Bill Nguyen on the Fifth Anniversary of The Factory

Ian Tee

Bill Nguyen is an artist-curator committed to developing alternative, locally-driven methodologies and platforms for curation in Vietnam. After graduating from Nottingham Trent University in the United Kingdom in 2009, he returned home and engaged with the arts community in different capacities as an artist, educator, writer and curator. From 2009 to 2013, Bill co-led education programmes at Hanoi DOCLAB. He also co-founded the non-profit art space Manzi (Hanoi), and has been collaborating with Nha San Collective as a freelance curator since 2013. In 2017, Bill joined The Factory Contemporary Arts Centre (Ho Chi Minh City) as Assistant Curator.

On the occasion of The Factory’s fifth anniversary, Bill reflects on the institution’s achievements and evolving role, and shares his views on the developing art scenes across different cities in Vietnam.

I would like to start the interview by discussing ‘Home: Looking Inwards to the Outer World’, an initiative which began in March 2020 at the onset of the Covid-19 pandemic. What are the aims behind this project? Did The Factory have to rethink its role in the past year?

‘Home: Looking Inwards to the Outer World’ started when the first social distancing regulations were put in place in Vietnam, turning everyone into homebound bodies. At The Factory, we were determined to continue supporting artistic production. We understood that, as cultural workers, we must go on maintaining our work with what we are gifted: the ability to create. During times of uncertainty and anxiety like this, it is the language of humanity, of literature, poetry, music and the visual arts that is most powerful. It calms us down, lifts us up, and drives us forward.

Embracing the fact that everyone had to resort to online communication, we invited our artist community to delight in the basics and sketch, write a poem, shoot a video or perform a melody. We have since been able to return to some level of normalcy in Vietnam. Thus after 12 months of sharing these resulting artistic reflections via our social media channels, the project is finally realised as a physical exhibition. It is a reminder of what we have gone through and achieved so far.

Another programme that continued was the third edition of ‘Pollination’ (2018 − ongoing), featuring artists Maryanto and Ruangsak Anuwatwimon as well as curators LIR and Kittima Chareeprasit. It is hosted by MAIIAM Contemporary Art Museum in Chiang Mai, with the Sidharta Aboejono Martoredjo (SAM) Art & Ecology Fund returning as a co-sponsor. What are the benefits and drawbacks of focusing on the region’s network of private art institutions?

Conceived specifically to cater to the independent landscape of artistic initiatives in Southeast Asia, ‘Pollination’ aims to foster collaboration among local institutions in this region, by seeking both financial support and mentorship expertise. Across the three previous and current editions, we have seen fruitful collaborative exercises among emerging artists, curators and their mentors from Vietnam, Indonesia, Malaysia and Thailand.

These neighbouring countries possess a similar characteristic: a proactive community of artist collectives that drives the development of their respective contemporary art scenes. They also share the same dilemma that the majority of their contemporary art activities occur outside of statesponsored cultural institutions. When like-minded institutions are brought together, the problem is tackled on a more direct, non-bureaucratic and intimate level. This is because they acknowledge not only the potential advantages of grassroots effort, but also the struggles their neighbours have to endure. The only drawback has been that Covid-19 has prevented past and current ‘Pollination’ organisers and participants from regrouping in Chiang Mai for the opening of the latest exhibition ‘The Hunters’.

‘Spirit of Friendship’ (2017−ongoing) is a research project documenting the role of artist friendships in the development of experimental practices in Vietnam. The online platform hosts not only a historical timeline and archival materials, but also critical essays and interviews. Could you talk about the decision to adopt friendship as a research framework? Why is it important that ‘Spirit of Friendship’ is also presented in the form of exhibitions?

We started ‘Spirit of Friendship’ with an understanding that access to the history of contemporary art in Vietnam is limited. This is due to the country’s lack of diversity in cultural infrastructure, as well as the local public’s lack of interest in more “experimental” modes of art-making. Although there has been much scholarly work on the development of Vietnamese contemporary art, most of this research is circulated within the academic circle. ‘Spirit of Friendship’ as an exhibition platform is thus an attempt to inform our local public of their rich and dynamic art history from 1975 until today. This history is materialised into a series of visual art exhibitions featuring mediums that are familiar: painting, photography, documentary film etc. By showcasing artworks alongside archival materials and critical essays, we hope to offer the audience intimate insights into the inspiring lives of previous generations of independent artists, as well as observations and critiques of the political and social situations that influenced, obstructed and gave rise to the birth and development of this unique artistic landscape.

The practice of friendship is the backbone that drove the works of the artists featured in this project. In studying those who have come and gone before us, how they were as people and friends to each other, as well as how they dealt with issues particular to their time, we can learn from their legacies and mistakes. We also see how certain issues, such as censorship and financial difficulty, remain the same despite the passing of time.

Installation view of Nguyễn Đức Phương's artworks displayed together with contextual objects borrowed from the artist's studio. Presented as part of ‘Home’, 2021. Image courtesy of The Factory. Plexiglass sketchbook and drawings by Bùi Công Khánh, next to a video of the artist and his partner performing Khánh’s song. Presented as part of ‘Home’, 2021. Image courtesy of The Factory.

Research corner in ‘The Hunters’, 2021. Photo by Pannawat Muangmoon.

Exhibition view of Maryanto’s works in ‘The Hunters’, 2021. Photo by Pannawat Muangmoon.

As an archival project, ‘Spirit of Friendship’ proposes a way to lift some of the burden of documenting and writing art history. At least once a year, a new project is added. It may come in the form of a publication, discussion or exhibition. This could be initiated either by us, or by those who share the same passion and care for histories. By deliberately making it an on-going endeavour, we hope to prolong the life of an art project, turning it into an inclusive platform that welcomes further contribution and interpretation. Knowledge has to be mobile in order to create larger movements. And although learning is a necessity, how we learn should always be flexible, and what we learn should never be fixed.

Prior to joining The Factory, you co-founded platforms IN:ACT Performance Art Festival (2010, 2011), Anti-Gallery Gallery (2012−present) and Manzi Art Space (Hanoi, 2012−present). What are your observations on the independent art scenes in Hanoi and Ho Chi Minh City? Are there any major shifts in the last decade?

Having worked in both scenes for the last decade, I am excited to see that the exchange between Hanoi and Saigon is now much deeper and more elaborate. Especially noteworthy are younger generations of local and foreign practitioners, whose focus is on the quality of collaboration. This has resulted in the popping up of new independent initiatives such as Á Space (Hanoi), Ba-Bau AIR (Hanoi), live.make.share (Hanoi), Đường Chạy (HCMC), Măng Ta (HCMC), Nổ Cái Bùm (Hue and Dalat) and many more.

Installation view of Group of 10 (1989-1996), presented in the section ‘Leaving A Mark - Finding The Way Forward’ in ‘Spirit of Friendship’ (2017). Image courtesy of The Factory.

Artist group chronology and historical timeline in ‘Spirit of Friendship’ (2017). Image courtesy of The Factory.

Part of The Factory team. From left to right: Bill Nguyễn, Vân Đỗ, Uyên Lê, Zoe Butt. Cấn Văn Ân's open studio where the artist conducted a drawing exercise to compare the construction of war monuments and the body language of onlookers. Presented as part of Manzi Artist Residency Programme 2020. Image courtesy of Manzi.

Cấn Văn .n's open studio where the artist conducted a drawing exercise to compare the construction of war monuments and the body language of onlookers. Presented as part of Manzi Artist Residency Programme 2020. Image courtesy of Manzi.

AP Nguyễn's research material showing her exploration of the notions of nation and nation-building, via the study of souvenirs and touristic sites. Presented as part of Manzi Artist Residency Programme 2020. Image courtesy of the artist.

The Factory is celebrating its fifth anniversary in 2021. How has the organisation changed since its founding?

In comparison to other institutions at home and abroad, The Factory is still quite young. However, I hope that the quantity and quality of programming we have produced over the past five years have demonstrated our dedication and expertise, and proven that we are here to stay. Our mission stays the same: firstly, to raise awareness of artists who are responsive to and critical of their contexts, and who understand and use their art-making as a way to build and share knowledge; secondly, to create a public platform that allows for an interdisciplinary approach to knowledge production and circulation.

Our work is to provide equal attention, care and opportunity of learning to our artists, our curators, and our public. We also attempt to cater to all levels of interest in the arts in our community. This ethos, one that takes great collaboration, is reflected in the wide range and various formats of programming that we have put in place since day one, each serving a particular audience with their varying needs, expectations and modes of reception.

Going forward, what does long-term sustainability look like for The Factory?

Looking ahead, we have identified two particular areas of focus: to continue our education and training programmes for artists, and to strengthen our existing partnerships whilst seeking new locally based sponsorships.

A significant and joyful part of our day is spent engaging with our artists. Ongoing programmes such as ‘Materialise’, ‘Pollination’ and our upcoming ‘Artist Excellence Award’ offer artists not only the opportunity and funding to exhibit, but also a dedicated period of curatorial mentoring and research assistance over six to 12 months. All of this is made possible through strategic partnerships we have established with international and regional funding bodies. By demonstrating that there exists international interest in, and support for Vietnamese art, we hope to impress upon our own local collectors, sponsors and partners the critical role they can play in contributing to structures that support the arts and culture.

In a recent podcast on Saigoneer, you spoke about the importance of investing time and effort in young artists and curators, as well as how the education system is severely inadequate in meeting their needs. How do you identify and create opportunities for new voices?

Apart from the projects mentioned above, on an individual level, I am also committed to working one-on-one with artists and practitioners on projects elsewhere. For example, for Manzi Art Space’s 2020 ‘Artist Residency Programme’, my co-founder Trâm Vũ and I have been working with two vastly different artists. Cấn Văn Ân is a locally-based, traditionallytrained painter, while AP Nguyễn is a multi-media talent who has received overseas education. Trâm and I have different mentoring approaches and this demonstrates how we tailor our programming to meet with the needs of artists.

On top of my official duties, a large part of my day often involves interacting with my colleagues across the country. We exchange notes and share reading materials, prepare presentations and workshops for local art students; as well as draft proposals and build projects. At times, our ideas may turn into tangible outcomes. Although a number of these proposals remain purely as writing and sketches on paper, they bear witness to the fact that we spend real, concentrated, prolonged time together, trying to make a difference in our own way.