art projects that benefit the local community. Thao Nguyen Phan is expanding her ‘theatrical fields’, including moving image and what she calls ‘performance gesture’. In 2019, Phan was the recipient of the Han Nefkens Art Foundation – Loop Barcelona video art award, Fundació Joan Miró, Barcelona, Spain. She is also a 2016–17 Rolex Protégée, mentored by internationally acclaimed New York-based performance and video artist, Joan Jonas.